---

Drawing on modernist techniques, the play Az poshte shisheha by Akbar Radi expresses an unrelenting challenge of the intellectual with the new-fangled, vulgar modern trends. In order to express his view, Radiemploys doubles in his characterization. He creates two female characters that stand in opposition to each other; one represents modernity without originality while the other is an ordinary woman with the same intellectual and psychological concerns. In a way, almost all characters of this play, especially the women, symbolically represent different social strata and ideologies. Considering the central role of women in this play, theanalysis of their characterscan reveal the author’s outlook towards the major conflict of the play.

---

Politeness phenomenon is one of the subjects which have been observed by researchers of different domains , e.g. psychology, sociology and anthropology. Politeness has also been investigated in the area of pragmatics. One of the concepts following politeness is linguistic impoliteness. Different people such as Goffman (1967), Brown and Levinson (1987), Bousfield (2008), Culpeper (1996;2003;2011) and  Rudanko (1996) have worked on (im)politeness phenomenon. . In spite of the large amount of investigation on western culture, less research has been worked out on this notion in Persian. So, the aim of this study is investigating the function of this notion through describing it in  Sayyadan drama of  Ruye Sahneye Abi series written by Akbar Radi. The data was investigated through the five strategies proposed  by Jonathan Culpeper (1996; 2003) on linguistic impoliteness and the notions, e.g context, social norms and emotions, he added later in 2011. The most frequently  used strategy was positive impoliteness and the least used one was mock impoliteness. The synthetic ones were at the second level and negative impoliteness was at the fourth level. There was no withhold politeness among the‌ data. Finally, new cases were introduced.                                                                                                                     

---

Discourse space is a key element in conveying concepts in a play text. This article will look forward to answer this question how metaphors could be used in discourse about social and historical problems and their usage in play texts as a linguistic form. Hence we will use George Lakoff and Zoltan Kovecses views and then we will show how metaphors which are the building blocks of Language and Culture,  are used to help form the discourse space. Lakoff and Kovecses look to discourse space, as a result of interaction between mind, body and type of the culture that interactors live within. Hence in a play text, we will face a complex interaction between writer’s / audience mind in one hand, and experience and physical and mental abstraction on the other hand. Also the context where the play text is formed in, and the context where it is comprehend, are the key elements. This article will show how by using metaphors and cultural and historical contexts, Akbar Radi has managed to create a complex and deductive discourse space in Ofool text. So at first, we are facing linguistic metaphors which act in text structures (dialogues, atmospheres and characterizations), and in higher level, we are facing conceptual metaphors which act by making connection between play text origination and audience experiences that merge contextual discourse space into audience mind space which will result in a new discourse space.

Discourse space is one of the key elements in conveying concepts in any dramatic text. This article seeks to answer the question of how metaphors can be the subject of discourse on social and historical issues and what function they play in the play as a linguistic form.
Based on this statement, we have used the ideas of George Lakoff (1941) and Zoltan Kovecses (1946) and shown how metaphors, which are rooted in language and culture, help to shape the space of discourse. Lakoff and Kovecses see the space of discourse as the result of an interaction between the mind, body, and cultural context in which actors are present.
Thus, in a Dramatic text, we are faced a combination of the interaction between the writer's mind and the audience, as well as both physical and mental experiences and abstractions. Also, the context in which the play is formed and the context in which the play is understood are an essential element.
The results obtained in this article show that Akbar Raadi, using metaphors and cultural and historical contexts of the text, has created a multi-discourse and inferential atmosphere in the Ofool Play.
In this way, on one level we are confronted with linguistic metaphors that operate in the structure of the text (dialogues, atmosphere and characterization), and on a higher level we are dealing with conceptual metaphors that operate through the relationship between the objectivity of the play and the audience's experiences. It integrates the text into the audience's mind and creates a new discourse.
One of the contexts of discourse is culture. Culture is a set of our shared understanding of the world, and frameworks form a major part of that understanding.
Based on the results obtained in this study, frameworks have emerged from the interaction of metaphors and structure our perception of events. Metaphor in meta-historiography is not an array or literary industry, but a linguistic and discourse capacity.
In this respect, we are faced two spectrums of metaphor that represent one category of non-linguistic concepts (related to context and culture) and the other category of linguistic concepts (discourse space).
In the play entitled “ofool” by Akbar Radi , the native context and culture of Narestan are considered, by default. On the other hand, the discourse space in the play is the result of time, mental spaces, parts of culture and texture.
From a discursive point of view, parts of speech and actions play an essential role in the interpretation of events and the formation of concepts. Radi has made dramatic use of confrontations in the direction of discourse about the present and the past, and has tried to construct a form of discourse from different mental spaces, without seeking orientation toward a particular idea.
The basic atmosphere in the play of”ofool” is a broad historical and social context that is not even limited to Narestan or the climate of northern Iran.
The conceptual metaphors of "action is power" and "failure is ignorance", "understanding is freedom", "fighting against nature is oppression", "happiness is obedience" and similar metaphors are concepts that do not remain limited to the text of the play and they can be studied from a cognitive point of view and in the form of any other historical phenomenon in Iran.
As the conflict between Emad and Ascension is a metaphorical reference to the failure of the idea of ​​reform in the history of Iran. Meraj seems to have devoted all his efforts to building the school until the end of the play, but it is Emad who, by "transferring" the property to Kasmai, shows the main action (moving forward) and that he simply surrenders to the situation. Yes, Jahangir is Ascension.
Thus, the passive intellectual who until then had urged the people to wait, to come out of their "dark cocoons" and to use their "terrible power" is doomed to failure.
The evidence presented in this article shows that conceptual metaphors are more culturally and sociologically determined, and that the play, as a text that engages the audience's mental space more dynamically, is a mechanism between understanding abstract concepts and performing them

---

Sociological criticism in the literature analyzes the structures of a society through literary works. Embracing subjects concerning history and sociology links, types, social classes, ideologies, meaningful frameworks, and reflection theory in examining the artworks, Lucian Goldman, as a theoretician, proposed the genetic structuralism by organizing George Lucas ideas. Based on this method, the present study aimed to sociologically criticize the drama play by Akbar Radi, under the name of Ofool (The Descent).To do so, two major questions were designed to investigate the extent to which aesthetic structure of Ofool as a realistic work has a mutual relationship with the structure of the society in its era (۱۹۶۰s). It also explored the realization of the playwright's ideology, as a member of the intellectuals' social class, and the likely awareness of this social class in his literary work. Using descriptive as well as analytical approach, the study concluded that the overall framework of Ofool justified the why of social movements' failure in the ۱۹۶۰s and the pathology of that era via the representation of different social classes and the gaps among them. The author tried not to impose his ideology on the work and kept his play loyal to the realistic style although he reflected the values and consciousness of the intellectuals' social class in his literary work.

---

This article aims at finding the relation between the intellectual and saviour in play The Saviour in the Damp Morning written by Akbar Radi. The main question of this article is who is the saviour in this play and what is their connection to the intellectual and the social order of the time. The proper theory for this analysis is Gilbert Durand’s myth-analysis in which the researcher has followed three steps: close-reading of the play, finding intertextual elements and the myth in the play, and figuring out the relation of the myth to the society in which it was written. The findings show that the saviour in this play is an intellectual who considers himself a Christ-like figure that should save the humanity. This person, however, is passive and in facing problems, he finds the solution in committing suicide. Studying the social situation in the time of the play shows that society needed intellectuals to take action and take a step to save their society. The findings showed that the failure in intellectualism was rooted in the lack of connection between the intellectual and his society, which was echoed in the play.