---

Communication is one of the main functions of language. Linguistic communication usually combines with other modes of interaction such as nonverbal communication. People’s nonverbal behaviors display their styles and personality characteristics. Therefore, the fictionists and historians tend to reflect the quality and quantity of the character’s nonverbal relationship in their narration. The present study examines the adventure of Hanging of the Hasanak Minister in Tarikh-e Beyhaqi in order to show how Beyhaqi succeeds to imagine, objectify and portray the events of Qaznavi's periods and how it could improve the dramatic capacity of historical text with accuracy in nonverbal communication using a descriptive-analytical method and an interdisciplinary approach. This study displays that Beyhaqi often uses nonverbal communication in order to complete the verbal communication; but in many cases, they are replaced by verbal behavior or control the verbal behaviors.

---

Literary works are the carriers of many regulations, values, norms, beliefs, structures and existential, cultural, and social aspects of their time. Many of the social and cultural realities of past centuries embedded within the extant literary works of those centuries can be identified and followed through. The critical approach in discourse analysis of literary texts provides a more precise knowledge of different cultural and social manifestations, life aspects, and people’s intellectual systems of the society of the authors of these works. The issue of economy is among social and cultural structures that has been less attended to in literary researches. The study of economic discourse in literary texts can also reveal other social, cultural, and intellectual discourses governing the temporal context of creating these works. This article deals with the critical analysis of economic discourse of the poems of Khaqani Shirvani. The goal is that following this approach to study the influence of this type of economic thought and the resulting culture on the linguistic, aesthetic, and intellectual structure manifested in Khaqani’s poetry and also to find out the reason why such a specific economic culture was dominant at that time. The result of this study indicates that the discourse of social hierarchy and luxury was dominant then and along with the power discourse resulting from wealth it had been naturalized and institutionalized in the economic culture of the time.

---

One of the basic characteristics of satire is its humour. When dealing with supreme subjects like death, Satire sometimes movesaway from its basic characteristics such as comicality, candor and accessibility and becomes less relieving and more bitter and sad. When satire deals with death, which is always mysterious and tragic for humans, it fails to provide any absolute relief;instead it brings about short term forgetfulness in the audience through diverting their attention, and givesthem a temporary sense ofbliss. This article identifies satire of death as a complex genre and analyzes its different aspects in samplepoems by Shams Langaroudi. We will see that Shams uses different methods of satire of death to deal with this phenomenon and its related concepts such as thanatophobia. The article reveals that satire of death in poems of Shams reflects human's fear and apprehension about certainty of death and emphasizes the physical and bodily dimension of human being in the natural world.

---

Implied author and implied reader are components of a narrative structure, playing a crucial role in illuminating hidden elements within a text. Therefore, studying these elements in literary works can expose the underlying layers of narration and open up new critical outlooks to the readers. Furthermore and in cases of cinematic adaptations, it explains whether this was the novel or the film that has managed to unravel narrative complexities of the other medium more successfully and better facilitate audience understanding. The novel GavKhuni and its film adaptation are among works in which the plot is not causal, but internal and fluid. Thus, the reader has to decode textual evidence in order to understand how conceptions and viewpoints are formed in characters. Afkhami’s adaptation of GavKhuni is totally loyal and all elements of the story are faithfully mirrored in the film. However, Afkhami has made use of these elements to present his own ideological concepts. Repetition is a method that both the author and the director have used to transfer their ideas to the audience. Using a descriptive-analytical methodology and a narratological and inter-disciplinary approach, the present research attempts to analyze the ways in which implied author and reader are represented in the novel and the film. Since the author and the reader of each era are thrown into their work and new meanings are discovered in fulfillment of their expectations, thus the audience of this novel and film would discover new meanings from out of the narrative text of GavKhuni as well as its adaptation.
 

---

---

 

---

---

Purpose:
This article seeks to critique the elitism found in the thoughts of Iranian intellectuals of the 1950s and 1960s. To do so, it analyzes and carries out a deconstructionist reading of Jalal Al-e-Ahmad's story titled Farewell from the collection Three Strings. The book contains 13 stories of Al-e-Ahmad and was published in 1948.
Methodology: This reading is made possible with an emphasis on the French philosopher Jacques Derrida's perspective and applies the eight-step strategy of David Boje as a critical postmodern analysis strategy regarding the narrative. David Boje's method includes duality search, reinterpreting the hierarchy, rebel voices, the other side of the story, denying the plot, finding the exception, stating what is between the lines, and resituating. The article follows each of these steps in order to bring about the deconstructionist reading of the story.
Findings:
After using the 8-step strategy of Boje, eight dualities were found: beauty vs. ugliness, core vs. periphery, naked vs. clothed, enlightenment vs. gluttony, rational vs. superstitious, quiet vs. garrulous, boy vs. girl, and activity vs. passivity. Each of these dualities has a hierarchal dominant/subordinate structure, and the narrator narrates the story in a way he is in the dominant position. Then the hierarchy in each duality was reinterpreted in a way that the rebels found their voice and the other side of the story appeared. The romantic plot of the story was replaced by a tragic one, exceptions were found, and between the lines was read. After doing all the 7 steps, the new narrative was made possible.
Conclusion:
The article concludes that by using David Boje’s strategy and by adopting Jacques Derrida’s deconstructionist approach to read Jalal Al-e-Ahamd’s story titled Farewell, a new narrative was brought about that makes possible the critique of the elitist views of Iranian intellectuals during the 1950s and 1960s decades. It is important to note that it is necessary to go beyond the person of Al-e-Ahmad and to get closer to the subject of Al-e-Ahmad as an Iranian intellectual; a subject that has been made possible in a particular context and has produced works. According to the narrative produced by the deconstructionist reading of the story, it is concluded that the intellectual subject reproduces the hierarchical relationships, puts itself in a superior position, relies on modern reason, and without considering and understanding the existential relations of the subaltern, seeks to represent them and aims to act to accomplish what it calls an intellectual mission.

---

Nasser Khosrow's poetry is full of intellectual arguments, religious topics, sermons and judgments, etc., which has given his words a philosophical and somewhat complicated flavor. On the other hand, in his works, Attar has tried to present the heritage of Sufism of Khorasan and the heritage of poetry before him in a different way, with a simple language and free of glamor and impressive embellishments. The question of this research is whether the simplicity or complexity of language plays a role in the simplicity or complexity of the structure of poetic images. The present research, which is written in a quantitative and statistical method, deals with the statistical and comparative analysis of the structure of the poetic images of Nasser Khosro and Attar. The results of this research show that the simplicity or complexity of a poet's language has little to do with the structure of his images; In other words, the simplicity or difficulty of a poet's words cannot be considered simple or complex in the geometry of his images. The language of Nasser Khosrow's poetry is difficult and complex, but this feature has not had a significant effect on the geometry of his poem's images, and most of his poetry's images are simple and far from complex. On the other hand, the structure of Attar's poetic images, despite the simplicity of the language and appearance, has a subtle and narrow complexity that cannot be integrated into a network except by analyzing the rhetorical materials used in the construction of the images. understand the relationship of those tools with each other; In other words, Attar's language is simple and his images are complex.