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Narrative is a way to understand human affairs. Among these is the understanding of man himself. Human experiences need a mediator called narrative to be understood. It provides a possibility for self-expression, known as engaged self. This engaged self in the religious lived world is affected by the narratives that shape experiences. A movement in Christian theology called Narrative Theology attempted to show that the religious man's understanding of himself in the modern world is formed through biblical stories. Addressing the problem of human requirements in the modern world, narrative theology designed a system of thought based on narrative. This article aims to show the meaning of engaged self-based on narrative, and then, with a brief presentation of Yale school's narrative theology, it will describe the basis of the narrative concept. Finally, it will present criticisms based on the narrative concept by evaluating the mentioned theology.
 

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SHAH BAJI lyric poem (MANZUMEH SHAH BAJI) is one of the most beautiful lyric poems of native literature of Mazandaran dated back to the late Qajar period and the first Pahlavi. The poem was composed by Mullah Khan Jan Heydari, a cattle rancher of LAFOUR (located on SHIRGAH, SAVADKOOH County). In terms of prosodic rhythmic structure, the poem can be read both in Hazaj or Mutaqarab meters. It depends on the narrators to decide to read the poem in any rhythm. Using formalist analysis, this study aims to find out how the components of formalism have been reflected in this lyric poem? The research results indicate that, among different kinds of deviations, the semantic deviation and its subtypes and time deviation have been more frequent than the others. Among different meters, lexical rhythm and its outstanding component namely Parallel Rhyming Prose (SAJ’ MOTEVAZI) are more seen in poem. The frequent repetition of long vowel /a:/ and the consonants like "r" , "l" , "m" and "n" in the poem, can be due to the more frequent use of these vowels and consonants in Mazandarani dialect to make rhymes.

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Khalili JahanTigh.M.,Ph.D
 
Abstract:
 
The book, Kashmir History or “Rajtarangini” is a versified tale of legend, epic and history of a part of India, namely Kashmir. Kashmir is called “Iran Minor” because of its beautiful nature, fine weather and even the color of its citizens. This work was composed to Sanskrit language by kalhan for the first time and then translated into Persian twice. The first translation was artifact, formal and hard to be understood and the second one done by Mollahshah Mohammad Shah Abadi during the time of Akbarshah Goorgani was simple, fluent and permanent. This article is aimed at adjustment of some of tits stories and historical figures to some tales and religious and historical figures of Iranian and Semitics works.
 
 

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Abstract Structural researches and considering the fundamental patterns of different narrative forms, is one of the common methods to categorize them. In this manner the oral tales have a great chance to pay attention to. This article is written according to a new version of Propp’s theory about the morphology of fairy tales, and also with a glance to “The Narrative World of Finnish Fairy Tales” by Satu Apo. So the structural patterns of Persian fairy tales can be summarize as below: 1. Hero is looking forward something 2. Something dangerous is threatened hero

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The semiotics is one of the scientific instruments for analyzing the discourse system, which studies the components of meaning structure and creation in texts. In semiotics, the gnosilogical characteristics of literary works will find the chance to appear clearly by surpassing mere constructive semiotics to phenomenology semiotics and showing the signs path of moving towards higher and more perfect signs.  The beautiful poems of “Oghab” by Khanlari and “Arash Kamangir” by Kasrayie are the narrative oriented kind of poetry, which have the narrative characteristics due to having situational identity and various actions and nourishing precious mythos actions at the end of the story.  Therefore , these two masterpieces are worth being studied and analyzed for semiotics analysis and discourse system. The prescriptive discourse system and manipulative ones are flowing at the beginning and in the middle of these two stories. Later on, proceeding the discourses and appearance of the narratives, two value systems are shaped, which through their conflicts, the dynamic semiotics discourse is provided, leading to tensional system, which is analyzable based on the expansion and pressure values. This research studies these texts by means of Greimas comparative approaches, passing through semantic square to tensional square while analyzing the type of discourse systems including prescriptive, manipulative and incidental ones in these two poems. This research Further tries to find out up to which point Persian narrative poetry is cable of analyzing the discourse systems ruling over it.

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Talebian.Y.,PH.D
Hosseini. N
 Abstract:
 
In the several last decades, structural approaches of the study of narrative had a great affect on narration and folklore. The first research in the field is a prop's, the morphology of the folktale" generalized and completed by some rhetoricians including Todorove, which analyzes the narratives into bits and studies the relations of them in categories of theme and space order.
This study, based upon the Todorve's view, deals with the typology of narrative in Sandbadname, an Iranian narrative, so that places it in the row of mythological narratives as Hezaroyekshab (one thousand and one night), an Iranian legend and Decomeron a European one, mentioning some traits of it and comparing them with the specifies of mythological narratives.
 
 

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Muhtasham-e Kāshani (935-996/ 1528-1588) is called Khāqāni-e sāni because of his well-made and strong odes which resemble Anvari’s and Khāqāni’s, and also Hassān-e al-ajam because of his enthusiastic elegy on Imam Hussein. But the innovative dimension of his style, which is rarely recognized by the stylisticians and literary historians, is mostly manifested in his rasāyel (Jalālieh and Naql-e oshāq) not in his sonnets and odes. These two essays or rasāyel, which are unique because of their lyrical-narrative structure and their explanation of realistic and vāsookhti experiments, are not even referred to in the studies of Voqu' and Vāsookht schools. Muhtasham has combined a prose narration of realistic love with extemporaneous sonnets (and sometimes with other poetic forms) and has created a different literary genre. The present article tries to introduce this unknown genre and to explain the structural and stylistic features of this kind of lyrical narration in Muhtasham’s rasāyel.

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Agha Golzade .F., PH.D                          
 Mamasani . SH .
Abstract
This research provides a discussion of the text organization of Chubak’s famous narrative "Tangesir". Its organization contains a problem-solution pattern, introduced and described in Hoey (2001). The main problem of the hero, "Shir- Mohammad", is that four people have eaten up all his money. To solve this problem successfully, many responses have been suggested, both by the hero and other characters, which are either positively evaluated, but have negative results, or negatively evaluated and consequently have negative results. A kind of repeated process of testing different responses and negative results prompt recycling of the pattern until the main plan (killing) is successfully turned to the solution. This positive result is overridden by immediately following problems at the end of story, the first one is resolved by the plan of "escaping", but the next one, that is leaving the homeland and living in a foreign country, remained.
 

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The experience of time, like anything else in the world, can manifest itself in the text. Time is regarded as a structural element of the text. One characteristic of narrative is that time is considered as the main element of representation tool and the represented object. Therefore, time is described in the light of the chronological relationship between story and the representing text. By analyzing the time of the story and the time of the representing text, it can be concluded that in all the four plays of Naghmeh Samininarrative has two kinds of temporalities: the cyclic and the linear. The linear temporality gives a dramatic characteristic to the text, while the cyclic temporality gives an epic characteristic to the text. The cyclic temporality is always connected to a particular place and somehow reveals the feminine subjectivity governing the text. This study aims to show that when the linear temporality is dominant, the text is dramatic, and when the cyclic temporality is dominant, the text becomes narrative, while both temporalities exist in these four plays simultaneously.

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Gholam-Hossein-Zadeh.Gh., ,PH.D.

Taheri,Gh., PH.D.

Rajabi.Z., PH.D.

 
Abstract:
 
Molavi is one of the greatest mystical storytellers in Persian literature who has adopted storytelling to convey didactic and mystical notions. Molavi’s Masnavi remains a well-known work throughout the world thanks to his intelligence in understanding the concerns and dimensions of human soul as well as to his grasp of the social traits of the readership, plus his superb skills in applying the delicate techniques of storytelling. It is quite surprising that he had such a mastery of storytelling techniques some seven centuries ago, while critics have only recently discovered its subtleties and techniques. Among these techniques is the skillful use of the time element in narratives. Over the past decades, a French researcher has elaborated on temporality in narratives, presenting his views under three topics – order, continuity, and frequency. His theory is well known.
   In this paper we will try to show, based on the French scholar’s theory, how Molavi has utilized the time element in the tale “The Tribal Arab Dervish and His Wife”. We will also attempt to understand how and to what extent he has made choices in temporal and actual terms, moving from chronological time to textual time. These choices and the particular type of temporality Molavi has applied in the said story are analyzed to see if they have a direct and meaningful relationship with the theme of the tale.
 

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Telling or not telling story clearly distinguishes between narrative and non-narrative texts. As in narrative texts, there is a narrator, so there should be at least one audience. The most important factors, which determine the characteristics of the audience can be enumerated as: “level of narrative”, “level of narrator’s participation” and “level of his/her perception”. Here, in addition to explanation of two kinds of inter- and extra- text audience, we try to introduce direct and indirect signs of the presence of the audience. Thus the essential questions, which form the foundation of our study, are: “What is the difference between narrative and non-narrative texts?”, “How direct and indirect signs of the presence of the audience manifest in a story?” and the last question is: “What’s the meaning of inter- and extra- text audience in a text?”. This study through descriptive-analytic method and use of library resources represents direct and indirect signs of presence of the audience and it also explains differences between inside and outside the text audience in stories and narrative texts. The results of this study show that inside the text audience is identical with imagery addressee and outside the text audience is a real reader.

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Every story is formed from a strong link between two elements of surface and structure. In structuralism, narrative is considered as a structure, which has been studied by theorists such as Algirdas Julius Greimas (1917-1992) to find its components and provide a basic pattern for this structure. Algirdas Julius Greimas was a structuralist and semantic theorist, also a follower of Vladimir Propp (1895-1970). He introduced the theory of Actantial model for the narrative. This model aims to reveal the role of the characters of a narrative, and helps to indentify the characters by linking action and character to each other. In this research, we studied the Ilahi-name of Attar based on the modern literary theories including structuralist narratology, semantic pattern of Greimas, and morphological pattern of Gerard Genette. In addition, the narrative function of two stories of Ilahi-name, the “Pious Woman” and “Daughter of Ka’b and Her Love”, has been interpreted according to the narrative model of Greimas. We further studies stories by recognizing the situations of the narrative discourse (based on the focalization theory of Gerard Genette), and also the plot, i.e. Actantial model (six actants: sender/receiver, subject/object, supporter/oppositionist), to analyze the tales based on semantic square (le carré sémiotique).

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Mohammad Taghi Bahar is the initiator of historical stylistics in Iran by publishing “Tarikhe Tatavor e Nasre Farsi” (the Evolution of Farsi Pose) (1331/1952), and his manner has been followed so far. To exit the recession with which Farsi prose stylistics is afflicted, one of the solutions suggested in this article is applying the new branches of stylistics and retrieval of the suitable tools for analyzing Persian texts. To reach this goal, we will consider critical stylistics as one of the new branches, and specifically discuss the arguable stylistic layers in the critical stylistics of short story and novel. The basic question processed in this study is that what stylistic variables could be discussed in critical investigating of short story and novel styles, which leads to discovering the ideologies and power relations in the texts. To answer the question, we will consider studying story and novel in textual and narrative macro-layers by analyzing focalization; the level of persistence of focalization and the facets of focalization (perceptual facet: time, order, duration, frequency, and space; an overall and eye-bird’s view or a partial and close-up view, cognitive and ideological facets), and lexical, syntactic, pragmatic and rhetorical micro-layers in relation with its external layer (situational context). The aim will be applying the new branches of stylistics in studying Farsi literature texts; many of the stylistic criteria and features discussed in this article could be applied in studying the style of other branches of narrative literature, e. g. myth, fiction, allegory and romance.

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Abstract
This thesis is a study of one of the enchanting stories of love in post Islam Iran. Mehr-o-Vafa has 1309 versess and the rhytme is Mafaylon Mafaylon Folon. Poet dedicated it to Shah Abbas Safavid and Etemadol Dowleh Hatam Beig, and imitating the style of Khosrow-Shirin arranged and organized a poetic introduction for it. ُThis thesis is a study of comparative literature, particularly poetry of the lyric literature (fiction epopee) in Persian and Kurdish, which has long been of interest to researchers. Since this thesis the folk tradition of oral literature of Kurdish Mehr-o-vafa story with Sho'ori Kashi's Meho-vafa from eleventh century And with the knowledge that where there is a story of Folk kind and deal with another version of the narrative can not easily determine which version is older than the other. This research tries to idendify more narrators and compare roots and causes of why this story is rewritten by Kurdish poets in the Western parts of our country? Adapting the story of Mehr-o-Vafa in the narrative tradition of oral literature of Kurdish with Sho'ori Kashi's in Persian classical literature from all aspects, including the translation and aesthetic aspects will be done throughout this research.

KEY WORDS: Mehr-o-Vafa , Kurdish folk narrative, Persian narrative, Sho'ori Kashi.

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This paper tends to investigate discourse, power, and language in Behrangi’s “Olduz va kalagh-ha”[1] and “Olduz va aroosak-e sokhangoo”[2] under the light of Foucauldian new historicism to demonstrate that multiple discourses of the selected texts are inseparable from the political, social, literary, and cultural discourses of Behrangi’s era. The study also illustrates how Behrangi has portrayed the mutual relations between language and power by the use of objects and animal characters in his stories. As soon as language threatens power (stepmother), it is doomed to silence.
[1] “Olduz and Crows” [2] “Olduz and the Talking Doll”

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Paul Simpson is one of the researchers who have worked in the field of stylistics and critical linguistics. One of the topics which he has studied systematically is the “point of view.” In his opinion, point of view is related to the degree of narrator’s interference in the act of narration. It has three dimensions: (1) spatial; (2) temporal; and (3) psychological. The writer or narrator unites these items through modality. Furthermore, focusing on modality, Simpson introduces his narrative model which includes nine different points of view. In this model, he incorporates Genet’s discussion on four points of view and also the model of Uspensky and Fowler. Simpson believes that by studying the three spatial, temporal, and psychological dimensions of the point of view, we can reach at its ideological dimension.

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The present research examines the concept of love in two separate and distinct spheres. On the one hand, love is considered as a transcendental experience and concept that is static and related to a meta-human truth. This type of reading of love is mainly initiated and developed through Plato’s writings. On the other, there is a view that considers love (even in its Platonic sense) a humane, cultural and more importantly “textual” phenomenon. In other words, love can only be understood, multiplied and experienced within language (or as Jacques Lacan calls, “symbolic order”). In this paper, I have studied these two views in relation to the collection of short stories entitled, Love on the Sidewalk, written by the contemporary Iranian writer, Mostafa Mastour. In order to do this, I have first studied the concept of ‘absence’ in love and how the experience of love always depends on the absence of the lover or the beloved. I then argue that love, in these stories, is a ‘sign’ that is constructed and signified with a system of signs. And finally I illustrate how the characters in these stories fall in love and understand love through “narratives of love”. All this would give love a plural and narrative significance. Love is therefore a sign that is always in the process of being constructed.

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The ‘diachronic approach to narrative studies’ may take different directions, one of them being a typological research on narrative texts, and the other, a genealogical enquiry into the modern ways of storytelling as to see how they have historically originated from a certain group of folktales. Assuming, in the same vein, that some relics of Persian formulaic oral narration should have survived—through functional modification, or even obliteration— into the Iranian literary fiction, this article introduces just one instance of these Persian-folktale-specific formulae, drawn out from a bulk of more than 270 texts whose inscription dates back at least to 70 years ago. Then the question is whether the formula has completely vanished away, or simply alternated between a number of functions.

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H Dabiran.PH.D
A.Tasnimi
 
Abstract:
In the last years of Teimorian’s dynasty, when Soltan Hossein Baqera earned kingdom, Harrat became a scientific and cultural center; and actually a major place for several writers and scholars. Harrat’s court earned dignity and grandeur through the presence of Amir Alishir Navayi; the wise and literary minister of the time.
Molana Kamal-Edin Hossein Vaez Kashefi was one of the figures who proved his abilities during this era and created great works.
This prolific scientist has written books in a variety of fields; whereas Rozat-ol-Shohada’e is one of them. This book depicts the great Islamic event of Karbala (which led to the martyrdom of Imam Hossein) through a literary narrative manner.
This essay reviews Kashefi’s works and manners, while Rozat-ol-Shohada’e is also surveyed from a literary point of view regarding the literary elements as well as the innovations and the originalities in fictional narrative prose.
 
 

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Javad Asghari.PH.D.
 
Abstract
“Stream of Consciousness” is one of the modern techniques for narrating a story which has been of particular notice to the story writers, especially in the last century. This method is one of the most prominent methods in narrating a story and writing psychological novels, but despite what might be imagined by some of the readers of this article, this technique differs with “inner whisper” and “mental analysis” techniques. Actually the first psychological stories, or in other words the initial appearance of these stories was in the form of “inner whisper” which gradually developed and later on found its form as our discussion conveys in both story form and modern novels. This article makes an attempt to offer a clear and precise definition of this technique, while it discusses its methods and characteristics, added to the basic principles and the psychological principles of the related technique.