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Politeness phenomenon is one of the subjects which have been observed by researchers of different domains , e.g. psychology, sociology and anthropology. Politeness has also been investigated in the area of pragmatics. One of the concepts following politeness is linguistic impoliteness. Different people such as Goffman (1967), Brown and Levinson (1987), Bousfield (2008), Culpeper (1996;2003;2011) and  Rudanko (1996) have worked on (im)politeness phenomenon. . In spite of the large amount of investigation on western culture, less research has been worked out on this notion in Persian. So, the aim of this study is investigating the function of this notion through describing it in  Sayyadan drama of  Ruye Sahneye Abi series written by Akbar Radi. The data was investigated through the five strategies proposed  by Jonathan Culpeper (1996; 2003) on linguistic impoliteness and the notions, e.g context, social norms and emotions, he added later in 2011. The most frequently  used strategy was positive impoliteness and the least used one was mock impoliteness. The synthetic ones were at the second level and negative impoliteness was at the fourth level. There was no withhold politeness among the‌ data. Finally, new cases were introduced.                                                                                                                     

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The present paper is considered with the issue of verbal violence in the language of drama. In evaluation of verbal violence, Jeanette Malkin (2004) proposes six maxims, through which language is known as an arrogant element. The characters in dramatic texts (as in other literary texts) are created, developed, evolved and in some cases destroyed by language. In considerable number of modern plays, language acts as an antagonist who is to destruct and demolish the personality of the other(s) in the play with violence and aggression; so, the theoretical study of dramatic verbal violence as a component of dramatic discourse is considered indispensable to critical discourse analysis of dramatic texts and the study of power relations as reflected in the dialogues.; Focusing on the patterns of dramatic verbal violence introduced by Malkin, this study aims to discuss the dominant patterns of verbal violence in Hamlet With Season Salad, a play by Akbar Radi, and investigates the role of language in shaping, and destroying of human identities    

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According to Sheridan and Gillett (2005), one fundamental form of inequality, being on the rise since 9/11, is religious discrimination. The main source of experiencing and being exposed to such inequalities and discriminations can be television which ‘is such an important source of information and entertainment that viewers cannot escape its gradual encroachment into their everyday lives’ (Laughey, 2007, p. 20). American TV series are so major and worldly-known entertaining media that many of them have millions of viewers around the world. So, it will be of great importance to make sure if they want to keep and even worsen this picture of Islam and Islamophobia. Therefore, this paper investigates the role of American TV series in promoting Islamophobia in public view. To do so, one has to analyze two main aspects of the TV shows which are the conversations and the picture frames. For analyzing the former, we have chosen Norman Fairclough’s (1992a, 1995, 2001) approach to Critical Discourse Analysis, and for the latter, Kress and van Leeuwen’s (2006) Grammar of Visual Design. American TV series, named Homeland (2011- still on air in 2017), broadcasted by Showtime® in the U.S has been the corpus of the present study. Its story that is mainly connected to the Middle East with lots of Muslim characters explains our choice. Consequently, the present study seeks to answer the following research questions: 1. Do the analyzed sequences of Homeland have Islamophobic elements based on Fairclough’s (1992a, 1995, 2001) CDA framework? 2. Do the analyzed sequences of Homeland have Islamophobic elements based on Kress and van Leeuwen’s (2006) Grammar of Visual Design? 3. Are there any combinations of visual and discursive elements to promote Islamophobia in the analyzed sequences of Homeland which can be analyzed by an integration of Fairclough’s (1992a, 1995, 2001) CDA framework and Kress and van Leeuwen’s (2006) Grammar of Visual Design?
Our work has led us to the conclusion that many cases in Homeland TV series, either discursive (based on Fairclough’s CDA framework (1992a, 1995, 2001)) or visual (based on Kress and van Leeuwen’s Grammar of Visual Design (2006)), were Islamophobic. Furthermore, there were cases in which both visual and discursive (audio) elements were used to promote Islamophobia. As a result, all of the research questions receive a positive answer. Moreover, it can be concluded that a combination of Fairclough’s (1992a, 1995, 2001) CDA framework and Kress and van Leeuwen’s Grammar of Visual Design (2006) can create a powerful approach in critical media analysis to expose the real policies of the media and power owners and decode the encrypted messages behind what is shown to the public. It is worth noting that analyzing a greater number of TV series could result in a higher generalization of our results.

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In this paper, attempts have tried to study Fairclough’s theory of “inequality of power in the dialogue" by analyzing the dialogues between identical and opposing characters in the novel Fire without smoke by Nader Ebrahimi to identify powerful or passive characters, and decode the novel from the ideological perspective of the author.
To more regulate, this theoretical framework, the questions raised in the Shorter’s model (1996), were used to analyze power relations in the dialogues of characters with the aim of determining the type of relationship and the dominance of the personality poles of the story: Galan - the hero that relies on his physical strength - and Alani - the hero who relies on the power of thought and mind.
The analysis of data suggested that the way the two main characters of the novel interacted with others in their discourse was directly related to the up and downs of their lives. Galan's interaction was limited to an esoteric group of people around them, and as this circle of friends was limited down, his power diminished too, so that with his death, the coercive hegemony and compulsory domination associated with his behavior came to end.
In contrast, Alani not only struck a conversation with people from all aspects of life, especially women and the lower classes of the community, but also urged them to play a key role in the dialogue with the people around them. This contributed to the recognition of his intellectual and political authority and conduct, and even after his death, his thoughts continued to touch the speech and practice of the next generations.
 

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The agency of literature is one of the keywords of New Historicism. New historicists believe that literature is not simply a product of history; it actively makes history. History, power discourses, marginalized parts of society, and the mutual relationship between literature and culture are central concerns in new historicism. Both Ferdowsi and Shakespeare, although from two diverse cultures and six centuries apart from each other, their works share similar characteristics seen from a historical and literary perspective. Ferdowsi was contemporary with the Sāmānids age of reviving the Persian language and culture after a long period of repression. Shakespeare also lived during the Renaissance age of change in beliefs, views, and worldviews. In addition, challenging the dominant discourses of power and cultural clichés, they created new outlooks towards women in their respective culture. Women who were so far voiceless and marginalized during the times, now get an active presence in their works. The passive, silent Persian woman, kept marginalized for centuries, has an active role and presence in the Shahnameh. Silent and obedient women considered sinful during Shakespeare’s era, have a voice and dynamic presence in his plays. This study tries to depict women’s dynamic personalities both in their contemporary societies and selected literary works. By examining the dominant discourses regarding women, reading their contemporary texts, and analyzing the role of women in their literary works, it is found that both writers in the selected works had different viewpoints towards women compared to the dominant discourses of their time.

 

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 To consider significant variation of dialects of Gilaki Language and different approaches on the classification of clitics and different usage of this element in the Iranian dialects and languages, writer purposes to determine variation of clitics in Gilaki language, various features of clitics and their position in this language. There are two questions here: 1-how is typological verity of clitic and its feature in Gilaki language? 2- where is the position of clitic in the sentences of this language? it seems that there is same varity of clitic in three dialect divisions of Gilaki and clitic occupy second position into the sentences of this language. linguistic data of Gilaki has been investigated on the basis of a questionnaire of Max Plank written on typological investigations of clitics on which It has been analyzed in 5 separable parts including general features of the language, categories, specific features, place of clitics in the phrases and its movement. Collected data from three branches including west, east and Galeshi has been analyzed on basis of descriptive- analytical- comparative method. The results will express that there is sameness of clitics among three mentioned branches of Gilaki. Generally we can observe pronoun pre-clitics connected to objective symbol, Objective symbol post-clitics /ǝ/, emphasis clitics and post- clitics of the symbol of conjunction /O/ in Gilaki language.There aren’t Post-clitics of personal pronouns connected to nouns, verbs, adverb and adjectives in this language. It isn't possible to move clitics to the prior position. Indeed considering the investigations, Wackernagel’s law about second position is verifiable for Gilaki language.

1. Introduction
Gilaki is one of Iranian northwest languages and a member of Caspian seaboard languages. It has many differences with Persian and many similarities to Medes, Parthian and Avestan languages (Stilo, 2001). In this article, we will present a typological analysis on clitics in three geographical divisions of Gilaki language. We intend to utilize some of typological devices from Max Planck linguistics institute to determine the varieties of clitics, its feature and the position of this element in Gilaki language. Generally, distribution and operation of clitics as a significant concept of morpho-phonemic studies are investigated in this project and our main theoretical approach is linguistic typology.
There are two questions here:
1-how about typological variety of clitics and its features in Gilaki language?
 2- where is the position of clitics in the sentences of this language?
 
2. Literature
2.1. This is level 2
Zwicky (1977) has analyzed the clitics and Sportich (1992) has focused on the structure of clitics. Condoravdi and Kiparsky (2004) in their article entitled “ Clitics and Clause structure” have investigated the clitics variety in the middle and contemporary Greek language. They believe that some of clitics in some of dialects of this language find their roots in a projection of inflectional clause and they belong to a verbal head in other dialects. Anderson (2005) expresses that pronouns are so common to be as clitics and pronominal clitics have their specific features which some of them are relevant to being clitics and some of them are not.
Moreover, there are many Iranian researches on clitics. Shaghaghi (2006) has presented a definition of clitics and its features. Rasekh Mahand (2010) believes that all of pronominl clitics in the languages all around the world are located in two positions: 1- Wackernagel’s position. It means after the first words of sentences or constitutions. 2-  before or after the verbs of sentences or constitutions located before the verbs. Sarahi and Alinejad (2014) have investigated clitics in Persian language typologically. Alinejad and Mohammadi (2015) have analyzed clitics in Surani dialects of Kurdish language and its collaboration with prepositions. Mazinani, alizade and Sharifi (2017) have shown that evolution of clitics in Persian language presents a good explanation of inconsistence of this language with Dryer’s vigesimal standards and Greenberg’s No. 20 universal. SabzAlipour and Vaezi (2019) have discovered the function of clitics in agreement system instead of verbal pronoun and lack of doubling clitics in Dorvi dialect of Tati language.
 
3. Methodology
 Throughout the current research , linguistic data of Gilaki has been gathered via field research on native speakers of some villages and towns of Guilan province. Then the data has been investigated on the basis of a questionnaire of Max Plank written on typological investigations of clitics on which it has been analyzed in 5 separable parts including general features of the language, categories, specific features, place of clitics in the phrases and its movement. Collected data from three branches including west, east and Galeshi has been analyzed on basis of descriptive- analytical- comparative method.
 
4.Results
The results will express that there is sameness of clitics among three mentioned branches of Gilaki. Generally we can observe pronominal pre-clitics connected to objective symbol, Objective symbol post-clitics /ǝ/, emphasis clitics and post- clitics of the symbol of conjunction /O/ in Gilaki language. There aren’t Post-clitics of personal pronouns connected to nouns, verbs, adverb and adjectives in this language. It isn't possible to move clitics to the prior position. Indeed considering the investigations, Wackernagel’s law about second position is verifiable for Gilaki language.
 
Table of results          
 

Linguistic Features (+/-)	B pish      B pas	Galeshi
SOV  order	+               +	+
post position and GN	+               +	+
prodrop	+               +	+
objective clitics	+               +	+
pronominal clitics of verb	-	-
pronominal clitics of  adverb	-
pronominal clitics of adjective	-                -	-
pronominal clitics of noun	-	-
pronominal clitics of preposition	+               +	+
interrogative and negative clitics	-	-
emphasis clitics	+              +	+
conjunction clitics	+               +	+
genitive specifier clitics	+               +	+
NPs order	+               +	+
enclitics and postclitics	+               +	+
first position of clitics	-
second position of clitics	+                 +	+
stress of clitics	-	-
double clitics	-	-
junction of clitics	-	-
movement to the end of phrase	+                 +	+