خلاصة:
role-oriented linguistics emphasizes that language is a "social tool" and deals with those human actions that refer to the transfer of meaning with the help of language. halidi considers language as a system of lexical choices that the speaker uses at three levels according to the context of the situation. language is formed according to social needs and the surrounding environment and organizes meaning. this language function is called "franqash" in role-oriented linguistics. the trans-roles of language are: the trans-role of thoughts, which is used for reading and analyzing the text; interpersonal trans-role whose purpose is to initiate or promote relationships to influence the behavior of others, express opinions, modify or change them; transtextual role that has the task of adapting the message according to other textual and extratextual factors. the current research tries to answer these questions in a descriptive-analytical way, according to the statistical community of the research, what is the function of each of the linguistic processes in the textual structure of the short stories of the 20s? and according to the fundamentals raised in the intellectual role and the realist point of view governing short stories in the twenties, what image of "woman" and "her social position" have been drawn by male writers at this historical moment? emphasizing on its "realistic and realistic character", short story literature has always sought to define a place for the presence of women and also free itself from gender restrictions and patriarchal readings. the findings of the research indicate that bozor alavi, ebrahim golestan, mahmoud etemadzadeh and jalal al-ahmad each used different types of linguistic processes in the textual structure of their short stories to depict the positive social status of women.
ملخص الجهاز:
A Comparative Study of the Social Status of Women in 1940s Short Stories from the Perspective of the Experiential Metafunction of Language in Halliday's Systemic Functional Approach (Focusing on the short stories of Bozorg Alavi, Ebrahim Golestan, Mahmoud Etemadzadeh, and Jalal Al-e Ahmad) Najmeh Hashemi 1, Alireza Shabanloo 2, Abdolhossein Farzad 3.
The research findings indicate that Bozorg Alavi, Ebrahim Golestan, Mahmoud Etemadzadeh, and Jalal Al-e Ahmad have each utilized various types of linguistic processes in the textual structure of their short stories to depict a positive social status for women.
The study of contemporary Iranian literature after the Constitutional Revolution shows the role and active, widespread presence of women in literary works, and many contemporary authors and short story writers have employed one or more "woman" characters in their fictional works; characters that each represent different types of "woman" in fictional works, which in a way provide a general image of women in Iranian society during that historical period.
Yes, living alongside such a husband, especially with the hardship of looking after and nursing two daughters and one son, who are always in conflict and crying or lying in a corner of the room with fever, how can it satisfy the heart of a lady who, at forty-two years of age, is just beginning to feel the pleasure of youth in her veins and bones?" (Etemadzadeh, 1327: 74) "When Najaf Qoli arrived coughing and, with thousands of groans and moans, threw himself onto the mat with his back to the bedding bundle and requested tea and lako from her like a helpless child, at that time, Fatima Khanum's face would turn red with anger and shame, her shoulders would tremble, and she would painfully feel how unfortunate she had become, and what an ignorant and unsuitable husband she had fallen into, and what freshness, strength, and youthful appetite she had lost alongside this man who speaks nothing for free.
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