Research Article / Araştırma Makalesi Cite as/ Atıf: Yerdemir, Ş. (2022). Zoyâ Pîrzâd’ın Se Kitâb isimli hikâye mecmuasında kullandığı üslup ve dil özellikleri. Turkish Studies - Language, 17(3), 1117-1129. https://dx.doi.org/10.7827/TurkishStudies.58159 Received/Geliş: 28 March/Mart 2022 Checked by plagiarism software Accepted/Kabul: 25 September/Eylül 2022 © Yazar(lar)/Author(s) | CC BY- NC 4.0 Published/Yayın: 30 September/Eylül 2022 Zoyâ Pîrzâd’ın Se Kitâb İsimli Hikâye Mecmuasında Kullandığı Üslup ve Dil Özellikleri The Style and Language Features Used by Zoya Pirzad in the Story Magazine named Se Ketab Şerife Yerdemir * Abstract: Women writers in modern Iranian literature have taken a more active role in literature after 1979, especially after the 1990s. The short stories of Zoya Pirzad, who has an important place among these, started to be published in various magazines after the 1990s. Pirzad, who has an important place in modern Iranian literature, especially in novels and short stories, dramatically revealed the small, secret and lonely world of women in his stories, and focused on the ordinary people and families of the Iranian people in his works. His success in telling the inner worlds of the characters in his stories brought him to the forefront of his contemporaries, and this situation led to the translation of his works into many languages. Zoya Pirzad, who was born in an Armenian family and wrote in her own unique style, mostly conveyed women and the problems they faced in social life in a unique way in her stories and novels. In this study, firstly, in brief information will be given about how the genre of story emerged in Iranian literature, the development of the story and the major writers who contributed to this development and left their mark on Contemporary Iranian literature. After telling how storytelling has gained a dimension in Contemporary Iranian literature and the effects of constitutionalism movements on the story type of the changing social order, Zoya Pirzad's life, works and especially the title Misl-i Heme-yi Asrha (Like All Afternoons) in the story magazine named “Se Kitab” based on the stories in the first part, information will be given about the style and language features she used in her stories, the main features of her stories and her place in modern Iranian storytelling. Structured Abstract: The type of story, the first examples of which were seen in the form of long heroic and love stories from the 11th century in Iran, began to develop with the constitutional monarchy. The best examples of these works, which are mostly long stories of heroism and love, can be seen in Ferdowsi's Shahnameh in the 11th century, in Fakhraddin Gorgani's Vis and Ramin, and in the 12th century in Nizami Ganjavi's Hamse. In these heroic or love stories, history and legend are given together, and the hero of the work comes to the fore in such works, the people around the hero and the events surrounding him are not given much importance. With the Constitutional Monarchy, modern storytelling began to be seen in Iranian literature. In this period, intellectuals and writers, who had a deep impact on intellectual and political movements, especially with the supporters of constitutionalism, began to criticize and reconsider the old literature and began to give the first examples of modern stories under the influence of French and Russian literature. In fact, in the early 1920s, it was the decisive years in which different genres emerged in Contemporary Iranian literature. In this period, the first social novels such as Mushfig Kazimi's The Horrible Tahran, new plays such as Hassan Moghaddam's Cafer Han Ez-Fireng Ber-Geshte, and new style poems such as Nima Yooshij's Legend Short stories such as Yeki Bud Yeki Nabud by Mohammad Ali Jamalzadeh are works that have emerged to respond * Öğr. Gör. Dr., Kırıkkale Üniversitesi, Yabancı Diller Yüksekokulu. Lect. Dr., Kırıkkale University, The School of Foreign Languages. 0000-0001-8896-2551 serifeyerdemir@hotmail.com