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Translated literature almost always involves a degree of manipulation of the source text for a certain purpose. Such manipulations are imposed by the ‘patrons’ who try to regulate the relationship between the literary system and the other systems a society is composed of. Working on this fundamental  broadly-acknowledged assumption about translation, the present study aimed at identifying the concepts which are often manipulated in translated literature published in contemporary Iran. It also attempted to spot the manipulative strategies imposed on translations and the counter-manipulative strategies adopted by translators to sidestep those manipulations. Drawing on the findings of the the so-called ‘Manipulation School’ and Dukāte’s typology of manipulation strategies, it did a comparative analysis of the source texts and translated versions of four American novels recently published in Iran. The codification of the data revealed the frowned upon taboo concepts to be descriptions of, or references to, sexual activity, physical contact between the sexes, human body, extramarital relationships, swear words, prostitution, nudity, homoeroticism, alcoholic drinks and dancing. The most frequent manipulation strategies were 1) deletion of the taboo concepts, 2) substitution of the concepts with totally different concepts, and 3) attenuation of the forbidden words, that is to say, expressing them in a more polite, softer language. Although the manipulation mechanism is most effectively in place, the translators seemed to have occasionally applied creative strategies to evade the imposed manipulations. Such counter-manipulative strategies were classified as legitimization, archaism, use of less familiar words, degenderalization, denunciation and borrowing in this study.  

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Children's poetry is a suitable and effective platform for moral and social development and increasing their mental and cognitive abilities. In this respect and due to the importance of the content of children's literary works in the education system, it is necessary to understand children's poetry from different angles. People's culture is a wide collection of elements related to the material and spiritual life of the people of a land, which preservation and transmission to the children's audience and strengthening its place in the thoughts of composers of this field is the reason for the influence and creative productivity of this rich culture. Among them, material traditions are people's daily issues such as tools, food, clothing and vehicles. The present essay examines the reflection of these material traditions in Shaaban Nejad's epic poems. review method; Analytical-descriptive based on library sources. The results show; Shaaban Nejad's poetry as a main source in research; It has a clear and conscious link with people's culture. By using the material examples of people's culture, he connects the past and the present together, with the help of narration, rhythm and song, wide range of vocabulary, imagery and literary works, he displays his ancient roots for the child of the modern world and flourishes and The stability of children's and adolescent literature in Persian language.

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Abstract:
Zarrin Qabā Nāme is a huge verse in 23133 couplets that probably has been versified in the Safavid period. Its poet is unknown and beginning of itś matter is coming of Solomonś messenger (Zarrin-qabā) to Keyxosrowś court and his confronting with Iranians. Afterwards several stories are narrated that their important persons are Sistanś heroes. Structure, language and content of Zarrin-Qabā-Nāme are storytelling-folklotic. Therefore, studying of its important motifs is useful in knowing and completion of Iranian folk- storytelling literatureś motifs. In this paper, some of these kinds of points and motifs are studied in four parts: 1) Semitic and Islamic matters 2) Rare and single indications, 3) Other matters and contents, and 4) Modeling from other stories.
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   Abstract:
Women in the prose folk tales have various roles. In contrast to the position of women in official and lyric literature, the living, dynamic, influential and basic role of them in folk tales is noteworthy. Active women with positive character are the initiator of love, heroe’s helper, protector of their freedom and dignity, warrior, heroe’s physician and nurse, against the mandatory marriages, consistent in love, sly, devoted, kind, intelligent and advisor. Women with negative character are sly, witches, malicious, wicked, evil, treacherous, envious and corrupt. Passive women are as a reward for the hero, unsophisticated, beloved or spouse, agree with polygamy and oppressed. This descriptive-analytical paper cheks twenty-two long famouse folk stories and analyzes the popular types of active and passive women's role in them.

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Comparative literature is a branch of literature that considers the literary relation and influences of the countries. Scholar of comparative literature sits between two or more branches and records the literary-cultural transfers. This article is an attempt to study the cultural and story similarities between two the literary works; an Iranian and a French. "Leili o Majnoun", Nezami’s literary work and "Cyrano de Bergerac", Rostand’s piece have commons aspects about the content and the personality of their heroes; platonic love is the most important element in these literary works. Among the other similarities, we can represent the reality of their stories and the common literary structure. In spite of the similarities, we should consider the differences of the heroes in their manner of love-affair. An innocent love is another common point between these masterpieces, which finished with the death of heroes, Majnoun and Cyrano. In this article, we try to expand these similarities and the differences with a comparative consideration in order to conquer a new horizon.    

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Comparative mythology partly is a one of the modern courses, which have been used broadly from the second mid-nineteenth century. On the one hand, the relation of this approach has become firm in the comparative literature, and fixed in the mythical critic, on the other. Though at first, the necessity recognition of world's nations myths was introduced widely and comparatively by the European’s and broad researches were done by them, especially in the field of European nations (Rome and Greek's) myths, but the extent of this approach in the Islamic nation's myths did not progress, except of some small and separated surveys on myth motives. In 2000 AD, Hossein Mojib Al-Mesri, by understanding this poverty research, in “Comparative research in Arab, Iran and Turk's myths”, took the first step in comparison of Iranian, Arabic and Turkish's myths. It is wonderful that, even after a decade, researches did not refer to this. Mojib Al-Mesri, in this comparative research, has studied every Iranian, Arabic and Turkish's myths in three separate parts. However, this book does not operate according to the twentieth century mythical critic approach, but in Iran's myths study, it exhibits modern conclusions and achievements in comparative mythology and in this way, compares unfamiliar Arabic and Turkish's myths with similar Iranian samples that have not been studied in any research so far. This paper has tried firstly to clarify the myth relation and functioning of mythology in comparative literature and  then  introduce  Hossein Mojib Al-Mesri's achievements. Then in a more limited scope, it reviews his theories that he received from Iran's myths. In the end, it shows the existing common points between Persian myths with Arabic and Turkish samples in two sections of religious and historical myths. The purpose of this essay is revealing the potential capabilities of Islamic nations' myths. It also recommend the necessary changes, which must occur in one-sided and unilateral views of Iranian or Non Iranian mythologists.

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Nations categorize fictions differently. In the Persian literature, tales and epistolary writings can be considered as fiction while in the European literature, fiction only includes certain styles according to their modern definitions.
In this article, the author differentiates between the modern age and the contemporary era. She divides the contemporary and modern age literature into seven phases in view of major historical events. In this chapter only the first two phases are dealt with: First phase or the era of modernity (1206-1285) and the second era that is from the establishment of the constitutional government till Reza Khan’s rule( 1285-1299).
 

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The memory of death, which has always turned the happiness of many into misery and discomfort, has been a source of tranquility for the true mystics and Sufis. Being inspired by the Quranic culture and hadiths, which portray death of the faithful as pleasant and brilliant, mystics have always looked upon death through a mystical angle. In their view, man’s celestial soul has been detached from the divine Creator and has been deprived of enjoying His intimacy when he was exiled to this mortal world and was confined in the prison of body. Mystics have always considered themselves entrapped in two prisons: prison of body and prison of the material world. Therefore, all their attention and efforts were focused on ridding themselves of these two prisons.
Thus, for the true mystics, death is not disgusting and ghastly but lovely and exquisite. Contemplation on the mystics’ moods at the time of death and what they say about death reveal some quite wonderful points. A group of them got inspirations as regards the exact time of their departure on account of their extra-ordinary wisdom and foresight and have warmly embraced death. Another group put their love and enthusiasm for death to thought-provoking and strange sentences.
No doubt, Moalana stands on top of all these lovers of death and mystics as far as  thanatophilia is concerned. His collection of lyrics is full of poems in praise of the delicacy and gracefulness of death in a lovely and enthusiastic way.
 

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Unlike contemporary poetry, hemistiches in modern poetry are not arranged on a predetermined and specific style. In fact, by composition of poems, the poet designs the writing structure of his work. It can be said that there exist as many writing structures as the poems composed to this date.
In this article the author endeavors to while reminding the reader of modern poetry’s violation of norms, analyze some aesthetic functions of this genre.
The author focuses on the role played by the style of writing in helping the reader in properly reading a poem and the style’s contribution to the true conveyance of thoughts and feelings as well as distinguishing the images and highlighting the concepts of time and place.
 

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 This article basically deals with the fact that there exist masterpieces in the domain of children’s literature by looking beyond which one realizes that by posing the most fundamental ontological questions and by living and seeing the world as children do one can ascend as high as the firmament.
Moreover, one can link the apparently affirmative but actually interrogative sentences latent in these seemingly simple stories and their symbols with the Quranic tales and mystical lessons.
From such a perspective and with an analytical look, the article is assessed as an endeavor through which the author tries to link The Hansel and Gretel story (one  piece of the story collection of Gream Brothers) and the discovery of the symbolic depths of the story which though disguised in a childish mask are quite wonderful and informative, to the Quranic teachings and mysticism of Jalaeddin Roumi.
 

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Rostam and Koraoglo as two nationl and epic champions that their fate are linked with the fate of their nations, are symbols of  the wrangle of forces; Good and Evil, Light and Darkness, and Honesty and Dishonesty. The spirit of impassion, mythological aspects, courage, dedication, love, revenge and splendor are conjoint specifications of the two champions. This article answers the following questions:
1- What are the conjoint specifications of the two champions that affect on the authorship of the story?
2- What are the mythical elements that changed these champions into myth?
3- What are the conjoint specifications of women in these stories?
4- What are the important amorous elements in these stories?

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Abstract:
Relying on the dramatic effects and all cultural potentials of Iranian old and poular literature, this paper aims to deal with the possibilities to contemporarize them for new media productions. Literature is one of the most prominent icons of Iranian rich culture. A notable part of Iranian literature is composed of folklores and popular narratives, which are genuinely full of novel themes and authenticated knowledge to be adapted into film and TV series. The present research will show why exactly Iranian contemporary film-makers and play writers, despite the existing large culrual legacy, have failed so far to apply the potential capabilities. Using a pathological approach to the historical discontinuities happened during the evolution of dramatic functions of Persian old narratives, this study attempts to present a qualitative assessment of these literary art works. After reconsidering the most significant elements of Iranian popular narratives, the paper goes then to propund some common ignored challenges concerning the "adaptation" techniques for media productions. Finally, we would describe a typical narrative of Iranian folklore by which a practical method for new possible adaptation for Iranian TV drama might be provided.

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Chivalry and agility that is also translated as "generosity" have been very important phenomenon in the social history of Iran and surrounding countries and is a spiritual way of life that seems to have its roots in pre-Islamic Iran. They are divided into different categories that are called as ‘caliber’ and ‘brat’ in Persian and Arabic literature, respectively. Caliber was a group that had made ethics and campaign-specific career choice and self-indulgence and brat also defined as impoverished with no money, on the other hand people who had no interest in wealth and joined that house because of poverty and social imbalance. This study relying on comparative literature of American schools that merely doesn’t see the criteria existence of affect and affected attempt to make a comparative study of these two emerging fields within the common social and ethical implications. It seems that the main reason behind the formation of each of two groups was lack of community-based justice and social harmony. The most common social and moral characteristics of the two groups are: clemency; patience in the face of adversity, courage, generosity, support for the poor; combat skills including shooting, fighting, theft and robbery. This article also refers to common moral and social characteristics and examines the reasons behind the rise of the two groups.    

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Indo-european worldview has been reflected considerably in the formation of the Persian poem and prose, because of its literary and contextual grandeur. It has affected many works in various aspects, so that its mythology has been used in the prominent works such as Firdausi's Shahnameh and the Kyrgyz epic of Manas. However, the way of possessing such a worldview by Shahnameh and Manas is the subject of current research. In this regard, we have described and considered the behavior of heroes in the two works based on the George Dumezil's Three Functions Theory. Our study reveals that the tree functions of the theory have been applied all over the stories of these two epics. This theory is based on the two vises: coordination and contrast; meanwhile Shahnameh and Manas are based on goodness and evil, which are symbolized in heroes such as Siavash/Bakai as well as Rostam/Manas. The first section consists of the wisdom, intellect and calmness symbols, and the second section is related to the symbols of violence, stringency warmness, militancy, and self discipline; while ordering the Quadruplet elements system, provides the people with peace and self-coordination by its force. Moreover, there are invulnerable Demons and Personages in both epics such as Esfandiar (in Shahnameh) and Malgun and Mady Khan (in Manas). However, their only vulnerable spots are their eyes through which they must be killed and their dominance must be ended. This is the motif of “Killing the Demon by blinding him”, which forms one of the worldview's elements mentioned in Indo-european mythology.

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Nizami Ganjavi was a great Masnavi writer of the 6^th century (AH.) and one of the founders of Persian poetic fiction. One of the attractions of Nizami’s Masnavi is blessing, litany, and ascensions that are seen in the beginning of each of his verses, which have been highly regarded by his followers due to their beauty and unutterable imagination. The current paper intends to make a comparative study of Nizami’s Khamsa (or five poems) and three Arabic ascensions before it; i.e. Kitab al-Maeraj of Qashiri, Maeraj al Nabi of Ibn Abbas and Al Isra’a va al Maeraj of Ibn Hajar Esghalani and Sayouti that have shown similarities and differences in structure and content. Hence, it is concluded that in spite of distinguishing features, Nizami has been much influenced by the aforementioned works in performing his ascensions. To this end, the literature of Nizami was matched with the evidences acquired from the above ascensions so that similarities become more apparent and obvious.

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Human's knowledge in each era and regarding the paradigm of that era divides the knowledge into different categories. One of these categories, which was identified in the 19th century, is the field of comparative sciences. This kind of knowledge, having specific properties, separates itself from comparative studies and different types of pure knowledge. This research is to study comparative sciences and particularly their philosophy of existence. Unfortunately the scientific society in Iran lacks such macro-approach. Not having a general view is one of the disadvantages of studying comparative sciences like comparative literature or comparative art. This research investigates a general view about this kind of sciences and their genesis.  

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As the Masnavi is a preaching-mystical work by Molavi, he made his efforts to express his advices and recommendations in forms of stories, tales and fictions and also his ethical and mystical thoughts are expressed there. Hence, all these are of various and miscellaneous types. The best sample of entering Masnavi Tales into the third book is shown in the story titled “the people of Saba and looting their godsends”. This story commences with the couplet 282 but, left later on and then referred to in the couplet 364. The story is left again here and then referred to in the couplet 3600, following some long couplets to be finished.
Mentioning the various points in tales has resulted in different usages of the characters in Masnavi. This is because of the foundations of any story are made by its characters who are themselves the factors or causes of the events.
Personification by Molavi in Masnavi for the characters is of three following methods:
A) Direct method in which he explicitly expresses his ideas upon the persons.
B) Indirect method in which he not only expresses the characters’ behaviors and briefs the readers on the role played by the characters but also the readers understand their real essence.
C) Mixed method which is an integration of the two previous ones.
The tools for personification by Molana, the characters’ features in Masnavi and classification of the persons’ names in the Masnavi stories are scattered through the study.
 

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The most current meaning of Irony in Persian literature is to reproach, fault-finding, guy and criticize.
Irony is one of the expressions which has been common in the life of the ancient Iranian people with lampoon, syllable, and satire, humour and … and upon which some parts of the literature works have been concentrated.
The nature of irony in Persian literature lies in most cases on the contradiction between term and meaning in discourse. Hence, it can be classified almost as figurative sense. In most cases the irony written works have been associated with lampoon, humour, witticism and epigram.
So it can be mentioned that irony is a kind of profound thought and providence and refers to a type of revolution and internal transmutation change. The word “epigram” has also been associated with a type of irony and wit in the history of our literature. The only difference is that jest, enjoyment and entertainment are regarded as the dominant essence of epigram but, while the speaking trend is apparently jests and quizzical and non-serious in irony, finally it is resulted in conception, discipline and policy. So, irony can be termed as the preaching literature in Persian literature.
 

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Historically the theoreticians in literature have studied poem and its nature from various view points. Before any one, Plato and Aristotle had regarded poem in the same way like other art areas as imitation from nature. This theory which was the cornerstone of the other theory in literature continued to the contemporary era.
In the early 20^th century and coincide with emergence of new philosophy theories and linguistics, new Literature Theory emerged in which poem gradually was far from the responsibility for transferring message and meaning contrary to classic theories.
Study upon the language of the work (the objective dimension), gradual meaning development or poem multi-meaning and also entering the addressee in the literature work creativity are the most prominent characteristics of the theories such as formalism, structuralism, semiology, paraphrasing the text and deconstruction.
Multiplicity and Varity of the perspectives by which poem and its nature have been studied several times, is the prominent feature of the study on these poetic theories.
 

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The Protest literature is one of the genres of resistanc literature. The main theme of his protest against injustice, discrimination, oppression and tyranny. Among the contemporary Arab poet, Ahmad Matar terms with the source of many poems written protest is accentuated. among Iranin poets also Qazveh  is one of the main leaders of  protest poetry in the poetry of revolution. Political and social protest poems primarily in two directions-is Ahmad Matar poetic protest against the Arab rulers, mostly political protest, but protest his social aspect is more Qzvh Protest against poverty and injustice, forgetting the Palestinian cause, neglect and ignorance of society, government oppression, arrogance, forgetting national religious values and themes shared between the two Sharast protes