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In corpus stylistics, computational tools are used to conduct qualitative and quantitative analyses of the electronic corpora of literary works, through which the stylistic components of the texts are identified. This study aimed to determine the stylistic features of the works of Simin Daneshvar and Ebrahim Golestan using a corpus-based approach. For this purpose, the works of these two writers were examined using corpus analysis tools, including keyword and concordance analysis in the AntConc software. After extracting the positive keywords in these works, each keyword was examined in its real context in the concordance menu, and a semantic classification was performed based on their semantic domains. The examination and comparison of the positive keywords showed that the semantic domains of "social behavior, work and profession, state and grammar" are common in the works of both writers. This commonality from a stylistic perspective can be related to similar social norms and behaviors, as well as the similar time and place of life and growth of the two writers. Golestan's works are writer-centered, while Daneshvar's works are reader-oriented. Daneshvar's story characters are much more numerous (14 names with a frequency of 504) compared to Golestan, who used only 3 names with a frequency of 107. In Golestan's stories, there is no reference to religion semantic domain, while in Daneshvar's stories, this domain is addressed. Daneshvar establishes a greater connection with the characters in her stories by mentioning specific individuals.
 

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Simin Daneshvar and Ahmed Mahmoud are two contemporary and famous writers who had paid great attention to the culture of the people. Their works are full of various elements of public culture and oral literature, in a way that the names of some of Daneshvar’s works like "Suvashun" and "Bakht Goshaie" are originated from the themes of public culture. Of course, in the works of both of them, there are common cultural themes that are expressed in different ways, and this difference whether expressed in terms of quantity or quality, is evident in the works of both writers. Precision in the way of life, gender, education and awareness and different characters of   the two authors can reveal their different manners of expressions, and with these different exceptions, level of precision and  national honor, as well as the love and hatred of each one can be diagnosed even at the different fictional space.

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Henna is a plant with natural binary attraction including nice color, and specific properties, which has popularity and application among the nations and tribes. This plant has ornamental and medicinal properties. In addition, it is one of the most applicative cases in celebrations and racial customs. Henna is used in Hennabandan (an old custom in the ancient history of Iran). This celebration has been held on specific customs in different parts of Iran since the previous centuries because of insignificant customs and geographical positions of different areas in Iran. Most of these customs have the same origin, and their executive methods are similar. Although some customs have the same origin, they are held with different methods. This article compares the Hennabandan custom of ten towns and villages in Iran by using documentary way and studying the books and articles written about this typical custom and the applications of Henna in the culture of Iranian people. Final results are achieved through functionalism and diffusionnism.

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Human beliefs are important because they are considered as the primary capitals of folk literature. The significance of folk literature is due to the fact that it is the foundation of refined and cultured literature. The sociopolitical novel “Souvashoun”, which placed its author Simin Daneshvar with other great Iranian novelists due to its fame, is a combination of literary scholarship,  collectivism and pluralism; proof of beliefs and elements in the folk literature mentioned in this work is not a shortcoming, rather it is a piece of evidence showing eloquence and rhetoric. Contemplating this work of literature, the present article come up with the pieces of evidence showing the manifestation of beliefs and folk literature elements, as well as such folk beliefs as totem, taboo, fetishism, animism, manna, noma and superstition, which are primarily described and defined. Then several instances of such beliefs are extracted from the text. Specifications and functions of the folk literature are noted, and the narrative literature’s status as well as Souvashoun and its position are explained. It is also proved that Souvashoun, apart from its pluralism, is free from many unpleasantnesses of its contemporary prose like immeasurable vulgarity, fanaticism and senseless modernisms.

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Discourse analysis has emanated from ideas os scholars od Linguistics, semiotics, hermeneutics and the theories of Michel Foucault (1926-1992), but in contrast to the aforementioned methods, it cover the two aspects of the text: form and meaning and so it is a comprehensive approach for text analysis. Scholars like Fairclough, Wodak, Van Dijk, Fowler and Kress played an important role in introducing and promoting critical discourse analysis as a new approach to text analysis. In this research we have used Norman Fairclough’s approach. In the present study, it was tried to analyze Sovashoon of Simin Daneshvar. In so doing, we discussed the views of the author, and using an innovative approach, we discovered various semantic and thematic layers of meanings closer to this novel. It was concluded that Daneshvar,with her special approach to the political and social changes of her time ,has connected the politico-social factors to mythological ones. This approach is specific to her, different with others' and so we can consider it as her own unique ideology. From a critical discourses analytic perspective, Simin Daneshvar, in her writings, made use of specific terms, epical and mythical dimensions and its connection with religion while generalizing these elements and connecting it to our era, has sought to create an independent Iranian identity. She managed to create an anti-imperialistic hero from the working class and naturally promoted women’s role in the contemporary novels from a housewife to a reformer and activist in the socio-political areas.

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Non –verbal communication is among the new research fields that deals with those messages people transfer their audial behaviors throuth non-verbal behaviors like feature, eye contact, body movement, appearance, and artificial means.
Due to the importance of “Suvashon Novel” in the contemporary literature and Simin Daneshvar’s ability in employing narrative techniques, in the present paper, we have tried to analyze the mentioned novel from the aspect of non-verbal communication components, and identify, classify, introduce and de-code the non-verbal signs, which S. Daneshvar has made use of them in her narration.
Our findings show that S. Daneshvar has employed and narrated the components of both the verbal and non-verbal communication types in this novel, and this method plays an important role in making the story events believable.
Among the non- verbal behaviors, in this novel, feature (face) behaviors enjoy much more contribution in transferring the communicative message.

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