Journal of Children's Literature Studies

Research Paper

A Study of Representations of Women in Ten Children’s Stories by Mohammad Reza Yousefi Based on Ideational Metafunction

Ahmad Tamimdari; Gholamreza Mastali; Shahnaz Ebadati

Volume 11, Issue 2 , March 2021, Pages 1-26

https://doi.org/10.22099/jcls.2019.33785.1703

Abstract

A Study of Representations of Women in Ten Children’s Stories by Mohammad Reza Yousefi Based on Ideational Metafunction Ahmad TamimdariProfessor of Persian Language ... Read More A Study of Representations of Women in Ten Children’s Stories by Mohammad Reza Yousefi Based on Ideational Metafunction Ahmad TamimdariProfessor of Persian Language and Literature, Allameh Tababaei University, Tehran, Iran Gholamreza Mosta’li ParsaAssociate Professor of Persian Language and Literature, Allameh Tababaei University, Tehran, Iran Shahnaz EbadatiPh.D. in Persian Language and Literature, Allameh Tababaei University, Tehran, Iran IntroductionChildren’s literature is an advantageous means for the emotional and social growth of children in the early years of their lives. To deliver their intended ideas and thoughts, writers of this type of literature try to use appropriate tools that are fit for the mental and cognitive growth of this age group. Various methods of representation of fictional characters are among these tools by which the writers can create interactions between the audience and various social groups. Characterization in some of these works has a distinctly ideological function and is used as a tool for expressing the writer’s points of view.Mohammad Reza Yousefi is a prominent writer of children’s and adolescents’ literature. For his didactic intentions, he selects his characters from different layers of society and unites this fictional element with other narrative elements such as theme, tone and point of view. Women of different age groups are among the main characters in most of his stories, and their characteristics, thoughts and actions determine the writer’s attitude toward them. Women are present in the stories selected for the study in two ways: first, as pivotal and central characters who have active presence in the whole text of the story; second, as minor characters who are nevertheless instrumental in the progress of the narrative. Methodology, Review of Literature and Purpose“Halliday’s ideational metafunction” is a useful tool for studying the methods of representation of fictional characters. The aim of this research is to study the methods of representation of female characters in ten selected stories by Mohammad Reza Yousefi. Stories such as Flowery Rug, Gol-ru and Gol-bu’s Tale, and Green, Blue and Yellow for the age groups of B and C are analyzed based on ideational metafunction.In the present research, three points are notable in the representations of women: children’s literature, the issue of gender, and ideational metafunction. No previous research has combined all the three issues; however, some researches have been conducted with similar objectives. Nojoomian and Qane’ (2017) in “The Effect of Genre on the Discursive Function of Women Characters in Adolescent Novels” have used Norman Fairclough’s critical discourse analysis to analyze women’s status in adolescent novels. Zomorrodian and colleagues (2011) in “Representations of Women’s Roles in War Literature for Children from the Perspective of Critical Discourse Analysis” have shown that passive representation and even omission of female characters and active and dynamic representation of male characters in these stories can affect girls’ and boys’ identity formation while creating and maintaining unequal and unjust relations between men and women. DiscussionPersuasive function is one of the functions of language which finds different manifestations in the text of each story. Studying the impact of this function on children’s fiction can help us in identifying didactic tools used by the writers of this type of literature depending on the audience’s age group. The combination of ideational metafunction and persuasive function can determine the personal style of each writer in the representation of fictional characters.Yousefi’s children’s stories are prominent in contemporary Persian literature and show his attitude toward different classes of women. The analysis of his works reveal that he uses ideational metafunction as a tool in his stories, written in perfect harmony with Iranian culture and identity and with the aim of educating children while having a proper interaction with the environment. In these stories, women have an equal and active presence in the society as men do. Being carpet weavers, farmers, paddy farmers and pickers, these female characters are representations of noble Iranian women who can be role models for contemporary girls and women. Dominant processes in the text of ten selected storiesNumberParticipantDominant processFrequency orderExamples of verbs1WomenVerbal / material / behavioralMaterialTo say, to go, to make, to laughMenRelational / behavioral / mentalRelationalTo be, to cry, to thinkchildrenMaterial / behavioralbehavioralTo play, to laugh2AnimalsrelationalRelationalTo be / to become3Natural elementsverbalverbalTo say, to talk4objectsverbalverbalTo say, to talk Yousefi’s positive and respectful attitude toward women is evident in the way he chooses the names of the characters, the way he attributes actions, speeches and characteristic to them. This can be regarded as the writer’s concern about preserving Iranian identity. Women in Yousefi’s works are active, intellectual and creative characters who are present in every social situation without regard to gender limitations. Considering the fact that Yousefi’s readers are children, one can argue that this method of representation will undoubtedly influence children’s attitude toward women and will reflect the high and unique status of women in Iranian culture; additionally, it will represent to the audience a proper picture of women who are vital in the promotion of Iranian culture and preserving its values. ConclusionIn most stories by Yousefi, women are main characters and introduced by their actions, dialogues and specific characteristics. The function of small girls, girl students, mothers and grandmothers in these stories is always ideological and didactic. The actions and the emotional and mental characteristics of these characters are depicted in a way as to have positive connotations and persuade the audience to accept and accompany the characters. Material processes are Yousefi’s main tool for representing women as active and equal in the structure of the narrative. These processes have remarkable persuasive functions and make the audience accompany the main characters and their actions and add to the realistic aspects of the story.The researchers hope that this research and similar researches help identify and understand the works of similar writers so that children as social capitals gain an understanding of women and men’s relationship as equal and free of gender discriminations. Keywords: Halliday, ideational metafunction, children’s literature, adolescent fiction, Mohammad Reza Yousefi. References:Encyclopedia of Persian language and literature (2005) (E. Saadat, Ed.). Academy of Persian Language and Literature.Fairclough, N. (2010). Critical discourse analysis. The Bureau of Media Studies and Planning.Guiraud, P. (2003). Semiotics (M. Nabavi, Trans.). Agah.Halliday, M. A. K. & Hasan, R. (2014). Language, context and text: Dimensions of language from social semiotics point of view (M. Nobakht, Trans.). Siahrood.Jacobson, R. (2011). Linguistics and literary criticism (M. Khoozan and H. Payandeh, Trans.). Ney Publications.Mohammadnejad, Y. & Elahian, L. (2017). Analysis of the processes of Persian textbooks for non-Persians: Case study for systematic functional approach. Research Journal for Teaching Persian to non-Persians, 6 (2), pp. 5-36.Rasekh-mahand, M. (2010). A study of experimental metafunction in children’s and adults’ stories. The Collection of Articles in the First and Second Conference of Linguistics and Multidisciplinary Studies in Literature and Art.Sahraei, R. M., Vakilifard, A. R. & Soltani, M. (2013). Representation of the principles designed by Nation and Macalister in the curriculum for teaching Persian to non-Persians. Research Journal for Teaching Persian to non-Persians, 2 (1), pp. 5-36.Sarli, N. (2011). Strategies of information deck in radio commercials. Communicative Researches Quarterly, 18 (3), pp. 148-169.Shoari-nejad, A. A. (2004). Children’s literature (2nd Volume). Ettelaat.Soltani, A. A. (2005). Power, discourse and language: Mechanisms of the flow of power and language in Islamic Republic of Iran. Ney Publications.Yarmohammadi, L. (2004). Popular and critical discourse analysis. Hermes.Yousefi, M. R. (1993). Green rice field. Institute for the Intellectual Development of Children and Adolescents.Yousefi, M. R. (1994). Flowery Rug. Institute for the Intellectual Development of Children and Adolescents.Yousefi, M. R. (1994). Gol-bu and Gol-ru’s tale. Institute for the Intellectual Development of Children and Adolescents.Yousefi, M. R. (1994). What a beautiful name! Institute for the Intellectual Development of Children and Adolescents.Yousefi, M. R. (2001). Naneh-Ensi was a star. Astan-e Qods-e Razavi.Yousefi, M. R. (2002). My little star. Afarinegan.Yousefi, M. R. (2003). Green, blue, yellow. Shabaviz.Yousefi, M. R. (2004). Song. Shabaviz.Yousefi, M. R. (2004). Grandma’s basket. Beh-Nashr.Yousefi, M. R. & Hashemi-Aqdam, M. (2003). Me and the moon and the star. Shabaviz.

Research Paper

Informal Writing in Children’s Literature

Mehdi Hejvani

Volume 11, Issue 2 , March 2021, Pages 27-48

https://doi.org/10.22099/jcls.2019.31872.1655

Abstract

Informal Writing in Children’s Literature Mehdi HejvaniAssistant Professor in Islamic Azad University, Islamshahr Branch IntroductionChildren are in the process ... Read More Informal Writing in Children’s Literature Mehdi HejvaniAssistant Professor in Islamic Azad University, Islamshahr Branch IntroductionChildren are in the process of learning language, and the main language that they must learn is the standard language. On the other hand, it is obvious that using the form of stories is an effective way for learning the standard language. The language used in a story is non-teaching, emotional, friendly and at times full of dialogues. The standard language is one of the factors for preserving national unity; meanwhile, local dialects guarantee the identity of various ethnic groups that have lived alongside one another and their diversity is considered a privilege. Dialogues are significant because they contribute to the characterization and help the distinction of different people in a story. The selection of words and tone of the people speaking in different situations familiarizes the readers with the inner states of the characters. But if a child is expected to learn dialogues and the informal language in addition to the standard language, he/she might face duality of some sort. Sometimes this duality can lead to multiplicity because some child readers who come from cities other than Tehran know a local dialect as well; therefore, in addition to the standard Persian language and the dialect of Tehran (which is not essentially richer than other dialects but has become more widespread as a result of the prevalence of audio and visual media) these children are learning three types of language at the same time. We need to think about solving this issue in literature. It can be imagined that a child perceives all three on a communicative level and uses them, but once he/she is going to experience and understand these three on the reading level, he/she might face difficulties. Methodology, Review of Literature and PurposeThe present research uses the paradigm of qualitative research, with an interpretative approach and by data analysis through the comparative inductive methodology. All the resources are gathered from libraries.Regarding the background of this discussion, the researcher did not find any independent book or article in Persian on the topic of dialogue or informal writing in children’s stories. The subject is very briefly discussed in three books.The researcher’s purpose is to offer a strategy for solving the inconsistency between informal writing and formal standard writing in story-writing for children. This is not an issue in academic and teaching texts because they use the standard language and do not enter the literary field which is closer to the variety of peoples’ lives; however, informal writing is indeed an issue in story writing. DiscussionWe are facing a major paradox: if we adhere to the standard language completely, we would distort intimacy and naturalness of the characters in the story; on the other hand, if we use broken syntax, we have ignored the standard language. The present article suggests the following for solving such paradox: firstly, emphasizing Mahmood Kianoosh’s suggestion, which is “changing the order of words in the sentence” instead of using “informal words”, and focusing on proper writing of the words and breaking the order of words (on a syntactic level) with the aim of making the sentences similar to everyday discourse and dialogue; secondly, selecting words from the set of synonyms which are not only suitable for the audience’s level of understanding, but also consistent with the pleasure they experience by reading a story, in such a way that they feel and experience the diverse circumstances of the characters of the story; thirdly, paying attention to the geography and the linguistic conventions of the certain region in which the story is happening; fourthly, paying attention to the fact that formal words become informal in the audience’s mind in a fictional situation and atmosphere without the need to write them in an informal way because they have been placed in a fictional context and situation. Basically, readers of fictional texts participate in the formation of the story and create their own exclusive world which might be different from other readers’ imaginations. It is normal for the readers to create a particular image that belongs to their own lives. The atmosphere and the setting of the story, and the vitality and the spontaneity of the characters help us read the words as informal very easier. In addition, the readers receive a term through their visual memories, though they read it with their auditory memories. Fifthly, those formal words should be selected that are used by the majority of people in their everyday conversations. Sixthly, there are words that are present both in classic literature and in peoples’ conversations. By using such words, the audience gets acquainted with classic literature, while making the work closer to everyday conversation. Actually, the author utilizes the concordance between the ancient literature and peoples’ daily dialogues. Seventhly, using attached possessive pronouns and excluding extra words can help the authors write sentences closer to the peoples’ conversation. Eighthly, the authors should pay attention to the fact that in historical stories, changing the words into informal ones could invalidate the authenticity of the dialogue atmosphere and even make the reader laugh. In these texts, it is inappropriate to make the words informal, and it should be kept in mind that the selected formal words are not modern, though the modern reader can understand them easily. Ninthly, even if the author decides to use informal words, he/she had better not exaggerate in doing so. Furthermore, in certain cases in which people use both formal and informal forms of a word in their daily conversations, it is more recommendable to use the formal term. And lastly, attention should be paid to exceptions. Wherever formal writing appears artificial, using the informal word is preferred. This is also true about popular proverbs which are common among people in an informal expression; where using the formal words might seem artificial and rather absurd. ConclusionGenerally, it seems that there should be a clear distinction between the literature written for children and that which is written for adults. Modern adult readers do not have any problem with informal words. However, in the field of children’s literature, due to linguistic subtlety, the situation is different. For the younger children, informal words must be avoided and colloquial sentences should be used quite cautiously and carefully.The researcher has evaluated and criticized the model of “reducing the syllables” suggested by Ali Solhjou and has offered “spontaneous prose” as an alternative. Based on this model, it is impossible to determine and delimit the essence and details of dialogue-writing by a set of rules and principles. For determining how to write dialogues, the author and the logic of his/her story are the major criteria. If we believe in the unity of the elements of the story, then the prose and its features cannot and should not have any incoherence with the other elements. Keywords: Children’s literature, children’s story, informal writing, dialogue, dialect, standard language References:Ebrahimi, N. (1977). Writing in Persian for Children. Agah.Hassanzadeh, F. (2010). Hasti. Institute for the Intellectual Development of Children and Adolescents.Hejvani, M. (2009). Socialism in Red Rose: A criticism on ‘Bread and Roses’, written by Paterson, translated by Hossein Ebrahimi. In Remembrance of Red Rose: A memorial for the late Hossein Ebrahimi. Association of Writers for Children & Young Adults & Book House Institute, pp. 94-97.Moulana, J. (2008). Divan Shams Tabrizi. Ketab Aban. Rahgozar, R. (1989). But then later on: Discussions on children’s and young adults’ literature. Houzeh Honari.Samayi, M. (2003). Dictionary of slangs. Markaz.Sepehri, S. (1990). Eight books. Tahouri Books.Solhjou, A. (2012). Principles of informal writing: Guide for informal vocabulary in story dialogues. Markaz.

Research Paper

Searching for a Model for Translating Children’s Illustrated Books for the Age Groups B and C from an Inter-Semiotic Approach

Alireza Ameri; Nastaran Habibian

Volume 11, Issue 2 , March 2021, Pages 49-78

https://doi.org/10.22099/jcls.2019.30202.1622

Abstract

Searching for a Model for Translating Children’s Illustrated Books for the Age Groups B and C from an Inter-Semiotic Approach Alireza AmeriAssistant Professor of Teaching ... Read More Searching for a Model for Translating Children’s Illustrated Books for the Age Groups B and C from an Inter-Semiotic Approach Alireza AmeriAssistant Professor of Teaching English Language, Islamic Azad University, South Tehran Branch Nastaran HabibianM.A. in English Translation IntroductionThis is an interdisciplinary qualitative research which investigates how illustration and text join together in conveying the message of illustrated works for the age groups of B and C. The researchers have considered children’s illustrated books as comprised of two sign systems, and they want to investigate the translation of these books from a semiotic perspective.Different theorists have presented different definitions of semiotics. Charles Sanders Peirce, known as the father of American Semiology, “designed the sign in a triadic system” (Nojoomian, 2015: 16). From his viewpoint, this triadic system includes the sign, object and interpretant. If we consider language as a verbal sign system, the process of translation in which the source text is decoded and the target text is encoded in target language is a semiotic process. Victoria Welby emphasizes the relationship between semiotics and translation when she describes translation as “a method of interpretation and understanding. And given that translative processes as they develop across systemic and typological boundaries, and that meaning is generated in the relation among signs, from a significal perspective, theory of translation and theory of sign and meaning are interconnected (quoted in Petrilli, 2009: 518). Methodology, Literature Review and PurposeBased on the tradition of qualitative research, the two utilized instruments in this study were interview and content analysis. The type of interview employed in this research is semi-structured which is the most common type of interviews. In this research, the content of three children’s illustrated story books for B and C age groups were analyzed: The Magic Finger, written by Roald Dahl and illustrated by Quentin Blake along with its four translations into Persian, The Tiny Seed by Eric Carle, Kate, The Cat and The Moon by David Almond and Stephen Lambert (in two formats of the original book and their translations). The model of inter-semiotic translation suggested by Quieroz and Aguiar in 2013 based on Pierce’s theory is used as the framework of the study.If the translated illustrated book is considered as a sign (semiotic-source), then the translator as an interpreter (semiotic-target) is the interpretant and the main book (the untranslated one) is the object of the semiotic-source. Therefore, this research accords to the model of inter-semiotic rendition. The researchers considered this model alongside the hermeneutic approach proposed by Steiner as the theoretical framework of the research. Since the study is an interdisciplinary one, the researchers found it necessary to interview a number of experts in illustration and translation as well.The purpose of this study is to specify the role of illustration as an inter-semiotic element in the process of translation, and to explore its impact on the translator’s decisions. In addition to the significance of investigating the impact of illustrations in the translation of children’s illustrated works, the specific cultural and ideological atmosphere in every country, including Iran, necessitates that researchers concentrate more on inter-semiotic aspects of translation. DiscussionAfter conducting each interview, it was transcribed, analyzed and coded by the researchers. In the next step, contents of the books were analyzed. There were similar codes among the findings from the content analysis and the interviews. A sample of the content analysis is mentioned below:Pages 8 and 9 of the book The Magic Finger and their second translated version: Original text:Then the tip of the forefinger of my right hand begins to tingle most terribly…And suddenly a sort of flash comes out of me, a quick flash, like something electric.It jumps out and touches the person who has made me cross… Translation 1:و نوک انگشت اشاره دست راستم به شدت شروع به سوزش می کند...و ناگهان مثل یک شیئ الکتریکی، برقی از من می جهد و به کسی که مرا عصبانی کرده است برخورد می کند... Translation 2:بعد نوک انگشت اشاره دست راستم به شدت شروع به سوختن می کند.....و ناگهان نوعی جرقه از وجودم بیرون می جهد، جرقه ای سریع، چیزی مثل برق.آن جرقه بیرون می جهد و با کسی که مرا عصبانی کرده برخورد می کند..... Translation 3:بعد نوک انگشت اشاره دست راستم به شدت شروع به گز گز می کند...و یک دفعه، یک جور برق از من بیرون می پرد، یک برق سریع، چیزی مثل الکتریسیته.این برق بیرون می پرد و به کسی که عصبانی ام کرده، برخورد می کند... Translation 4:بعد نوک انگشت اشاره دست راستم شروع می کند به خارش...طوری می خارد که انرژی از من بیرون می زند. چیزی شبیه نور یا جریان سریع الکتریسیته، یک هو میپرد بیرون و به آدمی که مرا عصبانی کرده، می خورد... The most important and noticeable point in this part is that although the source text clearly mentions “the forefinger of my right hand”, there is a contradiction between the text and its intended illustration in translations 2, 3 and 4, since the illustration demonstrates the forefinger of her left hand as the magic finger. This is because the pictures have been reversed (like a mirror image of the source illustration) according to the common publication method of translated works in Iran. This can create questions in children’s inquisitive minds. This strategy has been coded as re-localization.Some of the resulting codes from content analysis are related to translation, and some of them are in regard to illustration. These codes alongside the codes taken from interviews were revised and categorized according to the chosen theoretical framework and represented as the outcome of the research. ConclusionBased on the findings of the study, the researchers came to the conclusion that translators have utilized different strategies based on their personal preferences in their translations, and they have not paid equal attention to illustrations. In addition, although translators seem to be the only determining factors in translation, there are other influential factors that implicitly but intensely affect the translators’ works, which include the copyright law, the publisher and the economic, political and cultural considerations. These factors have been classified in the final model.Different groups whose activities are in regard to children’s books, including publishers, translators, children’s books critics, illustrators and even readers can benefit from the findings of this research. Publishers can utilize the model as a pattern for evaluating and ranking books. Since multilateral familiarity with any issue and work leads to achieving better results, the model can be applied by translators as an instruction for the improvement of their works. Critics of children’s books can also benefit from the model in assessing the quality of woks and passing more reasonable judgments on them. This model can also assist illustrators to better relate with textual factors. Keywords: Children’s illustrated books, illustration, inter-semiotic translation, rendition References:Aguiar, D., & Quieroz, J. (2013). Semiosis and inter-semiotic translation. Semiotica, 196, 283-292. Doi:10.1515/sem-2013-0060Ahmadi, B. (2014). From visual signs to text (14th ed.). Markaz.Culler, J. (2011). Literary theory: A very short introduction. Oxford University Press.Dahl, R. (1995). The magic finger. Penguin Books Ltd.Delzendeh-rooy, S. (2013). One story, several translators, several narrators. Journal of Children’s Literature Studies, 1, 27-48.Eco, U. (2014). La production des signes (P. Izadi, Trans.). Sales.Farahzad, F. & Mousavi. M. (2013). A study of ideological changes in book cover design of translated novels from a semiotic point of view: A model of examining multi-semiotic texts. Translation Studies, 11(42), 27-38.Fardhesari, S. (2009). Illustration and the illustrator author. (Master’s thesis). Islamic Azad University, Central Tehran Branch.Ghaeini, Z. (2011). Illustrating children’s books. Research Institute on the History of Children’s Literature.Gorgani, G. (1999). Angoshte Jadooyi [The Magic Finger]. Cheshmeh. Grenby, M. O. (2014). Children’s literature. Edinburg University Press.Kahnamouyi-poor, J. (2007). Roland Barthes and visual semiotics. The collection of articles in conference on Derrida and Barthes. Farhangestane Honar. Khosrow-nejad, M. (2015). In search of a special theory on illustrated fiction books. Journal of Children’s Literature Studies, 11, 205-244.Kyanikhah, E. (2013). On inter-semiotic translation: A Survey of some Cover designs in English novels rendered into Persian. Traslation Studies, 11 (42), 51-62.Lathy, G. (2010). The role of translator in children's literature: Invisible storytellers. Routledge.Leavy, P. (Ed.). (2014). The Oxford handbook of qualitative research. Oxford Library of Psychology.Mahtab, M. (1976). Angoshte Sehr-Amiz [The Magic Finger]. Sazmane Ketabhaye Talaei.Mehrdadfar, M. (2010). Illustration. Marlik.Moteasseb-Dayyani, Z. (2016). Angoshte Jadooyi [The Magic Finger]. Gaj.Munday, J. (2012). Introducing translation studies (3rd ed.). Routledge. Nadjaf-khani, M. (2007). Angoshte Jadooyi [The Magic Finger]. Ofogh.Nodelman, P. (2010). The relationship between text and image (B. Erfanian, Trans.). Book of the Month of Children and Adolescents, 155, 89-95.Nojoomian, A. (2015). Sing in the threshold. Farhange Nashre Now.Oittinen, R. (2000). Translating for children. Garland Publishing, Inc.Pastoureau, M. (2014). Histoire d’un couleur (J. Jahangiri, Trans.). Dibayeh.Pereira, N. M. (2008). Book illustration as (intersemiotic) translation: Pictures translating words. Meta, 53(1). 104-119Petrilli, S. (2009). Signifying and understanding: Reading the works of Victoria Welby and the significant movement. De Gruyter Mounton.Safi-yari, S. (2003). Investigation the impact of graphic on children’s social pedagogy. (MA Thesis). Islamic Azad University, Central Tehran Branch.Saldanha, G., & O' Brein, S. (2013). Research methodologies in translation studies. Taylor and Francis.

Research Paper

Investigating the Effects of Power Institutions on Iranian Children and Adolescents’ Literature: A Selection of Award-winner Original and Translated Works Before and After the Islamic Revolution (1961-1988)

Nadia Ghazanfari Moghaddam; Mohammad Reza Hashemi; Mahmoodreza Ghrban Sabbagh

Volume 11, Issue 2 , March 2021, Pages 79-100

https://doi.org/10.22099/jcls.2019.30352.1627

Abstract

Investigating the Effects of Power Institutions on Iranian Children and Adolescents’ Literature: A Selection of Award-winner Original and Translated Works Before and After the ... Read More Investigating the Effects of Power Institutions on Iranian Children and Adolescents’ Literature: A Selection of Award-winner Original and Translated Works Before and After the Islamic Revolution (1961-1988) Nadia Ghazanfari MoqaddamPh.D. in Translation Studies, Guest Teacher in Medical Sciences University of Kerman Mohammad Reza HashemiProfessor in Translation Studies, Ferdowsi University of Mashhad Mahmood Reza Qorban SabbaghAssociated Professor of English Language, Ferdowsi University of Mashhad IntroductionThroughout history, power institutions have tried to deploy literary and cultural orders in achieving their political, cultural, social, economic and religious goals. Generally, in order for a system to maintain its existence, it is necessary that the young generation of that society believe in and commit to its policies, guidelines and beliefs. Literary works are perhaps the best vehicles for the power institutions in transferring their ideologies and policies from generation to generation. Methodology, Review of Literature and PurposeWunderlich (1992) conducted a case study on the story of Pinocchio and its different adaptations through the American history to show how this work of art has undergone different translations and adaptations in different periods and in answer to different general policies. Thomson-Wohlgemuth (2006) showed how Germany made a huge investment on writing and more specifically on translating works of children’s literature with specific ideologies in order to propagate its Marxist-Leninist policies. Lerer (2008) studied the history of western children’s and adolescents’ literature and showed how churches in the Renaissance period propagated Catholic thinking through children’s works and also by establishing the first schools for separating children and adolescents from adults. Arzuk (2013) showed how Mustafa Kemal Atatürk succeeded in creating a great change in Turkey by manipulating children’s fiction and publishing a magazine for the direct relationship between the government and the young generation with the intention of propagating western values in Turkey and changing the former Islamic system in this country.The aim of this study is to investigate the influence of power institutions on Iranian children’s and adolescents’ works in the period between 1961 to 1988, a period in which the literary order of children’s and adolescents’ literature in Iran was still young, and the country was in turmoil. The period is divided, according to obvious changes in the political and social arenas of the country, into two periods: from 1961 to 1979 (the final years of Pahlavi period) and from 1979 to 1988 (the Imposed War period). The selection of works was limited to those original or translated works which were awarded in the two periods. The information of the works was extracted from Lasting leaves’ comprehensive bibliography (Zahed-Shekar-Abi, 2014) and then compared with the resources in the National Library of Iran. First, the distribution of awards to these works in these two periods was investigated, and then the contents of the works were analyzed to see if there are any similar issues in them. Discussion and ConclusionInvestigation of award-winner works in the two period of 1961 to 1979 (the end of Pahlavi period) and 1979 to 1988 (the Imposed War period) showed that powerful national and international institutions have affected the new literary world of children’s and adolescents’ literature in Iran. in the first period, 15 national and international institutes have awarded 94 works; and in the second period, 19 institutions have awarded 131 works. The number of national institute has increased from 5 in the first period to 12 in the second period which shows that this literary system is getting more and more orderly and independent. Generally, in both periods the original works have gained more attention in comparison with translated works.From the perspective of the type, works of fiction have gained the most awards in both periods. In addition to this, the number of awarded works of original and translated non-fiction are approximately the same in the second period, suggesting that works of nonfiction have become more important than they had been in the first period. Among the national institutes, Shoura in the first period and Kanoon (the Institute for the Intellectual Development of Children and Adolescents) in the second period were more active than other institutes.The content analysis of these works showed that they have similar subject matters. Works of fiction in each period have reflected the significant political and social issues and concerns of that period. The contents of the award-winners in the first period revolve around four subjects of relationships, seeking justice and prejudice against strangers, scientific materials and Iranian traditions; and in the second period, they revolve around five subjects of relationships, seeking justice and prejudice against strangers, death, advice, and scientific material. The two subjects of relationships and scientific materials are common in both periods, with the former subject having a significant ideological overtone; so much so that in the first period, it is presented from the perspective of power stratification, while in the second period it is presented from the perspective of war, xenophobia, self-sacrifice and patriotism. Powerful literary institutions have had a great influence in both periods on guiding the original and translation productions and on determining subject standards; and their awarding policies been ideologically biased. These institutions have guided the production of works for the young generation based on general policies of Iranian society and present-day social issues. Keywords: Iranian children’s and adolescents’ literature, translation, writing, award, power institutions References:Ames, G. & Wyler, R. (1978). The story of the ice age (H. Gharvari, Trans.). Ebn-e Sina.Ariès, P. (1962). Centuries of childhood: A social history of family life (R. Baldick, Trans.). Vintage.Arzuk, D. (2013). Creating a nation from scratch: Nationalism and nationhood in Çocuk children’s periodical in Turkey, 1936–39. In N. Maguire & B. Rodgers (Eds.), Children's literature on the move: Nations, translations, migrations. Four Courts Press.Azadikhah, M. A. (1980). Moradu. Noon Publications.Bahar, M. (1972). Jamshid the king. The Institute for the Intellectual Development of Children and Adolescents.Behrangi, S. (1979). The little black fish. The Institute for the Intellectual Development of Children and Adolescents.Clymer, E. (1986). Search for a living fossil (M. Doulate-abadi, Trans.). Ebn-e Sina.Didar, M. (1988). Twenty years of endeavor: An investigation into the objectives and activities of children’s book council from 1960 to 1982. Houzeh Honari.Doostdar, F. (1978). The backyard of Adl Afaq school. The Institute for the Intellectual Development of Children and Adolescents.Ebrahimi, N. (1976). Crows. The Institute for the Intellectual Development of Children and Adolescents.Farjam, F. (1968). Amu Nowruz. The Institute for the Intellectual Development of Children and Adolescents.Fattahi, H. (1988). Fire in the harvest. Amir Kabir.Goodarzi, M. (1970). The Great Kourosh. Amir Kabir.Hughes, T. (1990). Robots (N. Ebrahimi, Trans.). Hamgam with Children.Jafarnejad, A. (1984). 39 articles about children’s literature. Honar publications.Lerer, Seth. (2008). Children's Literature: A reader's history from Aesop to Harry Potter. University of Chicago.Lindgren, A. (1967). Pipi longstocking (G. Emami, Trans.). Elmi va Farhangi.Mahmoodi, S. (2013). Adabestan: Encyclopedia of children’s and adolescents’s literature. Nashr-e Now.Mirhadi, T. (1984). A report on the condition of writing and translating in children’s and adolescents’ literature. in A. Jafarnezad, 39 articles about children’s literature. Honar.Mohammadi, M. H. & Qaeini, Z. (2014). Translation in children’s literature. in Literary history of Iranian Children: children’s literature in the New Age, 1960 to 1979 (9th Volume) (pp. 736-789). Chista.National Library of Iran website, htpp://www.nlai.irNiitra, M. (2013). Shared songs, secret codes and Estonian national identity. In N. Maguire & B. Rodgers (Eds.), Children's literature on the move: Nations, translations, migrations. Four Courts Press.O'Dell, S. (1960) Island of the blue dolphins (M. Azari, Trans.). Amir Kabir.O'Sullivan, E. (2005). Children's literature in translation (A. Bell, Trans.). In Comparative Children's Literature (pp.117-122). Routledge.Rahgozar, R. (1981). Little immigrant. The Institute for the Intellectual Development of Children and Adolescents.Reynolds, K. (2011). Children's literature: A very short introduction. Oxford University Press.Sarshar, M. (2010). A survey of children’s and adolescents’ literature before and after the Islamic revolution. Anjoman-e Qalam-e Iran.Shavit, Z. (1986). Poetics of children's literature. The University of Georgia.Sperry, A. (1950). Call it courage (M. Azari, Trans.). Franklin.Thomson-Wohlgemuth, G. (2006). Flying high: Translation of children's literature in East Germany. In J. V. Coillie & W. P. Verschueren (Eds.), Children's literature in translation: Challenges and strategies (pp. 47-60). Routledge.White, E. B. (1974). Charlotte’s web (M. Amirshahi, Trans.). Amir Kabir.Wunderlich, R. (1992). The tribulations of Pinocchio: How social change can wreck a good story. Poetics today, 13(1), pp. 197-219.Zahed-Shekar-Abi, H. (Ed.) (2014). Lasting leaves: The bibliography of award-winner books of children and adolescents from 1920 to 2010. The Institute for the Intellectual Development of Children and Adolescents.Zarrin-Kelk, N. (1975). When I was a child. The Institute for the Intellectual Development of Children and Adolescents.

Research Paper

The Reproduction of the Victim Archetype in Four Young Adult Novels Published by the Institute for the Intellectual Development of Children and Adolescents (Selected from 1981 to 2011)

Marjan Foladvand

Volume 11, Issue 2 , March 2021, Pages 101-128

https://doi.org/10.22099/jcls.2019.33492.1683

Abstract

The Reproduction of the Victim Archetype in Four Young Adult Novels Published by the Institute for the Intellectual Development of Children and Adolescents (Selected from 1981 to 2011) Marjan ... Read More The Reproduction of the Victim Archetype in Four Young Adult Novels Published by the Institute for the Intellectual Development of Children and Adolescents (Selected from 1981 to 2011) Marjan FouladvandLecturer at Alameh Tabatabaei University, Tehran IntroductionArchetypes have roots in our collective unconscious; hence, they can influence our individual and social thinking and behavior. However, it is not easy to discover and identify these ancient concepts since they have the potential to reproduce themselves in many different forms. Therefore, it is crucially important to discover them and understand their functions and methods of reproduction in different forms in order to make sense of individual and social actions.It should be noted that some of these archetypes play a more decisive role in the collective mindset of a nation. The “victim archetype” could be regarded as the oldest archetype in Iranians' beliefs. This archetype has continuously been available in our history and culture in connection with the archetype of “conflict between good and evil”. This archetype can be found in new forms beneath the layers of many texts, from the stories of genesis and primitive rituals to later rituals and religions, from ancient beliefs to contemporary customs and beliefs, from myths to newspaper headlines and virtual bulletins.Since this belief has a significant effect on the way we interact with the world, this research tries to first illuminate the relationship between the two archetypes of “conflict between good and evil” and “victim archetype” and then provide criteria for identifying it in different forms by giving a precise definition of victim and its forms. Afterwards, the research will focus on the four selected young adult novels to illustrate how these novels reproduce this archetype and what interpretation of the world they suggest for the audience. Methodology, Review of Literature, PurposeIn this research, four novels from four different decades are selected. All these novels have enjoyed a wide readership, thanks to their successful publication and their inclusion in the textbooks and adaptations into TV-series; and their reprints are still available in the marketplace and many libraries. That all four novels are still widely popular testifies to the fact that they reproduce a consistent meaning in the course of four decades. This research uses the method of textual analysis under the influence of theories by Yung, Campbell and Cassirer in an attempt to show the importance of identifying archetypes in different layers of the narrative.The researcher has not found any study on the role of victim archetype in Iranian children’s and young adult’s literature. Mythology is usually taken into account as a whole, and due to the lack of a critical outlook, it is often regarded with fascination and approval.The researcher aims at finding answers to these questions: a) How is the archetype of conflict between good and evil reproduced beneath the layers of the narrative? b) How does it lead to the reproduction of the victim archetype? c) To what extend has this reproduction been successful in conciliating the laws of the mythical world to the relations of the contemporary real world? d) By reproducing the victim archetype, how do these novels interpret the world and what paths do they present to their adolescent audience for dealing with the world? DiscussionThe laws of mythical world as universal standards, and the mythical characters as absolute icons of good and evil, have important roles in our understanding of good and evil in the world. Since these characters and absolute icons, they are critically important for acquainting children and young adults with concepts such as self-sacrifice, resisting temptations and fighting evil. However, the problem arises when we reproduce the laws of the mythical world with their absolute dimensions in narratives with contemporary setting and people. In other words, since there are many differences between the mythical world and the real world, reproducing iconic characters or situation which are absolutely right or wrong –something that belongs to the world of myths- in the contemporary situation in which there are much more complicated relationships, may cause damages and discrepancies. In the real world, absolute good and evil rarely exist; therefore, the elimination of evil and the victory of good is not absolute. In the mythical world, though, there is no other way than fighting for the total elimination of evil. And of course, it is not possible to destroy evil and save good without offering victims.Interestingly, in none of the four novels under investigation, The Gallants of the Akhulgheh Castle, The Bandits, The Beautiful Heart of Baboor, and The Monster's Shadow, the only way for confronting the evil and gaining victory for good is direct opposition and offering sacrifices, and there is no sign of believing in finding any other way. The writers of the novels have completely ignored other possibilities such as the social and legal ways, using the power of the media and public awareness, or employing peaceful methods such as negotiation. For example, in The Monster’s Shadow, sacrificing Maral or the foresters is the only way for survival. Also, in The Beautiful Heart of Baboor, neither the intervention and negotiation of the elders of the village nor the attempts and protests of the people of the village have any effect on solving the problem; it is only the death of Kahoor (the mesquite) and the self-sacrifice of Baboor that can defeat the evil. In the novel The Bandits, too, the children and the people in the caravan might not be saved unless Mir-Mohammad is sacrificed.In sum, one can easily observe that in the four selected novels in which the victim archetype is reproduced, a world is introduced to the readers in which good and evil have clear-cut, absolute and irreconcilable boundaries and the only way for eliminating evil and attracting good is direct fighting and eventually offering sacrifice. Since the only way for victory is offering a sacrifice, other alternative ways are never suggested; so much so that in the novel The Gallants of Akhulgheh Castle, becoming a sacrifice is the ultimate good and goal.It should also be noted that a kind of invitation to “temporary action” is hidden in the deeper layers of the reproduction of this archetype: the writers are implying that giving sacrifices is enough for the elimination of evil –which is absolute and unchangeable- and the victory of good –which is also absolute and unchangeable. This is based on the assumption that after offering the sacrifice, the job is done; evil is eliminated and good is victorious; and since in the mythical model both of these forces are absolute and unchangeable, there is no need to guard for the hard-won victory anymore, because it is completely impossible for good to become corrupt, or for evil to change and turn toward good. The implied message is that after the sacrifice is offered, the war is over and there is no need for taking care of good constantly.It seems that it is better to employ the laws and icons of the mythical world in their own environment. Their reproduction in the contemporary real world entail significant and paradoxes and controversies because in this world, good and evil are relational and changeable, and the absolute and pure forms of good and evil cannot exist. ConclusionThe analysis of the four novels selected from four different decades based on their wide readership shows that victim archetype is reproduced in all of them in an obvious and straightforward way. In all four novels, the opposite sides of good and evil are portrayed as monolithic and absolute, based on the laws of mythical world, and it is only through fighting and offering sacrifices that good can overcome evil. None of the four writers pay attention to the fact that complex relations in the real world distinguish it from the mythical world, or that good and evil are relational in human relationships. Also, none of the novels suggest other ways for overcoming evil. Keywords: reproduction of myth, young adult novel, sacrifice, the Institute for the Intellectual Development of Children and Adolescents References:Amuzegar, J. (1992). Demons were not demons from the beginning. Kelk Quarterly, No. 30, pp. 16-24.Bahar, M. (2002). From myth to history. Cheshmeh.Campbell, J. (1999). The power of myth (A. Mokhber, Trans.). Markaz.Cassirer, E. (2000). The philosophy of symbolic forms (Y. Moqan, Trans.). Hermes.Cumont, F. V. M. (2007). The mysteries of Mithra (A. Ajoudani, Trans.). Sales.Eliade, M. (2006). Essential sacred writings from around the world (M. Salehi, Trans.). Fara-Ravan.Eliade, M. (2008). Shamanism: Archaic techniques of ecstasy (M. K. Mohajeri, Trans.). Adyan.Faherty, R. L. (1990). Sacrifice. In The new encyclopedia Britannica, Vol. 26, p. 837.Faranbagh Dadgi (1390). Bundahishn (M. Bahar, Ed.). Toos.Fattahi, H. (1992). The bandits. the Institute for the Intellectual Development of Children and Adolescents.Fouladvand, M. (2018). The effect and reproduction of two archetypes of conflict between good and evil, and victim, in young adult novels of the Institute for the Intellectual Development of Children and Adolescents from 1969 to 2018. Ph.D. dissertation in Persian language and literature, Alzahra University.Gerowgan, H. (1982). The gallants of Akhulgheh castle. the Institute for the Intellectual Development of Children and Adolescents.Henninger, J. (1987). Sacrifice. In Encyclopedia of religion (M. Eliade, Ed.). Vol. 12, p. 544.Jahangirian, A. (2015). The monster’s shadow. the Institute for the Intellectual Development of Children and Adolescents.James, E. O. (1981). Sacrifice. In Encyclopedia of religion and ethics (J. Haistings, Ed.). Vol. 11, p. 1a.Jung, C. G. (1960). The archetypes and the collective unconscious. Princeton University Press.Jung, C. G. (1970). Man and his symbols (A. Saremi, Trans.). Amir-Kabir.Khanian, J. (2004). The beautiful heart of Baboor. the Institute for the Intellectual Development of Children and Adolescents.Mostafavi. A. A. (1990). The sacrifice myth. Bamdad.Ricoeur, P. (2012). Living in the world of the text (B. Ahmadi, Trans.). Markaz.Sarli, M. A. (1994). Islamic movement of Sheikh Shamel. Keyhan Farhangi, No. 108, pp. 24-25.Taremi, F. (2012). Mythmaking in young adult literature (the decade of eighties). M.A. thesis. Azad University of Tehran.Yahaqqi, M. J. (2007). The encyclopedia of myths and tales in Persian literature. Farhang-e Moaser.

Research Paper

A Study of the Hero’s Journey in Arman Aryan’s Trilogy Ashvazdangaheh Based on Joseph Campbell's Monomyth of the Hero’s Journey

Nastaran Gharehbaghi; MohammadJavad Mahdavi

Volume 11, Issue 2 , March 2021, Pages 129-154

https://doi.org/10.22099/jcls.2019.34262.1716

Abstract

A Study of the Hero’s Journey in Arman Aryan’s Trilogy Ashvazdangaheh Based on Joseph Campbell's Monomyth of the Hero’s Journey Nastaran GharehbaghiImam ... Read More A Study of the Hero’s Journey in Arman Aryan’s Trilogy Ashvazdangaheh Based on Joseph Campbell's Monomyth of the Hero’s Journey Nastaran GharehbaghiImam Reza International University of Mashhad Mohammad Javad MahdaviAssistant Professor, Department of Persian Language and Literature, Ferdowsi University of Mashhad IntroductionArchetypes are common concepts that are embedded in the collective unconscious of human beings. Joseph Campbell had an undeniable effect on mythological criticism with his theory of “monomyth” and his analysis of the sequence of heroic actions. According to Campbell, the passage from each period of life is accompanied by the performance of certain rituals, one of the most important of which is the maturity and entry of the child into adulthood. The period of adolescence plays an important role in the formation of one's identity and the imitation of the hero becomes more intense. If the adolescent learns valuable concepts in the pattern of the hero's journey, he/she will become a better human being.Arman Aryan has made an effort to write heroic stories for adolescents. His trilogy called Ashvazdangaheh attracted the attention of both critics and reading public and won several awards. His attention to mythology and valuable concepts in the stories is remarkable. The journey of the first character of the story, who is transformed from an immature adolescent to a mature adult, and his liberation from ambition, has the capacity to be studied from a mythological point of view and the hero's journey pattern can be used to provide a structural framework for the transformation process of heroes into sublime human beings. Hence, the researchers employed this fundamental mythological theory as a basis to study Ashvazdangaheh trilogy. Methodology, Review of Literature and PurposeThe present study uses a library method for collecting data and a descriptive method (qualitative analysis) for analyzing Arman Aryan’s Ashvazdangaheh trilogy (with titles Contemporary Myth, Invincible Devils, Emancipatory Epic) based on Campbell's heroic journey theory. The research presuppositions are as follows: the hero of Ashvazdangaheh becomes immortal; he wins in the inner battle and the battle against the devil's wizards and becomes the master of the two worlds; and the steps of the belly of the whale, the supernatural aid, the meeting with the goddess and the road of trials from Campbell's hero's journey pattern are repeated in the novel.Numerous researches have been conducted on the archetype of the hero's journey, such as Reyhanifard (2011), Aghajani (2012), Ma’qouli et.al. (2012), Taheri & Aghajani (2013), and Abdullahzadeh & Reyhani (2020). Also, Yadollahi (2013), Amirkhani (2013), Emami et.al. (2015), Irvani et.al. (2015), Zabihi & Peykani (2016), Varzdar (2016) and Fooladi & Rahmani (2018) have studied Campbell's pattern of hero's journey; and Pirsufi & Maleki (2016), Mansourizadeh (2016) and Hosseinpour (2012) have analyzed Aryan's stories. Studies have revealed the need for more researches on this model for the purposeful writing of adolescent stories. By selecting this topic, the researchers tried to cover a part of this research gap in children and adolescent literature. DiscussionCampbell recognized three general phases of departure, initiation, and return, and seventeen steps in the hero's journey. The present article tries to analyze the novel Ashvazdangaheh based on Campbell's pattern. The main character of the story is invited to the adventure by drinking the potion of immortality. He is unable to separate from his mistress and refuses the call. A supportive creature in the role of a green-clad old-man guides him. He becomes resolute to continue the quest after meeting the prophets, reading the scriptures, and using the spiritual weapon of the name of God. He has to beat wizards, soldiers and the “moghan” to cross the threshold. According to Campbell, the hero is swallowed up by the unknowns; Ashvazdangaheh loses his eyes in the lions’ pit and is trapped in the crypt of the dead. He also walks in the darkness of the cave until his sees the truth. At the end of the story, Ashvazdangaheh goes blind, but he can see the light of truth again.On his “road of trials”, he accepts the danger of entering the palace and receives a book and fights with the Mongols to save the captives; however, his most difficult challenge is to enter the devil’s place. Lady Laleh in the role of the goddess is a blessing for Ashvazdangaheh, since she is his source of solace in the battle with the devils. Ashvazdangaheh becomes free from the temptation of ambition and leaves the queen. The devil also appears in the role of “the woman as the temptress”.According to Campbell, one can reconcile with the father by leaving behind the dual monster who thinks he is God. Meeting with Keykhosrow helps Ashvazdangaheh in achieving perfection. After that, Ashvazdangaheh becomes a mystic figure who wants to save the lives of all human beings and guide them toward God. After this apotheosis, he attains the “ultimate boon” of self-awareness and knowing God. According to Campbell, the heroes refuse to return and Ashvazdangaheh likes to live with the lady; however, he escapes by the help of the giant of the magic lamp. Having gone blind, he needs to be rescued and is healed by a savior while sleeping.Campbell also believes that the divine world and the human world are one. Discovering the forgotten dimension of the realm of the gods is the meaning of the hero’s action. According to Campbell, after this journey, the person is freed from all the personal limitations and is no longer afraid of his/her own doom. In this story, Ashvazdangaheh abandons his ambitions and becomes the master of the two worlds. Eventually, he is immersed in the atmosphere of monotheism and brings peace, anticipation for the coming of the savior and the destruction of the devil from his journey. ConclusionIn this study, the steps of Campbell's hero's journey pattern were analyzed in Ashvazdangaheh and the first hypothesis of the research was confirmed; i.e., the hero of Ashvazdangaheh defeated the devil and became the master of the two worlds. However, the second hypothesis of the research was not fully confirmed since no repetition was observed in the step of meeting with the goddess. None of the steps have been omitted from the story, but the steps of the belly of the whale, the supernatural aid, the woman as the temptress and the road of trials are repeated 3, 3, 2 and 4 times in the story, respectively. Also, the steps of crossing the first threshold, the belly of the whale, the woman as the temptress, meeting with the goddess and the magical flight have shifted in place. As a result, the steps of the pattern are increased from 17 to 25 steps.Although Campbell' hero's journey pattern is written by examining both eastern and western heroic texts and stories, it cannot account for all the events of the story. The story, due to the narration of historical events, the everlasting struggle between good and evil, and the presence of features of the character's immortality, does not completely follow Campbell's model and some steps are repeated or shifted. In spite of this fact, the research shows that this story is identical in detail with other heroic stories and follows the general pattern of Campbell's heroic journey. Keywords: Arman Aryan, Ashvazdangaheh, Hero's journey, Campbell, Archetype References:Abdullahzadeh Borzoo, R. & Rihani, M. (2019). Critique of the archetype of the hero's journey in the story of The little black fish based on Campbell’s and Pearson’s theory. Journal of Children's Literature Studies, 10 (19), 101-122.Aghajani-Zlati, S. (2012). A study of the archetype of the hero's journey in Shahnameh. Master Thesis. Mazandaran University.Amirkhani, H. (2013). A study of myth place in Bahram Beyzayi's cinematic and dramatic works with the model of Campbell's hero's journey. Master Thesis. University of Sistan and Baluchestan.Aryan, A. (2011). Persians and I, dragon palace: Zahhak Mardoosh (10th edition). Moj.Aryan, A. (2011). Persians and I, The secret of the bird mountain: Rostam Dastan. Moj.Aryan, A. (2011). Persians and I, the resurrection is coming: the Great Kurosh. Moj.Aryan, A. (2017). Ashvazdangaheh: Contemporary myth. Moj.Aryan, A. (2011). Ashvazdangaheh: Invincible devils. Moj.Aryan, A. (2011). Ashvazdangaheh: Emancipatory epic. Moj.Attar Neyshabouri, F. D. (1991). Mantegh-ot-tair, birds’ authorities (S.S. Gogaharin, Ed.). Elmi-Farhangi.Bahrami-Rahnama, K. & Tavousi, M. (2015). A Critique of the archetype of the Banu Gashsbna'meh poem. Mystical and Mythological Literature, 11 (40), 135-164.Campbell, J. (2017). The hero with a thousand faces (S. Khosropanah, Trans) (8th edition). Gole aftab.Emami, N., Tashkari, M., Salehi Mazandarani, M. R. & Keshavarz Moayedi, A. (2015). Study and analysis of Manley Nima Yushij's poem based on Campbell's hero journey pattern. Poetry Research (Literature Garden) Shiraz University, 7 (26), 1-20.Ferdowsi, A. Q. (1987). The first book of Ferdowsi's Shahnameh (J. K. Motlagh & E. YarShater, Eds.). Mazda.Ferdowsi, A. Q. (1990). The secend book of Ferdowsi's Shahnameh (J. K. Motlagh & E. YarShater, Eds.). Mazda.Ferdowsi, A. Q. (1996). The fifth book of Ferdowsi's Shahnameh (J. K. Motlagh & E. YarShater, Eds.). Mazda.Fouladi, M. & Rahmani, M. (2018). Review and critique of the story of Bijan and Manijeh based on the archetype of Campbell's hero's journey. Literary sciences, 8 (13), 87-107.Hosseini, M. & Shakibi-Mumtaz, N. (2012). The journey of the hero in the story of the Badgard Bath based on the methodology of Campbell and Jung. Literature Researching, Vol. 22, 33-63.Hosseinpour, S. (2012). A study of the archetype of journey in the trilogy of Persians and I. Master Thesis. Shiraz university.Irvani, F., Hatami, S. & Shakeri, J. (2015). Analysis of the story of Sheykh San'an in Attar's Mantegh-ot-tair based on the archetype of Campbell's hero journey. Collection of articles of the 10th Persian Language and Literature Research Conference, 231-241.Mansoorizadeh, M. (2016). Content critique and analysis of the trilogy novel Persians and I by Arman Aryan. Master Thesis. Faculty of Literature, Ardabil University, Ardabil.Ma’qooli, N., Sheikh-Mahdi, A. & Ghobadi, H. A. (2012). A comparative study of the archetype of the hero's journey in literary and cinematic content. Comparative Studies of Art, 2 (3), 87-99.Ma’soom, H. (2005). What is the Great Name? Philosophy of Religion, No. 4, 73-86.Mohammadi, M. H. (2012). Stories of the Quran, from Adam to Khatam, History of the Prophets. Boostan-e Danesh.Mowlawi, J. D. (2009). Forty stories from Mathnavi (N. Vazinpour, Ed.). Amir-kabir.Nezami, E. (2010). Haft Peykar [Seven Bodies]. (S. Hamidian & V. Dastgerdi, Eds.). Ghatreh.Pakro, F. (2015). Comparative analysis of father-son confrontation in epics (Rostam and Sohrab; Indian Arjan-o-Barb'ahan). Articles collection of the 10th Conference on the Promotion of Persian Language and Literature at Mohaqeq Ardabil University, 470-479.Pirsufi-Amlashi, Z. & Maleki, F. (2016). A new plan in creating mythical characters. Book Review, 3 (12), 29-37.Quran (M. M. Fooladvand, Trans.) (1997). Studies of Islamic History and Knowledge.Rihanifard, A. A. (2011). The symbolism of archetypes in Sheykh Ishraq's persian stories based on a monomyth pattern. Master Thesis. University of Sistan and Baluchestan.Taheri, M. & Aghajani, H. (2013). Explaining the archetype of the hero's journey based on the views of Jung and Campbell in Rostam's seven steps. Mystical and Mythological Literature, 9 (32), 1-20.Tarsusi, A. T. (1977). Darabnameh (Z. Safa, Ed.) Translation and Publication of Books.Varzdar, L. (2016). A study of the theory of the hero's journey in Attar's Mantegh-ot-tair and Mosibatname from Campbell's monomyth approach. Master Thesis, Azad University, Tehran.Vitila, S. (2011). Myth and cinema: Discovering the mythical structure in 50 memorable films (M. Gozarabadi, Trans.). Hermes.Yadali-Shahrah, R. (2013). The evolution of the character of Vahhab in the field of love in the novel Edrisis’ House based on the Campbell's hero's journey pattern. Literary Criticism, 6 (24), 169-198.Zabihi, R. & Peykani, P. (2016). Analysis of the archetype of the hero's journey in Tarsusi's Darabnameh based on Campbell's model. Mystical and Mythological Literature, 12 (45), 91-118.

Research Paper

Removing Dust from the Eyes: A Study of the Techniques of Decentration in Kalila and Demna

Farzane Moeini

Volume 11, Issue 2 , March 2021, Pages 155-184

https://doi.org/10.22099/jcls.2018.28272.1575

Abstract

Farzaneh MoeiniPh.D. in Persian Language and Literature, Shiraz University IntroductionRewriting old tales with the aim of simplifying and reconstructing their linguistic and structural ... Read More Farzaneh MoeiniPh.D. in Persian Language and Literature, Shiraz University IntroductionRewriting old tales with the aim of simplifying and reconstructing their linguistic and structural features is one of the popular methods which can make the literary heritage of a nation conveniently accessible to everyone. Kalila and Demna (or Kelileh va Demneh) is one of these books and many rewriters have tried to simplify and rewrite its tales to keep it alive all the time, though not with equal success. The tales of Kalila and Demna have been used either because of their didactic values or because of having animal characters; however, the tales can be looked at from fresh perspectives to discover their potentials for children and young adults.It should also be noted that nowadays, with the thriving of psychological and pedagogical discussions and also the theory and criticism of children’s literature, a significant part of children’s needs and the functions of children’s literature are identified and analyzed.In this research, Kalila and Demna is looked at from a new perspective, i.e. the theory of decentration, in order to identify another part of its potentials for being rewritten for children. Methodology, Review of Literature and PurposeIn this qualitative research, 14 chapters of Kalila and Demna which have fictional structure (from the chapter “The Lion and the Cow” to the end of the book) are studies with the method of content analysis. 14 main stories and 30 tales are covered in these chapters. With a combination of the two methods of deduction and induction, first the techniques of decentration in the tales and then the new techniques in Kalila and Demna were identified.The background to the theory of decentration can be found in the studies and theories of Piaget and his critics especially Donaldson. In agreement with Donaldson, Khosronejad in Innocence and Experience (2010) tends towards generalization of decentration to the entire life. He makes use of decentration to illuminate the concept of childhood, which he finds synonymous with the concept of children’s literature from some perspectives, and then identifies the techniques of decentration in folk tales. Khazei and Khosronejad (2007) have studied this issue from another perspective. Moradpour (2015) has studied the techniques of decentration in the tales of Anjavi.The aim of this research is to find the techniques of decetration in Kalila and Demna. Also, some suggestions are made for employing these techniques in rewriting stories and tales of this book. DiscussionDecentration can be simply defined as the ability to understand other opinions, perspectives and points of view. However, a more comprehensive definition puts the term in opposition to centration to make both terms meaningful and makes them complete the cognitive process of a person’s mind:On the one hand, our mind tends to concentrate on one phenomenon or one aspect or level of that phenomenon to understand and absorb it; and on the other hand, it has the ability to distance itself from the phenomenon that it has understood or absorbed and go to another phenomenon or another aspect or level of that phenomenon. and by doing so, gain a deeper and wider understanding. All our consciousness is the result of this two competing processes [centration and decentration]. Therefore, centration is getting involved and absorbed in one aspect, dimension or feature of reality and seeing reality from only one perspective; while decetration is a kind of mental ability which acts exactly in the opposite direction. Our awareness is created and completed by the oscillation between centration and decentration (Khosronejad, 2011: 19). Oscillating between centration and decentration is a significant and valuable characteristic of the stories and tales of Kalila and Demna which should be maintained and emphasized in its rewritings. The techniques used for creating this oscillation are similar in both tales and Kalila and Demna: exhibitionism, narrator’s intervention, frame tale, displacement of the protagonist, debate, surprise, exaggeration, white-writing, metamorphosis, inversion, and simultaneous scenes. There are also six new techniques of decentration used in Kalila and Demna which widen the functions of the previous ones: awareness of the ending, in-text defamiliarization, changing the narrator (if accompanied by changing the point of view), tale-in-tale, compound characterization, and the inclusion of poems and Quranic verses in the stories.By using the story-within-story structure of Kalila and Demna and creating dialogue between the narrator and the reader, the rewriters of the book can maintain and improve the frequent techniques of decetration in their rewritten works. Summarizing and simplifying the tales should be done with attention to the theme, plot and characterization of the tales and the important and defining parts should be kept.Increasing the number of techniques of decentration in a work results in enhancing the mental absorption and therefore the amount of surprise, and most likely the pleasure that children experience when reading the work. As such, having potentials for decentration can be a criterion for choosing a text for rewriting. It is the creativity of the rewriter that determines how the techniques of decentration are carried out in the text. Experts in this field emphasize that these techniques need to be accompanied by simple and childish language and content. It should also be noted that introducing the techniques of decentration in Kalila and Demna does not mean that all these techniques should be used in a single story. Proper and artistic use of these techniques in rewritings is more important that the number of techniques used. References:Chambers, A. (2008). The reader inside the book (T. Adinehpour, Trans.). In M. Khosronejad (Ed.), Inevitable re-readings: Approaches in theory and criticism of children’s literature, (pp. 113-152). The Institute for the Intellectual Development of Children and Adolescents.Donaldson, M. (1991). The mind of the child (H. Naeli, Trans.). Astan-e Qods.Khazaie, D. (2016). Far from the maddening crowd. A comparative study of some Persian, English and German Variants of ATU 1450. STUDIA MYTHOLOGICA SLAVICA, Vol. 19, pp. 187-210.Khazaie, D. & Khosronejad, M. (2007). A genetic epistemological reading of Lambs’ tales from Shakespeare and Persian folktales”. The Charles Lamb Bulletin, No. 137, pp.15-23.Khosronejad, M. (2010). Innocence and experience: An introduction to the philosophy of children’s literature. Markaz.Khosronejad, M. (2011). How to develop the ability of children for philosophical thinking? Behnashr.Herman, D. (2014). Basic elements in narrative theories (H. Safi, Trans.). Ney.Homaei, J. (2002). Literary devices. Homa.Mayring, P. (2014). Qualitative content analysis: theoretical foundation, basic procedures and software solution. Klagenfurt. URL: http://nbn-resolving.de/urn:nbn:de:0168-ssoar-395173.Monshi, A. N. (2002). The translation of Kalila and Demna (M. M. Tehrani, Trans.). Amir Kabir.Moradpour, N. (2015). Techniques of decentration in Iranian tales edited by Anjavi Shirazi. Journal for the Research on Children’s Literature, 6 (2), pp. 139-164.Nikolajeva, M. (2019). An introduction to aesthetic approaches to children’s literature (M. Hajvani & F. Zamani, Trans.). The Institute for the Intellectual Development of Children and Adolescents.Taqavi, M. (1998). Beast fables in Persian literature. Rouzaneh.

Research Paper

Cognitive Poetics of Babytalk and the Poetic Potentials of Persian Lullabies

ُShayesteh Sadat Mousavi

Volume 11, Issue 2 , March 2021, Pages 185-208

https://doi.org/10.22099/jcls.2019.33699.1694

Abstract

Shayesteh-Sadat MousaviUniversity of Guilan IntroductionWhile communicating with infants, adults usually use a certain kind of language which is different from the ... Read More Shayesteh-Sadat MousaviUniversity of Guilan IntroductionWhile communicating with infants, adults usually use a certain kind of language which is different from the usual adults' conversational language in vocal stretches, hesitations, repetitions, etc. This special kind of language is called “Babytalk”. The cognitive studies on Babytalks has shown the existence of some specific poetic characteristics which prove the ability of literal cognition in human infants even in the first weeks of their lives. Lullabies are also one of the first sources for communicating with babies. Methodology, Review of Literature and PurposeThis research tries to answer the question whether or not the lullabies can be considered a source for discovering paradigms of cognitive poetics in children? What are these paradigms? This study uses the cognitive method and David Miall and Ellen Dissanayake's (2003) findings to investigate and extract poetic potentials and paradigms in lullabies.Researches undertaken so far on Persian lullabies have focused on their categorization based on their geographical, contextual and thematic elements from the perspective of cultural studies and anthropology. Some of the researchers who have undertaken the task of collecting the lullabies, for example, Omrani (2002), Javid (2004), Khazaei (2005), Qanbari (2006), Jamali (2008), Safidgar Shahanaqi (2015), have also studied the themes of the lullabies. Some researchers have also analyzed the contextual, structural and narrative features of the lullabies, but they have focused on the world of women and mothers; for example, see Hasanli (2001), Vojdani (2008), and Enayat et al (2012).Qezel-Ayagh (2006) has studied children’s literature from infancy to 3 years of age and pointed out the significance of lullabies in the physical and emotional education of children besides other songs and games. Perhaps the closest study to our study is the article titled “Children’s poetry and the appearance of verbal aesthetics in children” by Haqshenas et al. (2010) in which the subject is investigated based on the theoretical framework of the formalist linguist, Ruqaiya Hasan. While that study focuses on learning literature from the ages of infancy to later years, the present study as a cognitive research focuses on lullabies and their rhetorical features for infants in the first weeks after birth. DiscussionMiall and Dissanayake (2003) believe that the function of every hidden poetical potentiality in babytalk is creating a closer relationship between the mother and the child. Therefore, poetical potentialities are connected to Bowlby’s famous theory of attachment (1982: 177-198). Miall and Dissanayake (2003) identify several poetical potentialities in babytalks, and we have tried to trace them in lullabies, too.The frequency and repetition of frontal phonemes: Repetition is one of the most obvious characteristics of lullabies. An interesting aspect of lullabies is the frequency of the consonant “L” due to the repetition of la la la la. Behavioral studies on phonemes show that front phonemes (those which are articulated in the anterior area of the phonetic system) generate senses of presence and closeness; while back phonemes (those which are articulated in the posterior area of the phonetic system) generate senses of distance. Therefore, the consonant L generates sense of close relationship between the child and the mother.Iconicity: Miall and Dissanayake (2003) believe that the high frequency of front phonemes in babytalk results in its phonetic iconicity. In cognitive orthographic linguistics and in semiotics, iconicity means similarity homogeneity between the form and the meaning of a sign; for example, if a mother wants to show her intimacy with her child, she naturally and instinctively makes use of sounds which are articulated from her nearest area of the phonetic system to the child. Such a meaningful relationship between the form and the meaning challenges the basis of poststructuralist thinking which negates any natural and inherent relationship between form and meaning of a sign and believe that all the meanings of signs are cultural constructs (Dissanayake, 2001).Parallelism: Parallelism is the arrangement of a number of words in a linguistic structure in a way that they are in parallel structures of grammar, sound or meaning (Corbett and Connors, 1999: 45). This technique, which is similar to balancing in traditional rhetorical techniques, is frequently used in proverbs and epigrams. Parallelism is a frequent tool in lullabies, too.Ritualization: The process of making a behavior meaningful, in a way that it comes out of the form of its primary goal (which is usually a biological need) and gains the function of a sign or a ritual, is called ritualization. One can argue that the rhetorical tools mentioned above, which exist in both babytalk and Persian lullabies, have turned into ritualistic behaviors for the mother and the child and are used for making and expressing “connection”.Defamiliarization: Formalists believe that rhythmic structures are types of deviation from the standard language which defamiliarize speech; however, it is important to note that in children’s behavioral studies, the manner in which a mother connects with her child in the prelinguistic stage shows the rhetorical speech is exactly the familiar and natural type of speech for the child. In other words, contrary to the popular belief that identifies rhetorical language as a cultural construct, this type of language has a natural and biological basis. ConclusionThe findings of the research showed that the same poetical characteristics exist in both babytalk and Persian lullabies. The poetics of babytalk has an interactive function and mothers make use of them unconsciously to connect with their children. The poetics of lullabies, too, creates this connection between the mother and the child. Evidence shows that from a very early age, the human child is able to understand rhetorical language. This is a potential field for the interaction and mutual connection between the mother and the child. Interestingly, rhetorical understanding in young children occurs even before linguistic understanding; therefore, if rhetorical language is a deviation from the standard language, for children it is the natural type. References:Aitchison, J. (1985). The Articulate mammal: An introduction to psycholinguistics (A. Hajati, Trans.). Amir Kabir.Ahmadpanahi, M. (2004). Song and songwriting in Iran: A survey in the national songs of Iran. Soroush.Beebe, B. et al. (1997). Mother-Infant Interaction Structures and Presymbolic Self and Object Representations. Psychoanalytic Dialogues, 7:133-182.Bowlby, J. (1982), Attachment and Loss (Vol. 1, 2nd ed). Basic books.Brône, G. & Vandaele, J. (2009) Cognitive Poetics: Goals, Gains, and Gaps. Applications of Cognitive Linguistics. Mouton de Gruyter.Corbett, E. P. & Connors, R. (1999). Classical Rhetoric for the Modern Student. Oxford University Press.DeCasper, A., & Fifer, W. (1980). Of human bonding: Newborns prefer their mothers' voices". Science, 208: 1174.Dissanayake, E. (2001). Aesthetic incunabula. Philosophy and Literature, 25:335-346.Eibl-Eibesfeldt, I. (1989). Human ethology. Aldine de Gruyter.Enayat, H. et al. (2011). Lullaby, a female media or a children’s sleep-inducing melody? Women in Culture and Art, 3 (2), pp. 57-76.Gavins, 1. & Steen, G. (2003). Cognitive Poetics in Practice. Routledge.Hafiz (1996). Diwan (P. Natel Khanlari, Ed.). Kharazmi.Hasanli, K. (2003). Velvet lullabies: A look at the origins and subjects of lullabies. The Journal for Persian Language and Literature, Sistan and Baluchestan University, Vol. 1, Fall and Winter, pp. 61-80.Haqshenas, A. M. et al. (2001). Children’s poetry and the appearance of verbal aesthetic in children. Quarterly of Literary Researches, 6 (23), pp. 89-108.Hearne (2001). Betsy storied lives. Presented at the Graduate School of Library and Information, Accessible at hattp://www. Lis. Uiuc. Edu/ hearne/ storiedlives.Hedayat, S. (2000). The folklore encyclopedia of Iranian people (J. Hedayat, Ed.). Cheshmeh.Hivehchi, R. (2015). Morphology of female lullabies of Torkaman tribe with a special look at Hoodi. National Conference on Tourism Culture and Urban Identity.Jaffe, J. et al. (2001). Rhythms of dialogue in infancy: Monograph of the society for research in child development. Blackwell.Jamali, E. (2008). Lullabies in Iranian people’s culture. Sorooush.Javid, H & Jorhani, M. (2004). Delightful songs: A collection of Iranian lullabies. Soureye Mehr.Khazaei, H. R. (2005). Lullabies. Mahjan.Kovecses, Z. (2017). Where do metaphors come from? (J. Mirzabeigi, Trans.). Agah.Maslow, A. H. (1997). Motivation and personality (A. Rezvani, Trans.). Astan-e Qods.Miall, D. & Dissanayake, E. (2003). The Poetics of Babytalk. Human Nature, Vol. 14, No. 4, pp. 337- 364.Miall, D. S. & Kuiken, D. (2002). The Effects of local phonetic contrasts in readers' responses to a short story. Empirical Studies of the Arts, 20:157-175.Mohammadi, M. & Qaeeni, Z. (2017). The history of Iranian children’s literature: Oral literature and ancient times (Vol. 1). Chista.Murray, L. & Trevarthen. C. (1985). Emotional regulation of interactions between two-month-olds and their mothers. In T. M. Field and N. A. Fox (Eds.) Social Perception in Infants (pp. 177-197). Ablex.Omrani, S. E. (2002). Iranian lullabies. Peyvand-e Now.Qanbari, A. (2006). Songs and embraces. Nashr-e Sib.Qezel-ayaq, S. (2006). Children’s literature: From birth to three years of age (lullabies, caressing songs, games, emotional songs, etc.). Derakht-e Bolourin.Sa’di (2002). Golestan (The Rose Garden) (G. Yousefi, Ed.). Kharazmi.Safidgar Shahanaqi, H. (2014). Iranian children’s lullabies. Soureye Mehr.Shafiei Kadkani, M. R. (2002). The music of poetry. Agah.Shklovsky, V. (1965). Art as technique. In L. T. Lemon & M. I. Reis (eds. and trans.), Russian formalist criticism: four essays (pp. 3-24). University of Nebraska Press.Spence, M. J. & DeCasper, A. W. (1982). Human fetuses perceive maternal speech. Paper delivered at the International Conference on Infant Studies, March, Austin, Texas.Stockwell, P. (2014). Cognitive poetics: An introduction (L. Sadeghi, Trans.). Morvarid.Tsur, R. (1992). Toward a theory of cognitive poetics. North Holland.Tsur, R. (1992 b). What makes sounds patterns expressive? The poetic mode of speech perception. John Hopkins University Press.Vojdani, B. (2008). Lullabies, music: The role of women in the transmission of oral literature. Art Book of Month, Aban, pp. 98-104.

Research Paper

A Creative Narrative of a Classic Text: A Review of a Rewriting of the Story “Bijan and Manijeh”

Sajad Najafibehzadi

Volume 11, Issue 2 , March 2021, Pages 209-232

https://doi.org/10.22099/jcls.2019.34283.1717

Abstract

A Creative Narrative of a Classic Text: A Review of a Rewriting of the Story “Bijan and Manijeh” Sajad Najafi BehzadiAssistant Professor of Persian Language and ... Read More A Creative Narrative of a Classic Text: A Review of a Rewriting of the Story “Bijan and Manijeh” Sajad Najafi BehzadiAssistant Professor of Persian Language and Literature, Shahrekord University, Iran IntroductionLiterary and artistic works are created in various ways. Some works are literary creations of the mindsets and worldviews of their authors (direct creation) and some works are inspired by works of the past or the contemporary writers. This is called recreation, in which the poet, after being inspired by the work of others, undertakes a new creation that is different from the previous work and only shows traces of the previous work. But there is a third method in which the poet or the writer receives the content and purpose of the classic work and then rewrites it. Rewriting is defined as the simplification of the language and the creation of a new structure in the old texts so that their contents and themes are preserved. One of the important purposes of rewriting ancient texts is to acquaint children and adolescents with the valuable texts and cultural elements and figures of the past. Another purpose of rewriting is to make the audience enjoy the themes and meanings of the classic texts.Stories of Ferdowsi’s epic, Shahnameh, have a lot of narrative potentials for children and adolescents. The story of “Bijan and Manijeh” is saturated with themes of loyalty, courage, self-sacrifice and love. It is very important to rewrite this story creatively in order to educate children and adolescents on the significance of love and loyalty. Methodology and Review of LiteratureIn this study, Atousa Salehi’s rewriting of the story of “Bijan and Manijeh” from Shahnameh is analyzed based on creative rewriting patterns. The researcher uses the qualitative content analysis method in which data and tests are analyzed in order to discover their meanings. Data is gathered by the use of library research.Various researches have been conducted on the analysis of classic texts based on the principles and elements of the story; however, the researcher did not find any research on the creative rewriting patterns of the story of “Bijan and Manijeh”. DiscussionThe purpose of this study is to investigate and analyze Atosa Salehi’s rewriting of the story of “Bijan and Manijeh”. Accordingly, the most important techniques and creative aspects of rewriting of the classic text of “Bijan and Manijeh” were examined and analyzed. Some important elements that are used in creative rewriting are as follows:Changing and relocating fixed elements of the ancient text: The audience has a fixed schema about the pre-text but the recreated text alters that schema; as a result, the audience struggles again to find a new meaning and the text becomes enjoyable. Therefore, the transformation of the fixed schemas and the defamiliarization of the ancient text can be considered as important factors in the audience's enjoyment.Creativity at the beginning and the end of the story (increasing suspense): The beginning and the end of the story play important roles in attracting children and adolescents. Rewriters can enhance the reader's sense of suspense by creating a new structure in the narrative and the beginning of the story.Representation of the characters’ mentality: One of the best methods of characterization which can be used for creative rewriting is the representation of the mentality of the characters in the story. It is one of the most complex types of characterizations which helps the reader enter the character's mind and have the opportunity to access the innermost thoughts and mental states of the characters in the story.Creating new spaces within the text: A free and creative rewriting can benefit from the creation of new fictional spaces in the text. These spaces can be opened up through the creation of intellectual conflicts, conversations and internal monologues of the characters of the story. The author rewrites the structure of the story to produce a creative rewriting.The reader's participation in the story (writing): One of the most effective methods for attracting the reader's participation in the story is the creation of speech gaps. Speech gaps are the blank spaces in the text that, according to Chambers, every skilled writer tries to leave in his work in order to invite the reader to participate in the construction of meaning and even creativity. ConclusionConsidering the characteristics of Shahnameh and its grandiose and epic atmosphere and tone, Atousa Salehi's rewritten narrative can be considered as successful in conveying the tone and atmosphere of the classic text by the use of epic diction and the form of epic verses. The readers are invited to participate in the creation of the story. Ambiguity in linguistic cues, close ending and proper beginning of the story are some the techniques used in the rewriting. The representation of the characters’ mental states provides valuable information about their personalities for the adolescent audience, an audience that does not know much about these mythical figures. The author of the rewritten narrative is highly successful in conveying the characters’ thoughts, ideas, wishes, fears and joys to the audience through the representation of the characters’ mentalities. Items such as changing the fixed elements of the text, representing the characters’ mentalities, creating a new structure and narrative space through conflict and dialogue, employing the technique of speed reading and highlighting the theme by indirect presentation are some of the most important creative rewriting techniques used by the author. Keywords: Atoosa Salehi, Rewriting, Bijan and Manijeh, Shahnameh, creative rewriting References:Chambers, A. (2008). The reader in the book. In Khosrownejad, M. (Trans.). Other Inevitable Readings. pp. 113-152. Center for the Intellectual Development of Children and Adolescents.Ebrahimi, N. (1988). Illustration of children's literature. Agah Publishing.Ferdowsi, A. (1371) Shahnameh (J. Khaleghi Motlagh, Ed.) (PDF version, six volumes). Iranian Heritage Foundation, California.Freeman, M. (1993). Rewriting the self: History, memory, narrative. Routledge.Gadamer, H. G. (2009). Literature and philosophy in conversation (R. Paslick, Ed., Z. Zavarian, Trans.). Naghsh-o-Negar.Ghezel Ayaq, S. (2007). Children and adolescents’ literature and reading promotion (5th Edition). SAMT Publishing.Harris, J. (2006). Rewriting how to do things with taxes. Utah State University Press.Hesampour, S. & Sharifi, F. (2011). A study of the reader hidden in the text in three stories of resistance literature by Akbarpour. Journal of Resistance Literature, 2 (3-4), 113-145.Jalali, M. (2013). Types of content adaptation of ancient texts in children and adolescent literature. Fifth Conference on Persian Language and Literature Research, Sabzevar University.Jalali, M. (2014). Indicators of adaptation in children and adolescent literature. Taravat Publishing.Kenny, V. P. (1379). Theme (M. Torabinejad, Trans.). Journal of Fiction, No. 53. pp. 44-52.Khosrownejad, M. (2013). Innocence and experience. Markaz.Lal, P. & Ruger, S. (2002). Extract-based summarization with simplification. In: DUC 2002: Workshop on Text Summarization, Philadelphia, USA. July 11-12.Moradpour, N. (1396). Pleasure and adaptation. Journal of Children's Literature Studies, 8 (2), 129-130.Nikolajeva, M. (2008). Beyond the grammar of the story. In Khosrownejad, M. Other inevitable readings. Center for the Intellectual Development of Children and Adolescents. pp. 547-589.Nodelman, P. (1996). the pleasures of children's literature. Longman.Payvar, J. (2001). Sheikh in booteh. Sharafieh.Payvar, J. (2009). Rewriting and recreating in literature. Ketabdar.Salisbury, M. (2009). Children's book illustration (S. Kandahari, Trans.). Center for the Intellectual Development of Children and Adolescents.Sanjari, J. (2005). Critique of the rewriting works of Kelileh and Demneh, Marzbannameh, Mantiq al-Tair for children and adolescents. Master Thesis, Islamic Azad University, Karaj Branch.Sarukhani, B. (2003). Research methods in social sciences. Institute of Humanities and Cultural Studies.Scholes, R. (1379). An introduction to structuralism in literature (F. Taheri, Trans.). Markaz.

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Volume & Issue: Volume 11, Issue 2 - Serial Number 22, March 2021

A Study of Representations of Women in Ten Children’s Stories by Mohammad Reza Yousefi Based on Ideational Metafunction

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Informal Writing in Children’s Literature

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Searching for a Model for Translating Children’s Illustrated Books for the Age Groups B and C from an Inter-Semiotic Approach

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Investigating the Effects of Power Institutions on Iranian Children and Adolescents’ Literature: A Selection of Award-winner Original and Translated Works Before and After the Islamic Revolution (1961-1988)

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The Reproduction of the Victim Archetype in Four Young Adult Novels Published by the Institute for the Intellectual Development of Children and Adolescents (Selected from 1981 to 2011)

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A Study of the Hero’s Journey in Arman Aryan’s Trilogy Ashvazdangaheh Based on Joseph Campbell's Monomyth of the Hero’s Journey

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Removing Dust from the Eyes: A Study of the Techniques of Decentration in Kalila and Demna

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Cognitive Poetics of Babytalk and the Poetic Potentials of Persian Lullabies

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A Creative Narrative of a Classic Text: A Review of a Rewriting of the Story “Bijan and Manijeh”

Abstract