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Received: 25 July 2021 Received in revised form: 9 November 2021     Accepted: 2 December 2021

The tradition of mystic biography writing, with the writing of two forms of collective and personal identification, is the continuation of Islamic historiography, which uses the tradition of documenting and objectifying the science of hadith to validate itself and creates facts about mystics or mystics. From an epistemological point of view, the construction of the mentioned reality is the result of the selection and selection of the author-narrator or narrators who represent it based on special epistemology or ideological attachments. This point is especially noticeable in personal ID cards due to the density of events and details. One of these tazkirahs is Manaqib al-Arifin Aflaki, which was written about Mowlavi and his entourage. In this article, the narrative-discursive validity of the reality created by Aflaki in representing the events of Mowlvi's life has been implied and interpreted in a descriptive-analytical way. The theoretical basis of the research is the opinions of some experts in social semiotics and critical discourse analysis, whose implications have been explained from both quantitative and qualitative perspectives. The result showed that the author-narrator documents and believable from a quantitative point of view some of his created facts by using the four modality categories of numbers, emphasis, narrative frequency and narrative continuity with high causality. From a qualitative point of view, first of all, based on relying on the narrator-focusing cognitive tools, such as the sense of sight, hearing and touch, which indicate the perceiver's "here" and "now", some other events are objective and tangible. Then, with legitimizing methods such as referring to the holy system, referring to the Sunnah, rationalizing and exaggerating another part of them, it is documented and real.

1. Introduction
Mystical biography writing and recording the lives and sayings of parents and mystics is one of
the most important genres in the history of mystical literature because of its special role in our cultural and social past. History was very important for the Muslims of the early Islamic period and historiography was born in the shadow of  Scholars of hadith science , which means collecting, editing and interpreting the reports related to the words and behavior of the Prophet and examining its narrators, had become the main activity and standard of Islamic scholars, and in a more general view, documents became a principle for organizing Education had become science of hadith was one of the methods of criticism that classified both hadith narrators into categories such as reliable, acceptable, and weak, as well as the text of hadith (Robinson, 2012, p. 166). Documents provide the possibility of controlling obvious forgeries and historical anomalies and verifying the authenticity and inauthenticity of hadiths. Accuracy in documents, quoting the news with credit from the compiler, allows the reader to know that what is being said is not just a story. In order to understand the emergence of the tradition of Muslim historiography, it is especially important to pay attention to the prominent story aspect of the written narrative, whether it is real or not. The two key words in this context are "hadith" and "news", the current construction of both of which means reporting. It is necessary to remember that Islamic historiography gradually freed itself from the sensitivities of the hadith scholars and the third century is the beginning of the flowering of Muslim classification.
The tradition of classification, which was popularized as a form of history writing, attracted the attention of Sufists and mystics, and under all religions, a narrative was usually formed in order to describe the early faces of the religion, the way of religion and conduct. Show the elders of the religion and set an example for the religion of Islam. The classification of mystics and mystics can be divided into two groups, collective and private, from the point of view of the degree of inclusion of the people under discussion. Collective tazkira books represent the life of a large number of mystics and mystics, and private tazkira is specifically about a Sufi or mystic. The book Manaqib al-Arifin by Shamsuddin Ahmad Aflaki (died 761 A.H.) is one of the exclusive tazkirehs in the biographies of Baha Wold, Maulana and his companions. The book is in ten chapters.
Aflaki started the book at the request of Molavi's grandson and his successor, Amir Arif in 718 AH and finished it in 754 AH.

2. Methodology
Biographies are written with different mechanisms and mystical notes play a significant role in creating the reality or realities of the life of mystics. Facts are created in tazkirehs and tazkireh reports are a form of mystical narration, the degree of objectivity and reality depends on the vision of the tazkireh writers. In this article, the narrative-discursive validity of the reality created by Molavi in Manaqib al-Arifin Aflaki has been identified and interpreted in a descriptive-analytical way and a narrative-discourse approach in the form of the following two questions: 1) Quantitative implications of validating the reality created by Aflaki Which was about Maulvi? How has the author-narrator represented them? 2) How are the levels of qualitative accreditation to the reality created by Aflaki regarding Molavi and its documentary supports arranged in the text?

3. Results
In this article, the result of narrative narrative-discourse explanation of Aflaki's constructed reality in Manaqib al-Arifin is described and analyzed from two qualitative and quantitative perspectives as follows:
The quantitative view of denotation indicates that the author-narrator tries to present the facts with high causality or majoritarianism by tending to four categories of modality or aspect such as numbers, emphasis, narrative frequency and narrative continuity. to mark vocabulary and narration to attract the audience-listener's opinion and make the reality believable for him. At the lexical level, these modalities sometimes serve to confirm and stabilize the represented reality, sometimes by mentioning precise numbers, sometimes in an approximate form representing the majority, sometimes with maximum emphatic adverbs. In addition to this, at the narrative level, the author relies on the frequency of the narrative and the repetition of the event that happened twice or more, or based on the continuity modality of the narrative, which provides a large space of time and space for the representation of the event and shows the constructed reality in a prominent way.
From a qualitative point of view, the author-narrator on the same level by mentioning the perceptive-sensual tools of the narrator-focalizer such as the sense of sight, hearing and touch which indicates his "now" and "here", shows the distance of the perceiver with the event, and some of It makes the facts tangible and objective. Then, on another level, it documents some other fabricated facts by relying on the sources of turning power into authority or legitimizing supports such as citing the holy system, referring to the Sunnah, rationalization, and splendour. With this description, the author-narrator of Manaqib al-Arifin organizes and stabilizes the validity of his created reality about Maulavi and the life around him from a narrative-discourse point of view - not necessarily moral.

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This study was conducted to examine learners’ attitudes and perceptions toward the efficacy of task repetition: whether or not they appreciated task repetition as an effective classroom strategy for enhancing their oral performance. To this end, a multiple case study approach was adopted in which six intermediate English as a Foreign Language (EFL) learners were investigated over a four-month period in an intact class. Four data collection tools were used: (1) multiple interview sessions, (2) learner diaries, (3) participant observation, and (4) classroom portfolios. In addition, 20 hours of the learners’ audio-recorded task performances across sessions were transcribed and analyzed for signs of improvements in qualities of oral performance. Results indicated that despite the fact that repeating reciprocal narrative tasks led to gains in oral performance, learners viewed task repetition as a futile activity that did not affect their performances over time. The findings are discussed, and implications are provided in the context of education.
 

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• Abstract
  The formation of Khayr al-Nisa’s narrative language is based on a unique feature of Persian language called narrative essence. It creates the logic of events in this linguistic context through its combinational property and combinability as well as the interactions of components. Therefore, based on the aforementioned information and concerning the question of how the language of Khayr al-Nisa is formed regarding its narrative logic, this study seeks not only to realize the interactions of the components forming the narrative language, but also its importance and position in the contemporary literature and culture. In this journey, with respect to the heuristic essence of the story, the components constituting its language have been considered as the theoretical framework and then their mechanism in the formation of narrative language has been studied. This research which is qualitative and is conducted through a descriptive-analytical method addresses the fourfold aspects of combinational property, temporality, locality and character in the story’s language and examines some parts of each. The result suggests that paying attention to the principle of combinability in Persian language and its power to materializing and making the story tangible are the main reasons for the existence of a narrative language in Khayr al-Nisa, which made the narration believable and facilitated the process of logical reasoning. In addition, the realization of the story in this context requires establishing logical relations between successive events through the components of time, place and the character of Khayr al-Nisa in a harmonious and coherent way, which has been done in the story of Khayr al-Nisa with regard to the nature of heuristics and the tradition of Iranian fiction. Besides, the language of the narrative reveals the Iranian culture and shows the written contemporary narrative being rooted in its tradition and therefore causes an intuitive unity among its inhabitants.
  
  Extended Abstract
  Introduction
  Ghasem Hasheminezhad is a well-known writer, critic and translator who has a record of research in mystical texts. Khayr al-Nisa is a long documented mystical story which was published in 1993 for the first time and is rooted in its long-time literary context. The language of narration in Khayr al-Nisa is based on the combinational property of Persian language and the logic of mystical texts in Persian literature which constitute the theoretical framework of this study. Therefore, this research is written based on the question that how the language of Khayr al-Nisa is formed regarding its narrative logic to not only realize the interactions of the components forming the narrative language, but also its importance and position in the contemporary literature and culture.
  Theoretical Framework
  The narrative logic in Khayr al-Nisa is rooted in a unique feature of Persian language called narrative essence. In this context, the components of time, place and character through their harmonic function and based on the history of fiction writing in Iran, create the narrative language through defining a cause and effect relationship. The time of current life and the spoken language of the period are the primary bases of the creation of narrative language. Furthermore, time should be studied chronologically with regard to the rule of presentiment in the tradition of fiction writing in Iran. Moreover, duration and frequency in Genette’s theory about the narrative time are other important components in creating language which are studied in this research by considering the mystical essence of Khayr al-Nisa. In addition to temporality, locality can also disclose the importance of creating situations which can visualize the space of story and make the relation in it more logical and believable. Finally, it is the character of Khayr al-Nisa, which is the basic aspect of forming a narrative language based on the role of famous characters in Persian literature.
   Conclusion
  1. Applying the combinational property and combinability of Persian language in Khayr al-Nisa leads to a believable story which has a heuristic essence because of objectifying and materializing the mystical events through the combinational verbs and words of the spoken language. Therefore this is the basic context which facilitate the interrelations of the components in narrative logic of Khayr al-Nisa.
  2. The component of temporality consistently coordinates with the combinational property in the narrative language. The language reveals a period of time in the past and not only tells the individual story of Khayr al-Nisa as well as the ineffable events in her life that constitutes the basis of the narration, it has also addressed its socio-cultural and historical context. Accordingly, the narration has a kind of certainty for the readers that they can follow the logic of events without hesitation which improves the acceptance of the cause and effect of each event. Furthermore, the order of events based on the principle of presentiment and not creating a sense of ignorance and surprise in the readers in the tradition of fiction writing in Iran, is conducted in such a way that each of them is the effect of the initial event and at the same time has a causal relationship with the other on the basis of an invisible affair. On the other hand, because of heuristic essence of the story, duration and frequency are considered in a way that the mysterious and sacred aspects of the story are not reduced through the expression.
  3. Locality in narration is a part of the logical structure because it objectifies the situations in such a way that can complete the causes and effects. In Khayr al-Nisa, from the beginning, through language embodiment which shows accessibility and entrance, the variety of spaces, the quality of boundaries and openings and the symbolic things, Khayr al-Nisa’s identity and situation are explained. By elucidating more details such as measure of space, materials and the form of plan, Khayr al-Nisa’s financial ability, mood and desires, aesthetic emotion and worldview alongside cultural issues like limits and territories in her dwelling place are shown.
  4. Khayr al-Nisa is not just a character in a plot; rather, she is a real person who is the grandmother of the narrator/writer, well-known, respected and dear in her life. In the first aspect, the narrative language has such an intimate and honest quality that facilitates the making cause-effect relationship of events logical and more believable. In the second aspect, characterizing famous personalities in narration increases validity and acceptance of the story which is a common basis in Persian literature. Therefore, with regard to this component, the character of Khayr al-Nisa is the primary aspect of forming its narrative language.
  5. All the components have harmoniously created a narration with concrete language that represents some aspects of the Iranian’s life and culture during a period of time. Therefore, Khayr al-Nisa has a significant role in contemporary literature as it causes an intuitive unity among Persian speakers.

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Abstract
Nizami's lyrical Manzumeh of Haft Peykar is a very coherent work in which extensive semantic relations and semiotic proportions are quite noticeable. Studying Nizami’s narratives in Haft Peykar led the authors to realize that there is a structural and semantic similarity between the micro-narrative of the King of the Black-clads and the macro-narrative of Bahram Gor in the whole Manzumeh of Haft Peykar. Therefore, in this study, the narrative discourse of these two characters was examined, analyzed and compared. The analysis has showed that both Bahram Gor and the King of the Black-clads were influenced by a grand conceptual metaphor that can be considered as a form of avarice; both characters take great actions in order to achieve their desires. These two actors also experience internal changes in their course of actions to achieve their desires through an unwanted and involuntary process. They do not behave in the same way in exploiting the experience and the guidance they gain along the way, so a different fate befalls them. After ascending to the land of the supreme or the land of the goddess, the King of the Black-clads is condemned to fall due to violating taboos and deviating from the norms, while Bahram Gor, by using the guidelines and gaining awareness, is blessed with a travel to a spiritual journey and ascension to the world of meaning.
Extended Abstract 
Nizami Ganjavi devoted particular attention to the fundamental relation between structure and content which, in addition to increasing the aesthetic aspect, has increased the inductive power of his literary works. Haft Peykar reflects this fundamental order and relation between structure and content more than any other Nizami’s Manzumeh (poems); a poem that contains sub-poems. Each of these poems is a coherent set that is fundamentally related to the other sets and to the entire body of Haft Peykar. In this Manzumeh, all elements of the story, including the colors, the names of the days of the week, the names of mythical people, places and creatures serve to explain Nizami's wise ideas in a systematic structure. The authors of this study discovered a conceptual and meaningful relation between the two characters of Bahram Gor and the King of the Black-clads by examining the linguistic and structural signs of this poem. While the structural relationship of the stories of these two characters is a whole-part; in the first dome, Bahram Gor is the listener of the King of the Black-clads story. Therefore, the authors have conducted this research with the aim of examining the structural and semantic relations between the narrations regarding these two characters. In this study, after presenting the theoretical framework and a summary of the narrative, with a semantic approach, the narrations of Bahram in Haft Peykar and the King of Black-clads are assessed in the first dome and then analyzed and compared with regard to the type of narrative discourse and the changes that have taken place in the characters. The theoretical framework of this research is based on a narrative discourse system. Each narrative discourse system consists of three main elements: “action”, “actor” and “object” and some sub-elements including “actor”, “actionable” and “active”. In this discourse system, before the formation of any action processes, a kind of defect or value crisis is felt and the actor acquiring this value object (a valuable goal that the actor performs his action to maintain or achieve it) begins its active activity. In this way, some issues and people are active helpers of actor, and some obstacles and problems may appear in his way. Eventually, depending on how the actor acts and behaves, this action ends successfully or unsuccessfully, which is called “the result of the action”.
The macro-narrative of Haft Peykar is that Bahram, after his victory over Khaqan (Khan) of Chin (China), remembers the image of the seven princesses he had seen in Khovarnagh, and after proposing them, he brought them to his court and built seven palaces for them. Every day, Bahram becomes the guest of one of the princesses in a dome which is compatible with that day and also in a dress that is the same color as that dome, and hears an instructive story. On Saturday, he hears the story of the Black King from the Lady of India. A king who gets information from the city of Madhushan (a city where all its people are dressed in black) by a traveler and travels to this city to discover the cause of wearing black. In that city, he goes to a garden in the Eden by a butcher's guides. In the Eden Garden, the king enjoys unparalleled pleasures after meeting Torktaz, the supreme lady of that land, and he enjoys every blessing except the possession of Torktaz; but finally, he loses his control and, after thirty days, tries to encroach on her privacy, and consequently is expelled from the Garden of Eden. So he returns to his hometown in regret and in black. After hearing the narrations of the women of other domes, Bahram leaves the seventh dome while he is no longer motivated by material things and worldly affairs and is more in search of spirituality. Therefore, he entrusts the affairs of the country to his children and relatives. One day, while hunting, he enters a cave looking for a zebra and disappears forever. As can be seen, the main characters of both stories start an action to acquire their valuable objects and achieve a result according to the path they choose to reach the object. In fact, the action of the King of Black-clads and the changes he experiences are consistent with Bahram Gor's actions in the macro-narrative of the Haft Peykar poem. Thus, both have great and far-reaching desires, and both are greedy and steadfast in fulfilling their desires; but they take different paths, and in the end, one leads to defeat and the other to victory. These two actors, in addition to their activities to achieve their goals, experience some internal changes through an unwanted process; The King of Black-clads travels from India to China in search of the cause of the stranger's blackness; but he inadvertently embarks on a spiritual journey and ascends to a higher land (the land of Torktaz), where he experiences companionship with the Goddess (Torktaz); but because of the strength of his carnal desires, he loses patience and perseverance, and eventually his taboo-breaking acts causes him to fall and be expelled from the Eden. Achieving self-awareness as well as mourning the descent from the land of the goddess are among the spiritual transformations of the King of Black-clads. Bahram Gor's goal is to build the seven-dome and marry the world's seven top ladies; but women's narratives play an important role in the spiritual transformation of Bahram. In fact, his journeys in the domes are journeys from ignorance to wisdom and consciousness. The temporary residence of Bahram in these domes is a symbol of the temporary residence of man in this world to gain experiences and reach self-awareness. This self-awareness culminates with Bahram's arrival to the cave; because his disappearance in the cave is a sign of his spiritual perfection (annihilation).
The color black in these two narratives is one of the linguistic signs that properly reflects the spiritual and inner changes of the characters. The king's blackness after his descent from the land of Torktaz is a sign of mourning and Bahram's blackness in the same dome is a sign of his ignorance that he gradually becomes aware of the process and finally leaves the last white dome. Black in the back of the narrative scene signifies Bahram's going to the cave, for which various interpretations can be considered; the darkness of the cave can be interpreted as death and annihilation, immortality (like Kay Khosrow and Khezr), being in the first stage of a new journey and being unaware of it or reaching a sublime position. Thus, the micro-narrative of the King of Black-clads and the macro-narrative of Haft Peykar have a similar structure in terms of narrative discourse.

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Abstract
Ever since Brian McHale emphasized the modern epistemological and ontological element in the separation of the modern novel from the postmodern novel, the subject of the dominant element has been considered in most postmodern research. McHale believed that in modern novels the dominant element is epistemological issues. Postmodern novels, on the other hand, pay more attention to ontological issues. Epistemology is a part of philosophical knowledge that has gained special importance during the last three centuries and its subject is the study of the issue of cognition and its characteristics. McHale believed that modern novels address questions in both content and structure that revolve around the issue of cognition. Questions such as how is cognition achieved? Where is the scope of awareness? What is the structure of knowledge? The novel "The Great Magician's Conversation with the Queen of the Colorful Islands" tells the story of a day in the life of a teenager named Rahi who becomes a guest of a family that has lost its child. In this work, the author has made the subject of cognition the subject of narration both in content and structure. The present study has used a descriptive-analytical method to study the dominant epistemological element in this novel. The results show that in this work, Khanian has examined the characteristics, conditions and scope of cognition by using approaches such as the function of linguistic signs in the matter of consciousness, the issue of intentionality and the subject of dynamics in consciousness.
Extended abstract
Problem statement: Bryan McHale believes that in distinguishing modern novels from postmodern novels, we must return to the subject of the "dominant" first raised by Roman Jacobson, who considers epistemology to be the dominant theme of modern novels and the dominant theme of postmodern novels. In this article, an attempt has been made to examine the dominant epistemological issue in the adolescent novel "The Conversation of the Great Witch with the Queen of the Island of Colors" by Jamshid Khanian. Jamshid Khanian is one of the writers of the age group of children and adolescents, who in his works, in addition to using new writing techniques, reflects new concerns and ideas. The current research, in addition to providing a practical model for recognizing the characteristics of the dominant epistemology in literary works, will show some of the semantic capacities of the novel "The Great Wizard's Conversation with the Queen of the Island of Colors". The present article has been done in a descriptive-analytical method
Research findings:
 Jamshid Khanian is one of the writers of the age group of children and adolescents who in the process of creating his fictional works pays attention to both formal and content issues. “The Great Wizard Conversation with the Queen of the Island of Colors” focuses on cognition both in design and content. The epistemological concerns in the text of this novel have a special expression in the form of content issues and the form of narration. Khanian, both in the whole narrative and in the dialogues of the characters, has considered the subject of linguistic signs and its components, namely the signifier and the signified, as well as the quality of the relationship between these two components. In his view, linguistic signs, as the main tool available to human subjects in representing facts, are by no means expressive; But humans have no choice but to use these signs. According to this author, children and adolescents use more initiative in the process of assigning signs, i.e., written and written forms to meanings, i.e. mental forms, and this issue in naming different phenomena, places and emotions by the main character that is, "Rahi" is observed. The book is also devoted to the process of formation of consciousness in the minds of subjects. Taking into account the phenomenological approaches of the famous contemporary philosopher Edmund Husserl, the author has depicted the subject of different effects and multiplicity of phenomena according to the type of attention and also attention of the subjects to these phenomena in the form of story events. In different parts of the story, we see situations in which the hidden attention and intentions of the cognitive actor cause different manifestations of things and phenomena. The issue of constant change in consciousness is another issue in the field of epistemology that has been considered in this story. Apart from the contextual attention to this major approach in the category of cognition, the structure of the narrative in this novel is designed in such a way that the reader's consciousness is constantly subject to change and transformation. This story is narrated in 54 separate sections. The individual parts begin and move forward when Rahi's character enters Ms. Parsa's room, and the couple parts are dedicated to narrating the events from morning to noon on the day of the story. This special type of narration has caused the reader to face topics and conversations in the individual sections that s/he is not aware of, and it is in the process of reading the couple sections that s/he becomes aware of the history of the conversations. This makes the reader's consciousness always change; As in the initial encounter with the conversations between the characters, a mentality is formed in him, which changes as the narrative progresses. This situation leads the reader of the novel to conclude at the end of the reading that believing in certainty in the subject's understanding of the phenomena can have harmful consequences.
Conclusion:
The results show that in this work, Khanian has examined the characteristics, conditions and scope of cognition by using approaches such as the function of linguistic signs in the matter of consciousness, the issue of intentionality and the subject of dynamics in consciousness.

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1. Introduction

2. Review of Literature

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In Jeff VanderMeer’s Annihilation, the way the Anthropocenic set of circumstances is narrated could not be easily explained away through giving precedence to either materialist or structuralist narratologists. In this sense, neither the materiality of the environment nor the arbitrary categories and models of structuralists such as Greimas could determine the ultimate narratological scheme with which one could make sense out of such set of circumstances. Only through modifying the extant narratological categories and models and exposing their arbitrariness via indicating their incapability to contain the formidable materiality of the environment, one could reach a workable semiotic framework for devising a narrative out of the anthropocenic set of circumstances. Reaching this framework would be the present study’s research objective. As its findings, the study recognizes that such a framework would not give the agency of devising narration to either non-human/environmental or human entities in the anthropocene, and at the same time will be the result of the uneasy, yet workable, coupling of these entities. This framework would also acknowledge the uncontainable nature of the environment in the anthropocene, and turn both human and non-human entities into mere actants that have no particular motivation. The study uses the modified narratological models of Algirdas Greimas and Amitav Gosh proposed by critics like Hanes Bergthaller, Marco Caracciolo and Jean Paul Petitimbert to reach this semiotic framework.  

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The purpose of this study was to examine the role of writing self-efficacy and writing strategy in writing performance. To this aim, 110 Participants filled out two questionnaires including writing self-efficacy questionnaire and writing strategy questionnaire and composed an argumentative writing and a narrative writing chosen from TOEFL writing tasks. The data showed no significant relationship between writing self-efficacy and writing strategy use. There was a significant relationship between writing self-efficacy and writing achievement. Furthermore, a negative relationship was found between writing strategy and writing performance. Results of multiple regression showed that writing self-efficacy was the only significant predictor of writing performance. The outcomes of this study can help  teachers to improve their students’ writing. 

1. Introduction
Different factors affect writing in a second/foreign language (L2) such as cognitive, emotional, linguistic, and social factors (Anastasiou & Michail, 2013; Hayes, 2012; Graham & Perin, 2007). Two important factors influencing writing performance are self-efficacy and writing strategies (Ghoorchaei & Khosravi, 2019Pajares, 2003; Schunk & Pajares, 2010). Although writing strategies and writing self-efficacy are important factors influencing writing performance, there has not been sufficient research on these two variables in the context of teaching English as a foreign language, especially in the academic context of Iran, where learners' writings are traditionally evaluated based on grammatical rules and without considering their beliefs about writing and language strategies (Amiri & Saeedi, 2017; Birjandi & Malmir, 2007). Additionally, only a few previous studies in the context of teaching English as a foreign language have examined how the interaction between writing self-efficacy and writing strategies contributes to writing performance, and it is unclear which of these two factors has a greater impact on writing performance. The aim of this study is to explore the relationship between writing self-efficacy, writing strategies, and writing performance among Iranian English language students. It is worth noting that previous studies have not compared the impact of writing strategies and writing self-efficacy across different writing genres. To this end, this study compares the role of writing strategies and writing self-efficacy in argumentative and narrative writing exercises.
Research Question(s)
The following research questions were formulated:
1.    Is there a significant relationship between writing self-efficacy and writing strategies among English language learners
2.    Is there a significant relationship between English language learners' writing self-efficacy and their writing performance in narrative and argumentative genres?
3.    Is there a significant relationship between English language learners' writing strategies and their writing performance in narrative and argumentative genres?
4.    Can writing self-efficacy and writing strategies significantly predict English language learners' writing performance in narrative and argumentative genres?

2. Literature Review
Writing self-efficacy refers to students' beliefs in their abilities to successfully complet writing tasks (Pajares & Valiante, 1997). Previous research has indicated that language learners with higher levels of writing self-efficacy produce better writing (Pajares, 2003; Schunk & Pajares, 2010). In addition, Writing strategies are defined as techniques that L2 learners use to complete a eriting task more efficiently (Collins, 1998). Resrach has indicated that more succesful L2 writers use more effective writing strategies during their writing (Ghoorchaei & Khosravi, 2019). This implies that these two factors are important for L2 writing.  

3. Methodology
In this study, 110 participants were selected through convenience sampling, including 61 undergraduate students and 49 graduate students majoring in English Language Teaching at a public university in Iran. The age range of the participants was from 19 to 35 years (M = 27.86, SD = 7.49), and the sample consisted of 30 men and 80 women. To measure writing self-efficacy, we used Teng et al.’s (2017) questionnaire on a 7 point Likert-type scale and to measure writing strategies, we used Hwang et al.’s (2017) scale on a 5 point Likert-type scale. In addition, to assess participants’ writing performance we asked them to write one narrative writing task and one argumentative writing task, both should include between 200 to 300 words. To achieve inter-rater reliability, two different raters separately assessed all the writings and assigned a score between 0 and 6 for each of the two pieces of writing.

4. Results
With regard to the first research question, our findings did not show any significant relationship between writing self-efficacy and writing staregy use (r = -.072). Then, we examined the relations between self-efficacy and writing performance. Results indicated a positive correlation between self-efficacy and narrative writing performance (r = .282) as well as between self-efficacy and argumentative writing performance (r = .223). Interestingly, with regard to the third research question, we found negative correlations between writing strategies and both narrative writing (r = -.311) and argumentative writing (r = -.273) tasks. Finally, we found that while self-efficacy was a positive predictor of narrative and argumentative tasks, writing strategy use was a negative predictor of narrative and argumentative tasks
 

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The novel has been considered by various researchers as a social work (influenced by and affecting the community). Based on this preliminary assumption, this study engages in a case study of four war novels in order to show the difference between formal narrative of war in different media, including literature, and what is narrated in these works. The research method is based on a combination of theoretical foundations existing in sociology criticism, specifically the Lukach-Goldman model, Leventhal social criticism, and Pierre Bourdieu's viewpoint on institutions of power. The four selected novels include The Scorched Earth, Pilgrimage Customs, Winter 62, and Crystal Garden. These works were all written during the wartime period and are all considered outstanding and popular works. To achieve the research purpose, each novel was interpreted based on the sociological criticism model, and attempting to avoid any bias. The characteristics of each of the four novels were then highlighted in contrast to the formal war narrative, and how features such as personality, narrative style, tone, point of view, and even the content of the work served to reflect the minority discourse. Minority discourse is a multiplied voice that is completely distinct from the formal war narrative, and its manifestation is evident in the war novel as opposed to poetry and other literary forms related to war literature (such as memoir writing and oral narratives).
Extended Abstract
1- Introduction
The eight-year Iran-Iraq war is undoubtedly one of the salient events in Iran's contemporary history. Even though more than three decades have passed since this event, society is still plagued by the social, political and even economic consequences of the war. Just as this event is important in its own right, so are its "narratives. For a variety of reasons, research on Iran-Iraq War and its surrounding narratives from the perspective of sociology and literature has received little attention (especially not in an unbiased manner without any interpretation and assumptions of the dominant discourse). Thus, the "dominant discourse" with its cultural and propaganda apparatus has exercised a kind of discursive control (under various propagandistic, media, literary, psychological and sociological aspects) over the war in the last three decades, convincing people that the truth of the war is the one proclaimed in this official narrative.
2. Theoretical Framework (social criticism as a method)
In general, it should be noted that until the 20th century, critics mainly focused on the content of works rather than their form in the sociological analysis of literature. In other words, their main interest was how social and cultural issues were reflected in literary works and to what extent literary works addressed these issues. This is also the main concern of the critics themselves in the works of the early Marxists. It was not until the 20th century and the publication of the seminal works of critics such as Lukács, Goldman, Bakhtin, Lewenthal, Escarpit, and others that the connection of form, literary type, and esthetic considerations with social structures received special attention. To indicate the views of influential researchers and scholars specializing in the sociological criticism of the novel, we must begin with the Marxists and move on to Lucien Goldman as one of the most notable figures:
Lucien Goldman: Developmental Approach in Sociology of Literature
The main contribution of Lucien Goldman (1917-1970) to the field of sociology of literature is the introduction of dialectical materialism, that is, a complex method linking art and society to this field. Goldman's innovative technique for exploring literary works is called developmental structuralism. According to this method, a literary work is one of the fundamental elements of social consciousness and does not depend on the consciousness of an individual, but is formed on the levels of supra-individual consciousness (Goldman, 1978: 493-495).
3. Research Background
Persian research in this field includes Sociology of Literature (Salim, 1998), Sociology in Persian Literature (Sotoudeh, 1999), Sociology of Persian Literature from the Beginnings to 1978 (Parsansab, 2008); Social Criticism of Persian Novels focusing on 10 selected novels (Asgari, 2008) and Sociology in Persian Literature (Vahida, 2009). These studies chiefly seek to reflect "social issues" in Persian literature, both classical and contemporary. For this reason, they first examine the content of literary works before exploring the association between form, genre, and social relations, they delve into the"content" of literary works. For this reason, the work of Mesbahipour still enjoys an exceptional and distinctive status some four decades later.
4. Research Method
To analyze the novels from a sociological criticism approach, this paper adopts a combination of different perspectives presented in the theoretical foundations. The steps taken to obtain a sociological reading of each novel are as follows: First, an interpretive reading is presented that is unaffected by the presuppositions and dominant discourse structures. Next, the relationship between the elements of each story and the dominant discourse (official narrative) and the unofficial narrative is exhibited.
5. Analysis of the plot and interpretive reading of four novels based on social criticism
Scorched Land (Mahmoud, 1982). This work is classified under the subgenre of historical novels and depicts events in Ahvaz in the fall of 1980.
Winter 1983 (Fasih, 1983). This novel, narrated in the context of romantic events, is an attempt to showcase the realities of Khuzestan and Ahvaz in particular in the midst of the eight-year war.
Crystal Garden (Makhmelbaf, 1986). Layah, Mansour's wife, who was martyred during the war, finally gives birth to her third child with the help of neighbors, in the absence of a father to look after her children. The husband of Suri, Layah's neighbor, has also been killed in War. Suri talks about the days of the Islamic Revolution with Layah and how she used to chant slogans and carry the bodies of the martyrs.
Rituals of Pilgrimage deals more explicitly than the other three novels with social criticism of the war. Both the course of events and the illustration of the characters reflect the confusion and atonement that different character of the story is dealing with in the wake of the War. In this work, Iraq rather than an invading and hostile country, is depicted as an ancient land where the only combatant in the story (Mehrdad) voluntarily travels as a soldier to discover its ancient secrets.
6. Summary and Conclusion
After the 1978 revolution, the new dominant discourse went to great lengths to present a reading of the War bereft of its ugliness (due to censorship) and adverse consequences. A discourse that portrays the death of young people as ideal martyrdom and proclaims that the path to heaven is the main and inevitable path for people from all walks of life. At least four novels were written under such an atmosphere and discourse during the War, which offers a distinct reading and picture of the war while seeking to reflect the voice of others against the propaganda of the dominant discourse, which we have called the minority discourse.
The Scorched Land is a narrative of the lost middle class, Winter 1983 is a narrative of the secular but patriotic educated class from the war, Crystal Garden is a female narrative of the underprivileged class that is more or less in tune with the dominant discourse, and Pilgrimage Rituals is the narrative of the archaistic intellectual class from the war, all of which constitute a puzzle that makes up the minority discourse of the war. This is a discourse that survives and thrives against hundreds and thousands of hours of movies and documentaries on the war fronts, and dozens of other novels, short stories, and poetry collections which engages the audience and propagate its voice and perspective.
The minority discourse takes a painful glance at the Iranian society during and after the War and seeks to offer a balm to the wounds of this society; a balm that may be attained by sacrifice or calls for a miracle, but is nevertheless absent in the slogans of the official war discourse. The discourse of the minority is the story of the war in the past and in the present, the consequences of its social damage are still evident in the decisions and cultural and social events of Iran.
 

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Silence is a topic that has been widely investigated in recent decades, and researchers such as Jaworski (1997), Kurzon (1997) and Huckin (2002) have published studies on this topic. Silence is usually considered as complementary to speech, but scrutinizing its nature reveals two points: first, silence is not specific to language, it exists in other semiotic resources as well; second, the non-use of speech does not always mean silence. Sometimes information is communicated not through words, but with the help of other types of signs. Therefore, analysis of just language is not enough to study silence; it is necessary to employ a multimodal approach that takes into account all the modes involved in communication. The purpose of this study is to investigate silence with respect to the various modes involved in novel as a communicative act. The question this research aims to answer is how silence is manifested in different modes that form a novel, how it is involved in creating meaning and how it makes a difference to the elements of novel. For that purpose, silence has been examined in three modes, conversation (representation of speech), text (writing), and narrative in the novel "Suvashun" by Simin Daneshvar. It is worth mentioning that due to the lack of an articulate single theoretical framework, a mixed approach has been adopted. Results show that different modes create different types of silence with different functions, and these types, besides communicating meaning, affect novel elements by developing unintrusive limited omniscient narrator, theme, characterization, etc.

1. Introduction
In recent decades, the discourse and communicative functions fulfilled by silence have been emphasized in various fields such as linguistics, semiotics, psychology, etc. Silence has been traditionally considered as complementary to speech; however, scrutinizing its nature reveals two important points: first, silence is not specific to language; it exists in other semiotic modes as well; second, the non-use of speech does not always mean silence. Therefore, to study the function of silence in any kind of text, including novel, relying solely on linguistic data is not sufficient, and other semiotic modes must be taken into account as well. The present study aims to investigate silence with respect to the various modes involved in the Persian novel “Suvashun” as a communicative act. These modes include speech (conversation), writing (author's text) and narrative. 
The questions this research aims to answer are threefold: first, how silence is manifested in different modes that form a novel; second, how it affects the different elements of the novel; and lastly, how it participates in creating meaning.

2. Literature Review
There is a considerable amount of research on silence, addressing its meaning, pragmatics, typology, semiotic function, social and political functions and of course, its relationship to speech. In this regard, the works of Jaworski (1992, 1993, 1998, 2006), Kurzon (1997, 2007), Huckin (2002), Nakane (2007), and Dinkler (2013) are noteworthy. Also, relevant to this research are previous works on multimodality and multimodal semiotics. Multimodality (which means the existence of more than one semiotic mode in a given context) has its roots in Halliday's Systemic Functional Linguistics, social semiotics, and conversation analysis (Jewitt et al., 2016). Kress and van Leeuwen (2001) and Kress (2010) are the works addressing multimodality and whose theoretical principles have been employed here.
It should be noted that due to lack of a proper unified approach enabling the study of silence from different angles and in different modes, we have developed and utilized a mixed analytic framework based on the aforementioned resources.

3. Methodology and Analytic Framework
Using the mixed approach mentioned above, identifiable instances of silence in the novel "Suvashun" were examined in three modes: speech (conversation), writing (author’s text) and narrative. In the mode of speech, the participants in the communication are the characters of the story, and silence is explored in terms of how it can occur in the conversations of the characters. In the text, the participants in the communication are the author and the reader, and silence that is examined is usually the author's silence. In narrative, the participants in the communication are the narrator and the narratee, and the silence of the narrator is investigated. 
To determine the types of silence that can occur in conversations, we have adopted concepts discussed in Nakane (2007), who proposes four types of conversational silence, including pauses during turn-taking, non-participation in conversations, lack of speech on various topics, and lack of speech specific to interactive situations. Additionally, we have utilized concepts from Kurzon (2007), who identifies four types of conversational silence: pauses, silent answers to questions, silence by some participants in conversations involving three or more people, and silence during interrogations (usually by law enforcement officers, intelligence agencies, etc.).
To explore the types of silence that can occur in the mode of writing or text, we have adopted the concepts outlined in Huckin (2002). These types of textual silence include speech-act silence, presuppositional silence, discreet silence, genre-based silence, and manipulative silence. Finally, to identify the types of silence in narrative, we have referred to the classifications provided by Dinkler (2013), who discusses two types of silence: narrator’s silences and those related to point of view.

4. Results
The results obtained from the novel show that the silences in the mode of speech or conversations are not limited to those mentioned in literature. We should also consider instances of irrelevant answers to questions, and discreet silence in conversations. Therefore, the identified types of silence were pauses, silent answers to questions, non-proportion in conversations, irrelevant answers to questions, and discreet silence in speech. Excluding pauses as they lack communicative value, the other types of silence were examined and analyzed. These silences often belonging to Zari (the main character), play an important role in plot progression and characterization.
In the mode of text, instances of discreet silence and genre-based silence were examined. In the novel “Suvashun”, the whole story can be considered as a type of discreet silence, as the author, out of caution, uses myths and historical events to indirectly criticize the country's state of affairs at the time of writing the novel. Also, bearing in mind that genre-based silence is unmarked and only its violations can be determined, it should be noted that in this novel no instance of its violation was found.
In the mode of narrative, instances of narrator silence and the types of silence related to the point of view were examined. The narrator’s silences mainly involve providing insufficient information and silencing some characters by summarizing their conversations. The types of silence related to point of view also include cases of ideological silence, as well as silence related to phraseology and psychology of the characters. By providing insufficient information, the narrator adopts a limited omniscient point of view. Additionally, silence at the ideological level of point of view help to form the theme of the novel, and silence at the phraseological level of the point of view aims to avoid the challenges of representing a specific dialect in Persian abjad writing system (Shirazi dialect in this case). In addition, silence at the psychological level of the point of view has helped to create an unintrusive narrator.
The findings of the present research show that investigating silence as an active and impactful element in discourse cannot be limited to linguistic data; and it is necessary to examine all modes involved in the novel as a communicative act. Silence can be manifested in different modes and in each mode, it has its own functions and meanings. It is the concurrent function of these silences across different modes that, along with the function of other elements, form the overall meaning and the reader's experience of the literary work.
 

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Knowledge of literary genres is one of the oldest and most influential intertextual approaches that has been used to classify texts since the past and has been subject to change. But the background of the theory of genres in Iran is less than a century, and its justified application in a comprehensive way in many fields and literary trends is still facing ambiguities and challenges. For example, in classifying ancient narratives, the question arises: on what basis and with what considerations can the dominant literary genres in these texts be proved? The lack of serious research and criticism in response to this question has led researchers over the decades to classify ancient Persian stories by resorting to self-invented, unscientific literary terms without methodological explanation, while the common terms not only fail to give a comprehensive indication of the content and linguistic characteristics of such narratives, but even keep them in a genre indecision or lead them to several similar genres. Since one of the functions of motif study is to determine the literary genre of the texts, the present study has attempted to draw on the Aristotelian theory of genres to utilize this potential talent and prove for the first time through the method of inductive reasoning and relying on the statistical community based on the study various motifs of three stories of Abu Tahir Tarsusi that their literary genres belong to the epic.
Extended Abstract
1. Introduction
Prose stories, as one of the oldest currents of Persian literature, are voluminous and generally sequential texts (with supplementary appendices) and report on the actions of kings, generals, and warriors who are often in the shadow of history or in a few cases are basically imaginary and are considered to be created by the minds of storytellers.
1-1. Significance of the Study
Despite their ancient background, the Persian prose epics have not yet found a certain place in the history of Persian literature from the point of view of literary genres, and in research they are generally presented under vague terms such as story, legend, romance, folktale, fantasy, or romance. The above terms, in the absence of comprehensive information on the content and linguistic characteristics, are unable to determine the parent literary genre or subgenre for the above narratives, and often focus unilaterally on the type of narrative or some elements of the story, and sometimes overlap with other non-homogeneous texts. And they leave the literary genre of the text in limbo. Most importantly, researchers have not yet found a methodological and theoretical approach or a logical explanation to justify the use of these terms for the texts in question.
1-2. Problem
The main problem is how to get beyond the stage of asserting the genre and unrelated literary terms and reach the stage of hypothesizing the definition of literary genre and proving it through in-text investigations. So far, the researchers who have written in the field of criticism of fictional narratives have referred to the literary genre of fictional narratives only with short phrases and self-made titles, but the present research attempts to rely on the frequency of the statistical approach and the representation of the statistical community, the hypothesis of a coherent flow of narratives. Prove a story in the literary genre of the epic.
1-3. The Purpose and Method
The main purpose of the study is on the function of the thematic approach in determining the literary genre of the narrative, using a statistical method. Therefore, based on the theory of Aristotelian genres and using the thematic approach, the themes mentioned in the three narratives of Dārāb-Nāmeh, Qirān Habaši, Musayyab-Nāmeh were first analyzed in an inductive manner and divided into four sections: Epic and Ayyāri, Lyrical, Amazing and Dignity. Based on the obtained frequency results, the premise of determining their literary type is then proved.
1-4. Literature Review
Although studies have been done in the last decade on the subject of literary genre in the form of authorship and translation, the field of research focusing on Persian literature has been completely neglected due to the importance of motif in determining the literary genre of the text, and there is no research to support this.
1-5. Theoretical Basis
1-5-1. Motif
Motif is one of the terms defined by Russian formalists to understand the cause-effect relationships of the components of a narrative. "Motif" refers to structural and semantic elements such as actions, events, concepts, and objects that have become exemplary elements through repetition. Although it is not considered a fixed part of the narrative, it is a temporary feature that gains importance in a particular narrative situation and usually due to its repetition. Besides the central role of subtexts in knowing the cause-effect relationships of the components of the narrative, the most important function of subtexts is to help in the classification and typology of narratives, which has not received much attention so far.
1-5-2. Literary Genres
If we are to have a scientific view of literature, we should be able to classify literary works as far as possible, and to place similar kinds of literary works in special classes relatively rather than absolutely. After all, the most important characteristic of science is that it can classify; this task is accomplished in literary studies by the approach of "literary genres." Motif is considered one of the main characteristics of literary genres, and its role in this field has not received much attention so far. A literary genre is characterized by a set of features and formal structures that occur in an orderly, cohesive, and simultaneous manner, and motif is one of the most important features mentioned.

1-6. The Case
Since Abu Taher Tarsusi is considered the most prominent narrator in the field of ancient Persian prose narratives and a considerable number of authentic fictional texts are also attributed to him, motif analysis was given preference in determining the literary text type on the basis of the three selected narratives by Tarsusi, which are briefly presented below.
1-6-1. Abu Taher Tarsusi
Abu Taher Tarsusi was born at the beginning of the second half of the fifth century of the Hijri (450 AH) and the last period of his life coincided with the end of the first decade of the second half of the sixth century of the Hijri (560 AH). His works include Dārāb-Nāmeh, Qirān Habaši, Musayyab-Nāmeh, Abu Muslim-Nāmeh, Qahramān-Nāmeh, Farāmarz-Nāmeh, Houšang-Nāmeh, Ayyār-Nāmeh, Tavārikh-Nāmeh.
2. Discussion
2-1. Epic and Ayyāri Motifs
According to the results, 1534 instances of common epic and Ayyāri motifs were observed in all three narratives, and among them, Abu Taher Tarsusi provided the highest number of epic and Ayyāri motifs in Qirān Habaši with 549 instances. This is followed by Musayyab-Nāmeh with 538 cases and Dārāb-Nāmeh with 447 cases in second and third place.
2-2. Lyrical motifs
Based on the results, 270 instances of common lyrical motifs were observed in all three narratives, of which Abu Taher Tarsusi in Qirān Habaši provided the most space for lyrical motifs in Qirān Habaši with 125 instances. This is followed by Dārāb-Nāmeh with 117 instances and Musayyab-Nāmeh with 28 instances in second and third place.
2-3. Amazing motifs
Based on the results, 433 instances of surprising common motifs were observed in the three narratives, of which Abu Taher Tarsusi provided the most space for the occurrence of surprising motifs in Dārāb-Nāmeh with 303 instances. This is followed by Qirān Habaši with 77 cases and the Musayyab-Nāmeh with 53 cases in second and third place.
2-4. Dignity motifs
Based on the results, 275 common motifs of dignity were observed in the three narratives, of which Abu Taher Tarsusi in Dārāb-Nāmeh provided the most space for the expression of dignity motifs with 190 instances. This is followed by Qirān Habaši with 63 instances and Musayyab-Nāmeh with 22 instances in second and third place, respectively.
3. Conclusion
After examining the three narratives of Dārāb-Nāmeh, Qirān Habaši and Musayyab-Nāmeh using the motif analysis approach and evaluating the set of their motifs in four parts, according to the report, a total of 2512 common motifs have been identified from these narratives. With 1534 cases, amazing motifs with 433 cases, dignity motifs with 275 cases, and lyrical motifs with 270 cases have the highest frequency in the narratives. Based on this content approach, the three mentioned narratives show their obvious belonging to the epic genre among the long traditional narratives of Iran due to the predominance of epic motifs in them.
 

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"Fairy tales" are considered one of the popular narrative and literary genres in the world. The global spread of these stories is such that reaching a convinced and comprehensive theory about the origin of fairy tales has been associated with many challenges and difficulties, as well as the views expressed in this field also face many challenges and problems. The widespread popularity of these stories in Indo-European cultures, and the existence of similar narrative patterns, elements and functions in these stories are other issues that show the necessity of research to explain the narrative and historical origins of fairy tales. In this article, in order to analyze the narrative and historical origins of the formation of fairy tales; the problem of the ancient spread and dissemination of these stories in Indo-European cultures; ritual and epistemic functions of these stories in these cultures and its connection with the cultural and ritual foundations of the Indo-European peoples, relying on the narrative, ritual and mythological evidence, we investigate and analyze the origins of the formation of fairy tales. The results of the research show that the primary origin of the formation of fairy tales goes to "the second millennium BC"; That is, it goes back to the period of confrontation between the Indo-European peoples in Iran, Asia Minor and Europe with the native cultures and rituals of the lands they migrated to, as a common narrative and epistemological system can be seen in these stories, which had an educational function with a political-ideological approach for their audience and in connection with the young or adult audience, they have had their own special narrative and cultural form and function. Also, the long-term and ancient continuation of these stories has been the source of the formation of some narratives such as exogamy.
Extended Abstract
Fairy tales are among the important literary genres in Indo-European cultures. Similar meanings and derivations of the concept 'fairy' in Indo-European languages, as well as the presence of relatively common narrative elements, motifs, functions, and narrative structures in these tales, indicate a common narrative and epistemological system in these stories. Given the global spread of these tales in Indo-European cultures, this indicates the very old age of this narrative and epistemological system in these stories. One of the significant challenges in the field of fairy tale studies is understanding the narrative and historical origins of these stories. In this article, relying on various narrative, historical and mythological evidences, the narrative and historical origins of the formation of fairy tales are investigated and analyzed. In this study, we try to find out the reason for the ancient spread of fairy tales in Indo-European cultures; the relation between the intellectual and epistemological system of these stories with the cultural and ritual foundations of Indo-European peoples; and the ritual and epistemological functions of these narratives in these cultures, so that finally a historical and narrative origin can be considered as the origin of the formation of fairy tales.
Before the dominance of Indo-European immigrant tribes in the regions of Greece, Asia Minor and Iran, the Mesopotamia civilization with a history of five thousand years BC, as one of the oldest origins of human civilization and one of the most important origins of the systematic rituals of goddesses in the ancient world, had significant effects on religious systems in Iran, Asia Minor, Syria, Egypt and even Central Asia and parts of Europe. Archaeological evidence shows that in Iranian societies before the Aryans (under the influence of Mesopotamian rituals) there have been rituals of worshiping female gods. The dominance of Indo-European peoples over Greece and Asia Minor in the second millennium BC and later Iran in the first millennium BC played an important role in the evolutions of the ancient world, especially in Iran and its surrounding lands. The belief of the Indo-European peoples in gods with the characteristics of order, treaty and militarism with male characteristics; their tendency towards social centralism and descentism based on their own cultural-ideological characteristics, gave them different cultural and ritual characteristics, which was in conflict with the cultural and ritual foundations of the natives of their migration destination. On the other hand, close to the age of arrival of the first branches of the Aryan peoples in the Asia Minor, significant political and ideological developments had also begun in the Mesopotamia, as parallel to the concentration and consolidation of powers in the Mesopotamian states, and the transformation of city-states into larger states and the rise of the powerful states of Assyria and Babylon, a gradual transformation from subjectivity to objectivity and centralism occurred in ancient discourses and ideologies, which altogether, it was accompanied by the increasing decline of matrilineal rituals and cultures related to goddesses and the predominance of rituals and cultures related to male gods. One of the oldest forms of these cultural developments can be seen in the Sumerian narrative "The Tale of Gilgamesh" (which is the oldest surviving written epic from about 4175 years ago). This story is one of the primary forms of cultural transformation of an ancient goddess (i.e. Ishtar: the powerful goddess of Mesopotamia and Syria).
The continuation of these developments has played an important role in the political (and later cultural) domination of Indo-European peoples in the lands of their immigration destination. In fact, the secret of the gradual dominance of the less advanced Indo-Europeans over the advanced and long-lasting civilizations of the lands of their migration destination lies in the deep political-social-cultural changes in the ancient world and the increasing decline of the cultural and civilizational energy of the cultures related to the goddesses and the alignment of these changes with the cultural-ideological foundations of the Aryans. In total, factors such as: the ritual and cultural confrontations of the Indo-European peoples with the native rituals around the goddesses in the local communities of their migration destination; Trying to overcome the native communities (especially considering the specific descentism and authoritarianism that was hidden in the culture and ideology of the Aryans) and also the effort to preserve own ritual and cultural foundations in the face of the ancient and influential rituals of goddesses, provided the ground for ritual and ideological confrontations with the cultures and rituals of the natives in the Indo-European narratives. In these narratives, the nature of goddesses (through conceptual and ideological transformation) was transformed into a demonic and harmful nature (in the form of the concept of "fairy"). Among these, Zoroastrian texts have a special place. Iran's proximity to Mesopotamia caused that religion and culture of the Aryan immigrants in Iran to be directly confronted with the influential Mesopotamian rituals. In Zoroastrian texts (such as Yashthā, Vandidād, Bondahesh, and Dinkard) in many cases the name of fairy appears in the ranks of demonic creatures and enemies of Minavī creations. According to their ideological basis, these religious and ritual narratives have played a very important role in the formation of the narrative and epistemological system of fairy tales, such as the origin of the functions, main elements and identity components (such as: the demonic nature of the fairy) in fairy tales (and their changed forms in epic narratives and romances) can be found in these religious and ritual narratives.
Based on this, the historical origin of the narrating fairy tales' date backs to the "Second Millennium BC"; which means to the period of the beginning of the encounter between the Indo-European peoples in Iran, Asia Minor and Europe with the native cultures and customs of their destination lands of migration. In fact, the secret of the common structures and motifs of fairy tales in Indo-European cultures, on the one hand, goes back to the cultural and ritual foundations of the Indo-European peoples and on the other hand, to the confrontation of these peoples with the cultures and rituals of the natives of the lands they migrated to, which have been in opposition to the religion and culture of the Indo-European peoples, especially in the regions of Iran, Asia Minor and Europe, which faced the influence of Mesopotamian religions from far or near. Therefore, the Indo-European branches that immigrated to Iran (which were adjacent to the Mesopotamia) played an important role in the creation and expansion of these stories, as well as among the ritual narratives of the Indo-European cultures, the highest frequency of confrontation and enmity with fairies is seen in Zoroastrian texts.
The narrative pattern of fairy tales is based on a "fundamental educational doctrine". It has been an organized and widespread effort in Indo-European cultures based on their political-ideological tendencies and interests in dealing with indigenous peoples. The ideological basis of all these narratives is the "alienization" of fairies (=Goddesses) and then describing and defining them as alien and demonic beings that distance the hero from the traditions and religious and moral teachings of his society and culture, and one should stay away from them, as the Avestan word "Pairïkä", which Bartholomew considered to be the main root of the concept of "Fairy" in Indo-European languages, in addition to meaning "female procreative and fertile", also means "alien and foreigner". These narratives functioned as an effective educational media in the ancient world and were a way to moral and ritual education to children, teenagers and young audiences. The popularity and wide spread of these stories and their various appearances in religious and literary narratives shows the wide-ranging effort of the ancient narrators to confrontation the very old and influential rituals of the goddesses.
In transformed narratives of fairies such as the stories of Zāl & Rudābeh, Rostam & Tahmineh, and Kaikāvus & Sudābeh the role of fairy as a "woman from a foreign land" (and in a more completely transformed form: from a society or a class opposite to the society or class of the hero, even with an ideology opposite to the hero's ideology) is another form of the fairy's belonging to the "other" and rejected world, which is strange to the self-conscious "I" of the hero. This category is one of the old patterns in the narrative structure of stories based on exogamy in literary works.
 

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Allusion is one of the oldest and most used rhetorical figures that enriches the semantic and linguistic beauty of poetry. However, in contemporary literature and poetry, the growth of literary knowledge and the development of literary criticism studies has led to variety and complexity of the use of this literary figure in poetry whose examination and analysis of structural delicacies and their mechanisms require more accurate studies with new approaches. Therefore, the present study seeks to investigate structure of Qur’anic-narrative allusions in poems collection of Shafiee Kadkani in a new approach through descriptive-analytical methods in order to find out based on which form techniques, Shafiee Kadkani has used Qur’an narrations in his poetic allusions and therefore, what types of allusion can be seen in his poems?
According to the results, Shafiee Kadkani is a poet who in his narrative- Qur’nic allusions has used different parts of famous and well-known Qur'anic stories innovatively with varied and complicated structural and artistic transgressions which has created different kinds of simile, structural, ironic, multi aspects, combinational, echoic, and Proper naming allusion in his poems

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The main question of this article is accurate definition of Hekayat, based on the specific function of the elements as dominant. Because how to use story elements, result in different story genres. specific function of the story elements, being didactical and coherente. distinguishes Hekayat genre from the other story genres. This article redefinition of Hekayat by using a comparative analysis method and examining the differences between these two literary genre. According to the reviews of this article Hekayat genre distinguishes from the other story genres by this elementes: Specific function of the story elements, Special features of the truthtfulness, being didactical and less coherente. Finally, thess discussions, are an introduction to discussions as contexts of the  appearance of traditional story genres in Iranian culture. More over can explain reasons for decline in contemporary era.