The Asymmetry of Masculine and Feminine Similes in Contemporary Persian and Arabic Stories (With Emphasis on the Books of Mastoor, Pirzad, Al-Raheb, and Beytar)

Since the inception of feminism, particularly within its linguistic branch, the intrinsic nature of language and its relationship with the world, as well as the discourse surrounding patriarchy, have been emphasized. One proposed solution to the marginalization of women is to move away from masculine language and to establish a feminine style and linguistic framework. Feminist critics have introduced the concept of a "feminine language distinct from "masculine language," aiming to explore and illustrate these differences. This study aims to evaluate the validity of this claim by examining the similes constructed by male and female writers in Persian and Arabic narratives, with particular attention to the influence of gender. To achieve this, one prominent Iranian male writer, one Iranian female writer, one Syrian male writer, and one Syrian female writer were selected, each contributing a literary work. This study aims to evaluate the validity of the claim concerning the construction of similes by male and female authors in Persian and Arabic literature, with particular emphasis on the factor of "gender." The similes created in these works were analyzed using a descriptive-analytical approach, concentrating on gendered language, as well as the convergence and divergence related to the author's gender. The findings indicate that gender-specific similes are particularly prevalent in the works of three authors: Mostoor, Pirzad, and Baytar. Convergent similes—those that align with the author's gender—are found in the writings of Mostoor and Pirzad. Conversely, Al-Raheb (to some extent) and Baytar demonstrate differing uses of similes employed by male characters, suggesting a departure from their own gendered linguistic patterns. The study reveals significant gender-based differences in the use of similes among the three authors. Mastoor and Pirzad's similes reflect their gender identities, while Al-Raheb and Baytar often diverge from their own gender perspectives. Overall, Mastoor and Pirzad's works demonstrate a strong influence of the authors' genders, whereas Be ytar employs a more balanced and distinctive use of similes. 
Introduction:
Since the inception of feminism, particularly within its linguistic branch, emphasis has been placed on the inherent nature of language and its relationship with patriarchal discourse. One proposed solution to the marginalization of women is to distance themselves from masculine language and establish a distinct female style and language. Feminist critics have proposed the concept of a distinct female language in contrast to male language, aiming to identify and illustrate these differences. Certain words and expressions within the specific literary contexts of femininity and masculinity carry connotations and characteristics that, when used among women or men, reinforce patterns and stereotypes. These can be understood as manifestations of gender bias. In fact, the writer's mindset is inherently predisposed to use such terms and phrases; this phenomenon resembles speech acts grounded in kindness, forgiveness, hope, vitality, spiritual sensitivity, and love found in feminine literature. Certain scholars, in their interpretations, equate "feminine" with natural women and "masculine" with natural men. In this context, gender bias is perceived as a natural and intrinsic outcome of language that is specific to women or men. These usages naturally emerge within texts, and it appears that male and female writers consciously select them; however, their application is inherent and essential to their identity. Therefore, such language can be classified as gender-biased. This research raises two important questions: First, how have the lived and cultural experiences of Arab and Persian-speaking women and men writers influenced the creation and use of similes in their narratives? The second question is: What are the similarities and differences between the female and male similes used by Arab and Persian-speaking writers in the selected books? The statistical population of this study consists of contemporary Persian and Syrian stories written by Zoya Pirzad and Mostafa Mastoor (Persian), as well as Hani Al-Raheb and Haifa Beytar (Syrian). In examining the linguistic disparities in the works of male and female writers, little attention has been paid to rhetorical devices. Specifically, no research has been conducted comparing Persian and Arabic stories regarding the methods, levels, and qualities of simile usage.
Method:
This study aims to assess the validity of the claim regarding the construction of similes by male and female authors in Persian and Arabic literature, with particular attention to the factor of "gender."  The constructed similes in these authors' works were analyzed descriptively and analytically, focusing on gendered expressions, convergence, and divergence concerning the author's gender.So this scholarly work offers a profound examination of the Similes present in the literary works of both female and male writers. The central premise of this research is to assess the validity of the constructed Similes within stories, considering the gendered assumptions of their authors, and to do so in both Persian and Arabic. To achieve this objective, one representative work has been selected from each of four prominent authors—two Iranian male and female writers, and two Syrian male and female writers. In thismethod, the study endeavors to open a new window into contemporary literary discourse, offering a deeper understanding of how gender influences the structure and language of storytelling. Essentially, this research constitutes a comparative study investigating the impact of gender on the use of Similes in modern Persian and Arabic narratives.
Results and Discussion:
The findings indicate that gendered similes are prominently featured in the works of three authors: Mostafa Mastoor, Zoya Pirzad, and Haifa Baytar. Notably, regardless of the gender of the fictional characters, a convergence in similes corresponding to the authors' genders is evident in the works of Mastoor and Pirzad. Conversely, Al-Raheb and Beytar demonstrate a divergent approach in their use of similes expressed by male characters, distancing themselves from their own gender identities. The current research explores the significant differences in the construction and use of similes in the works of male and female authors. Mostafa Mastoor is particularly influenced by his gender in the creation and application of similes. Even when he crafts similes through the voices of female characters, he struggles to separate himself from his male identity. In contrast, Al-Raheb, an Arab author, effectively distances himself from his gender when creating similes through female voices, skillfully portraying them through appropriate characterization. Although Zoya Pirzad, as a female author, demonstrates some divergence in her use of similes compared to male characters, she cannot entirely distance herself from her gender's influence. All of her similes reflect a convergence with her identity, which leads to weaknesses in the portrayal of male characters. Conversely, Haifa Baytar seems to achieve a greater balance in her use of metaphors, as her expressions align effectively with the narratives of male characters while also embodying distinctive traits of female language when expressed by female characters. This study demonstrates that gender significantly influences the types and ways in which writers employ similes in their works, although some writers are more adept at balancing these influences.
Conclusion:
This study endeavors to examine the significant distinctions in the construction and application of similes within the works of two authors—one male and one female. Mustafa Mostoor is evidently influenced by his gender in the employment and shaping of similes; even when he crafts comparisons through the voices of female characters in his narratives, he remains unable to detach himself from his masculine perspective. Conversely, Al-Raheb, an Arab-speaking writer, distinctly distances himself from his gender when creating similes from female voices, effectively employing these comparisons to develop well-rounded female characters. However, when utilizing male voices for similes, he exhibits a certain divergence. Zoya Pirzad, as a female author, despite her efforts to transcend her gender, has not succeeded entirely in doing so. All her similes tend to converge with her identity as a woman, which results in a weakness in the masculine depth of her character portrayals. In contrast, Bitar appears to achieve a greater balance in the use of similes; her expressions from male characters harmonize well with their narrative roles, while when these comparisons originate from female voices, they embody distinctive feminine linguistic features.