چكيده لاتين :
Introduction: "Physical Metamorphosis" is the change in the identity of the
acting element or the actress of the story, from a physical representation to
another physical expression. In the present study, the word "physical" in
addition to the metamorphosis of the body, as a body, also refers to the
metamorphosis of the body as an object. "Physical Metamorphosis" either as a
knot method, is the creator of a tensive space, or like a resolver method,
derived from a tensive space. To examine the aforementioned method,
however the choice of the "tensive regime of discourse, is a proportional
choice.
Purpose: The purpose of this study is to classify the stories in the range of
children that have been developed around the "Physical Metamorphosis".
Questions: In this regard, the present study seeks to answer three
questions: 1. how the style of the elements involved in metamorphosis take the
advantage of tensive regime of discourse to produce meaning in the child
story? 2. What is the relationship between the level of consciousness of its
transformation element and the amount of its transformation process?
3. Based on the model proposed by Zilberberg, how is it possible to define
and illustrate these styles?
Methodology: The two-component stylistics of this study uses two
coordinates systems perpendicular to each other: one in terms of time metamorphosis, which shows the qualitative changes of metamorphic action,
in a quantitative period of time, and the other in terms of time-consciousness,
which represents the qualitative changes in the consciousness of the actor
submissive subject towards his metamorphosis. In this study,
"metamorphosis", as well as "the subject's mental awareness of its own
metamorphosis", are both considered a qualitative component, alongside
linguistic content, and "time" as a quantitative and extrinsic component. The
present study uses a descriptive analysis approach.
Conclusions: 1) Zilberberg believes in five styles or modes of presence:
style of modality, style of efficiency, style of existence, inclusive and
exclusive style. According to the present study, this stylistics can be divided
into two groups. The first group includes style of modality, style of efficiency,
and style of existence. These three styles are relative to each other being in
complementary distribution; that is, although all three are stressful, and have
relatively similar functions; but none of both items come together. The second
group includes, inclusive and exclusive style. Both components are in
complementary distribution relative to each other; but none of the three styles
of the first group, with any of the two styles of the second group, are in
complementary distribution; For example, the stress space can be both style of
modality (from the first group) and inclusive style (from the second group).
2) The first group, which includes three styles of modality, efficiency and
existence, divides both the metamorphic process and the pattern of awareness
of the metamorphic element towards its own metamorphosis. Based on these
two components, we can identify the cognitive style pattern of physical
metamorphosis in children's stories based on two components: The first is
metamorphosis at the biological level, and the other is metamorphosis at the
phenomenological level.
3) Children's stories, which are based on bodily metamorphosis, follow six
two-component models: I) The efficiency, with the phenomenon of modality,
II)The double efficiency, III)The double modality, IV)The modality with the
phenomenon of efficiency, V)The existence, VI) Without the phenomenon.
This study, for the first time, generalizes Zilberberg's one-component
stylistic model to two-component stylistic paradigm. In two-component
stylistics, the first component represents the objective process of the biological
changes of the transformed personality, and the second component represents
the phenomenological changes that occur in mind of the transformed
personality. That is, the coordinate system based on "time-metamorphosis"
corresponds to the first component, and shows how the objective the process
of metamorphosis is. The coordinate system based on "time-awareness"
corresponds to the second component, and shows how the personality is aware
and mentally informed of its metamorphosis. In this article, the representation
of stress axes (extent and intensity axes) are completely consistent with
mathematical paradigms.
Significance of the study: Regarding the frequency of the application of
the "Physical Metamorphosis" in children story, and the lack of theoretical
research on this field, the necessity of conducting a research in this field
sounds beneficial.
