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 Dialogue and its function in the globalization is one of common concepts in societies and cultures and obligation of acceptance of dialogue in that is always recommended. Dialogue is one of reaction of cultural elements that can appear in the various realms that its condition of appearance is acceptance of believes of common universal. One of the realms, in the verbal communication realm, is religious and mystical apocalypses that this realm is accepted as one of the religion dimensions.
 This research in the realm universal apocalypses (Zoroastrians, Old and New Testament, Islamic Sufism) analyses the meaning of second of word (Apocalypse) in addition to attention meaning of first (revelation). Nevertheless, this research considers the relation of apocalypse with other similar terms like Myth, Eschatology, and millennium. The research, in addition to analyse structure of Apocalypse in the religious texts of West and East, study Motifs and themes of this term in the scripture and heaven religions.

 

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The article is a study of the structure of "Zal and Roodabeh" (in Ferdowsi's Shahname). To do so, it presents a description of the story at first and then of its structure. It continues to seek for these features in the texts of "Zal and Roodabeh" by presenting some proves while analyzing these elements of structure and determining the appropriateness of them. The conclusion is that the text is narrated – dramatized in which the story elements are used for promoting the story. A design including cause relations of it from the beginning to the end and strengthen it. 

 

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Dolatabadi is the most prolific author of the last two decades in Iran. Before writing novels and creating his great works such as Saluch's Absence and Kaleidar, Dolatabadi wrote long short stories, which shows his interest in writing novels. There have been only a few studies on his works and those available are mostly about the content of his stories and novels. This paper is a study of fourteen short stories by him with a particular attention to issues such as plot, point of view, characterization, and the type of beginnings and endings in them. A brief review of Dolatabadi's life and works before 1357 as well as some scholars' views of the narration and narratology in his works will precede the main discussion.

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As an epic Shahnameh in Iran, along Iliad and the Odyssey are the world''s most famous epic works. Today, in the modern world, especially after the birth of comparative literature and comparative approach to the works of world literature as it is faced with acceptance. Anand critical discourse analysis of the literary text like other texts, in the service of communication. Therefore, they can also be analyzed with a critical attitude and approach. Tuesday Asrmvrd review, centered around personalities, Hector, Odysseus and Rustam planned. This epic heroes in bed, sometimes for homeland  himself in the role of king with heroic.place. Ferdowsi''s epic Homer and the composition of dominant discourses, in the form of pre-existing genre, have now opened a new epic. Thus, the three epic, as a communication event, only a reflection of the thoughts of the The poet thought, but rather, criticized the cowardly actions look heroic and popular discourse reproduces special.



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Debate is one of the literary prose types prevalent in Persian. In prose debates, two or more characters are presented in dialogue writing with each other and ultimately the authorsummarizestheir language and reaches a conclusion. The structure of these debates is mostly based on dialoguewriting. During the Constitutional era of Iran, these kinds of debates were regarded as ‘objectwriting’ or ‘theatrical writing.’ With respect to their formal structure and particularstyle of dialogue writing, it can be asked whether they can be read from a dramatic point of view. The dramatic tone and language, dialogue-based dramatic action, conflict, time and place are some of the identifiable aspects that are studied in this paper. The aim of this paper is to introduce a dialogue-based model for the study of the dramatic aspects of these debates. This model is proposed on the basis of a comparative study of dialogue in prose and drama as well as identifying commonalities between these two types of literature.

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Approaches and intensions (purposes) of dialogue in Mazandarani and Khorasani folk couplets
Abstract
Conversation is one of the basic devices and techniques used by the writers and poets to bestow a deeper understanding of their intensions to the reader. This literary device has three manifestations in literature: Dialogue, monologue, and homologue. Although dialogue is mostly used in dramatic literature e.g. tragedy and stories e.g. novel, it has its special aesthetics in folk literature. Through a descriptive analytical method, this study was set out to investigate the approaches types in dialogues and the purposes behind them in the couplets of Mazandaran and Khorasan. Results indicated that dialogues and monologues were mostly used in folk literature. In dialogue, purposes such as asking for a kiss from the beloved and the presence of another lover are discussed. Public dialogues, within the theoretical framework of this study, were not observed in couplets. The researchers have investigated couplets addressing the public based on the purpose of the lover asking for witness to his own purposes and intentions.
Key terms: dialogue, monologue, homologue, folk couplets Mazandarani and Khorasani
Vida Saravi: Ph.D. candidate in Persian language and literature, Roudehen Islamic Azad University (corresponding author)
Mahdi Mahuzi, Associate prof. of Islamic Azad university Branch of Roudehen
Mahmud Tavossi, prof.of Islamic Azad university Baranch of Roudehen

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Fatemeh Moeineddini, PH.D.
 
Abstract
Molana, known in the west often as Rumi, elaborates and conveys a significant extent of his story narrations through dialogues. Some of these dialogues do not have a specific audience, in other words, one of the heroes or even the narrator of the story himself speaks with himself in moments filled with severe passion and excitement. In this manner, this character helps the process of the story; while he reveals his consciousness or unconsciousness; so that the reader is informed about that particular character. It is actually through this method that Massanvi’s monologues are formed. According to the author’s purpose, structure and his particular linguistic shape and patterns, Massnavi’s monologues are divided into three types; intrinsic, dramatic and. self revelation.
The types of monologue play an important role in turning external point of view into an internal point of view. As a matter of fact this point of view suits Rumi’s main method in narration; as his stories often start with quite an open focus associated with the omniscient point of view, but then gradually the point of view and the focus of narration becomes narrowed and closed.
This paper was prepared through exploring documents, offering the results in an analytical-descriptive form, in order to survey the different types of monologue in Massnavi.
 

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Eshhaq Toghyani.PH.D.
Zohreh Najafi
 
 
Abstract
 
Sanayi Qaznavi, as a wise man, focuses on the elaboration of mystical teachings and discourses in his masterpiece; known as “Hadiqat-ol-Haqiqat”, which is in the form of poetry and narrative. The survey and study of these narrations has a high significance in revealing the poet’s manner of expression.
The survey and analysis of narrative or in other words narratology is based on identification of signs; which deals with any kind of narration, whether literary or non-literary, fictional or non-fictional, oral or written; which identify the units of narration; or in other words the form of plot; whereas some theorists have also called it the grammar and structure of story too.
This research has focused on the survey and study of structure in Hadiqeh’s narratives based on three elements; dialogue, action and plot, while the researchers have also made an attempt to analyze Sanayi’s storytelling manner within these narratives.
 
 

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This study explained the impact of indirect speech acts with interrogative constructions on the course of dialogue from the perspective of the Russian language. Successful dialogue requires matching the intentions of communicants, that each of them has made its communicative purpose. Meanwhile addressee's statements are related speech acts, located entirely under the influence of the speaker's remarks. But sometimes, in the structure of the dialogue text are used constructions having a special purpose - to carry out the impact on the course of the dialogue. Interrogative sentences are actively used as a response cues in the dialogue, in this case they are indirect speech acts, since they were not used in their intended purpose - to ask a question. But are these proposals affect the course of the dialogue, or serve as a signal of communication failure? In this study indirect speech acts that have interrogative constructions assembled from National Corpus of Russian language and literature are analyzed in the course of the dialogue. In this research, which has functional descriptive approach, as a tool for discourse analysis was used the theory of Speech acts. The results of this study can be used to translate of indirect speech acts from Russian into Persian and vice versa.

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In this paper, attempts have tried to study Fairclough’s theory of “inequality of power in the dialogue" by analyzing the dialogues between identical and opposing characters in the novel Fire without smoke by Nader Ebrahimi to identify powerful or passive characters, and decode the novel from the ideological perspective of the author.
To more regulate, this theoretical framework, the questions raised in the Shorter’s model (1996), were used to analyze power relations in the dialogues of characters with the aim of determining the type of relationship and the dominance of the personality poles of the story: Galan - the hero that relies on his physical strength - and Alani - the hero who relies on the power of thought and mind.
The analysis of data suggested that the way the two main characters of the novel interacted with others in their discourse was directly related to the up and downs of their lives. Galan's interaction was limited to an esoteric group of people around them, and as this circle of friends was limited down, his power diminished too, so that with his death, the coercive hegemony and compulsory domination associated with his behavior came to end.
In contrast, Alani not only struck a conversation with people from all aspects of life, especially women and the lower classes of the community, but also urged them to play a key role in the dialogue with the people around them. This contributed to the recognition of his intellectual and political authority and conduct, and even after his death, his thoughts continued to touch the speech and practice of the next generations.
 

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The element of dialogue is one of the main ways to spread the story and image of the characteristics and representation of situations. In the Holy Qur'an verses, dialogues, especially in the Qur'anic stories have a prominent and frequent place. One of the prominent features of these conversations is the crystallization of personalities various tones, which is based on the arrangement quality of words, signifying the rhetorical elements of the sentence, favor (Iltifāt) and other phonetic ultimatums and techniques formed and indicating the distinctive speech style of each character. The revival of this feature in translation language requires attention to the capacities of the target language and all elements of the word style-making so that the diversity of the characters and the dialogue style and tone of the characters in the target language are represented. The present study aimed to analyze the translator's strategies in conveying Quranic address styles by a descriptive-analytical method and selecting a number of verses based on Quranic dialogues in the reading translation of the Qur'an Ali Maleki. The results indicated that the translator in this translation has tried to recreate the style of conversations with strategies such as paying attention to the stylistic meaning of words, how to combine words in sentences, using added of instincts, using words and speaking interpretations.


 

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Among the various types of rhetorical figures applied in Shahnameh, metaphor is one of the most effective examples of rhetorical devices. Ferdowsi has been able to imagine, exaggerate, move and depict it at the same time by using it as a means to create discursive space and dialogic atmosphere.
Since we encounter with the text of discourse in the Shahnameh, we find that every word is a way  toward the  perception of the former and a way to perceive the word of the future. Each word treats another word or it targets the belief system of the target audience.So, braggadocio is a dialogic- discursive system in which metaphore plays a key role. According to Bakhtin's theory, there is a close relationship between dialogue and polyphony, and language is also "dialogic" in its nature, regardless of what the answer will actually be.
Polyphony is also a dialogic feature, and Shahnameh is also a Polyphonic- dialogic text. The purpose of the present research is to investigate the relationship between the braggadocio of Shahnameh with making narration by relying on Bakhtin's dialogic theory and its relationship with metaphor, and to show how this feature interferes with the restoration of action, suspension, and delay. It can lead to a dialogic atmosphere and extend it to transfer actions.
 

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The well-known book “Kellileh and Demneh” is a political text, whose literary language and ethical background prevents the reader from clearly understanding the power struggle. One of these stories is the tale of lion and cow, whose adages and ethical background has led to the cover up of power struggle between the two factions (One being the defender of concept of justice in line with the patriotic political ideology, and the other being the supporter of individualism). The logic of political dialogue under the viewpoint, dominating the text, has been misrepresented. The outcome of such an outlook is a negative portrayal of the belief and characteristics of one of the parties to the power struggle, who cannot tolerate the current order that is based on the hereditary hierarchy, and who is ultimately victimized by the overall outlook governing the text. Given that the power struggle is a type of spatial position which regulates the distance between hostile parties in different shapes and forms; in this writing the approaches for misrepresentation of power struggle embedded in the story of lion and cow have been detailed and analyzed based on spatial reasoning. The method of research is based on the quality of narration of the narrator, and characters of the tale as the participants in the dialogue

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Many academics, worldwide have considered Khatami’s Dialogue of Civilizations as a pow-erful rhetoric and antithesis of the so-called ‘Clash of Civilization’ theory. This article, how-ever, tries to show the originality and depth of Khatami’s vision, framed against the back-ground of ‘the end of history’ and clash of civilization’ theories, political frames used by po-litical actors in the post cold war international order. Citing quotations from the number of speeches delivered by Khatami’s author tries to identify the notions behind the dialogue, which according to him has been influenced by many philosophical and religious trends, and which more of less justifies Iranian foreign policy and protect national interest rather a genu-ine vision to construct peaceful and just world. Further, the present article raises many ques-tions regarding the intellectual indifference and liberal west as non receptive to the dialogue, and thus, specially in the wake of recent unease around the globe.

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In the 20th century, two influential novels were written in Egypt and Iran, which found a special place. Dr. Heikel's novel Zeinab in Egypt and Ali Mohammad Afghani's novel Shohar Aho Khanum established a new trend in the fiction prose of the two countries. Obviously, due to the nature of the novel and the detail in it, the element of description has a prominent position. Dialogue is one of the effective tools in description and makes the flow of the story between the characters more alive. Although Zeinab's novel has not yet been translated into Farsi and only an English translation of it is available, a thesis has been compiled on the comparison of these two influential novels, and an article has been prepared on the description of these two works. Using the descriptive-analytical method and library method, this research compares the role and effect and how the dialogue element is used in the descriptions of the novel Shuhar Ahokhanam by Mohammad Ali Afghani and the novel Zeinab by Mohammad Hossein Heikal as two pioneering novels in the presian & Arabic literature.The dialogue element in Shohar Ahokhanam's novel is bold, technical and more effective than the dialogue in Zeinab's novel, especially in the plot of the story.

 

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After the collapse of bipolar system in the world, different views and theories expressed by the scholars and thinkers about the future of the world and international system. One of them is the theory of “ The Clash of Civilizations” which was propounded in 1993 by the Samuel Huntington, the director of J.M.Olin Institute for Strategic Studies in Harvard Uni-versity. This theory caused some anxieties in the world. In reaction to this theory, Mohammad Khatami, president of the Islamic Republic of Iran, proposed “Dialogue Among Civilizations” as a paradigm in the international relations which was accepted by the 53rd General Assembly of the United Nations on 3 September 1998 and approved a resolution for the purpose of promoting dialogue among cultures and civiliza-tions, and called the year 2001 as “the Year of Dialogue Among Civilizations”. This article based on both mentioned theories, refers to the role of dialogue approach in creation of peaceful relations between nations and states.

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Arguments for the recognition of cultural diversity have led to a fundamental question in political theory: On what basis the process of political decision making should be formed to accommodate cultural diversity as a permanent feature of contemporary societies? The aim of this paper is to examine whether 'dialogue' can be employed as a means in such a process. The first section of this paper is concerned with the nature and sources of cultural diversity. It is also important to see in what way cultural diversity implies problems which concern political theory. This is the concern of the second section. Next, I shall examine ways in which dialogue can be employed to aid the formation of political decision making process to accommodate cultural differences. In particular, I shall suggest that interpretations of dialogue such as Brenda Dervin's and David J. Schaefer's interesting discussion, which aims to transfer the burden of dialogue as a discipline from participants to procedures, may be useful so far as dialogue among cultures and civilizations is concerned.