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Maryam Khalili Jehantigh,PH.D.
 
Abstract
Jalal Uddin Mohammad Maulavi, for presenting his exalted spiritual teachings, applied allegorical/proverbial narrations so that he could make deep messages and difficult Masnavi easier and identical for his audiences. For that matter, he most often looks for stories that have precedence in peoples’ minds but from the source of the story, he constructs his own narrative containing his messages. He was also intelligently impressive in narration and often employed the narrative elements, suitable with narrative capacities, in competition with modern story writing. In this research, with comparative methods, the narrative elements of two anecdotes of Masnavi and Elahinameh of Attar “requesting to Christ by his companion to make skeleton alive” have been studied with the aim to highlight strength and weakness of each of these anecdotes and to analyze the manners of utilizing elements such as plan and plot, characters, discourse, angle, stage-management, place and time, casting difficulties, resolving difficulties and narrative themes in the forms of comparison.
 
 

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The narrative literature in Iran has always been one of the main sources of inspiration for many arts. In the meantime, the contribution of visual arts and drama is more than other arts. Accordingly, painting and cinema create the strongest link with literature, and in a fruitful effort, they offer valuable literary materials in a new garb, tailored to the needs of the day and in the form of a new media. Undoubtedly, in this transaction, the theme is also evolving due to the capabilities and features of the destination. Such developments, if intelligently and consciously recognized by the artist and the critic, are not only not considered shortcomings, but can also be added to the original value of the theme. With such a necessity and purpose in the present research, we try to examine the developments of the media and, of course, the sign of the narrative of the "passage of Siavash of Fire" from literature to painting.
This research is descriptive-analytic and based on Prop's pattern. The results indicate that the frequency of the role of the special features of the story varies according to the characteristics of the destination media (painting). In fact, the artist painter based on his artistic taste emphasizes the consequences of the story, which is not very frequent in Ferdowsi's narrative.
 

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The concept of narration, with a background as long as the human’s history, has already provided a suitable area for critics’ analysis and assumptions about tales, stories and other types and forms of narration in the form of Narrative Science.
In this paper we are going to analyze and compare the application of narrative view and focus in two short stories of “To Whom I Say Hell?” by Simin Daneshvar and “Zane-Ziadi ” by Jalal Al Ahmad via investigating the structure of the language at the first place on the basis of linguistic features and narrative viewpoints.
Accordingly, the current study tries to answer the following questions:

How the applied language in the above mentioned works can be affective in forming the role of the narrator and finally, the focus?
Have these traits and features been leading us to the same type of narrator and focus features in order to clarify the typology of the story?
Have the narrative discourse and prevailing viewpoint and the resulting context in both stories led us to the same hidden author?

But in this respect, linguistic and narrative mechanisms of both stories alongside the different types of writers based on their gender and engagement pave the way to better compare both stories according to their viewpoint. To this end, and according to linguistic and narrative patterns, the following results were obtained in two levels of parts of speech and syntax of discourse. Contrary to “Zane Ziadi”, “To whom I say hello?” benefits from present tense verbs, the lack of negative modality at the level of parts of speech, first person protagonist viewpoint, internal focalization and discontinuous discourse procedure which make Daneshvar’s discourse more successful in internal focalization at the level of discourse syntax, while in “To whom I say hello?” , the use of past and perfect tense verbs , negative modality with high frequency , rhetorical questions and heavy sentences with logical chain of argument make the distance between both stories. Here, it is easily possible to hear the voice of Ale- Ahmad behind the voice of woman’s narrator which seems negative and external in comparison with writer’s internal focalization. Hence, the presence of two internal and external narrators, has led to the emergence of hidden author and dominant discourse in this story.

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Farzad Karimi
 
 
Abstract
 
To reach to an analysis that distinguishes narrative condition of modern poetry in Iran, the current paper has used linguistic theories. Here, it is attempted to show that modern Iranian poetry has used different narratives in order to reach to coherence and consistency. Narrative story telling that is related to early decades of modern poetry and narrative as story telling in recent years that are more rely on interaction between narrative practices. The study about role of symptoms, definition, the manner of creating semantic capacities through indirect symptoms and the manner of effect of this evolution on texts of modern poetry have been discussed in this paper.
 
 

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Seyed Morteza Mirhashemi, PH.D.
 
Abstract
 
Hasht Behesht (Eight Paradise) is a collection of fables in the Persian literature that was written by Amir Khosro Dehlavi, a 7^th century poet. Like Nezami, he has employed seven legends in this work. Fifth legend is about a journey of a curious son of a trader to a phenomenal bath and knowing about its secret is one of these fables that are impressible mystically. In this paper, an effort is being made to study the stages of the journey of the hero of this fable who has been identified here as Salik in the imaginary bath that could be an imagination of Salik himself and hence; open the secrecy. The outcome of this research is that the character in the form of Salik, through his mystical journey come across various and impressible world and utmost acquires a secret that he is unable to expose. As such, he keeps silence and intact his lips from exposing the secret he could get into his hands.
 
 

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Haft Keshvar is a narrative fiction by Heravi that includes an introduction, seven resting places, seven countries, and six journeys through some countries. The author discusses human virtues in the introduction and elaborates on politics, rulers, and their courts to reveal historical agendas of the time.  It is a 10^th century AH masterpiece that embeds ethics and politics in a literary narrative. The present study is a structural analysis of Haft Keshvar that examines its plot, characterization, and allusions. In other words, it aims at extracting components of the story to see how they are structurally bound to each other. Our results show that stories mostly encourage intellectualism and rationalism. Moreover, the plot is resolved either by a wise man or character actions at the end of the story. Results also show that, despite their trivial approaches and settings, all the stories follow a certain integrated philosophy that form a certain mindset. All the stories are close-ended.
Background
The Anthology of Persian Literature Volume 5 includes an entity on Fakhri Heravi’s Haft Keshvar (Safa, 1991). Moreover, Zekavati briefly recounts some tales and characters from different locations (Zekavati, 2008). Afshar reports on the first and second editions of the book (2010). Asadi (2017) compares the linguistic, rhetorical, and intellectual characteristics of Haft Keshvar and Mahboobalghalb. However, the study by Kadivar et al. (2020) is the closest to our analysis.
Aims
The present study examines narrative elements, structure, and the correlation between them in Heravi’s Haft Keshvar. In simple words, it seeks to explore the elements employed by Heravi in developing the stories in Haft Keshvar.
Discussion
Heravi (2016) rewrites tales of other writers and adopts the themes related to the tricksters to achieve didactic goals. The basic ground on which tales in Haft Keshvar rely on is organized and simplistic. Despite their weaknesses, they all have a beginning, a middle, and an ending. Most of the tales have a closed circuit of plot schemes that follow a linear timeline.
Characterization is highly important in Haft Keshvar. Characters are mostly static:

1. Foil characters.
2. Opposite characters who share the physical and perspective similarities and serve to transfer the author’s ideas.
3. Ambiguous characters that are deployed solely to drive the story.

Haft Keshvar is a classical and didactic work where human function is depicted through opposing forces. Dialogue, in the form of questions or argumentations between major characters, are the most frequent narrative elements. They appear as monologues or argumentations. In fact, the dialogue contributes to the construction of events and helps to form individual identities through conflicts, expressions, attitudes, and interests. Fairclough defines dialogues as systematic development of themes that speak for themselves (Fairclough, 2000).
Time is naively ambiguous. A span of 30 days is set for the character to visit seven countries, and the other times are only for the main event to be developed. Setting of the stories are mostly realistic and only 25% of the story is fantasy. This indicates the fact that the author intends to validate the events. We should bear in mind that the characters do not need to be taken from real life, and they only need to be realistic and believable (Zigler, 1989).
Since Haft Keshvar is didactic, the tone and atmosphere are serious and in line with the overall theme of the story.
A close analysis of the narratives in the story reveals 8 cases of third-person point of view. In the remaining 46 cases, a character from the story narrates the events. However, the third-person point of view is dominant.
All the stories begin with an introduction to the setting of the events and characters to set the action of the story. Everything is logically presented and the reader is not bewildered. All the stories have closed endings.
Travelogues are either realistic, in which the author reports his own observations, or imaginary in which the author uses his own subjective perception (Razmjou, 2003, p. 212). Afshar and Afshary called this work Ibn Torab’s travel book, asserting its value as a travelogue.
Conclusion
Our findings show that the story follows a linear report. Nevertheless, there is an artificial rendering of events that give a closed characteristic to the work. All the tales have a beginning, middle, and ending ample with emotional and physical conflicts. Resolution of the events is mostly given by a wise man and characters’ actions. Characters are dramatically developed and named based on the ethics of the story. Dialogue is the basic tool to drive the stories. The book is a travelogue that reports the main character’s journey to seven different countries.
References
Fairclough, N. (1995). Critical discourse analysis: the critical study of language. Longman.
Fakhri Heravy, M. (2015). Haft Keshavar. Nashr Cheshmeh.
Razmjou, H. (2003). Literary genres in Persian literature. University of Mashhad Publication.
Scoles, R. (1974). Structuralism in literature: an introduction. Yale University Press.
Ziegler, I. (1968). Creative writing: Barnes & Noble, Inc.

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Narration of the Risalat al-tayr (TREATISE OF THE BIRDS) has an important place among the educational works in Persian Literature. In each story, value/s are defined by means of actors trying to achieve them.  The narrator makes an attempt to get the actor to the axiological system of story and create narrative periods. By Narrative periods we mean that from the 1960s (the peak of structuralism till now), narrations have been based on a model, each period is different from the other in terms of theoretical and semeiotic and semantic aspects. Semiotics and semantics tries to categorize the narrative periods of classic and modern literature. Identification and exploration of narrative periods of Farsi and Arabic Risalat al-tayr with focus on investigation of axiological system of dialogue allows us to move beyond this generation and provide a model for narrative division of the literary texts.
In this regard, the purpose of this research is to investigate the narrative periods based on Manṭiq al-ṭayr (conference of birds) by Attar in order to explain the related model to study the narrative systems. Narrative periods make us encounter with the transformation of the narration. For this purposes, one of the research goal is to provide the narrative periods based on Manṭiq al-ṭayr in order to provide a comprehensive method to literary text analysis.  It is assumed that in Manṭiq al-ṭayr this function has a multiple concept. In other words, the actor experiences different periods to reach the value. Other questions are also as follows: what are the underlying components of the axiological system in   Risalat al-tayr? How these components are organized?  With investigation of Risalat al-tayr, which is the suitable method to measure the effect of the stories on each other. Risalat al-tayr uses a unique similitude in storytelling, for this reason, it benefits from a special kind of narration.  So, by investigating the narration of this text, it is possible to understand the mentality of the narrator and depict the effect of these stories based on their narrative style in order to reach a model of studying the narrative transformation. To this end, the authors have adopted Paris school Semiotic approach. The findings of the present research indicate that the Risalat al-tayr is totally composed of narrative periods including “Programmed Actional Regime, “Interactional  system based on dialogue  and negotiations” “ Actional  regime based on competence” , “ Passive tension” , “ Sensible paradigm based on subject adjustment to the existence”, and “ attraction- correlation and assessment”. First and second periods are called tension periods and are an introduction to the periods of action, sensation, and assessment. Only Manṭiq al-ṭayr by Attar contains all these periods. In other treatises, only some of these periods are observed. In the first three periods and the period of assessment, the value of thing is outside the actors and in the periods of tension, sensation and attraction, the value is in the subject. In all of these texts, the value is added one by one to the text.

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This study focuses on the effective aspects of the audience's belief in characters as crechers in the selected works from narrative literature and animated films. In this regard, the collective memory and the factors affecting its memory and its communication function are investigated in the personality components of the animated feature film that are aimed at the cognition, belief and interest of the audience. In addition, given the need to find a suitable place for the personality of Iranian animated filmmakers who can compete with popular characters from a global audience point of view, the researcher needs to study and understand the personality components and factors influencing personality. It examines and recognizes the main characteristics of personality belief in the audience and its process in memory. The question of how personality is processed according to the collective memory of the audience is examined and answered qualitatively by content analysis with a descriptive-interpretive approach based on theories of psychologists such as Carl Gustav Jung, Alfred Adler, as well as researchers such as Victoria Grace Walden. given. In order to address the issue of collective memory functions in dealing with audience believability, it is necessary to analyze the narratives and visual works in this field by examining and analyzing the selected characters in the story and then the nature of the personality and the factors affecting memory.

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This research aims to conduct a comparative study of the narrative discourse in two short story collections: Ghesehaye Majid by Houshang Moradi Kermani and Poil de Carotte by Jules Renard. By employing Dominique Maingueneau’s theories of discourse analysis on literary texts, and by emphasizing the textual components of the two aforementioned collections, instances such as the relationship between the narrator and the narrated, kinds of discourse, and also polyphony in narration have been explored. Dealing with the life of a young adult and including much biographical information from the writers’ own lives, the employment of a humorous and realistic language are instances which make these two collections as good instances of the literature of children and young adults. This study has taken advantage from the theories of critical discourse analysis as an approach which analyzes literary texts and stresses the discursive and interactive aspect of communication. As a result, this research shows how the two writers are in fact very different in their narrative technique, the situation of narration and narrator state, the kind of productive discourse and narrative polyphony, which has resulted in a considerably different kind of literary production of the two authors.
 
 

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The present study aimed to analyze the frequent errors in the narrations and hadiths translation of Arabic translation students works to categorize their errors, identify the causes of each type of error and explain their correctness method. To this aim, was used descriptive-analytical method based on the Christian Nord's model for categorizing the translation errors. He divided their errors to four groups of semantic, cultural, linguistic, and specific to the text type. Based on this model, the errors of translators in this study were mean occurrence frequency: semantic (98.3%), specific to the text type (94.3%), linguistic (72.5%) and cultural (55%). Similarly, the reason for their errors in any kind is weakness in these themes: "Reconstruction of logical relationships between sentences in translation," "Transferring the meaning of elements specific to the discourse of hadiths and narratives," "Understanding the linguistic construction of sentences and conveying their exact meaning," and "Conveying the implications of cultural interpretations and cultural elements." Correction of these errors in teaching depends on the use of a systematic set of narratives and hadiths that are categorized based on a variety of errors to improve the translation skills of students in solving the challenges of translating these texts regularly by practicing various samples.

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The plot of some narratives is structured in a way that it can encapsulate paradoxical and opposite states. Conceptualization of these kinds of narratives based on classic cosmology to which most of us are accustomed is not possible; another cosmology such as quantum cosmology, however, might be helpful. The text can be interpreted through “multiverse theory,” because in this cosmological framework of quantum mechanics the conjoining of the opposite states is possible. This article is an interdisciplinary attempt to analyze different kinds of the so-called “multiverse narratives.” The major question of this article is to explore the relationship between the notion of parallel universes in physics and narrative semantics. My purpose is to find out the function of the notion of parallel worlds in narrative semantics. Thus, I argue that various sorts of multiverse narratives invite the reader to reflect on the nature of space, time, identity, and memory by challenging the boundary between actual and virtual world.

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Today, narrative is one of the most common concepts, not only in literature, but also in non-literary fields such as psychology, social sciences and philosophy, uo tp the point that the concept of " narrative turn" has emerged. This paper is amied at studying the most important approaches addressing narrative, because it is not only important for literary and narrative studies, but at the same time can reveal the deep connections between literature and other disciplines. Obviously, to do this, only only literary references should be consulted, but also other important ideas, especially in philosophy and psychology, should be taken into consideration. In this manner, narrative can be used as a basis for interdisciplinary studies. For this purpose, desk study method has been used study two major approaches towards narrative, i.e. definition-centered and descriptive approacheds. For definition-centered appraoch, the major components and consistuents of narrative have been inferred by comparing such definitions and their contradictions have been brought into surface. In the next section, using a descriptive approach, the nature of narrative and its relationship with culture (social dimension) and understanding and life (individual dimension) will be examined. This will be done by reviewing the ideas of both narratologists and philosophers. The results of theis study indicate that narrative is a widespread phenomenon that is not only important in the field of literature, but also plays a very important role in the culture, understanding, identity and ethics.

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"Plot” is one of the main elements of stories and the most important assessment criteria of aestheticism in an anecdotal work. The holy Qur’an is full of narratives whose belletristic could be assessed on the basis of modern yardsticks. In this research, the plot of Yousef’s story has been studied and analyzed based on Larivey’s theory.
Among the specialized features of the plot of the proposed story, one can point to aspects such as the exact management and the suitable selection of information, the creation of paradox and the gradual abeyance in the least voluminous text, congruence of actions and unity of incidences, and homogeneity in the narrative with respect to occurrences.

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A structural insight to literary elements in order to study
intratextual aspects and their relationship patterns, leads to find more
positive ground from the literary essence. And, showing methods for
better literary work creation can help develop the literary process. A
group of structural critics has focused on structural forms of narrative
and story elements and their compound rules; Claude Bremond by
developing a system based on narrative forms proposed a scheme that
is based on a relationship between the smallest units. In this paper,
using pattern and sequence of Bremonds, we have studied and
analyzed two stories from Saadi's Boostan or Garden. The aim of
choosing this subject is the conformity of this theory with the structure
of two narratives of Saadi.

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Narrative scrolls are an important part of the folklore fiction that have not been properly addressed so far. Sometimes inside the scroll there are even some antique points and narrations that are not mentioned in Shahnameh and the heroic poems influenced by Shahnameh. In order to comprehend the epic and heroic texts more accurately, familiarizing with these narrations is an effective method. Therefore, collecting, preserving, scientifically proofreading and publishing these scrolls are fundamental. To this aim, the authors of this article have proofread the content of one of the ancient scrolls. The mentioned scroll which is kept in the National Library with the following registry number, 35098/5, was written in 1208 AH in Tehran. The scroll is important from different angles, including some of its narrative points. In this paper, some of the features of the aforementioned scroll, especially its new fictional points have been examined.

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A popular media in the past, folktales were used for entertainment purposes. They also played an essential role in education. Education is the basis of awareness and change, and some of these stories are intended to change the intellectual structure and the practical behavior of fictional characters. In other words, such stories have had a therapeutic function. Sindbad-Nameh is one of those surviving stories from the distant past in which narrative possibilities are used to change the existing conditions. This article reads Sindbad-Nameh descriptively, using content analysis method to answer the fundamental question of how the inner stories of Sindbad-Nameh change the protagonist of the story in the process of meaning-making; and why are some narratives unsuccessful in this attempt? The whole body of the narrative tools in Sindbad-Nameh show the progressive process of changing the character's action. They guide the king's mind to self-awareness and self-control and prevent him from making hasty decisions. The structured group of the in-house narratives told by the seven viziers allows the process of changing their target's mind and action, i.e. the king, because they enjoy meaningful suspensions. Like the links of a chain, the viziers’ stories support each other and have a unity of content and structure. The reason may be the long-term goal and the written plan that the viziers are pursuing. On the other hand, the tales of the maiden cannot save the king due to their structural and conceptual disruption, and the lack of intellectual cohesion. These thematic ruptures can also be attributed to the maiden's distress and anxiety. In folktales, a recurring element is women's deception and betrayal, one that is also highlighted in Sindbad-Nameh due to the nature of the story's subject matter

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Research showed that in some languages, speakers accent new referents and deaccent given referents. The research also indicated that the pitch accent type used to mark accessible referents is like that used to accent given referents. The goal of the present study was to investigate the different pitch accent patterns used to mark different information status (new, given, accessible and identifiable) in the narrative discourse of the monolingual Persian- speaking adults. Moreover, since no research has been done on the intonational patterns of accessible and identifiable referents in Persian, pitch accent and intonational pattern of these referents were also investigated. To these aims, 10 monolingual Persian-speaking adults were encouraged to narrate stories based on 8 picture stories in which information status of referents were carefully controlled. The stories were labeled to determine whether they included target words, full NP, pronouns. The subjects’ pitch accent patterns were identified using Praat software. Findings of the study revealed that the most frequent accent types used to mark new, given and accessible referents were  L+(H*) H+(L*) and H*+L respectively. It was also found out that there was no specific accent type to mark identifiable referents in Persian. Based on the results, it could be suggested that there was a specific relationship between information status and pitch accent types in the subjects’ narrative discourse.
 

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In the framework of Greimas semiotic theory and the notions like actantial model, axiological system and deep structure-meaning, the current research tries to analyze Moses and Samiri’s narrative. By adopting a descriptive –analytical approach, this study seeks to investigate the underlying structure of this narrative in order to explore the dominant discursive systems. This approach help better understand the discursive system of Quran. The results showed that the core element of this narrative is based on action and state which proves the guidance discourse and negates the idolatry discourse. Moreover, the analyzes showed that the process of attaching people to an object of value is initially formed with a prescriptive discourse, then this prescriptive discourse leads to the formation of state in actor and ultimately to the competence and people's attachment to the guidance discourse. Thus, in the stative system, the decadence of meaning begins in actor which then changes into action and discontinuity from object of value. According to dominant discursive systems, this meaning generation process acts in two paradoxical way.