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Sadeq Hedayat is a deconstructionist artist-thinker who had created his own style in his writing. One can venture to say that his The Blind Owl has been criticized more than any other Iranian literary work in more than half a century ago and still critics reveal some fresh aspects of this masterpiece. Critics have analyzed surrealistic, symbolic, existentialist, nationalistic, expressionistic and metaphysical dimensions of this work. From the lens of comparative literature, a lot has been written on the influences of Schopenhauer, Sartre, Maupassant, Nerval and Kafka among others on Hedayat both structurally and thematically. In this research, the undeniable influences of Virginia Woolf’s The Waves on The Blind Owl and their undiscovered similarities are scrutinized. Furthermore, inter-textual aspects of the two mentioned masterpieces are analyzed thematically and in this respect one of the major themes of The Waves, that is, narrative exhaustion, is analyzed and its resonance in The Blind Owl is traced. Through textual comparison, it is shown that how some of The Blind Owl’s sentences have dazzling similarities with some key phrases and sentences of The Waves.

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Based on Talmy’s (2000) lexicalization patterns, languages are considered either verb-framed or satellite-framed in terms of the language unit (either verb roots or satellites) that encodes Path of motion.  According to Talmy’s hypothesis Indo-European languages except for Post Hellenic and Romans fall into satellite-framed class, since speakers of these languages conflate Manner of motion in the verb roots, while Path appears in satellites. This paper investigates the pervasive pattern Persian pre-school speaker children use to express motion components, namely Manner and Path in elicited narratives based on ten short animated clips simultaneously demonstrating Manner and path of motion. The Children’s narratives have further been compared to those of adults in order to highlight differences and similarities in mapping two semantic components onto language units. In the end, it has been discussed whether or not Persian, as an Indo-European language fits into Talmy’s binary typology. The analysis in this study illustrates that when narrating motion pictures, children follow the same pattern as adults do to encode Manner and Path; both groups employ path verbs with or without path satellites for vertical displacements, and prepositional phrases for horizontal trajectories where boundary crossing occurs. Manner of motion is either conflated in verb roots or not mentioned. Therefore as far as Path of motion is concerned, Persian language within the scope of the present study fits into verb-framed class of languages

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The article investigates the adaptive method of Hayao Miyazaki in using Japanese narratives through his animation filmmaking based on James Dudley Andrew’s theory. Qualitative research method has been applied owing to the nature of the content and the type of analysis. In line with the research aim, the main question is how Miyazaki has adopted Japanese narrative literature in making his animated films (the case). Miyazaki’s admired animated movies were adopted from Japanese narratives. Accordingly, among which Spirited Away was analyzed as the case of the study. The results consist of fundamental points revealing his method of adaptation. Miyazaki has considered the full capacity of Japanese narrative literature and other adaptative approaches in developing drama, characterization, visual and audio elements of his films perfectly. Bringing up the ideas in this way, Miyazaki has created the main elements of narrative aligned with his cinematic expression. Not only did he adapt the texts of Japanese literature, but also benefited from the illustrations of the literary works. Miyazaki's style uncovers the various potentials of narrative sources for idea generation in storytelling, characterization as well as it reveals how to create successfully hit animated feature films. His method can be an effective strategy in making superior and adaptation Iranian filmmakers may consider in animation film production.

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The semiotics is a new approach in analyzing texts and discourse systems. This approach in literary critics has been resulted in different models to explain the state of function, production and receiving meaning through text. These models which originates from the text itself, attempt to reduce any possibility of plurality in literary works reading as much as possible. Therefore, this study considers Jami's Salaman and Absal as one of the theosophy texts with symbolic exposition and ability of interpretability. In  addition to introduce  the state of semiotic model function to explain poet's benefit reason of every two possible approaches of creating meaning in this text, the process which is manifested in reflexive way is the semiotic square. So, this study presents this hypothesis by utilization of semiotic models in analyzing Jami’s Salaman and Absal. This study shows that Jami's intention in utilizing two creating meaning processes in this text refers to "Return" and he attempts to present this concept by a symbol and symbolic exposition in "Salaman and Absal".
 

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In this study, based on Halliday and Hasan's (1976) description of cohesion in English, the ability of Persian- speaker children to organize a narrative discourse has been investigated, applying an experimental method. For this purpose, fifteen children, eight boys and seven girls, four to seven years old, have been selected in a crèche in the West of Tehran. Afterwards, in order to investigate their performance in organizing discourse by applying lexical cohesive devices, two tests, story retelling and story production based on two pictorial books, have been performed and then investigated. The main objective of this study has been to evaluate their discourse competence through their narrative discourse organizing ability. Based on the findings of this research, it can be said that children in all age groups are able to apply the correct lexical cohesive devices in order to organize their stories. The other result is that all age groups tend to apply "repetition" rather than “collocation" in both tests. Finally, the children's performance in story retelling test comparing with story production test was different, in terms of the number of utterances and lexical cohesive devices used.
 

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Rustam and Chapa Kal is the performative narrative of Rustam going to the Western Lands in order to save Burzou, his grandson, from the King. Rustam, who is imprisoned by a qoulak in the battle, has to undertake six labors. He has to pass through a scorching desert; pass through the habitat of lions and kill two of them; pass through the land of qoulaks; meet the sorceress; kill the dragon; and to pass the snow-covered land. He undertakes the first labor by himself and goes through the rest with a mentor as is usual in the heroic tradition. Chapa Kal, an extraordinary creature serves as his mentor. Most Indo-European epics feature the theme of quest by going through difficult stages. Moreover, stories associated with Rustam have been retold in Iran for a very long time. Kuhmareh Surkhi is among the regions where this story has been narrated. Like many other stories, this story is also obliterated, and there is only one remaining old minstrel, Ali Hossein AliNezhad, who can perform it today. This paper aims first to record the undocumented narrative and then analyze its contents.

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Eshhaq Toghyani.PH.D.
Zohreh Najafi
 
 
Abstract
 
Sanayi Qaznavi, as a wise man, focuses on the elaboration of mystical teachings and discourses in his masterpiece; known as “Hadiqat-ol-Haqiqat”, which is in the form of poetry and narrative. The survey and study of these narrations has a high significance in revealing the poet’s manner of expression.
The survey and analysis of narrative or in other words narratology is based on identification of signs; which deals with any kind of narration, whether literary or non-literary, fictional or non-fictional, oral or written; which identify the units of narration; or in other words the form of plot; whereas some theorists have also called it the grammar and structure of story too.
This research has focused on the survey and study of structure in Hadiqeh’s narratives based on three elements; dialogue, action and plot, while the researchers have also made an attempt to analyze Sanayi’s storytelling manner within these narratives.
 
 

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Samira Bamashki
Bahareh Pozhomanddad
Abstract
We will answer the question; “what is the ‘action pattern’ in the story plot of “Gonbade-Pirooze” and what does this pattern imply and demonstrate?” through the analysis of the plot in narrative theories. Through this structural research we will recognize men’s mind once he is creating a mystical narrative. Theodore and Grimace’s methods have been used for the analysis of this narrative. The basic principle in Theodore’s method is the identification of the pattern of fictional actions and the inscription of the principal theme. With the identification of these two factors, it is verified that the process of development and establishment of fictional actions in Mahan’s story corresponds with Hobot’s story and the main motif is identical. For proving this the sameness, Grimace’s method is used; which is based on reciprocal fictional pairs, in addition to the pattern of actors (characters); while in this way the correspondence and parallelism of the characters of these two stories is shown.
Considering the available evidence, it can be concluded that Mahan’s story lies in the category of mystical stories; while it has roots in the story of Hobot.
 
 

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Eshaq Toghyani, Ph.D.
Mas’oud Algoneh Jouneqani
 
Abstract
Undoubtedly, Khosrow & Shirin, composed by Nizami, is one of Iran’s, and actually, the world’s rich literary masterpieces. As a deep and rich literary work, which offers an artistic pleasure, it has the potential to be contemplated and pondered several times. Therefore through these devices and a close focus on its formal structure, intrinsic content, the rhetoric discourse in its texture, added to all the other concealed structural potentialities within it, the reader can discover valuable points in it. Since the form and structure of a poem develop simultaneously in a horizontal and vertical axis, in the survey of poetic perfectness a researcher should be able to study the form and structure of the created work independently and according to specific principles. For this reason, this article is devoted to surveying the concealed structural and formal potentialities within Khosrow & Shirin. The first part is an attempt for analyzing the structural potentialities which show themselves in the vertical axis of the poem. The second part surveys the formal potentialities in four separate axis. Understanding these two categories of potentialities implies the significance of this poetry; in addition to the significance of its new and even repeated studies.
 

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Saeed Bozorg Bigdeli, Ph.D.
Hossein Ali Qobadi, , Ph.D.
Seyyed Ali Qasemzadeh
 
Abstract
Myths are among those mass narratives which are constantly reconstructed, recreated, or reprocessed in a variety of forms due to their interconnection with archetypes and symbols. One of the best grounds for the emergence of myths’ manifestations in the contemporary era is in the form of novel. Surely, the tight link and mutual requisiteness of fiction with the world’s new events, added to the narrative features of novel and the potential of this contemporary fictional form in the reflection of diverse subjects and tastes, methods, manners, styles, that is in addition to the display of the common and popular thoughts, beliefs and discourses in the society, all together made the structure and narrative elements of novel become the most vast ground for the emergence and manifestation of myths or even hinting to them. The aforementioned approach in novelists who base their work on myths, paves the way for the inter-textual analysis of mythological novels as they use and reflect myths; which is due to the attention they pay to conceptual indications and the intended symbolical myths in the mind.     
The recreation of myths in the form of narratives in the new era should be considered one of the prominent elements in the deep influence of postmodernism literature. In this relation, the present article intends to analyze “Salmargi”, with an inter-textual approach joined with narrative analysis. “Salmargi” is an Iranian post-modern fiction which has been shaped with two major and key mythological themes; one is the opposition of “life and death” in the form of mythological narratives of killing-the-son and the other “sacrifice”; with emphasize on the innocence and meekness of the heroes. While the major narration of the story is devoted to the Imposed War or rather influenced by it, “Salmargi” counts as one of the first post-modern experiences of the Iranian novelists about war.
 

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This research aims at analyzing the narrator type and the modality governing his point of view in the short story "Frankness and Decisiveness" (1349) by Bahram Sadeghi". We have used Simpson's model (1993) in which narrative and point of view are studied utilizing a linguistic framework. The goal of this paper is to determine the type of narrator (first, second or third person) and modality of the story (positive, negative, neutral). We have assumed that the narrator is third person and modality is neutral. The data are analyzed according to categories and analytic instruments introduced by the theory; Therefore, the method of this research is descriptive-analytic. Modality in linguistics concerns the writer's view on the truth of a proposition stated in a sentence. Findings of this study show that the narrator is type B (third person) who willingly enters the characters' mind and reports their intentions and thoughts to the reader. Analyzing the modal devices in every sentence shows that the narrator uses verbs and adverbs of request, sentences stating opinions, generic sentences, imperative verbs and evaluative adjectives and adverbs all of which denote positive modality. To show the procedure which ends in a misunderstanding and also for evaluating the situation, the writer makes use of negative modality devices through which the most important elements are cognitive verbs.

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Hafez poems have complex and depth aspects. According to this feature everyone analysis the semantic structure of his poems differently. Structural study of Hafez narrative lyrics shows that not only different verses of lyric are not separate and disconnected but appear in a continuous and dynamic chain. Semantic integration of these lyrics and narrative structure of it provide the strong basis for semiotic study. For a better understanding of internal relations of narrative lyrics and its continuity and discontinuity, it is necessary to pay attention to the structure of narrative. The most widely used type of discourse in these poems is cognitive discourse, however sometimes the interaction between cognitive and emotional discourse is established in lyrics. In this way, Hafez destroys the common cognitions and suggest new and uncommon cognitions that are apparently against Islamic law and thereby criticizes the hypocrites of time and invites them to passion and drunkenness. In narrative lyrics, Cognition is associated with discourse discontinuity. The discourse of these lyric supports the integration of verses is established until the end of poem. So in this article we will survey the structure of Hafez Narrative lyrics and discourse discontinuity and continuity.

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In this research, it has been attempted to investigate how the point of view in story and drama is perceived. For this purpose, two case studies are considered: the short story Snail Cracker (by Shahryar Mandanipour) and the play “Hovel of Trauma& Agony"(by Mahmoud OstadMohammad). The similarity between two case studies is the fact that in both, the audience finds out viewpoint of absent characters, through the statements of present figures in the story and drama worlds. To understand how it works, a combination of the linguistic approaches of McIntyre, based on “Deictic Shift” and Ryan's notion of “Possible Worlds” are adopted as the theoretical framework of the study. The main problem of the article is to discover narratological capabilities of the point of view in creating dramatic or narrative hidden spaces. The main goal of  this article is to investigate the construction process of the absent character's viewpoint in the main scene of the events. The research findings are being analyzed based on the narratological indices of McIntyre and Ryan. Research methodology is descriptive –analytic. The results reveal that despite discrepancies between the story and drama worlds, they have some features in common: their figures can develop narratological perspectives and absent persons' viewpoint through linguistic markers which effect on the dialogues, they are also able to influence on assumed audience’s (reader’s) perception.

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Structural analysis of classic narrative works preapare the way to investigate the components of a story within the language. Mehr and Mah has a complete plot and another capabilities in order to analyze. In lyrical system of so called collection poetic and emotional function of language is dominated on other roles. The relationship between language and narrative and decelerating species can be so interpreted. When the narrator of the story focuses on himself, the (+) emotive function of language is more salient , and when he or she  describes the actions, actors and other phenomena (+) the literary function of language shows itself, because in this extent generally more figures _due to an style of old story_ are used. Descriptions of natural phenomena, the appearance of characters and even the details of some lyric acts like hunting, night wedding, banquet and… reduce narrative acceleration. In this part, the poetic function is apparent. Mental complaints, whispering to himself, speaking with the language inspired by the elements of nature and … because of specific texture that mainly associated with vocative particles has a direct relationship with emotive function of lyric language. Emotional discourse is central to narration and decreases the mechanism of narrative actions. Another achievements of this research using emotional pattern of discourse is to show  the  hopes of event  the hope,  and confidence for Joined beloved.

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Tarsousi's Darab- Naameh is a long folktale related to sixth century. According to the main action on which the subject's intention is focused, Darab-Naameh is divided into three separate stories. The story, in addition to its three main plots, is comprised of infinite narratives within each grand narrative. Sometimes the little-narratives become structurally related and coherent to the main narrative, and they are also formed independent from the grand-narratives in other situations. And so these little narratives distort the unity of narration by their disturbance, independency and separation from trilogy processes of speech evolution. The discourse system, despite its action-oriented nature, in the story of Alexander precedes two types of the state and actional discourses on parallel bases, and cognitive and situational discourse system affects actional discourse too. This paper aims to study narrative syntax, organizing levels of narration and interaction between them from the narratology perspective, and examine the way of meaning creation in the long folktales by dividing Darab-Naameh into deep and surface structures. Have narrative processes been organized in a distinct juxtapositional system? Can scattered narratives of the story, as instrumental narratives, lead the grand-narratives to the achievement of the main action? Is the story plot within its narrative syntax in interaction and harmony with the basic structures of meaning? We try to answer these questions within this research by analyzing Darab-Naameh. Keywords: Tarsousi's Darab-Naameh, Narrative Semiotics, Plot, Semiotic square tensive axis
 

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 The present study intended to investigate the impact of using the two reflective practices of Personal Experience Narrative (PEN) versus Reflective Journal (RJ) writing in English on enhancing the in-service EFL teachers’ Critical Thinking Ability (CTA) in Iran. Sixty (36 female and 24 male) EFL teachers selected based on the convenience sampling were randomly divided into equal numbers making up two independent experimental PEN and RJ groups. The participants were initially pre-tested on the Watson-Glaser Critical Thinking Appraisal-Form A (WGCTA-FA) by Watson and Glaser (1980). The comparison of the pre-test scores via the independent samples t-test indicated no statistically significant difference between the CTA of the two groups at the onset of the study. Then the participants were given five short stories including Chopin’s The story of an hour (1894), O. Henry’s The last leaf (1907), Colby’s Confessions of a gallomaniac (1941), Achebe’s Dead men’s path (1953), and Grace’s Butterflies (1987). The PEN participants wrote PENs in response to themes of stories, whereas the RJ participants inscribed their reflections on the same stories in RJs. Subsequently, the participants in both groups were post-tested on the WGCTA-FA. The comparison of the post-test scores via the independent samples t-test showed that the PEN participants significantly improved in their inference and deduction ability. It should be mentioned that no statistically significant difference was observed between the post-test scores on recognition of assumptions, interpretation, and evaluation of arguments sub-components.
 

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Narrative, like Language, is a concept abstracted from various representations of a semiotic system in the name of “narrative poetics”, i.e. a kind of grammar which maintains structural cohesion within a narrative text and provides such a text with the features necessary for its narrativehood. For the concept of narrativehood to be defined more clearly in this article, the bi-stratal mechanism of narrative system is investigated, after structural narratology, just at the story level. Focusing on narrative structure at this level, the article holds that the mere chronological sequence of events in a discourse is quite sufficient for it to be judged as narrative - whether logically consistent or not. Also, comparing narrative with linguistic semiosis and analyzing it within the frameworks of structural linguistics, the article points up the indispensability of poetics and its key concepts (including narrativehood) from narrative studies, however outmoded they may appear long after the scientific credibility of poetics was deluded by traditional narratologists. These objectives are achieved through a structuralist analysis of Pagard (Shahsavari, 2005), seeking the novel for the major constituents of narrative and the hierarchical relations among them. In spite of structuralists, thus, narrativehood is defined both as a function of one specific superstructure, and an attribute common to all narrative texts.

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The purpose of this study is to examine the effects of folk culture in Joseph Arthur Gobino's travel book entitled “Three Years in Asia” , based on the content analysis method in which he tries to divide these effect in six categories of hospitality, compliments, customs and types, Iranian art, architectural and urban features and the story of his trip to Iran. Superstitious thoughts were also studied and analyzed. The result of this study shows that although in his account of his trip to Iran Gobino was able to provide a detailed account of Iran's morality and behavior patterns, it would be impossible not to ignore the contrast between the European “I " and the oriental “other” that underlies his thoughts and descriptions of different aspects of Iranian life and customs. Conflicts that have a direct impact on the spectator's mind with the other and with what belongs to his territory, followed by his reports and descriptions.