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Throughout the history, women writers, regardless of geographical, historical and cultural variations, have always been faced with the same concerns and challenges. Women's literature depicts a world based on the masculine priorities and logic concerns. So, due to disturbing laws written by men, women writers have tried to use "feminine aesthetic" and find a proper language to express their concerns and aspirations. In this way, they were capable to represent a clear picture of the woman as it should be.  In Iranian and Italian contemporary literature, many women authors have created works based on women's issues. Among these works, we can mention the works of Zoya Pirzad and Alba Deses Pedes who narrate, in a specific manner, the same story about women's challenges and concerns. This paper applies "Theory of the Gynesis in Women Writing" to these two novels formed in two different geographical and cultural origins, and aims to answer the question of how the common characteristics of feminine writing engender fundamental similarities in plot, narrative and characterization? What we can say with certainty is that the characteristics and common factors in both text and meta-text of these two feminine writings engender a realistic and measured image of "women situation" in these two societies

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There are several attitudes about the linguistic characteristics of literary works by female authors. The present study aims at highlighting the need for a stylistic analysis of female fictions as a method for linguistic, literary, and ideological analyses of these works. In this study, we have studied the most important stylistic aspects of Pirzad’s writings through a feminist stylistic approach. The results of the study indicate that from the first work of the author (Mesl-e hameh-ye asr-ha^[1]) to the last work (Ādat mikonim^[2]), a feminist point of view has emerged at different levels of the texts, e.g. lexicon, sentence, and discourse. The changing trend of thought which leads to linguistic transformation and development in the author’s work is as follows: in Mesl-e hameh-ye asr-ha,Ta’m-e gass-e khormalu,^[3]Yek ruz mandeh be eid-e pak,^[4] the women are engaged in routines and have no intentionality of their own, while in Cheragh-ha ra man khamoosh mikonam,^[5] the women status is challenged, and in Adat mikonim, due to the role of women in social activities, a different description of female identity as the agent of change is presented.
[1]. Like All Evenings [2]. We Will Get Used to It [3]. The Acrid Taste of Persimmon  [4]. One Day before Easter [5]. I Turn off the Lights

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Every countrychr('39')s literature, in one hand is a mirror to itchr('39')s ideologies and thoughts and on the other hand is a reflection of that countrychr('39')s minoritychr('39')s views. Therefore; in international literature domain, novels, as a form of literature, gives the writer the ability to make a harmony between his own ideas and inner emotions and to transfer them to the reader in the end. Between the worldchr('39')s most famous writers there are some writers with similarities -however small- in the writing method and ideology. In the following essay we tried to compare and analyze the works of two female writers - one Iranian and one Turkish- after pointing out the basics of feministic critique. Zoya Pirzad between Iranian writers and Elif Shafak between Turkish writers are two novelists who seem to value and emphasize on the position of women. By going through this fact, in this essay we find out the attitude and views of the two writers regarding feministic critique barometers. Therefore in the following desk based research, using inductive methods, founded in analysis and characterization, wechr('39')ll analyze the works of these two great writers as well as getting to know the critics opinions on them.

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Authorization is a process in narration that according which the narrator constructs her/ his own legitimation and narration using the discursive articulations. The authors’ aim in this paper is to investigate the linguistic processes of development, maintenance and fixation of authorization which the female and male narrators use in the narrations. Hence, they provided a deconstructive reading of the authorization by Van Leeuwen (2007) based on Laclau and Mouffe (2001) and Derrida (1983). Then, in order to identify the linguistic tools of development, maintenance and fixation processes of the personal authority, they went through the “Se-Ketab” by Pirzad and “Solok” by Dolatabadi and purposefully examined those parts. Finally, it was found that Pirzad and Dolatabadi try to legitimize their own dimensions by using their selves and others’ positions, creating discursive nodes, and crystallizing around them. At the same time, they try to delegitimize by rejecting the meanings of the signs from others’ narratives. Also, on a larger scale, it was revealed that the two narrators’ self-representation was different; Pirzad constituted the discursive “We” and Dolatabadi an omniscient narrator. Neither of these two narrators could escape the paradox.

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The present article seeks to examine the relationship between the gender of fictional characters and place in Zoya Pirzad's The Acrid taste of Persimmon Short Story, based on the theory of place semiotics. In this story, the life of a traditional woman is narrated who does not leave the shell of gender stereotypes until the end of the story.The house (place), which plays a pivotal role in The Acrid taste of Persimmon, is a realm full of signs that become part of the identity of the female character. In fact, the house and the activities inside it find a feminine identity and outside and everything that belongs to it, they find a masculine identity.The results show that the Acrid taste of Persimmon has been successful in representing gender (female / inside and male / outside) by relying on symptoms.