Linguistic deconstruction is less widely considered in Persian language grammar, both in terms of structure and in terms of application. Construction patterns and grammatical rules of language are commonly repetitive and static in grammar books, while language is always in a state of transformation and experiences more and less changes in this state. It has been shown (in thirteen cases), in present study, that some of the deconstructions suggest the reader that such a consequence is inevitable in all spoken languages of the world. The definitions and the aforementioned analysis have been proposed referring to some of the most prominent Persian grammars to demonstrate more clearly that Persian adjectives have been undergone different transformations and deconstructions. However, this research has new words about adjectives-genitives or adjectives-adjectives relations, adjectives after genitives, adjectives with verifier, indicator transformation associated with adjectives, being optional or compulsory of dependent adjectives, priority of conjugative to divisional affixes, being noun or adjective of "each, each one, anyone , none of them ..." and it  proposes new findings about  the adjectives inside the verbs, transforming noun into expressive adjective, being optional or compulsory of  adjective additions, expressive adjective with or without "-er"  and the lack of some of the most popular patterns of adjective construction in Persian grammars.

As one of the greatest Persian literates of the 12th century and one of the most prominent characters of his time, Khāghāni spoke both languages of Persian and Arabic fluently and many of his literary works have survived in both languages. However, none of his Arabic works are available, except for a few verses and some short prose pieces which has come down in his divan and perhaps his Persian Monsha'āt. For the first time in this study, two Arabic letters of Khāghāni have been introduced, copies of which are kept in Chester Beatty library of Dublin and Ibrahimpasha's groom section of Suleimaniyah library of Istanbul. The mentioned treatises are of the best examples of Iranians Arabic writings and hold many literary and historical advantages, such as making the recognition of events happened during Khāghāni's life easier to the scholars and solving the ambiguities this Persian poet used in the words of his complex poems. As a result, some first-hand and valuable information would be obtained about the recipients of these two letters, Qutb al-Din Abhari and Awhad al-Din Ghaznawi, besides some unsaid matters about the history and Sufism of Azerbaijan in the 12th century. The author of present study has corrected the above-mentioned treatises and is going to publish it under the title of "Qāyat-e Ibda'e" (the Utmost Innovation) with an introduction and analysis.  

Bahram Beyzyai is one of the prominent Iranian writers, researchers and artists who has created valuable and abiding works in the field of drama. Although some scattered works has been done in a few writings to introduce the typology of his works, but it is hard to find a certain classification and typological analysis of his works which has been scientifically accomplished. Among the theories of typology, Northrop Frye's theory of archetypes has a noteworthy place and can be considered as a functional classification of typology. He accommodates each of the literary genres of comedy, romance, tragedy, and irony / humor with one of the myths of spring, summer, autumn and winter, and assumes six types or phases for each of them that results in an accurate inter-typical classification. So, two outstanding works of Beyzyai named "Four Boxes" and "In the Presence of wind" can be evaluated and criticized typologically on the basis of Frye's theory. Through a method of qualitative analysis and based on library and documentary studies, it has been tried, in present research, to propose a typological analysis of above mentioned plays on the basis of Northrop Fry's theory of archetypes. The results show that "Four Boxes" and "In the Presence of wind" should be classified as the first type of comedy.     

Iranians' first journalistic experience was an entertaining imitation of Western journalism, initiated by the Qajar court and the publication of the first official newspaper in 1860. The government newspapers, in this period, contained insignificant themes such as the description of the Shah's journeys and, written in a secretarial style, played the role of a media displayed the power, the glory and the authority of the monarchy. The court's single-voiced language was used only to propagate and to justify the dominant policies of the monarchy system, and, naturally, left no choice for the opponents. The court's secretarial style of journalism continued to be used up to early 1930s and was faded gradually after the establishment of constitutional government, when nongovernmental newspapers began to be published. It has been tried, in present study, to show how the language of the Qajar court turned into the power discourse and how a language can be used as a tool to justify power. To achieve this purpose, the role of linguistic and rhetoric elements of court language, as a variety, in effective transferring of concepts and the discursive features of such language in terms of existing relations between power and ideology are analyzed through a critical discourse analysis and a functional linguistics approach. The government newspaper "Ruz-nāma-ye dawlat-e ʿaliyya-ye Irān" is examined in this regard, as an obvious example of this type of social language, then the results have been generalized with references to all Qajar court newspapers.

Answering the question: "What are the factors make the language in Naser Khosrow's elegies prominent?" is the main effort has been done in present study. Since it was not possible to examine all the language features in the poetry in his elegies, it has mainly been tried to explore some aspects of his language on syntax level, which is the structure of syntactic groups and sentences. Although the phonetic level of his speech has also been somehow considered in a glance. This study will be completed when it comes to comparing the syntactic elements of his language with poets before him and his contemporary poets, to determine the prominence of his poetry. Therefore, the study of the linguistic features of his elegies, in comparison with the language is used in the elegies of two pioneering poets (Farrukhi and Unsuri) and one of his contemporary poets (Qatran), is the most important part of this research. To study the frequency of each syntactic elements in Naser Khosrow's specific elegies and to compare it with the frequency in the elegies of Farrukhi, Unsuri and Qatran, which are similar in their meter and rhymes, we have used the statistical method. The results show that Naser Khosrow's elegies are more distinguishable than the other three poets' on the level of syntax for following reasons: shortness of syntactic equilibrium and verb deletion, shortness of counterfeit nominal group and praying mode, the irrelevance of syntactic arrangement of quotation with the vertical axis of imagination, increasing hortative role of the language, syntactic abnormality, archaism, the role of following sentence(s) in  conditional, contradictory and causative dependents in creation of the philosophical forms of his word. Rather than the general and obscure interpretations have often been provided about the elegies of Naser Khosrow, some quantitative data is provided in present paper that its analysis is just one of their possible results.

As a rhetorical and aesthetic approach, description and descriptive expression are used in children poetry, and different types of their forms are used by children poets. Utilizing the creative potential of this form of expression, the childrenpoets strengthen the rhetorical and artistic dimension of their works, and easily access the main goals of children poetry: the development of the children's look into the environment, their mental and personality development, the strengthening of their imagination, the stylization of their emotions and deepening their thoughts. The importance, function and capabilities of poetic description and its rhetorical importance in children poetry, as well as the quality of its impact on a child, as an audience, are initially described in present study, and then, the forms and types of descriptions and descriptive expressions which are used frequently under the titles of "Subjective description", "objective description", "visual description"  and "narrative description" in the works of eight poets of child and adolescence have been reviewed and analyzed along with evidences of each. In addition to such analysis, the extent and the quality of the effects of each of these types has been assessed on juvenile audiences. Precise and immediate observation has been considered as the origin of the "objective description" and its ultimate aim is to represent the material and objective aspects of the phenomena. The "subjective description" has been evaluated as the result of the poet's use of objective affairs to expresshis/her mind, emotions and thoughts; and the "visual description" is defined as description based on imagination with a clear aesthetic reliability, an finally, the " narrative description" is a kind of description formed by the poetic and allegorical narration of the poet on the basis of his humanization.

Naser Khosrow is one of the famous Iranian poets and writers who lived in 11th century. There are some works by Naser Khosrow in prose or verse, all of which have been written to promote Ismailia teachings and beliefs. Due to the fact that many works have been mistakenly ascribed to Naser Khosrow over the years, there are doubts about the accurateness of the attribution of some of his major works in the last 100 years. One of the mentioned works is Khan al-Ekhwan, containing one-hundred sections (queues) various viewpoints about Ismailia. Through two methods of: a) Explaining Naser Khosrow's scientific method in creating his works; and, b) comparing Khan al-Ekhwan with his other prose works, and utilizing three techniques of: 1. Text mining to overview the text similarity metrics through bag-of-words and cosine models; 2. Reviewing the stylistic and lingual features of Khan al-Ekhwan; and 3. Studying Khan al-Ekhwan's structure, it has been proven, in present study, that although a significant part of Khan al-Ekhwan (thirty-eight queues of one hundred) is the translation of Yenābi' by Abu Yaqub al-Sijistani, and in fact the contents of these sections belong to AbuYaqub al-Sijistani, but it can be claimed that these writings are from Naser Khosrow's pen, considering the stylistic and lingual signs of  the work.

Feyz Kashani (died in 1680) was a philosopher and a poet whose poetry, although not literally considerable, holds a very important role in terms of understanding the nature of Persian mystical sonnet. The study of his sonnets shows that Feyz has benefited the form of sonnets to express prayers, eulogies, and religious advices and sometimes social criticism. The mystical manifestation of his poetry, especially influenced by Ibn Arabi's mysticism, is recognizable in many of his sonnets. In this paper, briefly in the epistemological discussion, an overview has been conducted on the ways of acquiring knowledge and the necessity of inner-self polishing to gain wisdom from the point of Feyz's view. Then, in the ontology section, some of his poems that contain themes such as: the relation between God and universe, the manifestation of unity in plurality, passing the plurality to get unity, the manifestation of the unseen world in intuition, the sacred and holy grace, the mercy and inherent poverty of creatures, the relation between the component and the whole, man as the manifestation of comprehensive name, recreation of samples and mortality of unfair have been analyzed. Fayz's view is influenced by transcendental wisdom; because the mystical and intuitive knowledge are of its epistemic resources. Some of Feyz's sonnets have been selected and examined, in present study, to show how his mystical thoughts are converted into a literary style of expression. The results show that the ideas expressed in these poems have gotten poetic aspect through the order of words, secondary implications, associations and imagination.

Manouchehri Damghani is one of the famous poets of the 11th century whose divan has been repeatedly corrected in Iran and other countries, although, one of the most well-known and significant corrections to his divan, made by Mohammad Debir Siyaghi, first was published in 1947 and was re-edited in its subsequent editions. Since any handwritten copy of the Manuchehri manuscript has been left, and because of the special style of Manouchehri in composing poems that cannot be found in the work of the others, and also considering his particular attention to the world around, it is very difficult to correct his divan. It has been tried, in present study, to correct some distiches of some copies of Manouchehri's divan on the basis of Debir Siyaghi edition, paying attention to two recent editions of his divan have been done recently: the editions of Habib Yaghmaei (2013) and Saeed Shiri (2016). In addition to the manuscripts used by the correctors, several other handwritings, some of which are older than their manuscripts, are used for corrections have been made in this study. Rhyming rules, syntax, sentences order, other literary requirements and the meaning of distiches have been paid attention by the researchers in addition to the consensus of older handwritten copies.

It is not possible to receive the exact message of the poet and his detailed understanding of his experience unless his poetry is carefully examined, especially in lyrical poetry in which the poet speaks of his innermost self. What happens in the language, is a reflection of what has already happened in the poet's mind; because affection and excitement affect the language as well as the body. The way words are selected and combined with each other, and the type of sentences that speaker/writer uses provides a significant amount of information to the audience that affection and excitement are only part of it. A considerable part of our information about ontology, culture, manners, ethics, and social behavior of speakers/writers is based on the language they have used in their works. Linguistics, grammar, rhetoric and semantics are all effective tools for better understanding of the message lies in the language. The reflection quality of Mowlavi's affection and excitements on the language in his Divan-e Shamshas been analyzed, in present study, through three approaches of linguistics, grammar and semantics, and the emotional role of the message in pseudo-statements and interjection, the literary role of the message, the utilization of pronouns, and the type of sentences that manifest the poet's inner voice in secondary meanings are also studied.

In order to express and convey their concerns and ideas and based on their own style and special taste, authors choose different techniques, in addition to subject selection which should be consistent with the theme. We have explained, in present study, the extent and the quality of the link between the theme and the multiple semantic layers of the text with the features of narrative technique of the first four stories of the collection "Tamam e Zemestan e Mara Garm Kon" (Heat my whole winter) by Ali Khodaei. In addition to explaining the positive aspects of writing, we are to criticize and analyze the issues that the author should pay more attention to promote his storytelling. The results show that the way of expressing and usage of space, place, time, narration method and characters are accurate and successful in all stories. The narrator is carefully selected to explain and present the theme in the stories of "Tamam e Zemestan e Mara Garm Kon" (Heat my whole winter), "Asrhaye Yekshanbeh" (Sunday Evenings) and "Mokalemeh" (Conversation), but the lyrical plot of the story is not suited to the external third person narrator in his "Fanfar" (Ferris wheel).  In creating this story, the author has not been able to use appropriate language and expression to his lyrical theme. In "Mokalemeh", he has shown the consequences of not speaking; it means that conversation is a reciprocal communication; it is not just saying, and "hearing" should also be considered important as "saying". The sub-story paralleled with the main story in "Tamam e Zemestan e Mara Garm Kon" is consistent with the title and the theme of the story. The atmosphere and location of the story, the confusion of sleeping and awakening times and overlapping of hours are also relevant to the theme.

Nowadays, the term "science production" has gotten a special place in our country and has occupied the minds of the government officials and those who plan the scientific and research affairs. One of the most worthy parts in this regard, is the examining of scientific – research papers production in scholarly journals. To do this, it has been tried, in present study, to analyze the statistical data collected from the website of the Persian Literature, the quarterly journal of the University of Tehran to explore and discuss about the number of authors, their scientific degrees, the centers and institutes active in the journal, the extent of co-operation between authors and etc. The results show that 60 papers have been produced individually, 97 papers have been jointly produced, from which the authors of 63 papers belong to the same university and the authors of 34 papers belong to different universities. Ali Muhammad Moazeni and 7 other writers were the most prolific ones, with 4 published papers.  The content analysis of the papers shows that fictional literature, mysticism and Sufism consist a large part of the subjects. 28 papers, 10.40% of all, have been produced by journal's editorial board, which is an acceptable average. 4039 sources have been totally cited which is a 72.25% average for each paper and also an acceptable average. More than 14 years have passed from the publication of 56.30% (2274) of the sources used in papers. With 115 authors (42.75%), University of Tehran and Kharazmi University are the most prolific producers, which can be considered as one of journal's weak points. Three of the editorial staff are among the most prolific authors.