Journal of Children's Literature Studies

Research Paper

Techniques of Hybridity in Picture Books: A Case Study of The Tale of War and Peace

Amin Izadpanah

Volume 12, Issue 2 , March 2022, Pages 1-34

https://doi.org/10.22099/jcls.2020.35168.1745

Abstract

Amin IzadpanahAssistant professor of Philosophy of Education, School of Education and Psychology, Shiraz University, Shiraz, IranEmail: aizadpanah@shirazu.ac.ir IntroductionHybrid ... Read More Amin IzadpanahAssistant professor of Philosophy of Education, School of Education and Psychology, Shiraz University, Shiraz, IranEmail: aizadpanah@shirazu.ac.ir IntroductionHybrid and its derivative hybridity, originally related to the realm of biology, refer to an offspring which is the result of crossbreeding. Nowadays, this term is used to refer to any kind of phenomenon that is a mixture of two or more constituents.The usage of the term in humanities is to a great extent influenced by Mikhail Bakhtin’s view of language development. Bakhtin makes a distinction between ‘organic’ hybridity, as a major characteristic of the evolution of every language, and ‘intentional’ hybridity. He goes on to say that intentional semantic hybrids are inescapably internally dialogic and not mixed (Bakhtin, 1981: 360).In children’s literature, picture books are inevitably dialogic and essentially hybrid since they combine two modes of communication or representation (i.e. words and pictures). Helma van Lierop-Debrauwer (2018) has identified six forms of hybridity in picture books. Her categories can be applied to picture books to understand in what ways they maintain and develop their hybridity. Her classification provides the theoretical and analytical basis of this study.Despite many research papers on Iranian picture books, there has been no prior study of the concept of hybridity and its forms so far. Thus this paper aims to probe the forms and techniques of hybridity in The Tale of War and Peace (2012) by Morteza Khosrownejad and illustrated by Mohammad Ali Bani-Asadi. Methodology and Review of LiteratureThis case study is conducted through a close reading of the sample using qualitative deductive and reflective content analysis of both text and pictures as well as their interplay and transmediation. It is deductive in part since the analysis is based on pre-identified criteria, and it is reflective since I have set out to understand and uncover the implications, connotations, and allusions of pictures, words, and their synergy.The six forms of hybridity outlined by van Lierop-Debrauwer are as follows: Semiotic hybridity, the most evident one, refers to the fact that pictures and words convey their meanings separately and together in a never-ending chain of reading. Genre hybridity reminds the fact that picture books have always combined, renewed and recycled familiar children’s book genres as well as creating new ones. Material and medial hybridity refer to provisions through which some features of picture books and other media are incorporated or fused together. Artistic hybridity refers to illustrators using, mimicking, and alluding to different and/or distinct styles or artworks intentionally. The hybridity of address in one sense refers to the rise in themes that are of interest to both adult and child readers; and in another sense, refers to some researchers’ doubts about children being capable of decoding the allusions in the books, while others focus on the opportunities these books provide for the enhancement of the visual literacy of children. Finally, by cultural hybridity, she generally refers to the multicultural aspect of picture books, which has political implications regarding power balance and maintaining the voice of minorities. DiscussionThe book is about two roosters illustrated by two Iranian well-known illustrators (Ali Khodaie and Rashin Kheirieh, who are characters of story as well) that, too proud of themselves and their beauty, escape their illustrators’ studios and when they come across each other, they engage in a fight so as to prove their superiority. The illustrators find them and convince them that if they want to prove themselves they need to have other qualities than beauty and it is better to participate in a roosters’ tournament where they can compete peacefully. The story ends with the author’s voice asking the child reader to have their say on the most beautiful rooster.Throughout the book, there are several examples of semiotic, artistic and genre hybridity while medial and material hybridity is limited just to the use of different illustration techniques. The book owes its artistic hybridity to Bani-Asadi where he uses a drip technique work art for his illustration of the page where roosters fight, which reminds one of Jackson Pollack’s Convergence. His illustration of a rooster that reminds the viewer of Qajar portraits in the 19th century is another example. Genre hybridity in the book is maintained by incorporating poems into the process of narrating the events. Some verses are borrowed from other popular children’s books intentionally which makes the book more intertextual. Semiotic, artistic and genre hybridity together make hybridity of address in the book more fluid since some textual and pictorial allusions of the book are familiar for the children and some for adults. This quality of the book can help ignite more talks between adult and young readers.Regarding material and medial hybridity, the book had the potential to be more hybrid; for example, in some pages, the illustrations could engage readers/viewers in some sort of games and puzzles, especially where the roosters set out to find poets and songwriters when they decide to take part in the tournament. ConclusionFive out of six types of hybridity introduced by van Lierop-Debrauwer can be traced in the book; however, semiotic and artistic hybridity are more noticeable and their presence in the book is more significant. Different forms of hybridity of the book are sometimes intertwined which make the book even richer regarding this feature of picture books. Enriched by these techniques and forms of hybridity, the book turns even more dialogic when it comes to be read by both children and parents.Aesthetic, artistic and literary qualities of picture books have made them invaluable educational material for the development and enhancement of children’s visual literacy, multimodal literacy, aesthetic literacy, reading skills and social aptitudes. The more hybrid picture books are, the more they can be enjoyed by children and can invite them into a complex and absorbing world of semiotic, cultural, social and artistic dialogue between the constituents of the book. Keywords: hybridity, picture books, children’s literature, van Lierop-Debrauwer, Morteza Khosrownejad, Mohammad Ali Bani-Asadi References: Afzali, M. (2014). A short view on drawing Tughra in Islamic countries, Mazdaknaneh, No. 6.Allan, C. (2018). Postmodern picture books. In Bettina Kummerling-Meibauer (ed.), The Rutledge companion to picturebooks (pp. 201-208). Routledge.Baker, J. (2010). Mirror. Walker Books.Bakhtin, M. M. (1981). The Dialogic Imagination: Four Essays. University of Texas Press.Bakhtin, M. M. (1984). Problems of Dostoyevsky’s poetics. (C. Emerson, Ed. and Trans). Manchester University Press.Bakhtin, M. M. (1986). Speech genres and other late essays. university of Texas.Beckett, S. L. (2010). Artistic allusions in picturebooks. In Teresa Colomer, Bettina Kummerling-Meibauer, and Cecilia Silva-Diaz (Eds.). New directions in picturebook research (pp. 83–100). Routledge.Brown, R. E. (2015). Where do you live? (H. Karroubi, Trans). Nardeban Books. (In Persian).Cai, M. (2002) Multicultural literature for children and young adults: Reflections on critical issues. Greenwood Press.Evans, J. (2015) Fusions texts – The new kid on the block: What are they and where have they come from? In Janet Evans (ed.). Challenging and controversial picturebooks: Creative and critical responses to visual texts (pp. 97–120). Routledge.Ghasemi, S. (2010). Find it yourself. Centre for the Intellectual Development of Children and Adolescents. (In Persian).Guerine, W. L., et al (2005). A handbook of critical approaches to literature. Oxford university press.Hill, E. (1980) Where’s Spot? G. P. Putnam’s Sons.Holquist, M. (1997). Dialogism: Bakhtin and his world. Routledge.Kalhor, M. (2013). The fisherman and the spring (Illustrated by Nazanin Abbasi and Mohammad Mehdi Zaboli). Centre for the Intellectual Development of Children and Adolescents. (In Persian).Khodaiee, A. (2016). This, that. Centre for the Intellectual Development of Children and Adolescents. (In Persian).Khosrownejad, M. (2011). The tale of war and peace (Illustrated by Mohammad Ali Bani-Asadi). Amir Kabir. (In Persian).Kümmerling-Meibauer, B. (2015). From baby books to picturebooks for adults: European picturebooks in the new millennium. Journal of Verbal/Visual Enquiry, 31 (3), 249-264.Lewis, D. (2001). Reading contemporary picturebooks: Picturing text. Routledge.Tomlinson, C., Lynch-Brown, C. & Short, K. G. (2008). Essentials of children's literature. Boston: Pearson.Mayring, P. (2000). Qualitative Content Analysis. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research [On-line Journal], Retrieved from http://qualitative-research.net/fqs/fqs-e/2-00inhalt-e.htm. [Retrieved: 2015-10-08].Mesghali, F. (1987). Mazan. Centre for the Intellectual Development of Children and Adolescents. (In Persian).Nikolajeva, M. (2006). How picture books work. Routledge.Pershing, J. A. (2006). Handbook of human performance technology: Principles, practices, and potential. Pfeiffer.Nodleman, P. (2010a). The relationships of pictures and words (B. Erfanian, Trans.). Book of the Month of Children and Adolescents, No, 156, pp, 83-90. (In Persian).Nodleman, P. (2010b.). Subjectivity and Objectivity Time and Space (B. Erfanian, Trans.). Book of the Month of Children and Adolescents, No. 157, pp, 82-90. (In Persian).Reid, B. (2003). The subway mouse.‎ Scholastic Inc.Selznick, B. (2007). The invention of Hugo Cabret. Scholastic Inc.Sendak, M. (1988). Where the wild things are. Harper Trophy.Serafini, F. (2015) The appropriation of fine art into contemporary narrative picturebooks. Children’s Literature in Education, (46), 438–45.Shamloo, A. (2017). Khorous zari, Pirhan Pari (Illustrated by Farshid Mesghali). Cheshmeh Publications. (In Persian).Sipe, L. R. (1998) How picture books work: A semiotically framed theory of text-picture relationships. Children’s Literature in Education, 29 (2), 97–108.Sipe, L. R. (2011) The art of the picturebook. in Wolf, S. A. et al. (Eds.). Handbook of research in children’s and young adult literature (pp. 238–252). Routledge.Temple, C. A., Miriam, A. M. & Junko, Y. (2011). Children's books in children's hands: An introduction to their literature. Pearson.Van Lierop-Debrauwer, H. (2018). Hybridity in picturebooks. In B. Kümmerling-Meibauer (Ed.). The Routledge companion to picturebooks (pp. 81-90). Routledge.

Research Paper

Owner of a Thousand Horses: The Interaction of Image and Text in Zahhāk Picturebook Based on Perry Nodelman’s Text-Image Theory

Ali Boozari; Maryam Mousavi

Volume 12, Issue 2 , March 2022, Pages 35-68

https://doi.org/10.22099/jcls.2020.33811.1710

Abstract

Ali BoozariAssistant professor, Graphic design and illustration department, Visual Arts Faculty, Tehran University of Art, Tehran, Iran (Corresponding Author) / a.boozari@art.ac.ir Maryam ... Read More Ali BoozariAssistant professor, Graphic design and illustration department, Visual Arts Faculty, Tehran University of Art, Tehran, Iran (Corresponding Author) / a.boozari@art.ac.ir Maryam MousaviM.A. in Children’s Literature, Literature and Human Sciences Faculty, Shahid Beheshti University, Tehran, Iran / Maryammosavi651@gmail.com IntroductionA picturebook is a type of children's book in which the text and the illustrations are separate elements that run parallel to one another and shape the entire book through their interaction. Some theorists of children's literature, such as Perry Nodelman, have paid more attention to the autonomous and distinctive identity of illustrations and have identified six functions in delivering information and the message as well as the relationship between the text and the image. Zahhāk, as one of the examples in which the image moves beyond the text and forms the narrative of the book, has been chosen to be examined according to Nodelman's theory.Using the method of qualitative data analysis, this study aims to identify the features of text-image relationship in Farshid Shafiei's picturebook Zahhāk (2016) according to Perry Nodelman's theory of six text-image relationships.Zahhāk has a brief text that only relates to the main plot, and the author depends heavily on the audience's prior familiarity with the story. Eleven illustrations are included in the book (eight monochrome and two color illustrations and one on the cover). Each monochromatic image is divided into one to twelve smaller sections, each telling a different part of the detailed tale. The details are not included in the text or in the summary at the conclusion. As a result, the audience has to recreate the narrative in his/her mind by searching and delving in the images.From the beginning of the book, Shafiei employs the method of prioritizing the image above the text in close connection with the narrative, and he uses the fifth type of Nodelman’s theory in all images as well as the third to the sixth type in five images. This means that illustrations are to convey ideas that words are incapable of conveying.The narrative of Shafiei’s Zahhāk begins with the cover image which relies on the audience's imagination. By representing a realistic picture of real people on the cover beside the title of the book, the writer tries to make the meanings of the images and the title of the book compatible with each other. He becomes successful in retelling the old story in the context of contemporary events and warns us that each of us has a Zahhāk inside him/her.Shafiei consciously tries to make a connection between the old and familiar story of Zahhak with today’s world. According to Perry Nodelman, he seems to use “a specific style in his illustrations to represent a set of values" and help readers to gain an understanding of the narrative based on their lived experiences. He attempts to connect this old tale to modern times by the use of Iranians' collective memory and such well-known terms as “Tulips bloomed from the blood of the youth of the country” borrowed from Āref Qazvini's renowned ballad, which was used not only during the constitutional revolution events but also throughout the Islamic Revolution and the Iran-Iraq war. He encourages the audience to decode the short narrative of the book based on signals he has put in the illustrations including traditional indications such as wedding bands, black clouds and rain, tulips, as well as signs created by the author, such as identity numbers and trampled-on flowers. As a result, the illustrations in this book expand and interpret the book's short, succinct, and referential text.Zahhāk breaks the frameworks of the text and creates other layers of the narrative. Here, a repetitive and familiar text of ancient Persian literature is reproduced by the use of pictorial metaphors to signify contemporary concepts such as human rights and environmental protection. This work is interesting and attractive not only for children and adolescents, but also for adults, and it communicates with each group of audiences with different concepts and perceptions. It is as if each time it is read, it reveals a new layer of meaning and codes to the audience and allows the audience to move smoothly like a semiologist to its hidden layers. The audience is eager to anticipate later parts of the story, eagerly searching for its meaning and deciphering signs in the labyrinth of images and communicating with the text of the book. Finally, the narration of the book connects the story to reality, and the past to the present time and space. References: (2004). “666, The cursed number for Christians”. News of Religions, No. 10, November and December, pp. 63-64.(2018). The collection of articles of the first picturebooks conference. Pouyanama.Abolqasemi, S. M. & Mahdavi, S. M. (2019). Studying the interaction of text and image in My lovely self. In The Seventh National Conference of Literary Textual Research with the title New Look at Children’s and Adolescents’ Literature. Tehran: Literary Studies Group and National Library of Islamic Republic of Iran.Berk, L. E. (2006). Child Development (Y. S. Mohammadi, Trans.) (1st Volume). Arasbaran.Berk, Laura E. (2007). Child Development (Y. S. Mohammadi, Trans.) (2nd Volume). Arasbaran.Boozari, Ali. (2011). A look at the illustrated versions of Shahnameh for children. Book of the Month of Children and Adolescents, No. 170, pp. 106-122.Eqbali, P. (2011). Explaining the relationship between text and image in illustrations of children’s books in Iran from 1961 to 2001. Ph.D. dissertation, Shahed University.Hateley, E. (2017). Art, adaptation, and the antipodean in Shaun Tan’s The Lost Thing. In More words about pictures (pp. 44-62). Routledge.Hesampour, S. & Mosleh, M. (2015). A comparison of the relationship between text and image in selected contemporary Iranian, European and American picturebooks using the theories of Maria Nikolajeva and Carole Scott. Comparative Studies in Art, 5 (9), pp. 47-62.Hesampour, S., Mosleh, M & Khoshbakht, F. (2015). The interactive web of text and image in the comparative study of acclaimed Iranian and non-Iranian picturebooks using the theories of Maria Nikolajeva and Carole Scott. (2015). Journal of Children’s Literature Studies, 5 (2), pp. 25-54.Kashefi Khansari, S. A. (2008). Children and Shahnameh. Hava.Kashefi Khansari, S. A. (2008). Children’s Shahnameh. Hava.Khosrownejad, M. (2015). Viewpoint: In search of a special theory for fictional picturebooks. Journal of Children’s Literature Studies, No. 11, pp. 205-224.Mousavi, M. (2019). Analyzing recreations and illustrated representations of Shahnameh from 2006 to 2017. M.A. thesis in children’s literature, Shahid Beheshti University of Tehran.Nasser al-Islami, N. (2008). The relationship between the text and the image in fictional picturebooks in contemporary Iran. M.A. thesis, Shahed University.Nikolaieva, M. & Scott, C. (2006). How picture books work. Routledge.Nodelman, P. (2005). Illustration and picture books. In International companion encyclopedia of children’s literature, pp. 111-120.Nodelman, P. (2007). Images, illustrated books and the audience (B. Erfanian, Trans.). Book of the Month of Children and Adolescents, No. 175-176-177, pp. 85-94.Nodelman, P. (2010a). Link between words and images (B. Erfanian, Trans.). Book of the Month of Children and Adolescents, No. 155, pp. 89-95.Nodelman, Perry. (2010b). Link between words and images (B. Erfanian, Trans.). Book of the Month of Children and Adolescents, No. 156, pp. 88-97.Nodelman, Perry. (2010c). Candid face (B. Erfanian, Trans.). Book of the Month of Children and Adolescents, No. 159, pp. 88-97.Nodelman, Perry. (2014). How but not what and why (S. Shokrollah-zadeh & F. Farnia, Trans.) Research Journal of Children and Adolescent Literature, No. 10, pp. 51-58.Pakbaz, R. (2000). Iranian painting, from antiquity to present times. Narestan.Pakbaz, R. (2016). Encyclopedia of art. Farhang-e Moaser.Pashaei, R. (2009). Metafiction, the language of motivating thinking in Iranian children’s literature, analyzing three works of Farhad Hassanzadeh. Criticism of Foreign Language and Literature. No. 2, pp. 1-17.Payvar, F. (1999). Vocal types and old compositions as narrated by Master Abdullah Davami. Mahour.Payvar, J. (2001). Sheikh dar buteh: Ways of rewriting, recreating, translation and editing of literary works. Eshraqiyeh.Pirouz, G., Malek, S. & Fotovat, M. (2016). Analyzing the relationship of text and image in six stories in the genre of Iranian Holy Defense based on the theory of Perry Nodelman”. Journal of Children’s Literature Studies, No. 14, pp. 2-28.Qaeni, Z. (2011). Illustrating children’s books: History, definitions and genres. Institute for the Research on the History of Children’s Literature.Shafiee, F. (2016). Zahhāk. Nazar.Tarhane, S. (2009). Inevitable relation between text and image. Book of the Month of Children and Adolescents, No. 144, pp. 71-82.Thacker, D. C. & Webb, J. (2012). Introducing children's literature: From romanticism to postmodernism (Andishe, K. Trans.). Institute for the Intellectual Development of children and Adolescents.

Research Paper

Discourse Analysis of Power Relations among Actants of Stories Written for Iranian Children in Persian Language from a Cognitive Point of View

Masume Kheirabadi; Ferdows Aghagolzade; Arsalan Golfam; Aliyeh Kord Zaferanlu Kambuzia

Volume 12, Issue 2 , March 2022, Pages 69-96

https://doi.org/10.22099/jcls.2020.34136.1713

Abstract

Masumeh KheirabadiPh.D. Student in Linguistics, Tarbiat Modarres Universitymasumekheirabadi@modares.ac.ir Ferdows AghagolzadeProfessor of Linguistics, Tarbiat Modarres Universityaghagolz@modares.ac.ir Arsalan ... Read More Masumeh KheirabadiPh.D. Student in Linguistics, Tarbiat Modarres Universitymasumekheirabadi@modares.ac.ir Ferdows AghagolzadeProfessor of Linguistics, Tarbiat Modarres Universityaghagolz@modares.ac.ir Arsalan GolfamAssociate Professor of Linguistics, Tarbiat Modarres Universitygolfamar@modares.ac.ir Aliye Kord Zaferanlu KambuziyaAssociate Professor of Linguistics, Tarbiat Modarres Universityakord@modares.ac.ir IntroductionIn most of communicative situations, power relations among actants influence the way they select speech acts. Like all other discourse situations, power relations are traceable in children’s stories and determine the way characters interact with each other. Children’s stories are represented based on the authors’ mental patterns which influence the forming of personal, social and cultural identities of their readers. Therefore, the elements of stories such as the characters, the events and the atmosphere can have an influence on children’s behavior.The research problem of this study is to identify various types power relations amongst characters and their discursive purposes in stories written for Iranian children in Persian language. The main objective of this study is to explore mental models that play roles in producing these texts and are relevant to power relations. To achieve this objective, linguistic strategies regarding power relations among actors are analyzed from Critical Discourse Analysis approach. The socio-cognitive discourse analysis of Van Dijk (2000) and mental models theory have been selected as the theoretical framework of this research. Power is considered a key term in various approaches of CDA analysis. The purpose of CDA is studying social inequalities through discourse; as such, many theorists of CDA consider language as a means to construct hegemony and social forces shaping power relations.As Van Dijk (2015) believes, in order to consolidate the power relations and hegemony by those who hold power, it is highly probable that the voice of weaker actors in discourse be marginalized or even rendered totally silent. Controlling the situations and textual structures or speeches are the most prominent ways to apply power; therefore, controlling the minds of others by such discourse can be considered as an indirect but fundamental way to reproduce hegemony and domination. In other words, controlling the discourse means controlling ideas, concepts, programs, attitudes, ideologies and actions of the receivers. Consequently, socio-cognitive approach in CDA tries to evaluate social structures of power through analyzing the relations between discourse and cognition. MethodologyThis is a descriptive-analytical research in which a body of 100 stories published by children’s publication houses in the age groups of A, B and C are studied. The criteria for selecting the books were high circulation and nation-wide distribution. From this body of data, 30 children stories were selected and power relations among them were analyzed. In this article, macro and micro structures of five stories have been represented as a sample. DiscussionIn all of the analyzed texts, the authors have used polarization strategy to make unequal social situations. The opposite poles have shown different speech acts due to their access to different levels of power. Those in more powerful situations are relegated to the «other» pole and are dominant over other actants in the story because of their access to such elements as possessions and bigness which give them higher levels of power. The element of power has no direct relation with gender and in most of the cases, the characters were gender-neutral. The actions of those in power were egotistic, harsh, abnormal, brutal and annoying. Their voice is dominant but they themselves are the minority by number.On the other side, the weaker characters are relegated to the «self» pole and are the majority by number. They are oppressed by the powerful characters and experience fear and anxiety. Their actions are polite, unselfish and according to social norms. Their voices are low or silent and ignored by the powerful.The findings show that in most cases, the weak are passive against the powerful and do not show any resistance against them, whether verbally or nonverbally, because of their fear. However, by banning the powerful and creating solidarity among themselves, the weak are able to overcome the powerful. The ultimate destiny of the powerful characters is regret and loneliness. In other words, as the weak characters are in majority, they do not use verbal tools to act against the powerful characters; instead, they prefer to use their solidarity and unity as a weapon against their enemies and defeat the other group.Another finding of the research is that making heroes by the use of such cliché’s as intelligence and bravery is put aside; and the analyzed texts use the following pattern to reflect power relations among the characters: bigness or possession > abusing the power > dominance > (verbal / nonverbal) violence > being banned from the society > loneliness, failure and regret. The authors have made a clear connection between power and oppression and have classified the characters into two categories of the oppressed and the oppressors. Since there are preconceptions against those in power, the most prominent characters in this group are identified with negative features [+violent, +threatening, +abnormal, +annoying, +horrifying, +dominant, +ignorant].In these stories, personal and superficial kinds of power are doomed to defeat since power is associated with interaction, politeness, wisdom and observing social norms. This understanding of the concept of power in children’s stories can be interpreted as a reflection of the norms and values of the society in which these stories are produced; but on the other hand, one can surmise that there is a kind of idealism and ignoring the reality in these texts in order to control the minds and social behaviors of children. In other words, although the power hierarchy has influenced verbal and nonverbal acts of the characters, the authors have tried to reflect ideal and favorable normal relations among members of the society. ConclusionThe findings reveal that in children’s stories, social relations are tailored down based on educational clichés, realities are ignored by the authors and no practical way is presented to resist and terminate the dominance of those in power by the weaker members of the society. The stories are produced according to a grand-structure which always regards domination as doomed to fail. In other words, the mental model used in the production of Persian children’s stories follows the clichés of flat power relations, solidarity and equality among the actors and marginalizes the upper-class/lower class relations. This cliché represents Persian speakers’ social attitude toward those in power. Educational managers, authors, translators and editors of children books may find this article and its results useful. Keywords: cognitive linguistics, critical discourse analysis, mental models, power, children’s stories References:Aghagolzade, F. (2016), Applied linguistics. Elmi Publication.Alipur, P. (2012). A kind little one. Madreseh Publication.Alipur P. (2017). A new birthday. Madreseh Publication.Beeman, O. W. (1986). Language, status and power in Iran, advances in semiotics. Indiana University Press.Binazir, N. (2018), Power Discourse and its process in school institution case study: Majid Stories by Hoshang Moradi Kermani. Journal of Children’s Literature Studies, 9 (1), pp. 21-48.Fairclough, N. (1995). Critical discourse analysis. Longman.Fairclough, N. (2001). Language and power (2nd Edition). Pearson Education Limited.Foucault, M. (1980). Power, knowledge: selected interviews & other writings, 1972-1977 (C. Gordon, Ed.). Pantheon.Fowler, R. (1985). Power. In T. A. van Dijk (ed.). Handbook of discourse analysis: Discourse analysis in society (pp. 61-82). Academic Press.Habermas, J. (1988). On the logic of the social sciences (S. Weber, and A. S. Jerry, Trans.). Massachusetts Institute of Technology.Hart, C. (2010). Critical discourse analysis and cognitive science. Palgrave, Macmillan.Johnstone, B. (2008). Discourse analysis (2nd Edition). Blackwell Publishing.Lakoff, R. T. (1990). Talking power: The politics of language. Basic books.Lehtonen, S. (2007). Feminist critical discourse analysis and children’s fantasy fiction: modelling a new approach. Access: www.researchgate.netLocke, T. (2004). Critical discourse analysis. Continuum.Mahmoudi, F. (2012). A new historical study of discourse, power and language in Behrangi’s Stories. Literary Criticism, 5 (17), 9-110.Mohammadi, M. H. (2016). The cat and the leopard. Center for Intellectual Development of Children and Adolescents. Nair, R. & Talif, R. (2010). Lexical choices and the construction of gender in Malaysian children’s literature. Kajian Malaysia, 28 (2), pp. 137-159.Purgiv, F. Zekavat, M. (2011). A study of gender patterns in the story of Aunt Cockroach. Journal of Children’s Literature Studies, 1 (2), pp. 27-43.Rahmani, H. (2015). Looking through the lenses of (im)politeness at power and gender in Persian- speaking youngsters’ novels. Language and Linguistics: Journal of linguistics society of Iran, 10 (20), pp. 31-56.Taghdis, S. (2017). The big big cow. Madreseh Publication.Teymurian, A. (2015). The kind Sara. center for intellectual development of children and adolescents. Van Dijk, T. A. (1996). Discourse, power and access. In Caldas-Coulthard, C. R. & Coulthard, M. (Ed.). Texts and practices: Readings in critical discourse analysis (pp. 84–104). Routledge.Van Dijk, T. A. (2000). Ideology and discourse: a multidisciplinary introduction. In Giles, H. & Robinson R. P. (Ed.). Handbook of social psychology and language (pp. 163-183). Wiley.Van Dijk, T. A. (2008). Discourse and power. Palgrave/Macmillan.Van Dijk, T. A. (2015). Critical discourse analysis. In Tannen, D., Hamilton, H. & Schiffrin, D. (Eds.). Handbook of discourse analysis (2nd Edition) (pp. 466-485). Wiley Blackwell.Wodak, R. (1989). Introduction. in Wodak R. (Ed.). Language, power and ideology (pp. i–ix). John Benjamins.Wodak, R. & Meyer, M. (2009). Critical discourse analysis: history, agenda, theory, and methodology. Access: www.researchgate.net

Research Paper

A Study of Metaphorical Language in Afsaneh Shabannejad’s Adolescent Poetry in Three Collections Singing Glass, The Bird Said I Am a Poet and An Impatient Poem from the Perspective of Cognitive Linguistics

Khatere Darabi

Volume 12, Issue 2 , March 2022, Pages 97-126

https://doi.org/10.22099/jcls.2020.33186.1674

Abstract

Khatereh DarabiPh.D. Student of Persian Language and Literature, Kordestan University IntroductionFrom the perspective of cognitive linguistics, metaphor is the basis of ... Read More Khatereh DarabiPh.D. Student of Persian Language and Literature, Kordestan University IntroductionFrom the perspective of cognitive linguistics, metaphor is the basis of human thought in all mental and conceptual domains, and metaphorical language reveals the relationship between human’s language, mind and social and physical experiences. Afsaneh Shabannejad is one of the cotemporary poets for adolescents who uses metaphorical language to create poetic imagery and express abstract concepts. In her poems for adolescents, due to the development of their cognitive powers, she uses more complex similes and metaphors in comparison with her poems for children. These metaphors reveal multiple mental images about social-philosophical issues, ontological problems, love and loneliness during adolescence. Therefore, it is necessary to analyze her use of metaphorical language from a cognitive point of view to understand her rhetorical techniques and her process of thinking. Methodology, Review of Literature and PurposeFrom an analytical-descriptive approach, this study undertakes the analysis of metaphorical language in Shabannejad’s poems for adolescents (age group D) from the perspective of cognitive linguistics. Case studies for this research are poems in three poetry collections, An Impatient Poem, The Bird Said I Am a Poet, and Singing Glass.There are few studies from a cognitive point of view on the rhetorical aspects of Shabannejad’s works and her ability in employing metaphors and imagery appropriate for the level of understanding of adolescents. Furthermore, these few studies have analyzed her poetic metaphors in parallel with other rhetorical aspects and with a traditional method. Also, without regard to age difference, they have categorized all poems as belonging to children’s literature.The purpose of this study is to see how the poet uses metaphorical language to represent mental concepts objectively and enhance the richness of the images. The metaphorical language is studied with regards to its function, frequency of use, and various directional, ontic and structural metaphors. These are factors which help her express the thoughts of her adolescent audience. DiscussionShabannejad uses metaphorical language which is compatible with the cognitive development of her audience. She makes use of conceptual metaphors to depict the life and concerns of adolescents and to show their mentalities. Three types of conceptual metaphors (ontic, structural and directional) give a clear picture of the philosophical and emotional moments and abstract concepts in the minds of adolescents.Ontological conceptual metaphors comprise the intellectual basis of the poems. She has chosen ontology and materiality, human, container, place, plant, mass, music and food as the main concepts of this domain. These concepts provide an experimental-visual basis for thinking and evoke the sympathy of the audience; for example, she uses the domain of plants to talk about dynamism and the growth of thought, and the domain of place to talk about stoppage and the stability of thought.For structural metaphor, the poet uses the scheme “life is a journey” as the basis for two schemes, “to go is to reach” and “to stay is to be alone”. These two schemes explain two good and bad dimensions of the same scheme and are the basis for expressing concepts such as death, life, love and happiness in the illustrations. The scheme “to stay is to be alone” is more obvious in the collection An Impatient Poem; and the scheme “to go is to reach” is more obvious in two collections, The Bird Said I Am a Poet and Singing Glass.Directional metaphors in the works of Shabannejad are divided into directions up, down, horizontal and central. The horizontal direction is supposed to signify movement and functions as a kind of introduction to the scheme “life is a journey.” Movement and excitement is shown with horizontal conceptual direction. When illustrations have a sorrowful overtone and express concepts such as sorrow and impatience, the direction is downward. The downward conceptual direction is also used to depict states such as downfall and drowning. Centrality is the basis of creation of pictures about the hero of the heart which is the most important concept in adolescence. Central metaphor is frequently used in all three collections. The poet aims to depict concepts of movement, dynamism, happiness and goodness by the use of directional metaphors. ConclusionStudying the metaphorical language of the three poetry collections Singing Glass, The Bird Said I am a Poet and An Impatient Poem reveals that the dominant metaphor in Shabannejad’s poetry is the ontological metaphor with concepts such as object, human, place, container, plant, food, mass and sound. The poet uses this type of metaphor to make the mental concepts and concerns of adolescents more tangible. The basic scheme in the structural metaphor of Shabannejad is “life is a journey”, which is introduced by two schemes of “to go is to reach” and “to stay is to be alone”. By connecting the two domains of metaphor in her structural metaphor, Shabannejad manages to depict deep concepts of life such as love, death, dynamism and happiness which are encountered by adolescents in a serious manner. Keywords: cognitive linguistics, conceptual metaphor, adolescent poetry, Afsaneh Shabannejad References:Afrashi, A. & Naeimi, F. (2001). Analysis of children’s fiction from a cognitive poetics approach. Linguist, Reseach Institute for Human Sciences and Cultural Studies, No. 2, pp. 1-25.Asadi, F. (2015). A study of the process of the growth of understanding of metaphor in bilingual children. M.A. Thesis, Faculty of Literature and Human Sciences, Allameh Tababtabaei University.Barati, M. (2017). Analyzing and assessing the theory of conceptual metaphor. Bi-quarterly for Linguistic and Rhetorical Studies, No. 16, pp. 51-84.Dabbagh, H. (2014). Metonymy in truth: The entry of metaphors in science. Hermes.Elhami, S. & Sadeqi, K. (2016). Analyzing symbols in the poetry of Afsaneh Shabannejad. Human Sciences Quarterly Journal, No. 1, pp. 95-112.Flavell, J. H. (1999). Cognitive development (Z. Maher, Trans.). Roshd.Gorji, M. & Saremi, M. (2013). A study of the conceptual metaphor of going in the poetry of Qeisar Aminpour based on cognitive semantics. Literary Researches Quarterly, 10 (39), pp. 133-154.Hakimi, M. & Kamus, M. (2012). Principles of children’s and adolescents’ literature. Arvan.Hejazi, B. (2002). Children’s and adolescents’ literature. Negah.Johnson, M. (1987). The body in the mind: The bodily basis of meaning, imagination and Reason. Chicago University Press.Kövecses, Z. (2000). Metaphor and emotion: Language, culture, and body in human feeling. Cambridge University Press.Lakoff‚ G. (1993). The Contemporary of metaphor. In A. ortony (Ed.). Metaphor and thought, pp. 202-251, Cambridge university press.Lakoff‚ G. & Jahnson‚ M. (2003). Metaphors we live by. University of Chicago pressLotf-abadi, H. (2014). Educational psychology. SAMT.Macedo, F. (2015). Space as metaphor: The use of spatial metaphors in music and music writing. Signata, No. 6, pp 215-230.Mansouri, B. (2016). Learning kinetic metaphors of time in Persian-speaking children. Ph.D. Dissertation, Research Institute for Human Sciences and Cultural Studies.Nik-talab, P. (2013). Conceptual metaphor of sun in the poetry of children and adolescents. Book of the Month of Children and Adolescents, no. 196, pp. 74-80.Ogburn, W. F. & Nimkoff, M. F. (2000). Sociology (A. H. Aryanpour, Trans.). Gostareh.Pedramnia, A. (2008). Psychology of Adolescents. Qatreh.Rahmani-Shamsi, M. R. & Taherpour, M. (2015). Stylistics of Afsaneh Shabannejad’s children’s and adolescents’ poetry with an emphasis on Snow Blooms and Kind shadows. First National Conference on Children’s and Adolescents’ Literature, pp. 1-18.Raqib-doost, S. & Sadeqi, S. (2013). The process of growth of understanding of metaphor in 6- to 8-year-old Persian-speaking children. Linguist, 6 (11), pp. 137-160.Rasekh-Mahanad, M. (2010). An introduction to cognitive linguistics: Theory and concepts. SAMT.Sadeqi, S. (2013). Assessing the growth of metaphorical language in Persian-speaking children: A comparative study. Science of Language Quarterly, 1 (1), pp. 145-167.Salajeqeh, P. (2008). From this eastern garden. The Institute for the Intellectual Development of Children and Adolescents.Salehi, A. (2004). A review of four works by Afsaneh Shabannejad. Research Journal for Children’s and Adolescent’s Literature, 10 (38), pp. 128-139.Seif, A. A. (2011). New educational psychology: The psychology of learning and teaching. Dowran.Shabannejad, A. (2003). Singing glass. Institute for the Intellectual Development of Children and Adolescents.Shabannejad, A. (2007). The bird said I am a poet. Institute for the Intellectual Development of Children and Adolescents.Shabannejad, A. (2015). An impatient poem. Institute for the Intellectual Development of Children and Adolescents.Shojae-Razavi, S. (2016). Studying the metaphorical understanding in children by bodily metaphors in the framework of cognitive-cultural linguistics. Ph.D. Dissertation, Payam Noor University of Tehran Province.Sharif-Nasab, M. (2002). Language and illustration in children’s and adolescents’ poetry. Research Journal of Children’s and Adolescents’ Literature, No. 30, pp. 78-90.Sharifi-Moqaddam, A. & Arjomandi, E. (2018). Assessing the compatibility of verbal and non-verbal conceptual metaphors in the domains of sorrow and happiness in the poems of elementary school textbooks from cognitive linguistics approach. Researches on the Languages and Dialects of the West of Iran, 6 (21), pp. 59-75.Sharifi, S. & Hamedi, Z. (2010). Studying metaphors in children’s and adolescents’ literature in the framework of cognitive linguistics. Thought and Children Quarterly, 1 (2), pp. 3-63.Shoarinejad, A. A. (1976). Principles of children’s literature. Soroush.Shojae-Razavi, S., Rowshan, B., Pour-Ebrahim, S. & Sabouri, N. B. (2016). Studying the metaphorical understanding in 2- to 5-year-old Persian Speaking children by bodily metaphors. Linguistic Researches, 7 (5), pp. 293-310.Tavakkoli, M. & Rezaei, H. (2017). Studying humor and its techniques in the works of Afsaneh Shabannejad. Collection of Articles of Researches on Contemporary Persian Poetry National Conference, pp. 123-133.

Research Paper

A Study of the Awarded Works of Poetry by Children’s Book Council from 1962 to 1972

Javad Dehghanian; tayebe bashirizade

Volume 12, Issue 2 , March 2022, Pages 127-154

https://doi.org/10.22099/jcls.2020.38127.1813

Abstract

A Study of the Awarded Works of Poetry by Children’s Book Council from 1962 to 1972 Tahereh BashirizadehM.A in Children’s and Adolescents’ Literature, University ... Read More A Study of the Awarded Works of Poetry by Children’s Book Council from 1962 to 1972 Tahereh BashirizadehM.A in Children’s and Adolescents’ Literature, University of Hormozgan Javad DehghanianAssociate Professor of Persian Language and Literature, Shiraz University IntroductionLiterary awards have a significant effect on cultivating and even constructing the literary taste of the audience as well as the cultural orientations of writers and poets. Awarded works usually receive more attention. In Iran, Children’s Book Council (CBC) has had an essential role in improving children's poetry and literature by introducing and selecting the best works for more than six decades.In addition to the impressive effect of CBC on children's literature, particularly on children's poetry, it has achieved a great success in improving literary criticism in Iran. By setting criteria for evaluating the works of literature during these years, CBC has played an important role in improving both the quality of children's poetry and its literary criticism. Nowadays, critics emphasize the significance of form and language in poetry; therefore, this study tries to reevaluate the criteria by which CBC selected the works of poetry and to examine to what degree these criteria have been applied in selecting these works in the years 1962 to 1972. Methodology, Review of Literature and PurposeThe theorists and the juries of CBC have considered language and subject matter of the poems as the two most important elements; therefore, their criticism can be compared to that of Formalists. They also focused on and set criteria for illustrations. As such, works of poetry were evaluated based on their language, music and illustrations.According to Masoumeh Sohrab's reports, the articles and lectures of Abbas Yamini Sharif and Mahmoud Kianoosh marked a turning point in the criticism of children's poetry. Leily Ahi, Turan Mirhadi and Mahdokht Dolat-abadi have discussed the criteria for evaluating children’s poetry in A Survey of Children's Literature. Masoumeh Sohrab has dedicated a section of her book, Seventeen Articles on Children's and Adolescents' Literature, to introducing the criteria for evaluating poetry from Abbas Yamini Sharif’s and Lily Ahi’s point of view.Interestingly, although CBC has had an important role in creating and improving children’s literary taste, no critical assessment has been undertaken about its criteria and the extent of their application for selecting works of poetry. Therefore, this study aims at evaluating the efficiency of CBC and its criteria for selecting three works of children’s poetry in the first decade of its activity. DiscussionIn the years between 1962 and 1972, CBC awarded three works in the category of children’s poetry: Fery Flies to the Sky by Abbas Yamini Sharif (1966), Tale of Toghi by Mahmoud Musharraf Azad Tehrani (1969) and Flower Came, Spring Came by Manouchehr Neyestani (1970).The first point that has attracted the attention of CBC jury is that Fery Flies to Sky is a composition in verse form rather real poetry. Altruism, affection and sympathy with animals are some of the prominent concepts in this work. The language is simple; however, it lacks suitable music for children. This is the most important defect in the poem which is not mentioned by the jury. The general format of the book could have been more enjoyable if due attention was paid to such elements as better illustrations and more appropriate fonts and font sizes. Nevertheless, selecting this book can be considered an important step in improving children’s literature at a time when writing poetry for children was deemed insignificant by Iranian literary figures.The CBC award jury harshly criticized the writer of Tale of Toghi for making use of colloquial language while today, this is considered one of the advantages of this work. It seems illogical to insist on using formal language while according to CBC’s own criteria, the use of colloquial language was acceptable. The work is highly successful in making use of such elements as simple and fluent language, narrative, theme of cooperation and a joyful and rhythmic music. The jury failed to mention metrical problems of the work, but they properly complimented the work for its layout and its placement of illustrations in each page which are instrumental in inducing a sense of dynamism and movement.The jury’s report on Flower Came, Spring Came makes it obvious that they have accepted the utilization of colloquial language and no longer insist on using formal language. Having used a song form, the music of the work is melodious and happy. The book achieves coherence in its musical texture by the use of repetitions, fast rhythm, short lines, and rich external and internal music. The artful illustrations depict a traditional Iranian atmosphere and use flat colors and simple forms. These characteristics are compatible with children's world. Amazingly, the combination of text and painting is considered by the jury as a defect of this work. ConclusionLiterary awards play a significant role in creating and enhancing the quality of literary and artistic products. These awards play a key role in forming and changing literary taste of the audience (children and families). Selecting and introduction the best works not only has a great effect on the relationship between the poem, the poet and the reader, but also results in the refinement of the literary and artistic taste.The analysis of the works awarded by CBC in the years between 1962 and 1972 shows that language and moral and didactic subject matters have been at the center of attention. The juries of CBC awards have focused on the appropriateness of the metrical pattern, the length of the poem and the choice of words. In practice, though, some of these criteria have been neglected. For example, although the use of childlike and colloquial language was accepted, it was at times met with harsh criticism in practice. The music of the works is suitable for children, except in Fery Flies to the Sky. In the second and third awarded works, the internal music is remarkably rich and completely compatible with the criteria of the CBC. The illustrations of these two books, especially the third one, have attracted due attention. Keywords: Children's Book Council, children's poetry, poetry selection criteria References:Azarmakan, H. & Nejati-Jazeh, M. (2013). The weight of children's poetry: prosodic? Syllabic? Or accentual-syllabic? Journal of Literature Studies, No. 30, pp. 101-116.Emami, N. (1991). Writing elegies in Persian literature. University Jihad.Khosravi Shakib, M. & Madani, D. (2009). Semiotics of language in children's poetry. Quarterly Journal of Persian Literature, Islamic Azad University of Mashhad, pp. 101-114.Mohammadi, M. & Ghaeini, Z. (2015). History of children’s literature of Iran (10th Volume). Chista.Musharraf Azad Tehrani, M. (1969). Tale of Toghi. Institute for the Intellectual Development of Children and Adolescents.Natel Khanlari, P. (1988). Meter in Persian poetry. ToosNeyestani, M. (1970). Flower Came, Spring Came. Institute for the Intellectual Development of Children and Adolescents.Safavi, K. (2016). From linguistics to literature (1st Volume). Hozeh Honar.Salajeqeh, P. (2006). From this eastern garden. Institute for the Intellectual Development of Children and Adolescents.Seraj, H. (1989). Music of poetry. Sureye Mehr, No. 8, pp. 56-57Shafiee Kadkani, M. R. (2002). Music of poetry (7th Edition). Agah.Shafiee Kadkani, M. R. (2005). Periods of Persian poetry (2nd Edition). Sokhan.Sohrab Mafi, M. (1964a). Seventeen articles about children’s and adolescents’ literature. Children's Book Council.Sohrab Mafi, M. (1964b). Report of the children's book council (1st year, 1st issue). Children's Book Council.Sohrab Mafi, M. (1967). Report of the children's book council (4th year, 1st issue). Children's Book Council.Sohrab Mafi, M. (1968). Report of the children's book council (5th year). Children's Book Council.Sohrab Mafi, M. (1969). Report of the children's book council (6th year, 1st issue). Children's Book Council.Sohrab Mafi, M. (1970). Report of the children's book council (7th year, 1st issue). Children's Book Council.Sohrab Mafi, M. (1971). Report of the children's book council (8th year, 1st issue). Children's Book Council.Vahidian Kamkar, T. (1988). Meter and rhyme in Persian poetry. University Publishing Center.Yamini Sharif, A. (1966). Fery flies to the sky. Amir-kabir.Yamini Sharif, A. (1989). Half a century in the garden of children’s poetry (3rd Edition). Atelieh.

Research Paper

A Study of Grammatical Metaphor in Fiction for Two Age Groups A and D

Hosein Razavian; Atefe Sadat Hokm Abadi

Volume 12, Issue 2 , March 2022, Pages 155-180

https://doi.org/10.22099/jcls.2020.26247.1531

Abstract

A Study of Grammatical Metaphor in Fiction for Two Age Groups A and D Hossein RazavianAssistant professor of Linguistics, Semnan University, Semnan, Iran Atefeh Sadat ... Read More A Study of Grammatical Metaphor in Fiction for Two Age Groups A and D Hossein RazavianAssistant professor of Linguistics, Semnan University, Semnan, Iran Atefeh Sadat HokmabadiM.A. in General Linguistics, Semnan University, Semnan, Iran IntroductionMetaphor involves transference and substitution. In a chapter of his book, Halliday (1985) uses the term grammatical metaphor as a type of metaphor complementing lexical metaphor. Grammatical metaphor is a substitution of one grammatical class or structure by another, but with a similar grammatical meaning for both (Halliday, 1994: 312). Grammatical metaphor can be considered a supplement to lexical metaphor. Lexical metaphor uses lexical substitution to create a new meaning, while grammatical metaphor uses structural substitution for this purpose. In other words, the use of a new grammatical structure instead of another can create a new meaning. Halliday proposed the term grammatical metaphor and divided it into three parts, namely, ideational, interpersonal and textual. Methodology, Review of Literature and PurposeThis study seeks to explore and compare the type and frequency of grammatical metaphors in texts for two age groups of “A” (children) and “D” (teenagers) in order to determine the growth rate of grammatical metaphors from kids to young adults as well as the most frequent type of these metaphors.A total of 37 volumes of books from among the works of Afsaneh Shabannezhad for the two age groups were randomly selected. Among these books, 28 volumes were children’s story books and 9 volumes were adolescents’.Torr and Simpson (2003) found out that grammatical metaphor is significantly related to literacy development, since children's spoken language lacks complex lexicogrammatical patterns, including grammatical metaphors. Using a systematic functional approach, this study explored the metaphorical forms that children use in communication and also the social semiotic environment in which these forms are interpreted.Nabi-far and Kazemzad co-authored an article entitled "Types of Grammatical Metaphors in Harry Potter and the Prisoner of Azkaban" (2013) to explore the relationship between adult writing and grammatical metaphor. They investigated the salient features of grammatical metaphor by comparing the metaphorical forms with main forms, and considered grammatical metaphor to be a tool for adult language. Discussion The theoretical framework of this study is functional linguistics and the descriptive-analytical method was used for data analysis. First, all the grammatical metaphors used in the texts, including ideational (nominalization and transitivity), interpersonal (mood and modality), and textual grammatical metaphors were extracted from the books of each age group. Then the clauses in each book were counted. The final percentage of grammatical metaphors, considering the number of clauses as a whole, was one hundred. In the next step, the frequency of each type of grammatical metaphor (ideational, interpersonal and textual) was compared with that of the other two types while taking into account the number of all the grammatical metaphors in each text as a whole. Finally, these values were presented in separate tables, and then the prose texts of the two age groups were compared and analyzed in frequency charts.Examples of metaphors in books for age group A:“The ladybug had got used to having fun” (Shabannejad, 2001: 25). In this clause, the nominal form of the verb "having fun" has been used to function metaphorically.“Get up; didn’t you‌ want to help me?” (Shabannejad, 2011: 21). In this sentence, a modal metaphor is used, as an interrogative clause has been used to function as an imperative clause.Examples of various metaphors in books for age group D:“The alleys were drowned in moans and shouts” (Shabannejad, 2007: 14). In this clause, the existential process of existence is expressed in the form of the material process of drowning and thus functions as metaphorical.“Were you in my shoes, would you leave people?” (Shabannejad, 2007: 34). In this clause, the interrogative mood has been used to function as the indicative mood, implying that he will not leave the people.The numbers of grammatical metaphors in the stories for age group A and the age group D were 27.41 and 77.15, respectively. Also, the percentages of grammatical metaphors in the kids’ story books for ideational, interpersonal and textual metaphors were 25.54, 8.06 and 66.4, respectively, while those for the teenage group were 43.1, 4, and 52.13, respectively. ConclusionThe results demonstrated that more grammatical metaphors were used in adolescents’ texts than in children’s texts. This difference was not limited to frequency, as the adolescents’ texts had used a greater variety of metaphors than the children’s texts. The research findings show that, in general, fewer metaphors had been used in children’s books, which can be justified by imagining that this age group's level of comprehension had been taken into consideration by the author. Moreover, the widespread use of metaphors in adolescents’ books prevents the over-simplicity of the texts and adds variety to their language. Therefore, maintaining this pattern in the use of grammatical metaphor can be considered a text-reader connection factor. Grammatical metaphor can be seen as a means for a more serious and scientific view when it comes to children. They can be used as a measure of judging the classification of child-related works into different age groups. Furthermore, their use in child studies can pave the way for scientific studies in the fields of child psychology, childcare, child education, and developing standards for children's books and products. Keywords: grammatical metaphor, Halliday, systemic functional linguistics, child and adolescent fiction, Afsaneh Shabannezhad References:Bloor, T. (1995). The functional analysis of English: A Hallidayan approach (1st Edition). Arnold.Derewianka, B. (2003). Grammatical metaphor in the transition to adolescence. In S. Vandenbergen & T. Ravelli, Grammatical metaphor: Views from systemic functional linguistics (pp. 185 - 220). John Benjamins.Halliday, M. A. K. (1985). An introduction to functional grammar (1st Edition). Arnold.Halliday, M. A. K. (1994). An introduction to functional grammar (2nd Edition). Arnold.Halliday, M. A. K. (2007). Language and education. continuum.Halliday, M. A. K & Hasan, R. (1976). Cohesion in English. Longman.Halliday, M. A. K & Matthiessen, C. (1999). Construing experience through meaning: A language-based approach to cognition. Continuum.Halliday M. A. K & Matthiessen, C. (2004). An introduction to functional grammar (3rd Edition). Arnold.Halliday, M. A. K & Webster, J. (2009). Continuum companion to systemic functional linguistics. Continuum international publishing group.Nabifar, N. & Kazemzad, H. (2013). Types of grammatical metaphors in Harry Potter and the Prisoner of Azkaban. Applied Linguistics, 5 (10), pp. 192-219.Puurtinen, T. (1998). Syntax, readability and ideology in children's literature. Meta, 43 (4), pp. 524–533.Simpson, P. (2004). Stylistics: A resource book for students. Routledge.Taverniers, M. (2002). Systemic-functional linguistics and the notion of grammatical metaphor: A theoretical study and a proposal for a semiotic-functional integrative model. Unpublished Ph.D. Dissertation, Department of English, University of Gent, Belgium.Taverniers, M. (2003). Grammatical metaphor in SFL: A historiography of the introduction and initial study of the term, In S. Vandenbergen & T. Ravelli, Grammatical metaphor: Views from systemic functional linguistics (pp. 5 - 33). John Benjamins.Torr, J. & Simpson, A. (2003). The emergence of grammatical metaphor: Literacy-oriented expressions in the everyday speech of young children. In S. Vandenbergen & T. Ravelli, Grammatical metaphor: Views from systemic functional linguistics (pp.169-184). John Benjamins.

Research Paper

Analyzing the Implied Reader in Hassanzadeh’s Call Me Ziba and Hasti

Zeinab Sheikhhosseini; Arezoo Pooryazdanpanah

Volume 12, Issue 2 , March 2022, Pages 181-206

https://doi.org/10.22099/jcls.2020.37376.1797

Abstract

Analyzing the Implied Reader in Hassanzadeh’s Call Me Ziba and Hasti Zeinab Sheikh-HosseiniAssistant professor of Persian Language and Literature, Hazrat Narges Rafsanjan ... Read More Analyzing the Implied Reader in Hassanzadeh’s Call Me Ziba and Hasti Zeinab Sheikh-HosseiniAssistant professor of Persian Language and Literature, Hazrat Narges Rafsanjan University Arezoo PooryazdanpanahAssistant professor of Persian Language and Literature, Yazd University IntroductionPaying attention to the relationship between the work and the readers and their understanding of the material are the two distinguishing characteristics of children’s and adolescents’ literary criticism. Before entering the society, adolescents do not have any understanding of the world around them. Books create a chance for them to gain indirect experience about the world. Therefore, it is of utmost importance that the works written for them be responsive to their needs. However, since the writers of children’s and adolescents’ literature and their critics are grown-ups, there is a legitimate challenge that the final text is not actually a text for children and adolescents. Accordingly, researchers such as Zipes believe that children’s text is impossible to be created because of the type of relationship between adults and children or adolescents. He argues that there are always implied readers in the texts; and in children’s literature, these readers are determined by the editor/ mediator/ publisher, and then by the teacher/ librarian/ parents and after all, children of a particular age group (Zipes, 2008: 267).Chambers puts forward his implied reader theory in children’s and adolescents’ literature, too. according to his theory, the structure of the text is based on the implied reader. The writer cannot write about his/her reader without conscious or unconscious presuppositions and the success of his/her work rests on his/her choice from among these presuppositions (Chambers, 1978: 1). Methodology, Review of Literature and PurposeA number of researches have been conducted so far in Iran on the implied reader; for example, “Analyzing the Implied Reader in Three Stories of Resistance Literature by Ahmad Akbarpour” by Hesampour & Sadat-Sharifi (2010); “The Implied Reader in Two Children’s Stories by Ahmad Reza Ahmadi” by Hesampour and others; “Finding Implied Reader in Five Selected Adolescent Novels of the Recent Decade” by Bnai-Ashraf (2014); “A Study of the evolution of the Audience in Children’s and Adolescents’ Resistance Literature Based on Chambers’ Implied Reader Theory” by Amiri-Khorasani & Sadrizadeh; and “Implied Reader, a Criterion for Choosing Texts for Rewriting: Studying Implied Reader in Kelileh and Demneh Based on Chambers’ Theory” by Moeini and Hesampour (2019).However, the studies mentioned above have all been conducted on children’s works; and no study has been conducted on the implied reader in the works of Hassanzadeh. In this study, we intend to analyze the presence of implied reader in two of his novels, Hasti and Call Me Ziba, using the descriptive-analytical method. DiscussionChambers proposes a useful tool for adult critics to reveal the author’s view toward his/her audience and assess his/her success in relating to the intended reader. For identifying and understanding the implied reader of the text, Chambers suggests analyzing four elements of style, point of view, partiality and expressive gaps in the work.Style is the method by which the author adjusts the words. In Call Me Ziba, Hassanzadeh uses simple and understandable words which show his attempt in bringing closer the language of the novel with that of today’s adolescents. Sentences in the text are usually compound sentences, but they are understandable for adolescents due to their mental growth. The metaphors and images are also simple and understandable and the plot has a coherent structure.In Hasti, too, the author has tried to reach a fluent and articulate expression by the use of simple and short sentences. Hassanzadeh makes use of popular expressions, slangs and proverbs in order to attract adolescent audience. In Hasti, the plot of the story has provided a coherent structure to the novl, which, along with its suspense, drags the audience into the text.Point of view refers to a perspective from which the author shows his/her fictional world to his/her reader. By getting closer to Ziba’s point of view, the author manages to express some of the concerns of an adolescent girl. In Hasti, too, the narrator is an adolescent girl with the same name as the title.Partiality is another element which is highlighted by Chambers for studying implied reader. In Call Me Ziba, when the character engages in mischief and teenage fun, the adolescent reader accompanies her because he/she finds her as his/her type. The dominant atmosphere of Hasti, too, opens up this adolescent mischief for the audience.Expressive gaps are the last element in Chamber’s model. Formal gaps are references to social customs, including ambiguity in the appearance or in the name of the characters, specific mythical or literary expressions or anything related to the implied reader that reveal the author’s assumptions about the implied reader of the text. In Call Me Ziba, formal gaps become evident by the use artistic expressions. By creating gaps in the style of the text, the author invites the reader to come out of his/her passive mode. In Hasti, the author covers most of the formal gaps. The only apparent gap in this novel is related to the social norm of girls’ limitation for playing football. ConclusionStudying the two novels Call Me Ziba and Hasti revealed that the implied reader in Hassanzadeh’s novels is an adolescent, and that the author has been successful in inviting the audience into the text by making the characteristics of the implied reader compatible with the real audience. Hassanzadeh has used all the four elements for creating his implied reader.Using simple and fluent language, understandable images, proverbs with a humorous tone and coherent plots has resulted in a simple style which is compatible with the audience’s age group. Generally, one can assume that the styles of the two novels reveal the author’s reliance on the mental capacity of the adolescents and the expansion of their vocabulary. The point of view in both novels is first person which shows that the author has attempted to make the adolescent point of view dominant in the whole story. The author knows his audience well in both novels. His partiality results in his sympathy with the characters and invites the reader to get involved in the text emotionally and socially. The most significant difference between the two novels is in the expressive gaps in their texts. Hassanzadeh has covered most of the gaps in Hasti while leaving more gaps in Call Me Ziba. By creating these gaps in the novel, he has deemed his reader as an active reader whose understanding is more complicated than a child. Keywords: Chambers, implied reader, Call Me Ziba, Hasti References:Ahadi, H. & Mohseni, N. (2017). The psychology of growth: Basic concepts in the psychology of adolescents and youth. Ayandeh Derakhshan.Bandaroozi-Borazjani, S. (2008). Suspense in postmodernist fiction of Iran. M.A. thesis.Bucher, K. T. & Hinton, K. M. (2010). Young adult literature: Exploration, evaluation and appreciation. Merrill Education/Prentice Hall.Chambers, A. (1978). The reader in the book: Note from work in progress. Children’s Literature Association Quarterly, pp. 1-19.Chatman, S. (1978). Story and discourse: Narrative structure in fiction and film. Cornell university press.Hasanli, K. & Dehqani, N. (2010). A study of narrative speed in Jaye Khai Solooch. Persian Language and Literature Quarterly, No. 45, pp. 37-63.Hassanzadeh, F. (2014). Hasti. Institute for the Intellectual Development of Children and Adolescents.Hassanzadeh, F. (2018). Call Me Ziba. Institute for the Intellectual Development of Children and Adolescents.Iser, W. (1978). The act of reading: A theory of aesthetic response. The Johns Hopkins University Press.Khosrownejad, M. (2003). Characteristics and issues of the philosophy of children’s literature. Shiraz University’s Human and Social Sciences Journal, 39 (1), pp.122-136.Mussenm, P. H., Conger, J. J. & Kagan, J. (1991). Child development and personality (M. Yasaei, Trans.). Markaz.Qasemipour, Q. (2016). Narrative boundary-breaking in Iranian stories. Literary Textual Studies, 20 (67), pp. 127-143.Safi-Pirlojeh, H. (2013). Explaining narrative boundary-breaking in modern Persian stories. Linguistics Journal, 4 (1), pp. 59-83.Shi, Y. (2013). Review of Wolfgang Iser and His Reception Theory. Theory and Practice in Language Studies, 3 (16): 982-986.Toolan, M. (2001). Narrative: A critical linguistic introduction (2nd Edition). Routledge.Zipes, J. (2008). Why children’s literature does not exist. In M. Khosrownejad, Inevitable re-readings. Institute for the Intellectual Development of Children and Adolescents.

Research Paper

Studying the Personification of Nature in Children’s Poetry Based on Lakoff and Johnson's Viewpoints

Ebrahim Zaheri abdevand

Volume 12, Issue 2 , March 2022, Pages 207-232

https://doi.org/10.22099/jcls.2020.36257.1770

Abstract

Studying the Personification of Nature in Children’s Poetry Based on Lakoff and Johnson's Viewpoints Ebrahim Zaheri AbdevandAssistant Professor of Persian Language and Literature, ... Read More Studying the Personification of Nature in Children’s Poetry Based on Lakoff and Johnson's Viewpoints Ebrahim Zaheri AbdevandAssistant Professor of Persian Language and Literature, University of Shahrekord IntroductionLakoff and Johnson believe that in metaphor, concept-formation in one field of experience (destination field) is done based upon the other field (source field). They divide conceptual metaphors into three categories of ontological, structural and directional; and believe the personification metaphor to be the most obvious of ontological metaphors. In this type of metaphor, the physical object is thought of as a person. This type of metaphor shows not only the viewpoint and thoughts of people, but also the way they treat the subject.Literature, whether poetry or fiction, is one of the means of educational system through which we can educate children about various subjects, for example about issues related to preserving the environment. In fact, giving correct information to children about nature and animals is one of the aims and functions of children’s literature (Shoarinejad, 2011: 90). This is one of the most important issues in Iranian children’s literature, too. Previous researches show that 52 percent of topics in the children’s poetry for age group C published in Iran from 1991 to 2001; 39.7 percent of topics in poems of 2001 to 2011; and 33 percent of topics in poetry from 2011 to 2021 are related to nature (Zarqani & Abbaspour, 2007: 172; Ostadzadeh, 2012: 2; Alimi, 2015: 126). Therefore, it is necessary to analyze these poems in order to see what attitude is advocated in them toward nature, what understanding of nature is presented, and what behaviors are ensued from this understanding. Methodology, Review of Literature and PurposeThe aim of this research is to analyze the personification of nature based on the theory of Lakoff and Johnson in 40 poetry collections for children published by the Institute for the Intellectual Development of Children and Adolescents after the Islamic Revolution in 1979. The method of the research is descriptive-analytical and library research method is used for gathering information.Several researches have been conducted before in this field. Niktalab (2013) in “The Conceptual Metaphor of Sun in the Poetry of Children and Adolescents” has studied the different metaphorical forms created by the image of the sun in children’s poetry. Sojoodi and Qanbari (2012) in “A Semantic Study of Time Metaphor in Children’s Fiction in Persian (Age Groups A, B and C)” have come to the conclusion that the Persian-speaking child in these age groups not only understands the concept of time by moving in time, but also the function of the pattern of “time is a thing” and “that thing is moving” in time metaphor is related to the moon and the sun and other objects around the child in an ontological projection which directly influence the understanding of the concept of time. And Sadeqi (2013) in “Evaluating the Growth of Metaphorical Language in Persian-Speaking Children: A Comparative study” has studied the process of development of understanding of metaphors in Persian-speaking children in three age groups 6, 7 and 8 years of age and has come to the conclusion that the ability to understand metaphors starts in children from young ages and increases with age. DiscussionIn children’s poetry, attention is paid to different aspects of nature; however, not all the elements of nature are personified in these poems as a result of the type of modern life, the lived experiences of children and also the environment of the poet. In children’s poetry, there is no boundary between human and animal and nature considering the right to live; and all the elements have the right to live just like humans and are depicted as having purposeful actions. Not only the animals, but also all the other elements of nature are regarded as having emotion. Happy, sad, timid and regretful are some of the most important human emotions that are ascribed to natural elements. Some instances of personification in these poems are created by associating human body parts and appearance characteristics such as having hand, heart and head or being ugly or beautiful, heavy or thin, to natural elements. In children’s poetry, people are asked to observe ethical principles in dealing with nature and learn moral behavior from natural element; furthermore, the poets introduce natural elements as having the ability to distinguish between good and bad. This is another aspect of personification in these poems.In some of the poems in this study, natural elements have acquired a feminine identity. in fact, natural elements are associated with women more than men. The similarities are in different fields: physiological characteristics (giving birth); women’s roles and responsibilities at home (motherhood and raising children); familial relationships (being aunt and bride). It can be argued that women and nature are related to each other in three ways: the relationship between women and nature; the relationship between domination over women and domination over nature; and women’s roles in solving ecological problems.Another procedure for personifying nature is giving child characteristics to natural elements. Associating human clothing to natural elements is another way for personifying nature in children’s poetry. By these metaphor, instead of forcing people to accept a specific approach toward nature, poets have tried to give nature a voice to talk about its own situation with children. ConclusionFor personification of natural elements, poets have paid more attention to human actions and emotions because of didactic purposes. Ascribing these human characteristics to nature has resulted in the formation of a metaphor, “nature as human”. Considering the different human characteristics, this metaphor has seven parts: “nature is an active human”; “nature is a human with emotions”; “nature has human body parts”; “nature is a human with an ethical attitude”; “nature is a woman”; “nature is a child”; and “nature is human for having clothes”. According to these metaphors, nature is seen as a creature with a life like human’s. Just like humans, natural elements have purposeful actions; they understand the humans’ behavior toward them by the help of their emotions; and even observe ethical imperatives in performing their actions. These metaphors and their ensuing attitude result in friendship with nature, determining the right way to deal with nature, giving natural elements the right to live, being kind, loving, respectful and caring and feeling responsible toward nature. Consequently, one can say that in children’s poetry, a positive attitude is advocated for preserving nature. Keywords: ontological metaphor of personification, children’s poetry, nature, action, attitude References:Alimi, M. (2015). A study of important elements of theme in children’s poetry between 2001 and 2011. Journal of Persian Literature, 11 (4), 121-141.Behnam-manesh, S. & Omani Samani, R. (2012). The status of animals in the history of ethics and philosophy in the West. Iranian Journal of Medical Ethics and History, 5 (2), 24-31.Benson, J. (2003). Environmental ethics: An introdudtion (2nd Volume) (M. M. Rostami, Trans.). Environment Preservation Organization of Iran.Hasani, K. (2016). Two sweet apples. Institute for the Intellectual Development of Children and Adolescents.Hashemi, M. (2012). The fawn horse. Institute for the Intellectual Development of Children and Adolescents.Hashempour, M. (2014). A teapot full of ribbit. Institute for the Intellectual Development of Children and Adolescents.Henshall, J. (2006). Gender roles and environmental concerns (S. Ghaffari, Trans.). Sarmayeh Newspaper, No, 354.Jahed, M. (2012). Ethics and animals: Approaches and theories. Quarterly of Environmental Ethics, 3 (10), 163-189.Katuzian, N. & Ansari, M. (2008). Responsibilties of environmental damages. Law Quarterly, 38 (2), 285-313.Keshavarz, N. (2016). Yellow crow. Institute for the Intellectual Development of Children and Adolescents.Kianoosh, M. (2003). Indian green parrot. Institute for the Intellectual Development of Children and Adolescents.Kianoosh, M. (2015). Jom-Jomak. Institute for the Intellectual Development of Children and Adolescents.Koleini, M. B. Y. (1984). Alkafi (6th Volume). Dar-ol Maktab Eslamieh.Lakoff, G. (2004). Contemporary theory of metaphor. In F. Sojoodi (Ed. and Trans.), Metaphor: Basis of thought and tool for creating beauty. Soureye Mehr.Lakoff, G. & Johnson, M. (2016). Metaphors we live by (H. Agha-Ebrahimi, Trans.). Elm Publishing.Mazinani, M. K. (1998). Only the pomegranate laughed. Institute for the Intellectual Development of Children and Adolescents.Mohaqqeq-Damad, M. (2014). The theology of environment. Iran Wisdom and Philosophy Institute.Mokhtari, M., Salahi, A. & Fathi, K. (2018). Criticism and analysis and comparison of traditional metaphors with conceptual metaphors of Lakoff and Johnson. Art of Language Quarterly, 3 (1), 2-7.Nasr, H. (2017). Religion and the order of nature (E. Rahmati, Trans.). Ney.Nayyeri, S. (2000). A piece of pink feather. Institute for the Intellectual Development of Children and Adolescents.Niktalab, P. (2014). The conceptual metaphor of sun in the poetry of children and adolescents. Book of the Month of Children and Adolescents, No. 196, pp. 74-80.Ostadzadeh, Z. (2012). Content analysis of children’s poetry of Parvin Doulat-abadi’s, On cloud boats and Almond flower. Journal of Children’s Literature Studies, 3 (2), 1-24.Qasemzadeh, H. (2000). Metaphor and understanding. Farhangan.Quran (2005) (M. Elahi Qomshei, Trans.). Ahl-e Beit.Parsapour, Z. (2016). Considerations of environmental ethics in Hedayat and Choobak: Criticism of two stories. Literary Criticism, 9 (36), 73-95.Rahmandoost, M. (2006). Father came and brought bread. Institute for the Intellectual Development of Children and Adolescents.Rahmandoost, M. (2007). Write in spring. Institute for the Intellectual Development of Children and Adolescents.Rahnama, S. (2013). Fake sorrows. Institute for the Intellectual Development of Children and Adolescents.Sadeqi, S. (2013). Evaluating the growth of metaphorical language n Persian-speaking children: A comparative study. Science of Language, 1 (1), 145-167.Sadeqzadeh, M. & Zare-Bidaki, M. (2014). A study of the most basic linguistics and imagistic characteristics in the poetry of Rahmandoost. Journal of Children’s Literature Studies, No. 2, pp. 75-106.Salajeqeh, P. (2006). From this eastern garden: Theories of criticism of children’s and adolescents’ poetry. Institute for the Intellectual Development of Children and Adolescents.Salehi, S. (2013). Education office and environment: environmental attitude, knowledge and behavior in students. Education Sciences Journal, 20 (6), 171-190.Seraj, A. & Mahmoodi Bakhtiari, B. (2018). Ontological metaphors in Ferdowsi’s Shahnameh from the perspective of cognitive linguistics. Research Journal of Literary Criticism and Rhetoric, 7 (2), 75-94.Shabani, A. (2017). Instruments of branches. Institute for the Intellectual Development of Children and Adolescents.Shabani, A. (2017). Children’s rainbow. Institute for the Intellectual Development of Children and Adolescents.Shabannejad, A. (2015). Hello, alien! Institute for the Intellectual Development of Children and Adolescents.Shabannejad, A. (2006). Where’s the crow? On the tree. Institute for the Intellectual Development of Children and Adolescents.Shabannejad, A. (2008). I searched and I researched. Institute for the Intellectual Development of Children and Adolescents.Shabannejad, A. (1998). An umbrella of petals. Institute for the Intellectual Development of Children and Adolescents.Shabiri, M. (2016). A study of the role of thinking styles on the environmental attitude and behavior in high school students. Quarterly Journal of Education, No. 130, pp. 41-66.Shahbazi, A. (2011). Animal rights: A reflection on theory and procedure. Law Quarterly, 14 (36), 27-56.Shamani, T. (2014). Pull the cats’ tails. Institute for the Intellectual Development of Children and Adolescents.Sharifi, s. & Hamedi Shiravan, Z. (2010). A study of metaphor in children’s and adolescents’ literature in the framework of cognitive linguistics. Thought and Child, 1 (2), 39-63.Shoarinejad, A. A. (2011). Children’s literature. Ettelaat Publishing.Sojoodi, F. & Qanbari, Z. (2012). A semantic study of time metaphor in children’s fiction in Persian (for age groups A, B and C). Literary Criticism, No. 19, 135-156.Zare-Bidaki et al. (2012). A survey of ethical aspects in animal researches. Journal of Rafsanjan Medical Sciences University, 11 (6), 575-598.Zarqani, M. & Abbaspour, M. (2007). Content analysis of children’s poetry between 1991 to 2001 (age groups A, B and C). Journal of the Department of Literature and Human Sciences of Mashhad University, No. 159, pp. 169-194.

Research Paper

Typology of Representations of Love in Farhad Hassanzadeh's Adolescent Novels Based on Robert Sternberg: A Case Study of the Novels This Blog Is for Sale and The Scorpions of Bambak Ship

Ayoob Moradi; Sara Chalak

Volume 12, Issue 2 , March 2022, Pages 233-262

https://doi.org/10.22099/jcls.2020.36386.1772

Abstract

Ayoob MoradiAssistant Professor, Department of Persian Language and Literature, Payame Noor University, Tehran, Iran Sara ChalakAssistant Professor, Department of Persian Language ... Read More Ayoob MoradiAssistant Professor, Department of Persian Language and Literature, Payame Noor University, Tehran, Iran Sara ChalakAssistant Professor, Department of Persian Language and Literature, East Tehran Branch, Islamic Azad University, Tehran, Iran IntroductionAdolescence is a critical period in the process of growing up through which fundamental changes happen in the biological, mental, emotional and social aspects of individuals which result in the appearance of emotions such love and permanent hatred, sensitivity to humiliation and praise and feeling beautiful or ugly. In adolescents, love, in the traditional meaning of feeling attracted toward a person of the other sex, is an inevitable event due to their hormonal and bodily changes. Feelings of love that appear in this period are usually associated with physical aspects and are very different from love in adults in their quality and type. Feelings in the adolescence period are generally sensational, temporary, destructive and powerful; and the most important feeling, love, is not an exception. Therefore, it is necessary to use various tools to make adolescents prepared for the right encounter with these feelings. Literature is one of these tools; therefore, one of the main duties of the writers of adolescent literature is to introduce the characteristics and consequences of love to their readers. Paying attention to psychological points of view is a useful way to attain this goal. As a case study, the researchers try to investigate the manner of representation of love in the works of Farhad Hassanzadeh, one of the most well-known writers of Iran, based on the theories of the psychologist Robert Sternberg. Methodology, Review of Literature and PurposeThis research is conducted with a descriptive-analytical method based on Sternberg’s model of the structuralism of love. Sternberg believes that in all love relations we deal with three basic elements: passion, intimacy and decision-commitment. He argues that a balanced and complete love has all the three elements; but this balance is often hard to maintain. The absence of one or two elements results in the following situations, none of which can be regraded a complete love:The absence of love: This happens when none of the elements are present in the relationship, or they do not have the necessary intensity.Friendship: This situation is created when only the element of intimacy is present in the relationship.Lovesickness: In this situation, only the element of passion is present. The individual does not have anything to offer in the relationship except the fierce emotion which is akin to madness.Empty love: This is a kind of relationship in which there is no element except decision and commitment.Romantic love: This type of love is the result of the combination of the two elements of passion and intimacy. The result is a warm and intimate relationship accompanied by physical pleasures which creates trust and intimacy between the two sides of the relationship.Friendly love: This is a type of relationship which contains both commitment and intimacy.Foolish love: The type of love which is passionate and obsessive as a result of combining the two elements of passion and decision-commitment.Complete love: The presence of all the three elements in a relationship results in complete love. DiscussionThe period of adolescence and puberty is one of the most important periods of life due to fundamental changes that happen in human beings. Physical and hormonal changes are accompanied by emotional signs inside the individual and bring about unknown feelings for the adolescents. These emotions are so intensive that if the individual is not able to manage them, he/she will most probably make big mistakes which affect his present and future life. One such important change is the completion of sexual organs and the appearance of sexual desires which motivates the individual toward making relationship with the other sex and consequently, experiencing feelings of love. These situations and emotions are completely new for the adolescents; therefore, it is the duty of parents and teachers to educate adolescents about them.Farhad Hassanzadeh has written some stories around the subject of emotional relationships between adolescents. Two of these stories, This Blog Is for Sale and The Scorpions of Bambak Ship, are investigated in this study using the classification of love relationship proposed by Robert Sternberg.In adolescence, due to physical, hormonal and emotional characteristics of the period, the type of love is usually foolish, lovesickness or romantic. In foolish love only two elements of passion and decision are present. Affected by sexual desire, the adolescent is drawn toward the physical attractions of the other party and decides very quickly to start and continue the relationship.Lovesickness is also a type of love which only has the element of passion. The characteristics of this type of love in Sternberg’s model is compatible with emotional feelings in adolescence period.Romantic love, regarding its two basic elements, intimacy and passion, is also highly compatible with relationships in adolescence and youth. This happens when the two sides have a friendly and intimate behavior accompanied by physical passion, but they do not show any sign of decision or acceptance of commitment toward each other.One-way love, which appears as the lack of love in one side of the relationship and the foolish love in the other side, is more prominent than other types of love in both stories by Hassanzadeh. ConclusionThe findings of this research reveal that love is more completely represented in The Scorpions of Bambak Ship than in This Blog Is for Sale. In the former story, we deal with two different relationships. After undergoing some experiences, the hero of the story attains a good understanding of love relations which leads him toward a correct choice. In the course of this story, Kholo, who is obsessed with childish fantasies about love relations under the influence of popular films of his period, finally understands that the basic condition for a healthy relationship is the existence of common class and cultural elements. Significant positive messages such as the necessity of completely understanding the personalities of the two sides of the love relations as well as avoiding sudden and emotional decisions in these relations are highlighted in this story which are valuable for the emotional maturity of the adolescents. Keywords: Robert Sternberg’s model, sexual maturity, emotional maturity, adolescent novel, love References:Ahmadvand, M. A. (2012). Psychology of children and adolescents. Payam Noor University Press.Alizadeh, M. (2010). About love. Educational and Social Psychology, No. 84, pp. 82-93.Aqayari, K. (2012). Early puberty and mental growth. Book of the Month of Children and Adolescents, No. 180, pp. 2-3.Asghari-Qajari, N. & Abbaspour, H. A. (2019). Analyzing the concept of love in the poetry collection The grammar of love by Qeisar Aminpour. Comparative Literature Journal, 3 (7), pp. 14-28.Asna-Ashari, N, & Sheikh-ol-Eslami, R. (2015). The mediating role of emotional maturity in relation to self-respect and social anxiety in girl adolescents. Psychological Methods and Models Quarterly, No. 22, pp. 35-52.Azardashti, A. H. (1996). We should understand adolescents. Education Journal, No. 113, pp. 48-49.Farahbakhsh, K. & Shafi-abadi, A. (2006). Dimensions of love based on three-dimentional theory of love in four couple groups in the periods of engagement, legal engagement, marriage and with children. Knowledge and Research in Psychology Quarterly, No. 30, pp. 1-20.Garousi-Farshi, M. (1991). Identity in adolescence. Teacher’s Growth Journal, No. 81, pp. 65-70.Hashemi, S. M. & Rashidi-Ashjerdi, M. (2016). A study of the elements of complete love from Sternberg’s point of view in Sa’di’s Ghazaliat. Collection of articles of the Eleventh International Conference of the Association for the Promotion of Persian Language and Literature, Guilan University.Hassanzadeh, F. (2018). This blog is for sale. Ofogh.Hassanzadeh, F. (2019). The scorpions of Bambak ship. Ofogh.Mousavian, E. (2012). A look at the concept of love in adolescent poetry. Children’s and Adolescents’ Literature Research Journal, No. 53, pp. 84-89.Nojoumian, A. A. (2012). Textual love: Experiencing love in Mostafa Mastour’s Love on the pavement. Literary Criticism, 5 (18), pp. 97-118.Rasuli, M. R. & Kiumarsi, P. (2019). A study of the concept of love from Robert Sternberg’s point of view in the story of Sheikh San’an by Attar and the fantasy drama Sheikh San’an by MohammadHossein Meimandinejad. Mystical Literature and Mythological Studies Quarterly, No. 54, pp. 109-133.Sheikh-Hosseini, Z. (2017). Lyrical concepts in adolescent novel. Lyrical Literature Studies of Sistan and Baluchestan University, No. 29, pp. 129-148.Sternberg, R. G. (2009). Story of love: A new perspective on the relationship between woman and man (A. A. Bahrami, Trans.). Javaneh Roshd.

Research Paper

Literary Semiotics in Hamid Reza Shahabadi’s Lullaby for the Dead Girl

Parvin Mortazaie

Volume 12, Issue 2 , March 2022, Pages 263-288

https://doi.org/10.22099/jcls.2020.35083.1740

Abstract

Literary Semiotics in Hamid Reza Shahabadi’s Lullaby for the Dead Girl Parvin MortazaieAssistant Professor of Persian Language and Literature, Eghlid Higher Education ... Read More Literary Semiotics in Hamid Reza Shahabadi’s Lullaby for the Dead Girl Parvin MortazaieAssistant Professor of Persian Language and Literature, Eghlid Higher Education Center, Eghlid, Iran introductionSemiotics is the science of studying the hidden meanings of a text. In Ferdinand de Saussure’s formulation, a linguistic sign is comprised of a signifier and a signified and the relationship between them, which creates coherence for the sign, is called signification. Linguistic signs are very important in any text and can have one or more meanings. To help interpret their texts, authors use symbols and signs in the structures of their stories. In literary and fictional texts, meaning is created endlessly because signs not only create meaning but also multiply meanings and significations.Hamid Reza Shahabadi is his novel, Lullaby for the Dead Girl, makes use of literary signs and symbols extensively. The title of the novel and the elements of the story are symbols which allude to different meanings. These symbols are analyzed in this research. Methodology and Review of LiteratureThere are many researches from a semiotic point of view in the field of children’s and adolescents’ literature. Ahmadi’s article, “Semiotics of imagination and metaphor in the story ‘Address’” and Jamali and Sheikhi’s article, “Semiotics of cover illustration on adolescents’ novels” are two such researches. In “Semiotic analysis of Tajik stories for children and adolescents”, the researchers study these stories from a semiotic approach by the use of the model proposed by Greimas. In “Semiotic analysis of fantastic animal characters in Persian and English children’s literature”, the textual signs in a number of works of children’s literature are compared. One can also refer to the article “Semiotics of characterization of the cover of books for children and adolescents with the subject of Islamic Revolution and the Holy Defense against Iraq published by the Institute for the Intellectual Development of Children and Adolescents”.However, no studies have been undertaken on Shahabadi’s Lullaby for the Dead Girl. In this research, by the use of a descriptive-analytical method, the characters, the setting, the objects and the title of the novel are analyzed from a semiotic point of view to reveal their implied meanings. DiscussionLullaby for the Dead Girl is a social-historical novel in which a special multiplicity and a chain of significations is created by its fantasy atmosphere. The novel has a wide array of characters who reveal various sets of signs and symbols. Believable and denying characters, while entangled in paradoxes, move the story forward. Mina, Zohreh and her father and brothers are the heroes of the story. The university teacher, representatives of the parliament, the student and the worker all seek justice for the lives of the heroes of the narrative.The unfinished complex Arghavan as the place of the narrative is the intersection of three different roads and signifies a heterogeneous and unsafe community for the hero. Located at the margin of the city, in contrast with other places in the novel, this complex shows the hero’s social status. The hot and stormy desert around Qoochan represents the harsh aspect of nature which greatly affects Hakimeh’s destiny. Eshgh-Abad [literary meaning “city of love”] represents another aspect of nature which implies love accompanied with bitterness and suffering.The beautiful title Lullaby for the Dead Girl cultivates an array of symbolic meanings. Lullabies are usually sung for children and generate meanings of peace, sleep, comfort, welfare and love; however, in here, the lullaby is sung for a dead girl and signifies horror and sorrow. From the very beginning, this sad lullaby reveals the writer’s positive attitude toward women characters since it is a symbol for seeking justice, partiality and love of the author toward the suffering and oppressed women and girls of this country.The first level of time in the narrative is the calendar time of autumn and winter. Then everything becomes hazy and foggy. In the meantime, historical time is formed with the presence of Mirza Jafar Khan and his companions. This change amplifies anxiety, doubt and variety in the narrative. In the end, the calendar time of winter is chosen as a turning point in creating desired meanings for the author.The multiplicity of structure levels in the narrative, the temporal breaks and changes and the paradoxes in the narrative are all signs for the disruptions of Hakimeh’s comfort. They are used to describe her life of misery and her childhood filled with pain and suffering. ConclusionThe author of Lullaby for the Dead Girl has extensively used semiotic theory and symbolism. Analyzing the symbols in the title and the text of the novel reveals that the title, the setting, the characters and the objects all play symbolic roles in the story and show the author’s ideological point of view. Injustice, oppression, sexual inequality and marginalization and victimization are the main themes of the story.The title of the novel, in line with other symbols in the narrative, reveals a general sad picture of the hero’s life. It shows the hero’s characteristics such as her gender and her age, as well as the dark theme of the story.Multiple times of the narrative such as the calendar, historical and transcendental times, all help in creating a paradoxical, sad and despairing atmosphere and reveal the hero’s despair, depression, loneliness and bitter silence. Objects, even the foodstuff, have a wide significance in the narrative and are symbols of poverty and deprivation. Color red is included among the symbolic aspects of the story to foreshadow the disillusionment and victimization of the main character and the bitter end of the story. Keywords: Theory of semiotics, Lullaby for the Dead Girl, Hamid Reza Shahabadi, character, place, time, title. References:Ahmadi, B. (2002). From visual signs to text. Markaz.Ahmadi, B. (1992). Structure and the interpretation of the text. Markaz.Ameri, M. A., Taheri, A. B & Shabestari, M. (2016). Literary semiotics of the character of Pharaoh in Holy Quran. Literary and Quranic Researches Quarterly, Vol. 2, p. 147.Chandler, D. (2008). Semiotics, the basics (M. Parsa, Trans.). Soureye Mehr.Culler, J. (2009). The pursuit of signs: Semiotics, literature, deconstruction (L. Sadeqi & T. Amrollahi, Trans.). Elm Publications.Eagleton, T. (2002). Literary theory: An introduction (A. Mokhber, Trans.). Markaz.Emami, N. (2004). Structuralism and structuralist criticism. Rasesh.Guiraud, P. (2008). Semiotics (M. Nabavi, Trans.). Agah.Haqiqi, M. (2005). The confusion of signs. Qesseh.Jamali, A. & Sheikhi, T. (2018). Semiotics of cover illustration of adolescents’ novels. Journal of Children’s and Adolescents’ Literature, No. 17.Kasi, F. & Basiri, M. S. (2017). Semiotics of imagination and metaphor in Ahmad Reza Ahmadi’s Address. Literary Arts, No. 8.Dinesen, A. M. (2002). An introduction to semiotics (M. Qahreman, Trans.). Porsesh.Mirsadeqi, J. (2009). Elements of the story. Sokhan.Qaeminia, A. (2010). Biology of Nas. Research Institute of Islamic Culture and Philosophy.Rashidi, S. & Motamedi, E. (2014). A study of signs in Zoya Pirzad’s “Stains”. Researches in Literary Criticism and Stylistics, No. 2, p. 190.Saussure, F. de. (2007). A course in general linguistics (K. Safari, Trans.). Hermes.Shahabadi, H. R. (2005). Lullaby for the dead girl. Ofogh.Shamisa, S. (2006). Literary criticism. Mitra.Sojoodi, F. (2003). Practical signs. Qesseh.Zamiran, M. (2000). An introduction to the semiotics of art. Qesseh.

Research Paper

Deconstructing Metaphysics of Presence in Literary Recreations for Adolescents with a Look at the Recreation of Shahnameh’s Story of Rustam and Sohrab by Atousa Salehi

Shayesteh Sadat Mousavi; Mohammad Ali Khazanehdarlou; Parvin Yahyania

Volume 12, Issue 2 , March 2022, Pages 289-314

https://doi.org/10.22099/jcls.2020.37046.1791

Abstract

Deconstructing Metaphysics of Presence in Literary Recreations for Adolescents with a Look at the Recreation of Shahnameh’s Story of Rustam and Sohrab by Atousa Salehi Shayesteh ... Read More Deconstructing Metaphysics of Presence in Literary Recreations for Adolescents with a Look at the Recreation of Shahnameh’s Story of Rustam and Sohrab by Atousa Salehi Shayesteh Sadat MousaviAssistant professor of Persian Language and Literature, Guilan University Mohammad Ali KhazanehdarlouAssociate professor of Persian Language and Literature, Guilan University Parvin YahyaniaM.A. Student of Children’s and Adolescents’ Language, Guilan University IntroductionModernized adaptations and re-creations of old works do not follow the narrative structures of the source texts. Social and historical evolutions cause changes in the new narratives. The researchers try to show how these kinds of alterations can be analyzed in the framework of the theory of deconstruction. They also attempt to show how “Metaphysics of Presence” –one of the fundamental concepts in the pre-deconstructive philosophies- which is represented in the dominant, omniscient narrators in old works can be deconstructed and subsequently, how this deconstruction transforms other elements in the structure of the text such as binary oppositions and even the genre of the work.To this end, the story of Rustam and Sohrab from Shahnameh is compared with one of its successful recreations for adolescents by Atousa Salehi. The comparison will delineate how the alteration of the audience from adults to adolescents and the socio-historical changes can influence the deconstruction of presence and as a result, change the genre of the work from epic to drama. Methodology, Review of Literature and PurposePersian literature is a great resource for re-writers and re-creators. Shahnamah is a classical epic which has been frequently used for re-writing and re-creation. These recreations are actually in response to changes in social structures through time. In this paper, we are going to show how the dominant presence of the narrator in the classical text is deconstructed in the process of recreation. The story of Rustam and Sohrab by Salehi is chosen as a case study.There are many books and articles about re-writing and re-creation. This is a short survey of this body of literature: Anvari (2006) surveys rewritings and recreations based on Shahnameh; Payvar (2006) deals with fictional recreations based on mythical elements of our ancient culture; Jalali (2010) deals with the significant position of rewritings based on Shahnameh in children’s and adolescents’ literature; and Yousefi (2006) in a paper entitled “Recreation, a New Identity” shows how a recreation can resurrect a classical work. We will also introduce a narratological method to distinguish rewritings from recreations; in order to do this, we will study factors such as narrators, narratees, characters, speed of narration, etc. DiscussionAny re-creator has been a reader in the first place, and in any case, recreations differ from the main source. Narrator is a basic element of narration which has a dominant presence in classical narratives. In Shahnameh the narrator is a third person omniscient narrator who controls the flow of the narrative. Even the inner thoughts and feelings of the characters are narrated by him.However, in recreations such as Salehi's, the position of narrator is subjected to change. A variety of narrators exist in Salehi's Rustam and Sohrab. This multi-narrator situation is the first evidence of the breakage of the narrator's dominance.Sohrab is one of the main narrators of Salehi’s work. In accordance with the new community of narratees, i.e. the adolescents, Salehi chooses Sohrab as the main hero and narrator of her work and lets him narrate the opening of the story. From a Derridean perspective, such a change signifies the deconstruction of a major binary opposition, i.e. adults versus adolescents.Rustam is another narrator of Salehi's recreation. This recreated Rustam, unlike Ferdowsi's, is a character overfilled with emotions, affections, hesitations and conflicts. This Rustam is not the greatest hero of a tragic epic anymore, but a broken-hearted father in a romantic drama who searches for his lost son. This also shows a significant deconstruction of a binary opposition, i.e. strict wisdom versus affections.Tahmineh is another narrator in Salehi’s story. Unlike Tahmineh in Shahnameh who has a pale presence, she plays a significant role in Salehi's work. Her narration makes a good opportunity for her to express her inner world as a woman, a lover and a mother. Her presence as a narrator marks the deconstruction of the binary opposition of women versus men or fathers versus mothers.Change in the speed of the narrative is another factor that can lead to deconstruction. The speed of narration in Shahnameh is very fast when Sohrab is a child. Childhood is not a significant phase in Shahnameh; the hero has to grow up fast in order to enter the world of epic. However, the speed of the narrative in Salehi's recreation is very slow. This shows that the binary opposition of childhood versus adulthood is deconstructed. ConclusionThe analysis of Salehi's recreation shows that any breakage in the dominance of the narrator can lead to the deconstruction of the binary oppositions in the text, such as love versus warfare, women versus men, childhood versus adulthood, father versus mother, etc. The findings of this study show that a re-creator of the classical work creates something new by the use of the same materials. Salehi's story, in accordance with the new audience’s needs, is a family drama rather than an epic. Keywords: Metaphysics of Presence, narrator, re-creation, deconstruction References: Abdali, F. & Nojumian, A. (2013). A semantic study of binary opposition of Hafez/Zahed from a Derridean deconstructive approach. LIRE, 10 (41): 9-30.Abrams, M. H. (2005). A glossary of literary terms. Thomson, Wadsworth.Arman, A. (2005). Persians and I. Moaj.Birouni Abu Rayhan, M. (1984) al-Āthār al-Bāqīyah 'an al-Qurūn al-Khālīyah (A. Dana Seresht, Trans). Amir-Kabir.Crichtley, S. (1999). The Ethics of deconstruction: Derrida and Levinas. Basil Blackwell.Derrida, J. (1973). Speech and phenomena and other essays on Husserl’s theory of signs. Northwestern University Press.Derrida, J. (1981). Dissemination (B. Johnson, Trans.). University of Chicago Press.Islami Nodooshan, M. A. (2011). The story of the stories. Enteshar Co.Jalali, M. (2010). The position of re-writing of Shahnameh in children’s and adolescens' literature. In The First National Conference of Literature and Interdisciplinary Studies. Birjand: university of Birjand.Lévi-Strauss. C (2011). Myth and meaning (F. Larijani & F. Jahan-Poulad, Trans.). Farzan Rouz.Oittinen, R. (2015) Translating for children (H. Ebrahimi, Trans.). Institute for the Intellectual Development of Children and Adolescents.Potter, A. (2005). Sohrab and Rustem: The epic theme of a combat between father and son (M. Kamali, Trans.). Idoun.Prince, G. (2016). Narratology: The form and functioning of narrative (M. Shahba, Trans.). Minouye Kherad.Schmitz, T. (2011). Modern Literary Theory and Ancient Texts: An Introduction (S. Elliyoun & A. Sabouri, Trans.). University of Tabriz.Scholes, R. (2004). Structuralism in literature (F. Taheri, Trans.). Agah.Strathern, P. (2010). Derrida in 90 minutes (P. Imani, Trans.). Markaz.Todorov, T. (2003). Poetique (M. Nabavi, Trans.). Agah.

Research Paper

A Study of the Different Manifestations of Love and the Presentation of Each One in Persian Adolescents’ Poetry (from 2001 to 2017)

Farzane Mirzakhani

Volume 12, Issue 2 , March 2022, Pages 315-342

https://doi.org/10.22099/jcls.2020.35632.1757

Abstract

A Study of the Different Manifestations of Love and the Presentation of Each One in Persian Adolescents’ Poetry (from 2001 to 2017) Farzaneh MirzakhaniM.A. in Children’s ... Read More A Study of the Different Manifestations of Love and the Presentation of Each One in Persian Adolescents’ Poetry (from 2001 to 2017) Farzaneh MirzakhaniM.A. in Children’s and Adolescents’ Literature, Shiraz University IntroductionLove is one of the most important themes in Persian poetry and one of the most sensitive subject matters in adolescent years which finds various manifestations in different periods. Expressing love themes is effective on the emotional maturity of the adolescents; therefore, it is necessary to study how and to what extent love is present in adolescents’ poetry. Such studies will not only expand the body of research literature on the topic, but also improve the quality of the future works of adolescent poetry.In Iranian children’s literature, love appears in different forms such as loving a doll, loving the mother, etc. This study aims to analyze how love, which is one of the most important concerns of the time of puberty, is represented in adolescents’ poetry.Before 2001, poets did not pay much attention to the subject matter of love in children’s and adolescents’ poetry. Through 1990s, few poets such as Naser Keshavarz talked about worldly love in their works. since 2001, though, with the appearance of new psychological concerns in the literary arena, poets turned toward writing love poems. In those years, specialized conferences were held in the field of children’s and adolescents’ literature and a few writers in this field emphasized the importance of the topic of love in their lectures and interviews. Since then, poets gradually started to take the topic of love and adolescence seriously. Methodology, Review of Literature and PurposeThe main purpose of this research is to study the types of love and the presence of each type in Persian adolescents’ poetry. To this end, poems published for the first time in Iran between 2001 and 2017 are analyzed using a descriptive-analytical method. The subject matter of the poems analyzed in this research is love. In fact, being a love poem for the adolescent audience is the criteria by which the poems are selected, and they include poems in which the word love and its derivatives are used directly; poems which include romantic expressions such as missing someone; and romantic poems which talk about the effect of the presence or absence of someone or something on another person’s state of mind.Poets are selected by a thorough search in several libraries of the Institute for the Intellectual Development of Children and Adolescents, special book-stores for children and adolescents and digital libraries, and also with the help of a number of well-known writers of children’s and adolescents’ poetry.A review of the previous literature on the topic showed that love has been the subject of a few studies in children’s poetry and fiction as well as in adolescents’ fiction; but no study has focused on adolescents’ poetry before. DiscussionFor introducing the manifestations of love toward a person of the opposite sex, poets have used these signs and motifs:Expressing the genders of the two sides of loveLove as a secret: Since loving a person of the opposite sex and having love relations with him/her is not acceptable in Iranian-Islamic culture, the experience of this kind of love is accompanied by a sense of guilt in adolescents and makes them keep this type of love as a secret.Expressing the issue of marriage: Poets have talked about adolescents’ tendency toward marriage either directly or by the use of related symbols in Iranian culture such as tying leaves of grass.Resorting to romantic fantasies: In Iranian culture, there are many obstacles on the way of adolescents to meet their loved ones; therefore, they sometimes have to make contact with them in the boundless world of fantasy. Sometimes, the beloved is also imaginary, since the adolescent imagines a beloved based on his/her needs and ideals.Shyness and self-reserve of the two sides of love: The two sides of love are embarrassed to meet each other in person, so they talk to each other through signs and shy away from the contact. If there is ever a conversation between them, it is a short one.The manifestations of love between parents and children are full of motherly and fatherly self-sacrifice and love toward the child.In the manifestations of love toward God, the adolescent and God have a loving and intimate relationship. God is represented in these poems as being close and similar to humans in His actions. He is the person’s first and last friend. In this type of manifestation, poets have talked about the love of religious figures towards God, too. For religious leaders, love of God is a powerful impetus for standing against oppression.Love toward friends: In this type of love, poets have discussed the characteristics of ideal friends while showing love toward them.Love toward religious leaders: In poems dealing with this type of love, which are mostly about Muhammad al-Mahdi, the last and hidden Imam is Shia, poets are concerned with the effects of the savior’s presence on the lover, the environment and the world, as well as with the adolescents’ anticipation for his arrival. In representing love toward religious leaders, the general characteristics of these figures (such as their kindness) is introduced rather than their specific characteristics.In the manifestation of love toward nature, the poet describes nature first, and then imagine himself/herself as a part of it. Love between human and nature is mutual. In love toward creation, an ordinary and insignificant phenomenon provokes the speaker and makes him/her engaged with a philosophical perception about the creation of the world and of love. Love is not only inside human beings, but also flowing through all the elements of the world.In the manifestation of love toward one’s country, poets usually introduce Hossien Fahmideh, the adolescent soldier who sacrificed himself in the war against Iraq, as the mythical figure of love. In this type of love, similar to the love of religious leaders toward God, love is a force and a motivation for self-sacrifice and perseverance. Love and faith are related to each other and love has a holy aspect. ConclusionFrom 428 love poems extracted from the books in this study, 164 poems had specific signs that presented one of the manifestations of love. In order of frequency, the manifestations of love in Persian adolescent poetry are love toward a person of the opposite sex (22 percent), love between parents and children (19.5 percent), love between human and God (16 percent), love between two friends (15 percent), love toward a religious leader (13.5 percent), love between humans and nature (6 percent), love toward one’s country (3 percent) and love toward creation (2.5 percent).In representing different manifestations of love, poets have paid attention to issues such as emotional needs of adolescents and Iranian-Islamic culture, and have made use of elements from the modern world and city life as well as nature. In the presentation of love toward God, poets have made use of Quranic verses; and in the representation of love toward a person of the opposite sex, they have employed mythical and national symbols of love. Keywords: manifestations of love, love poems, adolescents’ poetry, love References:Amini, S. (2013). The son of Ordibehesht. The Institute for the Intellectual Development of Children and Adolescents.Biabangard, E. (2001). Friendships in adolescence. Peivand, No. 266, pp. 47-53.Ebrahimi, J. (2003). You smell like apples. The Institute for the Intellectual Development of Children and Adolescents.Ebrahimi, J. (2013). I write cloud, I become rain. The Institute for the Intellectual Development of Children and Adolescents.Ebrahimi, J. (2015). Bird is my sister. The Institute for the Intellectual Development of Children and Adolescents.Hamzei, R. (2011). Hello, Dear Mahdi. Soureye Mehr.Hejvani, M. (2015). Ups and downs in children’s and adolescents’ poetry of Iran in three decades after the revolution. Persian Literature Research Journal, 5 (1), 81-100.Keshavarz, N. (2004a). This way, please, just hiss! Behnashr.Keshavarz, N. (2004b). Missing colors. Behnashr.Lotf-ollah, D. (2010). From the beginning of the bud to the end of the flower. Soureye Mehr.Maleki, B. (2008). Come take the apple. The Institute for the Intellectual Development of Children and Adolescents.Mohaqqeq, H. (2016). I ask myself. The Institute for the Intellectual Development of Children and Adolescents.Mojib, F. (2007). Representation of love and friendship in children’s literature for age group A in selected publishers between 1979 to 2006. M.A. Thesis. Allameh Tabatabaei University.Mousavian, E. (2012). A look at the concept of love in adolescents’ poetry. Research Journal of Children’s and Adolescents’ Literature, No, 53, pp. 84-89.Mousavian, E. (2015). Ice cream Wednesdays. The Institute for the Intellectual Development of Children and Adolescents.Nazar-Ahari, E. (2002). Where’s your backpack? BehnashrNazar-Ahari, E. (2005). Tea with the taste of God. Ofogh.Nazar-Ahari, E. (2009). Write with the chalk of light on the blackboard of the world. Noor o Naar.Nazari, M. (2015). Trees for you, birds for me. The Institute for the Intellectual Development of Children and Adolescents.Nazzari, S. H. (2012). Without boots and umbrella. The Institute for the Intellectual Development of Children and Adolescents.Pour-vahhab, M. (2005). There’s always someone. Behnashr.Pour-vahhab, M. (2012). The bird breathed with its song. Behnashr.Quran (2001) (M. Elahi-Qomshei, Trans.). Quran Institute.Rahmandoust, M. (2004). Love songs. Shabaviz.Rahnama, S. (2007). Laughter blue. The Institute for the Intellectual Development of Children and Adolescents.Sha’bani, A. (2009). A person passed by my heart. Touka.Shafiei, K. (2014). An umbrella of birds. The Institute for the Intellectual Development of Children and Adolescents.Salajeqeh, P. (2008). From this eastern garden. The Institute for the Intellectual Development of Children and Adolescents.Tarbon, A. (2006). Mismatched loves. Peydayesh.Tarbon, A. (2008). Moon on the chair. The Institute for the Intellectual Development of Children and Adolescents.Tarbon, A. (2009). An ice cream and five tongues. Qou.

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Volume & Issue: Volume 12, Issue 2 - Serial Number 24, March 2022

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