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One of the important problems in Structuralist narratology is the relation between narrative and time and the manifestation of time in narrative.Some philosophers such as Paul Ricour believe that understanding time in an abstract form is very difficult but the action in narrative makes the time objective and concrete.According to Structuralists’ analysis, time, -with causality- is one of the essential components in developing the narrative.In addition, every narrative text has two times:the narrative’s signifier time ( the time it takes a reader to read a narrative text) and the narrative’s signified time ( the time taken up by the events of the narrative).The Structuralists, especially Genette, have posed three issues regarding the time in narrative: 1- Order,i.e.the way the events in the narrative are ordered and presented 2- Duration,i.e.the relation between the length of time of the story and the time of the speech or the signifier of the narrative 3- Frequency,i.e.the number of times an event occurs and the number of times that event is narrated.In addition,at the end of the article, different kinds of relations between the time of occurance of the events in the narrative and the time of their narration by the narrator are examined.

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Editor's note on 2nd Issue

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This paper examines the Quranic stories in a narratological approach.First the problem of the research is explained and the hypothesis is raised that there is no relationship between the Quranic stories and narratology.The paper then reviews the literary on the litrary approaches to the Quran and the Holy Book.Then the genealogy of the words related to Quranic stories is given.In the next part,the components of narratology i.e. story and text levels are described and then some Quranic stories are studied in a narratological approach,using these components.Finally,more than 10 findings are proposed as the results and the paper concludes that there is a positive relationship between the Quranic stories and narratology.

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In this article,first,postmodernism and its most important components, such as ontological theme, revalation of novel techniques,short circuit,indeterminacy,time disturbance,shift of narrator and point of view, rebellious characters,multiple endings,are shortly described.Then the existence of some of them in two short stories of Abootorab Khosravi( PELEKAN and HUZUR) is demonstrated,using some examples of the texts.Although these two texts have some of the elements of modernism ,ontological theme, which is the dominant element of postmodernism,can be seen in these texts; therefore they could be considered as postmodern texts.

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Manُ s natural inclination towards rational detection of the surrounding realities, which has been manifested in the forms of oral and visual storytelling about his physical and intellectual experiences throughout history, was allegedly studied in a systematic way by Russian, in tandem with, Anglo- American formalists for the first time ever at the outset of the twentieth century. Then their intellectual legacies passed on to the francophone narratologists through the works of the Prague school structuralists and from the mid- twentiethe century on, were embodied under the rubric of Narratologie and fostered in a very broadr sense including modern literary narratives. However, reviewing certain binary, taxonomic, and typological concepts underlying the structural – narrotological outlook, in this article we have followed up the diverse genealogical lines of the "morphological narrative studies"- especially those based on the linguistically oriented theories- a little bit further beyond their very well acknowledged formalist ones, into the German tradition. We could not have started the venture, had we not drawn briefly on the most fundamental ideas put forward by such outstanding figures in the discipline as Barthes, Genette, Stanzel, Bremond, Ball, Chatman, Prince, Todorov, as well as many others. Finally, we have touched upon the recent developments brought about in the field of narrative studies, directly under the impact of cognitive linguistic pragmatics.

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In this article, I have tried to see whether one can find any signs of Mowlavi's influence in the poetry of Hafez. Two considerations have made me deal separately with the form and the content of works of the two poets; a) the deeply static and change resistant nature of the Persian traditional culture, which makes it difficult to say whether one is facing a case of shared culture or one of poetic influence; and b) the need for use of two theoretical standpoints (intertextuality and metaphor v. metonymy) to deal with content and form respectively. The results I have come up with are as follows: 1. As regards the content, one can detect more of an empathy arising from cultural unity rather than any trace of influence of one upon the other. 2. As for the form, one cannot help noticing that Hafez is exceedingly conscious of form, whereas Mowlavi pays little attention to it. 3. Whiltst Hafez leans heavily upon metaphor, Mowlavi is greatly inclined towards metonymy; one tends to ascension, the other to movement forward along the same route. 4. Finally, Hafez does not seem to have made any greater use of the form and content of Mowlavi's poetry with an eye to emulation than of the poetry of other poets, both previous and contemporary with him.

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Formula is a structural element of popular romances. This essay analyzes the situation of this element in the romance of Amir Arsalan. First, the concept of formula in the field of oral composition is defined; then functional arrangement of formulas is presented (formulas construct linear process of the story, shape the space of the story and dialogical formulas); afterward, through analyzing the subset of this three major groups, qualitative and quantitative effects of the factors such as literary tradition, naqqali's (storytelling) tradition, naqqal (the storyteller), addressee, writer, social setting and other factors depending on this romance have been demonstrated. It should be pointed out that among the above factors the influence of epic and lyric text and artistic prose, domination of metaphorical pole of language and poetic quality of the text and sensible effect of the addressee and the writer of romance (Naser al-din shah and Fakhr al-dowleh) on the process of creating the romance have been also influential.

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The views of the great poets on the essence of poetry and its constituent elements, expressed implicitly within the lines of their poetry, offer invaluable points that are often missed by literary critics. These critical views, which are sometimes expressed in a pseudo-philosophical statements, and are often wrapped in artistic expressions, are based in their actual experiences.  These views are usually expressed in brief, or wrapped in imagery, or even in an elegant indirect language, which may be extracted and, through analysis, may lead to our deeper understanding and invaluable views on poetry. These conclusions, we realize, are sometimes confirmed by the bulk of criticism. It is worth noticing that such conclusions were already preceded by great poets who were apparently the best critics themselves. The classification and the analysis of these poets’ views on poetry are considerable, and can constitute a new branch of study in the field of history of literary criticism in Persian Literature, and subsequently change the traditional system of evaluation of poetic styles.

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Assistant Professor Of  Persian Language and Literature Shahid Chamran University of Ahvaz rn rn rn   rn rn rn According to the  intertextul approach there is no text that is self-sufficient; rather,in this approach, it is supposed that every text is an intertext from previous texts and for following texts. In this essay, first different aspects of text and intertextuality are explained and then, a tale from Marzbanname is analyzed according to this approach. At the end,it has been shown that as Barthes, Bakhtin, Keristova, Genette, Todorov and other adherents of Intertextulity approach have emphasized, there is no authentic and original text; therefore, the mentioned tale from  Marzbanname , like other texts, is a retelling of previous texts.

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The purpose of present article is to introduce the basic constituents of the story blueprint, and principles governing them. By the story blueprint I intend the reader's inference about some relatively short sequences of narrative events. The local rules operative on these sequences help the reader discriminate story characters' goal-directed actions from unintentional events and states, before mentally modeling an overall structure of interlinked larger sequences within a storyworld. Action, event, and state are among the concepts inextricably connected with the notion of story and reiterated through the history of narrative analysis. The concepts at issue, and with them the nature and scope of narrative itself, have been further illuminated by recent insights offered mainly by linguists, philosophers, and cognitive scientists. Most of these developments occurred long before the establishment of cognitive sciences, and even before the heyday of structuralist narratology. But despite their availability at the time, they have been brought within the compass of classical theories of narrative since only a couple of decades ago. Narrative theorists argue that to tell and comprehend stories is to operate within a system of rules in which events are preferentially viewed as structural sequences of intentionally-oriented actions. In recent works on the semantics of verbs, however, language theorists have made finer-grained classifications of expressible events, with actions as a mere subcategory. This article is thus meant to explore some of the implications of verb semantics for narrative theory, especially as concerns typology of narratives under various genres.

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Ph. D.student in Persian Language and Literature Of Tehran University   Structuralists consider literature to have a structure similar to language and try to compile special syntactic rules for it. In fiction, Structuralism mainly studies narration.Structuralist narratologists try to compile a single coherent narrative structure for the different domains of fiction. In this article, we have tried to analyze one of the most famous Persian novels,Shazdeh Ehtejab by Houshang Golshiri ,within the framework of the structuralist viewpoints of Genette, Greimas, Bramond, Todorov and Barthes. To do that, we have studied the structure of Shazdeh Ehtejab in three levels: in the first level which we call "narrator and point of view in Shazdeh Ehtejab" we study the point of view,method of narration and the narrator/ narrators who narrate Shazdeh Ehtejab.In the second level we study the narrative structure of Shazde Ehtejab and in the third level we structurally analyze Shazdeh Ehtejab

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This paper examines two modes of fantastic genre, i.e uncanny and marvelous, with regard to the stories of Tanookhi's the Relief after the Grief. We will start by a discussion of Todorov's work on the 'fantastic'. In doing so, the etymology of the keywords and the review of literature are also given. Then, it is referred to Todorovian structural approach to 'the fantastic'. Due to this approach, it is told that in the fantastic stories of the book (sometimes titled as "keraamaat" genre), the reader has to experience the world described as a possible or impossible world full of fear and strange: depending on the readers to explain the occurrence of strange events naturally or supernaturally, the stories may undergo the category of uncanny or marvelous, respectfully. Finally, as conclusion and new results, it is said that in the Relief after the Grief: 1) the focus is on one central character as the center for all events 2) events of the stories are seen through the focal point of this character as the main narrator- focalizer and 3) The reader’s point of view should be that of the central character and the events should be focalized through his eyes.

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In the history of world's literature, there have always been authors who see literary works as a place to express human’s position in the society and try to describe man in relation to the nature and the world surrounding him and warn him of the perils this world may bring to him.Today's world is a world of unrest, tension and identity loss due to rapid technological changes and ideological instabilities. With machines overwhelming human life and his conformity to the cold tune of today's world, a distance has emerged between man on one hand and morality and spirituality on the other, and this has led him gradually to a severe critical atmosphere. Some creators of literary works have tried to show this reality in their works.They have employed creative literary techniques to show an intensified view of human position in relation to the current world in order to refer man to his inner nature and notify him of the peril and distress governing the society. Kafka, Ionesco and Saramago are among those writers who are mindful of the crisis man is experiencing in his modern and postmodern life and have reflected the situation in their works, the Metamorphosis, Rhinoceros, and Blindness, respectively. In this article we have used the intertextual approach to analyse these three works based on their structure and theme and have remarked their semiological relationship.

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The contemporary literary theorists have examined different literary genres from different viewpoints. Among them Mikhael Bakhtin, a distinguished Russian literary critic, is a standout. Highlighting his key concept of dialogism, Bakhtin from among different literary genres describes the novel, specially Dastayovski's novels as possessing dialogic or Polyphonic quality. In such novels, the voice of the narrator isn’t dominant but is beside other voices. Among Persian literary classic texts, Masnavi – ye Manavi is one of the few texts in which the debates and dialogues between its story allegorical characters is considerably conformable to the components Bakhtin considers for dialogism. We raise and describe this conformability in this article.

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One of the problems which prevent a correct or common comprehension of a fiction and its precise analysis is the diversity which exists in understanding and using the common terms in fiction domain. Although most of these terms have been listed in dictionaries and used by researchers, there is no unanimity about their usage. Due to this matter, distinction of fiction's elements and the analysis of narratives confront some difficulties. In this paper we intend to revise one of the most common terms in narratology i.e. motive, focusing on dependent motive and independent motive. Hence it is necessary to criticize the most important definitions in dictionaries for motive, to show their credibility and the degree of their expressiveness and to present our definitions. Also, all types of motives in traditional Persian fictions will be categorized and their four functions in narration will be explained. In our point of view, motive is a structural – semantic term that is related more to structural elements of a story than to its semantic aspects.

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Discourse analysis has emanated from ideas os scholars od Linguistics, semiotics, hermeneutics and the theories of Michel Foucault (1926-1992), but in contrast to the aforementioned methods, it cover the two aspects of the text: form and meaning and so it is a comprehensive approach for text analysis. Scholars like Fairclough, Wodak, Van Dijk, Fowler and Kress played an important role in introducing and promoting critical discourse analysis as a new approach to text analysis. In this research we have used Norman Fairclough’s approach. In the present study, it was tried to analyze Sovashoon of Simin Daneshvar. In so doing, we discussed the views of the author, and using an innovative approach, we discovered various semantic and thematic layers of meanings closer to this novel. It was concluded that Daneshvar,with her special approach to the political and social changes of her time ,has connected the politico-social factors to mythological ones. This approach is specific to her, different with others' and so we can consider it as her own unique ideology. From a critical discourses analytic perspective, Simin Daneshvar, in her writings, made use of specific terms, epical and mythical dimensions and its connection with religion while generalizing these elements and connecting it to our era, has sought to create an independent Iranian identity. She managed to create an anti-imperialistic hero from the working class and naturally promoted women’s role in the contemporary novels from a housewife to a reformer and activist in the socio-political areas.