Farrokhi Yazdi (1888-1939) is one of those poets who did journalism as well. He was both the publisher and a Columnist of the 'Toofan' (typhoon). His style="font-style:inherit;color:rgb(255,0,120);">prose mainly focuses on communicating socio-political messages. Stylistic matters, however, are considered only as the second significance of his writings. style="font-style:inherit;color:rgb(255,0,120);">prose—writing poets are generally expected to keep a poetic style="font-style:inherit;color:rgb(255,0,120);">prose style but Farrokhi has avoided this and keeps from the other poets prior to him. His essays and articles sound like written lectures and, due to a hot vocative tone of voice, his language sounds to be that of a dialogue, hence problematic in some sense.His article headlines are usually picked from folkloric proverbs. In this regard, Mirzadeh Eshghi, his contemporary, could be a second example.

The present paper is dedicated to the study of style="font-style:inherit;color:rgb(255,0,120);">prose style and the belief behind explaining Shathiyat written by Roozbahan Boghli. The characteristics of the stylistics of the above book are examined in three levels: linguistic, literary, and mental. In the linguistic level, the phonological, lexical, and syntactic characteristics of Shathiyat are defined. At the literary level, figures of speech are demonstrated. And in mental level, it is endeavored to reinspect the major axis of Roozbahan mindset. It appears that belief in Roozbahan's monotheism is in direct relation with his stylistic characteristics such as selection of vocabularies, pun, rational to sensual similes, and paradoxical combinations. In his view, the emergence of Shathi language from Sufi is the product of his unison with God which seems to be paganish and should be reflected upon.

Jalal Al-e Ahmad is a well-known writer who has experienced many fields of authorship such as journalism, and monolog.He belongs to the third period of contemporary Persian style="font-style:inherit;color:rgb(255,0,120);">prose, and at times, writes from a social leader' s point of view. Criticism of style is evident in his style="font-style:inherit;color:rgb(255,0,120);">prose work. He tries to alter contemporary style="font-style:inherit;color:rgb(255,0,120);">prose, and is a pioneer in spoken style="font-style:inherit;color:rgb(255,0,120);">prose style. Through violating traditional grammar, he tries to near spoken and written language to the extent that one cannot distinguish between the two. His innovation could be the reason for the endurance of his style.This study tries to examine the stylistic characteristics of Jalal Ai-e Ahmad, and introduces it as easy and close to ordinary speech.

Folk literature has a special status in literary criticism and its examinations bring about significant achievements in linguistic, literary and content studies, including historical, cultural and sociological information. Through a descriptive-analytical method, and based on the study of 20 style="font-style:inherit;color:rgb(255,0,120);">prose folk stories and the extraction of some examples, this study is to examine style="font-style:inherit;color:rgb(255,0,120);">prose features in style="font-style:inherit;color:rgb(255,0,120);">prose folk stories. The results indicate the following characteristics common to all of them: simplicity, proximity to ordinary speech, stereotypical and similar nature, short sentences, abundance of descriptive sentences, vernacular terms, interpretations and expressions, shift of sentence parts, use of old stylistic elements, existence of linguistic mistakes and incorrect linguistic applications, misuse of some concepts and words, use of literary and poetic style="font-style:inherit;color:rgb(255,0,120);">prose in some scenes, the abundant use of the ironies, proverbs, epigrams, insults, threats, curses, oaths, prayers, acknowledgments and admirations.

The structure of each and every text, taken from an independent meaningful unit which is a sentence up to a full text is formed by the internal coherence and cohesion. Coherence and cohesion are perceived through the structural and meaning harmony of the components and the elements of the text; it also leads to a much deeper recognition of the meaning plus this recognition leads to a higher attraction and motivation of reading the text. The text ‘Alnobatolsalase’ with the expansion and the independence of its sections possesses a deep and complex internal coherence and cohesion. After analyzing the elements of the technical style="font-style:inherit;color:rgb(255,0,120);">prose style of ‘Alnobatolsalase’ and its mystic, style="font-style:inherit;color:rgb(255,0,120);">prose, interpretative, poetic, and narrative dimensions, I came to know that the major part of laying the ground works for the internal coherence and cohesion and the deep and complex structural meaning association among the different sections is centred in the same technical style="font-style:inherit;color:rgb(255,0,120);">prose style and the mystic, the style="font-style:inherit;color:rgb(255,0,120);">prose, the interpretative, the poetic and the narrative dimensions of the text. It is so that, each of these dimensions, have created internal coherence and cohesion, and the coherence and cohesion based on their nature within the context, and at the same time have appropriated for themselves a share in the internal coherence and cohesion of the text. Then, I have reached the conclusion that the internal coherence and cohesion of the text ‘Alnobatolsalase’: Revealing the Secrets’ in its greatest dimension is one of the evident indexes of Maiboy’s mystic style="font-style:inherit;color:rgb(255,0,120);">prose style.

The current research was conducted with the aim of the effect of attachment style on emotion regulation with the mediating role of identity style. The research method was descriptive and structural equation analysis. The statistical population of the research was all second year high school students of Kashan city in the academic year of 1400-1401, of which 500 people were selected by random cluster method. Data were collected based on three questionnaires: Gross & Jan (2003) Emotional Regulation Inventory, Identity style Scale (6G-ISI) and Collins and Reid (1990) Attachment style Questionnaire. The data are obtained by structural equation modeling and using Laserl 8.8 and 26 spss software. analyzed. Based on the results, secure attachment style at a significance level of 0.01, avoidant attachment style at a significance level of 0.05, and ambivalent attachment style at a significance level of 0.01 directly predicted emotion regulation. Among the three attachments, secure attachment style predicted emotion regulation at a significant level of 0.01, with the mediation of identity styles. Informational identity style at a significance level of 0.01, confused identity style at a significance level of 0.05 directly predicted emotion regulation. Among the three attachments, only the secure attachment style at a significance level of 0.01 had a significant role in predicting the normative identity style. According to the results of this study, emotion regulation is one of the most important constructs of educational psychology and an important factor in determining mental health and successful performance. It is in education that the factors affecting emotion regulation and its antecedents should be identified. Planning for training and holding educational workshops in this field in schools is suggested for students.

1. Introduction: From the philosophical point of view, free will is a crucial human trait,it attains its meaning through decision making and creation throughout life. Artistic language, as one of the objective manifestations of life, is the product of these choices and compositions. In Farsi language, the manifestation of choice can be detected in technical style="font-style:inherit;color:rgb(255,0,120);">prose texts, which has embellished the language with its ornaments. Composition is also manifested in Morsal style="font-style:inherit;color:rgb(255,0,120);">prose texts and has adorned the interior of the language. Morsal style="font-style:inherit;color:rgb(255,0,120);">prose texts have reached the pinnacle of elegance by using the facilities of the exterior of language to bolster the semantics and the interior of language. From this perspective, the books Tarikh-i Bal'ami or Tā, rī, khnā, ma, Tarikh-i Sistan (History of Sistan) and Nowruznameh (Epistle of Nowruz) are of unique qualities. The Introduction of Abu Mansouri Shahnameh has also been considered in this research due to its linguistic longevity. . .

Jahan Malek Khatun is the girl of Jalalodin-Masud-Shah her pen name was Jahan from the poem of the second held of eight century A.H in Shiraz. Her poems are more than 15937 bit involved: ode, refrain, pieces, different style="font-style:inherit;color:rgb(255,0,120);">prose and quatrains.Jahan’s style="font-style:inherit;color:rgb(255,0,120);">prose from the view of the outside structure and not from the philosophy theme was effective of the Hafez’s style="font-style:inherit;color:rgb(255,0,120);">prose, and from the view of language it was simple and free of pretense, But the arrays such as, show grace similes, irony stressed metaphor, and irony of action and word play were observable in it.The frequencies of some words are much in her poem, such as: lock of hair, Savannas, King and beggar.From the theme aspect, the more important feature of the Jahan Malek’s poem is its feminist. Jahan Makek wrote explicit everything that felt, with full of love and happiness. And also contrast of love and mind believe to destiny, love to God, and protest were the significant points of her poetical works.The writer of this essay tried analyzed the style="font-style:inherit;color:rgb(255,0,120);">prose of Jahan-Malek-Khatun from the view of language stylistic, literature and bought.

Introduction Syntax deals with how words are constructed, and syntax deals with the relationship between them. In Chomsky's syntactic theory, syntax is equivalent to "the whole of grammar minus semantics and phonology." In his opinion, the job of syntax is not only to examine the placement of words in a sentence, but also to examine the relationship between sentences and even paragraphs. The purpose of emphasizing the broad scope of syntax is to prove that by analyzing the connections between all components of the text, from the smallest to the largest, a pattern can be achieved that corresponds to the thoughts, feelings, and ethics of the creator of the work, and this pattern can be considered one of the components of an individual's style. When a person thinks about a topic and intends to convey meanings and concepts to the audience, they resort to arranging and ordering words and sentences to accomplish this transfer more accurately. This arrangement, which establishes the relationship between the parts of speech, is called syntax, and in a more general sense, style, and this is where two decorative and organic perspectives on style come into play (Futohi, 2016:268). The decorative perspective considers style to be separate from thought and a means to adorn it; in this case, it can be said that style has become like a mask that hides the face of the speaker's or writer's thought; while from the organic perspective, style accompanies and even reveals thought. Adopting an organic perspective, this article analyzes the syntactic layer of Jalal Al-Ahmad's fictional works to understand how his intellectual and moral characteristics can be determined through this approach.   Research Methodology   In this study, parts of eight stories of Al-Ahmad (Did O Bazdid, Setar, Zan Ziyadi, Sargozashte Kandouha, Modire Madrese, Noono Alghalam, Nefrin Zamin, Panj Dastan) were examined in terms of the type of word arrangement (natural and marked), sentence structure (length of sentences, sentence connections, rhetorical continuity of sentences), and finally, the reflection of the author's point of view (with regard to aspect, tense, and grammatical voice). Based on their statistical frequency, the author's moral and ideological characteristics were analyzed. It is worth noting that direct quotations were not considered and the evidence is solely from the words of the narrator, that is, Jalal himself, in order to be able to indicate his characteristics.   Discuss For example, in the discussion of sentence structure, style="font-style:inherit;color:rgb(255,0,120);">prose that has short sentences indicates the writer's rapidity of thought and high level of excitement, and conversely, long sentences indicate the speaker's reflection and thoughtfulness (Futohi, 2016: 275). In Jalal's fictional style="font-style:inherit;color:rgb(255,0,120);">prose, there are both short and long sentences. In the study, it was found that the average sentence length in these works is 15.5 words. This result proves that Al-Ahmad is a person who is not hasty, logical, and thoughtful.   conclusion Based on the criteria mentioned in the research method section, the syntactic layer of Al-Ahmad's style="font-style:inherit;color:rgb(255,0,120);">prose can indicate the following personality traits. 1- Jalal was not indifferent to the issues surrounding him, because most of his sentences are marked in some way. 2- Jalal did not take a hasty and unthinking stance on the issues he encountered, because the average number of words in his sentences is high. 3- Jalal had an analytical mind and was good at recognizing the connections between issues. The high percentage of his compound sentences indicates this. 4- Jalal was in the context of society and with the people, familiar with their concerns, and expressed his views clearly. The frequent use of verbs in the adverbial form is a sign of such a trait. 5- Jalal had a specific ideology and belief and defended his positions boldly, and this is evidenced by sentences that have an active grammatical voice. 6- Jalal can be considered a realistic person because the verbs in his sentences are often in the present tense.

Stylistics plays a significant role in many areas of literary researches, of which, the most important is supposed to be the literary criticism. A scientific typology of literary styles can doubtlessly facilitate the task of learning about styles.This paper is intended to be a critical study of style="font-style:inherit;color:rgb(255,0,120);">prose writing typologies as presented in the Persian books on stylistics. Firstly, the classifications for writing style="font-style:inherit;color:rgb(255,0,120);">prose are introduced from the standpoints of some researchers; secondly these classifications are commented and criticized. Our investigation itemizes the most important shortcomings of these typologies as follows: lack of the principles of classifications; weak definitions; paradoxical referents; confusing literary and non-literary style="font-style:inherit;color:rgb(255,0,120);">prose; imprecise and inflexible categorizations; disregarding some style variants particularly the individual styles and microstyles; intermingling genres with styles; one-dimensional views toward styles; inexact determinations of stylistic elements and features; insufficient accounts of the methods of style analysis.