About two years after the Iraq-Iran war, and at a time when Iraqi-Iranian relations were neither war nor peace, Saddam Hussein as Iraq's top political leader, wrote letters to high-ranking Iranian officials. In the correspondences, he sought to portray himself as a pacifist seeking a peaceful solution to the Iraq-Iran crisis. Iranian officials replied obsessively to all the letters. The role of these letters was very important because they were written after the war that incurred heavy human and material losses between the two countries. At that time, officials of both countries were very careful and cautious in what to say and how to say it. Probably, it could be said that the war between the two countries had gone from a physical battle to an attempt at verbal persuasion. Therefore, it is important and necessary to examine and analyze these messages through critical discourse analysis. After reviewing the correspondences, it became clear that there was a dialectical connection between their ideology, power, and texts. The more socially and politically powerful the actor is, the more opportunity he has for linguistics, and in turn, has an effect on his display of power. Officials of both countries – even perhaps unknowingly - used the discourse components to strengthen and direct their discourse; components such as: polarization, reference, lexical options, participant characteristics, implicit signification, distance, and fallacy.

This article is an attempt to indicate the relationship among critical discourse analysis, linguistic criticism and literary text studies. Interactional processes, apart from making use of media, political, social and philosophical studies, take benefit of the literary texts. Literature can be an appropriate setting to communicate ideology, therefore it is a critical device and should be analysed as such. critical discourse analysts believe that producing, reading and analyzing a text depends on macro and micro contexts of socio- cultural situations. As a result the literary texts and literary analyses are the products of these particular contexts.

تحلیل گفتمان انتقادی شاخه ای جدید و بین رشته ای در علوم انسانی و بالاخص در حوزه نقد زبان شناختی است که در سال های اخیر توسعه بیشتری پیدا کرده و در تحلیل مسائل مختلف سیاسی- اجتماعی و البته متون ادبی خودنمایی می کند. نورمن فرکلاف نظریه پرداز و بنیان گذار این جریان فلسفی-زبان شناختی در اواخر قرن بیستم میلادی با دریافت و گذر از نظریات نشانه شناسی، تأویل گرایی گادامر، دیرینه شناسی میشل فوکو و با رد آراء صرفا اقتصاد گرایانه ی نئوکمونیست ها و با نگاهی به پسا ساختار گرایی دریدایی توانست مفهوم گفتمان قدرت و مردم را از طریق ساخت های ایدئولوژیک به دست آمده از صورت های زبانی تازگی ببخشد.مقاله ی حاضر می کوشد با رویکردی تطبیقی، مفهوم کلیدی و کلان مدرنیته را در بافت موقعیتی رمان های مدیر مدرسه از جلال آل احمد و سفر به انتهای شبِ لویی-فردینان سِلین فرانسوی، که اصطلاح مدرنیته به عنوان گفتمان قدرت در رمان های نیمه اتوبیوگرافیک (خود زندگی نامه) مذکور در تضاد با گفتمان رسمی قهرمان های داستان است، بر اساس رویکرد نظری نورمن فرکلاف تحلیل و بررسی کند. باید گفت که آل احمد در مدیر مدرسه قصد انتقاد از عواقب جامعه ای را دارد که غرب زده شده و به تقلید از مدرنیته ی غربی اخلاق، معنویات و فرهنگ سنتی را به فراموشی سپرده است. سِلین نیز در سفر به انتهای شب با دنیای پست مدرن غرب و گفتمان مدرنیته که در جایگاه گفتمان قدرت قرار دارد، رسم و رسوم جاری بین افراد جامعه را، که تحت تاثیر پدیده ی مدرنیزاسیون دولتی و ظهور بیش از پیش ماشین های صنعتی هویت انسانی خود را باخته اند، در قالب جملات قصار و لحن عامیانه به دیده ی تحقیر می نگرد.

This article tries to review the origin of CDA and introduces some of the influential theoretical schools on it. Although these approaches differ from each other, on the basis of the theoretical foundations and analytic tools, but they share three concepts of critique. power and ideology. The article emphasizes on two main points: a dialectic relation between society, culture. politics and language that this complex relation requires multidisciplinary research; and the fact that CDA cannot be taken as a theory due to its tendency to adopt an eclectic approach in the analysis of the data.

The main purpose of this paper is to recognize the existing world-view in Masoud Kimiaei`s Films by using critical discourse analysis during five decades and to compare it with trans-formational concept in life-world and communicative action theories. This critical discourse analysis is based on Norman Ferklaf, the information basis is based on one film from each decade; that is the films are chosen from Gheisar in 1340 to trial in Street in 1380. So, “Gheisar”, “Gavazanha”,”Snake`s Tooth”, “Mercedes” and “Trial in the Street” are films which are analyzed. The findings show that the discourse of Kimiaei`s films during this five decades mainly contain sexism( superiority of men) in the social rank and un-equality between these two sexes in communications and arguments; and in other hand, there are pre-modern ideas in dealing with crisis such as punishment that are emphasized and the kinds of interpersonal communication mainly are based on interaction between done traditions and not apart from them and these are not seriously the reviewer the tradition, therefore the concepts which should be accepted in socialibility of the people, can't be seen in these films, which can be seen in the rational society based on rationalized life-world, and other thing is that there is not a great change in discourse of his works, during these five decades.

Fakhr al-Din Iraqi, a mystic poet of the 7th century, composed his poems with the theme of love. This research, using Norman Fairclough's critical discourse analysis, analyzed Iraqi’s lyrical poems, quatrains, love poems and glosses in three levels, and seeks to show which discourses and levels of power had influenced Iraqi, and how he involved in reproducing or resisting against them. Therefore, at the level of description, after finding the threads of the discourses, with their help, Iraqi’s discourse and its impact and impression are analyzed. The most prelevant word and theme in Iraqi’s poetry is love. The dominance of indefinite sentences tells about the silence of the lover and the field of love. The most vivid expression of his love is “pain of separation”. Iraqi’s domination by the rule of the indefinite pronoun “thou” (lover) that “I” has made him subordinate to “she” (lover). In the situational context, the invasion of the Mongols and the emergence of Ibn Arabi led to the scientific, practical and public growth of Iraqi’s discourse, and encouraged him to speak more fearlessly of the eternal lover and unity of existence in Lamaat. In terms of intertextuality, he is influenced by the discourse of verses from the Qur'an, the idea of existential unity of Ibn Arabi and aestheticism of Ahmad Ghazzali. In Qalandari, he is under the influence of the legacy of Sana'i and Attar. The most basic Iraqi confrontational point of view is love-centered discourse against asceticism. Due to the passive nature of his language and expression, this orientation has worked to stabilize the structure of the ruling power institution.

Hagiographic literature and specifically "maqamat", meaning recording one of the Sufi sheiks' life and behavior, have had a critical role in our social and cultural past and an outstanding effect on our best poets' minds and language after the 5th century. Therefore it's one of the prominent genres of mystical literature. Though they've had such significant role, not much study on them has been done yet. This paper analyses the language and discourse of two texts of this type and comperes the contrasts and conversions that appears through Sufism organization, in these texts' language. The first text, Sirat-ibn Khafif, composed by Abolhasan deylami (died in 173), is one of the most primitive hagiographies. The other one, Maqamat-i zhanda pil, one of the most archaic biographies of Ahmad Jam (died in 541), is in fact regarded as the last hagiography until before the end of the 6th century and Mongol invasion.