---

Besides the main elements such as setting, theme, plot, and conflicts, any narrative or story requires another key element called character. It is the character that adds meaning and life to each of these elements, transforming a narrative into a compelling story. Characterization is essentially the process of bringing life and creating human figures from the elements of a narrative discourse. Creating and developing characters in the realm of storytelling and art is a delicate and novel task referred to as “characterization.” This process results in the creation of characters that are believable, engaging, and understandable for the audience. Characterization establishes a bridge of communication between the reader’s or viewer’s mind and the world of the story, enabling them to empathize with the characters, understand their emotions, and become curious about their actions and motivations, thereby increasing audience engagement.The corpus of this research consists of short stories by the Afghan author Mohammad Asef Soltanzadeh. The present study, relying on Soltanzadeh’s ability to utilize and develop story characters, is conducted in a descriptive-analytical manner. The aim has been to analyze the use of the element of characterization and the interaction between pragmatics and stylistics in three short stories from the collection “Nowruz is Only Splendid in Kabul,” considering Culpeper’s theoretical framework (2017). The results of this study indicate that characterization consistently follows three elements: the degree of narrative control, the dialectic of self and other, and explicit and implicit meanings within the overall narrative discourse, which the author skillfully employs.
 

---

---

The use of statistical methods based on corpora in humanities and literature researches is expanding. These methods can be used in studies of stylistics, literary criticism and comparative literature. Finding the pattern of language changes in different language varieties and investigating the existence of similarities and differences of language in different linguistic contexts is very important from the point of view of linguistic knowledge. Our main problem in this research is that what are the lexical and syntactic differences between the four registers of the  contemporary Persian language and how can they be analyzed and explained. For this purpose, four corpora of literary, news, scientific and legal languages ​​were created and labeled. Counting and statistics were done with the help of software programs and quantitative results were obtained. finally, these results were examined and analyzed based on situational context. The findings of this research showed that some linguistic features have significant differences in different registers. For example, the frequency of occurrence of verbs, pronouns and adverbs in the literary register and the frequency of occurrence of adjectives in the scientific register are clearly higher than other registers. Putting these characteristic features together can be a criterion for differentiating linguistic varieties.

---

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.
 

---

   The phonetic layer is a linguistic concept that creates music in speech. Such musicality can be both external and internal and can be examined at the phonetic level of discourse. By analyzing rhythm, rhyme, and refrain, external music can be identified, while internal music can be discerned through the analysis of rhetorical devices such as assonance, punning, repetition. Furthermore, the musicality speech can be understood by investigating various processes such as metathesis, vowel shifting, syllable quantity, onomatopoeia, and archaic pronunciations, thereby taking the form of speech out of its ordinary and standard language form.
   The importance of examining the phonetic layer lies in the fact that these linguistic components, in addition  their aesthetic influence on speech sounds, enhance the prominence the text and contribute its stylistic distinctiveness.
   Those Years is the title of a book written by  Jafar Yahaghi, a researcher and professor of Persian language and literature, wherein he recounts his childhood, adolescence, and youth.
   This research employs a descriptive layered stylistic approach to investigate the frequency of phonetic elements within the target text. By analyzing textual evidence explaining the recurrence of phonetic patterns, the study aims identify the stylistic characteristics of the work under study. components such as onomatopoeia, assonance

  Due to the author’s dedication, interest, commitment to using local dialect to convey his message, he skillfully incorporates phonetic elements without sacrificing meaning for form. Statistical analysis indicates suggests that phonetic and repetition are more prevalent than other linguistic features, making them defining characteristics of the text’s style.

 

---

This study investigates the fundamental impact of naming on shaping the ideology of texts, particularly the Quran. It explores how naming, as a foundational linguistic process within the frameworks of Hodge and Kress (1996), Van Leeuwen (2008), and Leslie Jeffries (2010), plays a pivotal role in constructing meaning, establishing identity, and exerting power. The research also examines the naming component within the Quran and its contributions to explaining the underlying worldview of this text. To evaluate hypotheses, this research employs critical discourse analysis. It explores the approaches of Hodge, Kress, Van Leeuwen, and Jeffries regarding the naming component and applies these theories to the Quranic text. The goal is to elucidate the embedded worldview and the Quran's approach to naming. The findings reveal that in Hodge and Kress's view, the naming process is an ideological tool for promoting and solidifying specific beliefs. Conversely, Van Leeuwen perceives naming as an identity process and a means of interaction and meaning construction within social contexts. Jeffries, combining explicit (ideology) and implicit (literary language) elements, considers naming a tool for producing and reproducing ideological discourses. An examination of naming within the Quran indicates that beyond ideological, identity, and linguistic factors, other elements such as the relationship between theme and naming, the priority of content over naming, and the connection between action, process, and structure to naming also influence this process.
 

---

Linguistic stylistics is one of the modern linguistic approaches to text analysis, which analyzes the unique expression style of a given text as well as the goal and effect of adopting that style. It is maintained in this approach that each text has specific linguistic features, which, on the one hand, gives uniqueness to the text, and makes the text categorized in a category with a number of other texts on the other. From stylistic point of view, regarding a number of shared features, two texts can be categorized in the same category, referred to as “text genre”. However, two texts can be distinguished based on a number of their features. Since text is the aim in translation, a process in which a text is rendered into another language, it is plausible to consider text translation as reconstructing the linguistic features of the source text to the form of target language elements in a relative way. In layer stylistics approach, text features are studied in five layers, namely phonological, lexical, grammatical, semantic, and pragmatic. On the basis of this approach, the present study focuss on the lexical layer of Ḥadīth texts, as one of the religious texts genre. We shall further deal with five aspects of the style-making lexical features of Ḥadīth texts; then we shall investigate the methods, challenges, and tools of reconstructing such features in Persian. In the present study, a number of Ḥadīth s of  Behar-al-Anvar shall be analyzed as the special cases of our discussion.      

---

This study is an analysis of the narrative prose of Aviny in his narrative Ravāyate Moharram1with regard to the features of narrative intelligence and the narratological features of his prose based on Randall’s (1999) framework for the Narrative Intelligence Theory. Although many claims have been made about the unique qualities of Aviny’s narratives, none of his works have been academically analyzed to show the narratological features in his prose. The researchers believe that scientific analysis of Aviny’s works based on reliable narratological theories can substantially contribute to a better understanding of the special qualities of his style, and using them in new forms and contexts. In the present study, narrative intelligence promoting mechanisms and their realization in Ravāyate Moharram are quantitatively and qualitatively analyzed using Labov’s (2001) narratological model as a structural instrument. The linguistic manifestation of some narratological features of Aviny’s prose are discussed from a stylistic perspective.

---

This study is a stylistic narratological analysis of Ravāyat-e Moharram (The Narrative of Moharram) by Seyyed Morteza Aviny based on a framework adopted from Randall’s (1999) Narrative Intelligence Theory. Although many claims have been made about the unique qualities of Aviny’s narratives, none of his works have been academically analyzed to confirm the narratological features of his works. The researchers believe that scientific analysis of Aviny’s works based on reliable theories of narratology can substantially contribute to a better understanding of special qualities of his style, and using them in new forms and contexts. In the present study, mechanisms contributing to the promotion of narrative intelligence and their realization in Ravāyate Moharram are quantitatively and qualitatively analyzed using Labov’s (2001) narratological model as a structural instrument. The linguistic manifestation of some narratological features of Aviny’s prose are discussed from a stylistic perspective.

---

This paper suggests the use of new branches of stylistics along with appropriate devices for the analysis of Persian texts. As a step in this direction, stylistic properties of Jashn-e Farkhonde, a short story of Jalalal-e Al-e ahmad, were analyzed with the approach of Critical stylistics answering these major questions: “What is the ideology behind the text?”, “What stylistic features discover this ideology?” and “What is the function of the ideology behind the text?” It is assumed that, in this short story, ideology is a mechanism for struggle against domination. To provide an answer to these questions, narrative and textual macro-layers of this short story are examined along with an analysis of focalization, focalization continuity (shifting focalization and multiple-focalization), facets of focalization (the perceptual facets including tense, order, duration, frequency and space, an overall and eye-bird’s view or a partial and close-up view, cognitive facet and ideological facet) and micro-layers of lexicon, syntax, and rhetoric in connection with the outer layer (the situational context of the text). It is assumed that the awareness obtained from focalization and analysis of micro-layers will result in the discovery of ideology and power relations in the text. The reslts showed that characteristics of text from contrasting personalities and contrasting discourses that reach unity to the narrator's father. Too much use of swear words and his imperative sentences indicate the hidden ideology of the text; that is dissatisfaction of author, as a critical intellectual that represents groups of community from both social and political currents mentioned in the story.      

---

Story utterances are means for expressing sayings and thoughts, and a suitable situation for promoting story incidents that establish a wide part of every story; the "narrator" should represent the utterances in a way that the reader gets familiarized with the story deeply. Therefore, stylistics of story utterances is necessary for better understanding of the story. Styles of representing story utterances, which comes from the relationship between the narrator and the story characters, are divided into five types:  direct speech, indirect speech, free direct speech, free indirect speech, and narrative report of utterances. The present article deals with descriptive and analytic styles of "Assabbar" novel (1976), while it presents a complete statistics population of story utterances. The findings showed that utterances in the order of direct speech style, narrative report of utterances and free direct speech style have the most frequency in this novel. The narrator allows characters to connect with the reader by using direct speech and free direct speech styles, and familiarize them with the political, social and cultural problems of their society, because these two styles cause intimacy between the reader and the characters, and transfer the message of the writer to the reader in a good way. Sometimes, the narrator establishes control over the time of the story incidents, and advances them with a narrative report.

---

Mohammad Taghi Bahar is the initiator of historical stylistics in Iran by publishing “Tarikhe Tatavor e Nasre Farsi” (the Evolution of Farsi Pose) (1331/1952), and his manner has been followed so far. To exit the recession with which Farsi prose stylistics is afflicted, one of the solutions suggested in this article is applying the new branches of stylistics and retrieval of the suitable tools for analyzing Persian texts. To reach this goal, we will consider critical stylistics as one of the new branches, and specifically discuss the arguable stylistic layers in the critical stylistics of short story and novel. The basic question processed in this study is that what stylistic variables could be discussed in critical investigating of short story and novel styles, which leads to discovering the ideologies and power relations in the texts. To answer the question, we will consider studying story and novel in textual and narrative macro-layers by analyzing focalization; the level of persistence of focalization and the facets of focalization (perceptual facet: time, order, duration, frequency, and space; an overall and eye-bird’s view or a partial and close-up view, cognitive and ideological facets), and lexical, syntactic, pragmatic and rhetorical micro-layers in relation with its external layer (situational context). The aim will be applying the new branches of stylistics in studying Farsi literature texts; many of the stylistic criteria and features discussed in this article could be applied in studying the style of other branches of narrative literature, e. g. myth, fiction, allegory and romance.

---

Because of the stagnancy in contemporary Persian stylistics, there is an urgent need for new steps in this realm. This study introduces new branches of stylistics as well as new methodologies for related studies in Persian Literature. As an initial step, this article introduces the critical stylistics and addresses the two following questions: (1) on what basis does critical stylistics study the text and (2) what implements does this methodology use for the analysis of the text? Accordingly, the concepts of “style”, “critique”, “ideology”, and “power” are explicated as four fundamental dimensions of critical stylistics. Furthermore, the tools and implements discussed by Simpson and Fowler are delved into. Last, the implication of critical stylistics for Persian literary studies and the studies of power relations within the text are mentioned.

---

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

---

Theatrical songs are a part folkloric literature and are usually accompanied by traditional music in comic performances. They reproduce cultural and social identity of Iranian people and, with a linguistic simplicity, reflect the lower class life. The present study is a descriptive-analytic reading of theatrical songs in terms of phonological, lexical, lexical, syntactic, and rhetoric layers. It aims at revealing originality, simplicity and commonplaceness of these songs which are overshadowed by new literary trends. Results indicated that theatrical songs predominantly stimulate emotions and were essentially lyric and sentimental in nature and seek to please. Use of emotional, commonplace and even rude words with linguistic trans normativity is typical of theatrical songs which are initially to delight the audience and ease the process of communication. These songs make use of rhetorical components with social origins that are natural and lucid as they are associated with external layers of language.

---

As a simple text in folk literature, in Iskandar Nameh by Manouchehr Khan Hakim, which is in contrast to secretary texts of Safavid era, the author has tried to portray and create a literary and epic work in all text. This article seeks to determine what traits the author has benefited from in this style, and how successful has it been in achieving its goal. Among literary and colloquial style, which one is the most frequent? As a result, stylistic components at the lexical level were examined throughout the general examination of this work in seven volumes, and categories of folk writings were identified. The author's lexical tendencies are divided into two domains of archaism and common literary elements in all stylistic periods, and various constructs of adjectives, ancient words, interjection and Rā, various verbal construction , Arabic long titles, literary vocabulary and terminology, have brought it closer to technical and inspirational texts. In this field the cases such as colloquial words, fake nominalization, incorrect spelling, and swear words have contributed to the formation of colloquial text in this case. The glorious combination of genre writing has a dual style, on the one hand, literary, and on the other hand it is a kind of folk that the text has been influenced by numerous abnormalities and analogies, sometimes by eloquence and fluency, and consequently, it has become a kind of facetious text.

---

In the framework of stylistic discourse analysis, literature is a container to express ideas and concepts which are not only relevant to their creator, but also they are in connection with the context in which the text is produced. Yet, literature is the product of discourse where it is developed and all factors like environment, context, cultural issues and dominant ideology of the period in which the specific text is generated affect the growth and visibility of it. In Persian literature, Khorasani style is the product of discourse that its dominant face is full of philosophical thoughts and particularly rationality. This period is influenced by rational thoughts and intellectuality and NaserKhosro's poems, as one of well- known and effective poets and one of the most noticeable representatives of 5^th century literature, is regarded as a dominant sample of this conceptual indicators. Notable point in his poems is the influence of philosophical and religious thoughts, so that a large part of his odes court was devoted to this subject matter. In stylistic layered analysis of this poet's odes, dominant and cultural discourse of Khorasani period in which frequency of philosophical and logical subjects are notable shows specific style of the poet. In this study, based on stylistic layer analysis, in order to specify appearance of dominant- intellectual and cultural discourse of the period in the light of lexical and syntactic style, two layers of vocabulary and syntax of a number of his odes' court are analyzed.
 

---

There is a close relationship between stylistics and literary criticism. Many works of criticism are based on data analyses of stylistic studies, and analyzing status of the two fields—literary criticism and stylistics—couldpave the way for better classification of them.Through a content analysis of the two scholarly journals, Bahar-e Adab—proseand poetry stylistic studies—and Literary Criticism published in 2010, I have tried to show the relation between different aspects of the two fields in the previous decade in Iran. Both quantitative and qualitative indicators have been taken into consideration in this study. Quantitative indicators cover theoretical and practical domains. Qualitative indicators have been chosen according to a fewbasic questions on stylistics and literary criticism: have the articles on literary criticism transformed from descriptive nature into analytic one? Is critical thinking dominant in all studies? Do articles on stylistics consider works as representations of individuality of their author? The article concludes that, although the studies on stylistics and criticism, which in some cases follow the same academic or social discourse, seems to have correlation, there are some differences between the two fields. For example, when it comes to selecting texts, critics mostly tend to choose prose fiction while experts in stylistics prefer poetry. Impartial and independent theories and approaches are more widespread in literary criticism articles than in works of stylistics. Stylistic studies, on the other hand, are not independent. Most articles on criticism have passed descriptive mode and are closer to their expected form, i.e. analyses of the data. The number of articles on stylistics that clearly consider style as representation of the author’s personality or consider repetition of stylistic features as a deviation from standard rules is about half of the total number of the articles.

---

In the present study, the author tries to shed light on the positive and strong points of semiotics of discourse in stylistics studies. This approach claims that literary creation is the product of mass culture and thus its explicit position has been considered as a kind of obstacle on the way to perceive the original identity of style and uniqueness or individuality of the writer. To this end, the child story entitled “white crow” by Vatan Parast (1380), has been selected as the corpus of the study in order to scrutinize the stylistic components. It is worth mentioning that little attention has been paid to this genre. In this study and according to semiotic approach to literary studies, by style, we mean the semiotic flow in interactive process of enunciation. At first, semiotic regimes based on programming and accident have been adopted as the criterion to recognize different kinds of style. Based on accident regime of discourse, existential style presence was defined and its features like imperfection , risk, negation / assertion transcendence of sign , discontinuity and finally challenge have been investigated. One of the results of this study in this genre showed that existential style plays a key role to develop the imagination and creativity of child. The factors like (Nane – sarma and smart crow) who change suddenly the Dasein of subject reinforce the aspects of fantasy in the story. By leaving Dasein , the co –enunciator has the possibility to free him or herself from referential/ closed / and realistic style of presence and takes path beyond the lived present . In determining the genre of children books, the main consequence of this study is that, it is necessary to focus on the stylistic features of the story as a key factor to select signification processes, experience, simplicity or complexity of the text more precisely.
 

---

Scholars have different methods for grouping or determining the style of the literary works. So it sounds inevitable to have disagreement on how to determine the style of a work. In this paper we do not seek to confirm or reject common stylistics methods; rather we are proposing a new criterion as an indicator of style, namely, the metaphor of transitivity as a grammatical metaphor. To this end, Al-e-Ahmad’s Modir-e Madrese and Golestan’s Asrar-e Ganj-e Darreye Jenni are studied through a descriptive-analytical method. The metaphors of transitivity from these works are extracted and compared. The frequency of such metaphor in Asrar-e Ganj-e Darreye Jennicompared to Modir-e Madrese is much less. In Golestan these metaphors represents the conversion of mental processes to the existential ones and then the mental to the relational processes. In Modir-e Madrese, however, there is a unique employment of the metaphors of transitivity that represents the conversion of relational processes to the material ones and then the verbal processes to material.  Our study presents a model for using grammatical metaphor as a stylistic unit. In the chosen works, there is a significant difference between both the frequency and the type of metaphors of transitivity.