Plato did not allow many artists and poets into his Utopia Republic because of their bad and misleading influence on the young. But it seems that he learned storytelling and narrating from them and concealed what he learned beneath his philosophy. Thus, Plato's dialogues became more effective and gained aesthetic and artistic qualities. Theaetetus, one of the best known dialogues of Plato, is a conversation and discussion about episteme. Due to using classical DRAMATIC STRUCTURE, this dialogue is the most important dialogue with regard to dramatization of philosophical thoughts. The goal of this article is to study the DRAMATIC STRUCTURE of Plato's dialogues and show its potentials for interaction with narrative theories. It could be said that Plato's dialogues have many resemblances to the Greek drama and, today, we can call Plato a playwright. Thus, it is important and necessary to reread and reevaluate Plato's works via narratological view.

Nowadays, the fundamental role of having a purpose for life in physical and mental health has been confirmed. According to victor frankl, presence of a purpose in life gives life a meaning and increases resilience against pains and traumas. The importance of the purpose in life construct reveals the need for a reliable and valid tool to measure it. Crumbaugh and Maholick's purpose in life questionnaire is the first and one of the most applied tools for the assessment of life's purposefulness. The aim of this research is to determine the factor STRUCTURE of purpose in life questionnaire. The questionnaire was administered on 206 students who were selected through random stratified sampling at Ferdowsi University of Mashhad. Exploratory factor analysis showed that there are two factors "comprehension" and "purpose" and this finding were confirmed by confirmatory factor analysis. Altogether results of this research showed factor validity of the purpose in life questionnaire with a two factor pattern

Extended Abstract 1. Introduction The issue of translating Arabic DRAMATIC texts into Persian has been sparsely treated among critics. For instance, little is known about the basic strategies required to translate such texts. The differences in the syntactic STRUCTUREs of languages deter the adoption and application of suitable criteria and modules while transferring these STRUCTUREs, even after the proper and suitable lexical items have been selected. Sometimes the STRUCTURE of the source language is not correctly reflected according to its expected use in the target language and is not properly arranged. Making mistakes at verb-tense level is one example where the simple tense is used instead of simple continuous or when statements are used instead of other sentence types. Since the STRUCTUREs of the source and target languages are different, it is natural that the translation should be based on the STRUCTURE of the target language. On the other hand, paying attention to the style and eloquence of the source text is one of the constraints imposed on the translator while choosing equivalents in the target text, and the same applies to treating the differences between historical, romantic, and intimate texts. ...

Abdolhosein Sanatizadeh is one of the prominent writers of Iran. He is famous for his historical novels. He wrote at the beginning of the twenty century in Iran. He began his career by writing a play called "Lekpelekolmolk" and, influenced by Constitutionalism, had it performed in an inn in Kerman, Iran. He was arrested and obliged not to write any more such plays. He then turned to writing historical novels.This article describes the writer's career and his first experience in DRAMATIC literature and explores the play "Lekpelekolmolk".

Bushehr province with the especial geographical location is full of rituals. The rituals which rooted in people’s lives and the inhabitants of this region are living with them. According to the abundance of DRAMATIC indicators in rituals of this province, local playwrights had used these rituals in their works. But the important question is, did the authors created deserved works due to these rituals or not? This article attempts to have a general look over DRAMATIC literature and rituals of Bushehr province and also tries to investigate the impact or lack of impact on DRAMATIC literature of this region.

Information, STRUCTURE as well as phonetic, syntactic and semantic construction, has been one of the subjects of attention among linguists in recent years. Since information STRUCTURE or , in other words, the way of distributing syntactic STRUCTUREs in DRAMATIC texts is of great importance, the textual totality of the play ofool by Akbar Radi is used as linguistic data and as evidence in the analysis of the construction of information in sentences. To the knowledge of the authors of this research, no research has been conducted on the arrangement of sentence information in the DRAMATIC genre; To this end, Akbar Radi's play entitled ofool was chosen as the corpus of research. The research method is descriptive-analytical. In order to analyze the informative STRUCTURE of sentences, some phonetic, lexical and syntactic rules have been analyzed and summarized in this research. The findings revealed that this play is not the case of exception and encompasses all the advantages of this linguistic devices. In their own turn , these devices can be served to demonstrate staging, characterization and other DRAMATIC thems. This linguistic devices are also used to serve the aesthetic aspects of the DRAMATIC genre and create textual cohesion.

The life of comedy in the west dates back to the beginning of the DRAMATIC activities of ancient Greece and then, ancient Rome and it is observable in abundance in the east in the works of great poets like Roudaki, Sana’i, Anvari, Sa’di, Hafez, Mowlavi, etc. The important point among all these texts is acceptance of them as a form of literary expression to correct the affairs and merely entertainment and mastery of literature are not meant. The advancement of literature owes to noticing the society. The path and trend of the literary theories also show that verbal comedy is “deed and action”. This way of looking at comedy prepares the audience and society for doing and changing behavior and regards comedy as a dielectric action in society that influences the audience’s behavior and makes him/her ready to accept the change. Based on this yardstick, many of the laughable contents are not comedy as they do not make us change and no DRAMATIC condition and social dimension is not observed in them. In this article, it was tried to analyze the social dimensions of comedy with library research. The results show that nowadays, combining comedy and tragedy is more compatible with human’s mood and they reach change, thinking and calmness with that more. With these considerations, comedy of that person is stronger who knows tragedy well and one who knows it well, has paved the long way for it and come back.

Satyrs, those half-human, half-beast followers of Dionysus who spent their days in pursuit of nymphs for purely carnal purposes, give their name to an ancient type of drama, namely the satyr type. Thoroughly bawdy, delighting in unabashed vulgarity (by our standards) satyr used to be one of the three main branches of drama prior to the early centuries of Christian culture (see Tony Harrisons introduction to The Trackers of Oxyrhnchus). It is quite possible to argue that drama was originally classified into three types rather than two, and along with tragedy and comedy it included satyr as well; in fact, some even go so far as to claim that comedy grew out of satyr, and then gradually went its separate way. Elevated somewhat, it still retained much of the ribald humour of the satyr type and combined it with satire (the sharpest kind of wit, designed to ridicule and arouse outright contempt). There used to be a great many satyr plays. Aeschylus is believed to have written 90 play altogether, including about 20 satyrs. Sophocless output is believed to have been 123 plays all told, including perhaps 30 satyrs. And Euripides probably wrote 80 plays, 15 of which were satyrs. We may conclude that we have lost over 60 satyrs in all, and today only one play of the satyr type survives complete, namely The Cyclopes of Euripides. Perhaps it was because of the potentiality of comedy and tragedy, and the impressive record of achievement in those two genres, that in the course of time satyr diminished in importance as a genre, or was greatly underestimated, to say the least satyrs are often thought to have been merely a comical appendix to a trilogy of tragedies, an appendix which consisted of a series of plot less pieces of writing, and somewhat comically and licentiously dealt with gods, or heroes of the tragedy in order to provide relief from the tensions generated by the foregoing trilogy. In this research an attempt has been made to give a historio-scientific illustration of this largely neglected (and not necessarily negligible) genre. In order to offer a clear definition for this ancient archetype in drama, the researcher has, of necessity, relied on the very few sources that have been available. With this end in view, the researcher has had to take the reverse route. That is to say, other archetypes and genres that seem to have been more explicitly defined have been put to use in order to explain this lesser known archetype; for example, comedy, farce, fantasy, grotesque, and even definitions of parody (what seems to be primarily a subgenre of satyr) have been used to define the satyr type itself. The writer is convinced that in addition to traces of satyr that can be discovered in more modern works and apart from instances throughout history for which the satyr archetype has been a source of inspiration, the effects of satyr as an archetype can be investigated (in wider dimensions) in the art of the postmodern era.