---

The modern literary movement in Iranian fiction writing is the most important movement in Iranian literature and the best author in this movement could be noted as Bijan Najdi. He was an anarchist and Empiricist author. Najdi’s stories are full of metaphors and similes, a trait which makes the language of his stories closer to the language of poetry and givessuch a stylistic distinction to his works that he is considered in Persian literature as the founder of poetic fiction. The most important factors that mark Najdi’s stories as modern stories are elements such as poetic language, use of time gaps and penetration of  the mind of his characters. In this paper surveying the narrative elements of "An Indian in Astara", we demonstrate that the story is a modern story and that Najdi employs modern narrativeelements, such as confrontation of life and death, imagination and reality, and acceptance of the situation and idealism, in order to express his ideas and the intellectual foundations of his thoughts.

---

“Borrowing” is a lingual process that is studied in diachronic linguistics. In this process a language borrows elements from another language. This process usually occurs in areas that two languages make contact with each other. In a dialect spoken in South Khorasan the language borrowing happens. Arabs living in this part of Iran probably have immigrated in the early centuries of Islam. In this paper, the process of borrowing the verb “ast” and its varieties in “Sarab” village will be studied. In this village, this Farsi copular verb is used in three ways: est (with the phonetic, morphological and semantic transformation), hast (without any transformation) and mest (as a participle). In Arabic dialect of Sarab “ast” and its varieties are used in three modes of predictive, subjunctive and imperative. The use of Arabic identifiers in construction of “ast” is different in this dialect and its Farsi structure.
 

---

Heroism is one of the main themes in popular Persian prose stories. The hero in these stories has characteristics that generally belong to the mythical beliefs and traditions of pre-Islamic and post-Islamic Iran. Many historical and social factors are important in the transmission of these traditions and beliefs but one of the most important ones is Ferdowsi’s Shahnameh. In many cases, the actions and characteristics of the hero in the Shahnameh can be considered to be the prototype of the hero in popular Persian prose stories.
In this study, by examining four heroic prose works of Persian folklore, each belonging to a specific era, we identify and compare the heroic, political, and social characteristics of the hero-pahlavan and his comparison with the Shahnameh. The results of this research are as follows: Despite the formation of these works in the historical centuries, the hero has retained many of the mythical and epic features of the Shahnameh. Some of these actions and features are perfectly in line with the mythical and epic examples of the Shahnameh, and the narrators and writers have attempted to match the Pahlavans of popular literature with the Shahnameh. In some cases, despite similarities, there are differences between these actions and characteristics. The differences have often been due to the heroic ethics and some of the heroic and social political and social practices that result from the intellectual and cultural situation of the era of popular literature and the changes and transformations of the Ayyari system. Most of similarities can be seen in terms of appearance, combat power, type of birth, upbringing, growth stages, and the ideal years of the heroic.
 

---

Feuilleton is a writing genre which came into existence after the emergence of the press and the reasons behind its creation can be listed as compensating for the shortage of book publications, providing a new way to present long texts, and keeping and increasing the readership. Taking a history of literature research approach, we investigated this writing genre and its applications in the Iranian press from the outset up to the year 1320 SH (1941). While serialized stories have comprised the majority of feuilletons in the press, various topics such as plays, travelogues, biographies, and historical texts have also appeared as feuilletons. In the early Iranian press, various terms were used for this genre, such as ‘ghesmat-e tahtāni’ [bottom section], ‘fiton’ [feuilleton], and ‘zeyl’ [appendix / footnote]. It was Ettehad-e Eslam Newspaper that first used the term pāvaraghi [~footer / footnote / = feuilleton] which was gradually picked up by other publications. The first feuilletons were published by Etemad al-Saltanah in Iran Newspaper and mostly had historical themes. The first fiction feuilleton was the novel neyrang-e siyāh ya kaizāne sefid [The Black Deception or White Maids] by Mohammad-Taqi Bahar which was published in Iran Magazine in 1298 SH (1919), and the naming by certain researchers of the novels tehrāne makhōf [The Dreadful Tehran] or dah nafar qezelbāš [The Ten Qizilbash] as the first fiction feuilletons lacks scientific rigor. The most important feature of this genre is its serialization, and variety in its topics. Considering its style of writing, no particular linguistic feature can be attributed to this genre; rather, the style of writing in this genre follows the style of its authors or translators.