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Explaining the nature of metaphor and its role in language has always been a controversial topic in the fields of linguistics, philosophy of language, rhetoric, and so forth. In metaphor analysis, these fields often converge in an inseparable manner. Donald Davidson, a 20th-century philosopher, is one of the influential theorists in the Philosophy of Language and the Theory of Meaning. His views on the essence and role of metaphor in language bear significant similarities to the ideas of  al-Jurjani, a prominent 5th-century Hijri literary scholar. This research aims, through a descriptive-analytical method and a comparative approach, to examine the intersection points of Davidson’s and al-Jurjani’s theories, with one addressing metaphor from a philosophical and linguistic perspective and the other from a rhetorical standpoint. For this purpose, Davidson’s essay "What Metaphors Mean?" is used as the basis for reviewing his theories on metaphor. Al-Jurjani’s views are analyzed with a focus on "Dala'il al-I'jaz." This study yields results in three areas. The first, identifies similar aspects in the two theories, indicating that both theorists reject the idea of metaphor being merely a shortened simile. They also critique the notion of "metaphorical meaning," emphasizing that the meaning of a metaphor cannot be reproduced in any form other than the metaphorical one itself. The second area involves finding complementary aspects in the two theories, considering Davidson's philosophical stance and al-Jurjani's rhetorical position. The third area elaborates on the connection between al-Jurjani's direct views on metaphor and the ideas indirectly inferred from theory of Construction.

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With the advent of linguistic researches in the early seventies on the conditions of the women in language, an overwhelming turn came into the sociolinguistics. The most important rationale behind this attitude was the surge in Feminist movements in the modern times. Women authors strongly believe that masculine/male literature reinforces traditional sexual clichés and that in their works, portrays women as dependent and victim. They contend that the image depicted by men in their works of women is more frequently than not unrealistic. In other words, women/females in most of the literary works are considered as “others” to men/males and, henceforth, in male-dominated literature, the women question and the women experience are not dealt with. Quite on the contrary, the role assumed for women is what men ascribe to them and deem more suitable. This led to women arguing that, since they are endowed with special biological features and feminine experiences like sympathizing, cooperation, sensitivity and special power to observe, they are more likely to convey a special aspect of femininity to the reader, which is absent from male/masculine writing/écritude. Female writers in Iran could establish their place in writing fictional works and, hence, be widely received by the audience. This paper, via applying the Theory of Language and Social Semiotics, tries to delve into two novels: ‘Sovashon-by Simin Daneshvar-and ‘Adat mikonim'-by Zoya Pirzad. The methodology is descriptive-analytic. This paper substantiates the claim that women in different strata (syntactic, semantic and cognitive) of these two novels struggle to represent their identity in various ways.  

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The Ghazals of Hafiz and the Canzoniere of Petrarch (1304–1374) have at least three common characteristics: (a) from the qualitative point of view: Each of these two works is at the top of the medieval love poetry: one in the Persian literature, and the other in the European literature; (b) from the chronological point of view: These two books of poetry have been written during the fourteen the century A.D. (8^th  century AH); (c) from the quantitative point of view: The ghazals of Hafiz contain near 4092 distichs or bayts (i. e., 8184 lines or mesra') and the Canzoniere of Petrarch contains 7784 lines. So, they are contemporary, contain a similar number of lines and are at the top of the medieval love poetry. The description of the beloved's eye is one of the principal common places of these two poets: Petrarch mentions the eye 263 times in the Canzoniere and Hafiz 216 times in the Ghazals. Moreover, Hafez writes about the Narcissus-a metaphor of the eye-in 44 distichs. This paper shows, with the comparative-contrast method, the common and different characteristics of the beloved's eye in the Hafiz and Petrarch's poetry.    

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During the Safavid era, communications between Iran and India became deeper than before due to the common official language. Persian romantic stories were among the written works during this period in the countries. The question is: "Are Persian romantic stories in the Safavid era in Iran and India fully similar due to the concurrency, common language and existence of similar structures, or have distinction due to different cultural environment?" Some Researches has been done on the storytelling of the Safavid period, But so far, there has been no works published on the influence of intellectual motifs on the Iranian and Indian Persian stories in any of the topics.
In this paper, it has been attempted to answer the question, by analyzing the content of the Stories. Of course, the assumption of this research is that there are many similarities in language, structure, sequences and character's functions in the Persian romantic stories in Iran and India, but despite these similarities, there is a different worldview and attitude towards the characters and events. These differences include: "Death of the lovers at the end of the story", "Girl's freedom in choosing a spouse", "supernatural creatures’ role", “presence of Mysticism and Sufism, "animals’ impact in the story ", "presence of Indian characters" and "independence of the source" that would help to understand the stories written in India from Iranian stories.

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There are several attitudes about the linguistic characteristics of literary works by female authors. The present study aims at highlighting the need for a stylistic analysis of female fictions as a method for linguistic, literary, and ideological analyses of these works. In this study, we have studied the most important stylistic aspects of Pirzad’s writings through a feminist stylistic approach. The results of the study indicate that from the first work of the author (Mesl-e hameh-ye asr-ha^[1]) to the last work (Ādat mikonim^[2]), a feminist point of view has emerged at different levels of the texts, e.g. lexicon, sentence, and discourse. The changing trend of thought which leads to linguistic transformation and development in the author’s work is as follows: in Mesl-e hameh-ye asr-ha,Ta’m-e gass-e khormalu,^[3]Yek ruz mandeh be eid-e pak,^[4] the women are engaged in routines and have no intentionality of their own, while in Cheragh-ha ra man khamoosh mikonam,^[5] the women status is challenged, and in Adat mikonim, due to the role of women in social activities, a different description of female identity as the agent of change is presented.
[1]. Like All Evenings [2]. We Will Get Used to It [3]. The Acrid Taste of Persimmon  [4]. One Day before Easter [5]. I Turn off the Lights

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The depictions derived from the subjective mystical experiences, in Molvi's lyrical poetry, have not been analyzed specifically and independently, in one place and in a regular manner; Although in a general way, the types and branches of Molvi's imaginations and imagery have been included in the cycle of research. This research claims that Maulvi was able to express the pure images of his internal and intuitive experiences, which are generally indescribable, in the Ghazalyat of Shams, and this is a rare event that Maulvi went through and managed to express the most abstract experiences. In this research, which is based on the descriptive-analytical method, with library and citation tools, and in the theoretical framework of Gadamer's hermeneutics, after reviewing the opinions of various researchers about the separation of mystical experiences, those poems of Divan Shams which, in particular, are manifestations They are considered to be one of Molavi's personal mystical experiences, based on the current feeling in the ghazal, they are divided into four categories: pride and warning, reprimand and blame, the need to recognize oneself, and joy and forgiveness, and for example, a ghazal from each of these categories is examined. and analysis has been done.

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Nader Ebrahimi has published 49 works for children and young adults, the impact of political-social discourses on which has not yet been examined in any research using a discourse analysis approach. This article draws on two discourse analysis theories—those of James Paul Gee and Norman Fairclough—to demonstrate the impact of political-social discourses on Ebrahimi’s children’s and young adults’ works. Research findings show that “love of Iran” was always a central concern in Ebrahimi’s works, except that, under the influence of political and social developments, elements are added to or subtracted from this nationalist discourse: (1) in the years before the Islamic Revolution in Iran, Ebrahimi’s fiction tends to fall under endogenous national discourses, underscoring national endeavor to build Iran; (2) during the victory of the Islamic Revolution, the element of “politics” clearly finds its way into his fiction, subsuming his works under a revolutionary discourse centered on combating tyranny and honoring the revolution and the campaigns by revolutionaries; (3) after the Iran-Iraq war, his fiction can be formulated under the “construction discourse,” in which love of Iran is still pivotal, and more than anything else, it emphasizes Iran’s potential for industry and economic development. His literature in this period remains political, and the “anti-Western” element is more evident in his works relative to his previous works.