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One of the important topics in many literary works is “love”. In the literature, the authors have provided specific definitions for love. Many of the authors have drawn virtual love and some others have pictured a real one. Among the writers whose works have addressed the issue of love is the Russian writer and the great thinker, Tolstoy. Between 1880 and 1904, when the shadow of moral crisis was over the world, Tolstoy founded a new religion by presenting a new definition of love, and presented a new definition of faith and morality according. Romain Rolland, the French writer, reading the works of Tolstoy and thinking about them, was fascinated by the opinions of this Russian author. After getting familiar with Tolstoy’s religion and morality, which was indicative of the real love, Rolland tried to reflect his beliefs in his works and present a new picture of love. The best example of his religious beliefs is the novel Jean-Christophe. In this study, first we are going to get familiar with Tolstoy’s religious and moral beliefs though defining his new religion, and then study the manifestation of love on his novel Jean-Christophe by using those beliefs.  

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This paper suggests the use of new branches of stylistics along with appropriate devices for the analysis of Persian texts. As a step in this direction, stylistic properties of Jashn-e Farkhonde, a short story of Jalalal-e Al-e ahmad, were analyzed with the approach of Critical stylistics answering these major questions: “What is the ideology behind the text?”, “What stylistic features discover this ideology?” and “What is the function of the ideology behind the text?” It is assumed that, in this short story, ideology is a mechanism for struggle against domination. To provide an answer to these questions, narrative and textual macro-layers of this short story are examined along with an analysis of focalization, focalization continuity (shifting focalization and multiple-focalization), facets of focalization (the perceptual facets including tense, order, duration, frequency and space, an overall and eye-bird’s view or a partial and close-up view, cognitive facet and ideological facet) and micro-layers of lexicon, syntax, and rhetoric in connection with the outer layer (the situational context of the text). It is assumed that the awareness obtained from focalization and analysis of micro-layers will result in the discovery of ideology and power relations in the text. The reslts showed that characteristics of text from contrasting personalities and contrasting discourses that reach unity to the narrator's father. Too much use of swear words and his imperative sentences indicate the hidden ideology of the text; that is dissatisfaction of author, as a critical intellectual that represents groups of community from both social and political currents mentioned in the story.      

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Mohammad Taghi Bahar is the initiator of historical stylistics in Iran by publishing “Tarikhe Tatavor e Nasre Farsi” (the Evolution of Farsi Pose) (1331/1952), and his manner has been followed so far. To exit the recession with which Farsi prose stylistics is afflicted, one of the solutions suggested in this article is applying the new branches of stylistics and retrieval of the suitable tools for analyzing Persian texts. To reach this goal, we will consider critical stylistics as one of the new branches, and specifically discuss the arguable stylistic layers in the critical stylistics of short story and novel. The basic question processed in this study is that what stylistic variables could be discussed in critical investigating of short story and novel styles, which leads to discovering the ideologies and power relations in the texts. To answer the question, we will consider studying story and novel in textual and narrative macro-layers by analyzing focalization; the level of persistence of focalization and the facets of focalization (perceptual facet: time, order, duration, frequency, and space; an overall and eye-bird’s view or a partial and close-up view, cognitive and ideological facets), and lexical, syntactic, pragmatic and rhetorical micro-layers in relation with its external layer (situational context). The aim will be applying the new branches of stylistics in studying Farsi literature texts; many of the stylistic criteria and features discussed in this article could be applied in studying the style of other branches of narrative literature, e. g. myth, fiction, allegory and romance.

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Because of the stagnancy in contemporary Persian stylistics, there is an urgent need for new steps in this realm. This study introduces new branches of stylistics as well as new methodologies for related studies in Persian Literature. As an initial step, this article introduces the critical stylistics and addresses the two following questions: (1) on what basis does critical stylistics study the text and (2) what implements does this methodology use for the analysis of the text? Accordingly, the concepts of “style”, “critique”, “ideology”, and “power” are explicated as four fundamental dimensions of critical stylistics. Furthermore, the tools and implements discussed by Simpson and Fowler are delved into. Last, the implication of critical stylistics for Persian literary studies and the studies of power relations within the text are mentioned.

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In the present study, the author tries to shed light on the positive and strong points of semiotics of discourse in stylistics studies. This approach claims that literary creation is the product of mass culture and thus its explicit position has been considered as a kind of obstacle on the way to perceive the original identity of style and uniqueness or individuality of the writer. To this end, the child story entitled “white crow” by Vatan Parast (1380), has been selected as the corpus of the study in order to scrutinize the stylistic components. It is worth mentioning that little attention has been paid to this genre. In this study and according to semiotic approach to literary studies, by style, we mean the semiotic flow in interactive process of enunciation. At first, semiotic regimes based on programming and accident have been adopted as the criterion to recognize different kinds of style. Based on accident regime of discourse, existential style presence was defined and its features like imperfection , risk, negation / assertion transcendence of sign , discontinuity and finally challenge have been investigated. One of the results of this study in this genre showed that existential style plays a key role to develop the imagination and creativity of child. The factors like (Nane – sarma and smart crow) who change suddenly the Dasein of subject reinforce the aspects of fantasy in the story. By leaving Dasein , the co –enunciator has the possibility to free him or herself from referential/ closed / and realistic style of presence and takes path beyond the lived present . In determining the genre of children books, the main consequence of this study is that, it is necessary to focus on the stylistic features of the story as a key factor to select signification processes, experience, simplicity or complexity of the text more precisely.