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A Bibliography of Contemporary Persian Fiction was published in 2011 in 686+18 pages and large lectern size, with three attachments by the endeavour of The Department of Contemporary Literature of The Academy of Persian Language and Literature, under the supervision of Farideh Razi and collaboration of Ozra Shoja Karimi and Azadeh Golshani. This book covers 7069 entries and the bibliographic information of 14,046 books from the time of Constitutional Movement to 2010. Regarding the reputation of the publisher in publishing reference books, this book was expected to be free of errors (especially egregious errors must have been avoided); however, against all expectations, it turned out that the book was loaded with all kinds of errors and shortcomings to the extreme that the publisher later prepared an errata in the spring of 2012 titled Mostadrak which was launched with the book. Unfortunately, despite showing a lot of errors of the book, the errata itself suffered from other shortcomings and mistakes. We show some mistakes of both sources here and thus avoid the viewers of bibliography from being

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Mohammad Ali Mahmoodi, Ph.D.
Hashem Sadeqi
    
Abstract
In a stream-of-consciousness novel, the author attempts to pave the way for his audience to encounter the characters’ mental experience directly. The characters’ mental content, which covers various levels of the mind and even reaches its pre-speech layers, is narrated within this variety of levels. Since connection of memories in the pre-speech layers of the mind occurs through association, one of the methods used by writers for showing the mentality of characters is association. In this case association becomes a device in the hands of writers for creating a link between the objective and the subjective world of the characters, in addition to depicting the constant flow of the mind from memory and a mentality, moving then towards another memory and mentality; finally depicting a picture and image which links to other related pictures and images too. This article is essentially concerned with the survey of association and its related features within the pre-speech layers of mind, its quality in the stream-of-consciousness stories, in addition to its correspondence with the mind’s mechanism. For this purpose, initially association and its governing rules are expressed, and then the significance of association in the narration of such fictions and its difference with recall is defined. Following this, the manners in which mentalities are offered in different methods of narration are surveyed through giving some examples from these fictions. The results of this research show that among different stream-of-consciousness novels, the method of inner monologue shapes associations more than other methods and develops through a high range of associations. Furthermore, utilization of recall of memories and mentalities in inner monologue counts as a weakness due to its contrast with the entity of the pre-speech layers existing in the mind.
 
 

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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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In this essay the blending of story and discourse in postmodern Persian fictions is analyzed. According to structuralist narratologists' definition, story is the sequence of actions upon to chronological order that characters or existents undergo them; Discourse or narrative discourse is the medium that is selected for narrating the story. In some postmodern fictions, we see some narratives that in their stories or deep-structures, there is not a rich story, and the author don’t want to just narrate, represent or mimic a story. In these narratives, surface-structure and deep-structure (or discourse and story) is blending and spinning so that we cannot summaries that story, or transmit that story to another medium. In the other hand, story existence is depended to narrative discourse. Such narrative technique is evident in some postmodern Persian fictions. In this essay, in addition to discussing the blending of story and discourse, Persian fictions that had this trait are analyzed.

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Alireza Shadaram, PH.D.
Farhad Doroodgryan, PH.D.
 
Abstract
Two anecdotes “Tristan and Iseult” and “Vis and Ramin”, despite some varying points, have much similarities. The fiction “Tristan and Iseult” that was written about a century after “Vis and Ramin” is considered the masterpiece of erotic literature in the western world. Since these two works are the primary and foremost love stories of the East and the West, this paper attempts to explain commonality and differences in literature and culture taking into account analytical-comparative methods. For this purpose, after reviewing the origin of the story of “Tristan and Iseult” and counting its similarities with “Vis and Ramin”, the paper studies and analyzes the two works with respect to their structure and contents.
 
 

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Tarikh-e Adabiyat-e Dastani-e Iran[1] by Hassan Mirabedini has been essentially the result of his study on the evolution of fiction writing during his years in the Academy of Persian Language and Literature. This institution has already published another version of this book in two volumes in 2008 and 2012. After some time, a new version of this book in one volume was published with drastic changes by Sokhan Publication, edited by Ahmad Samiei (Gilani). This book has examined the formation and various incidents of Persian fiction from its inception to 1953. Here, I briefly examine the structure, methodology, innovations, and the relevance of this book to the future studies. This investigation examines less discussed subjects such as the influence of travelogues and folklores on the formation of Persian fiction, the preface of the first Persian novels, religious novels, detective and criminal stories, etc.
[1] The History of Iranian Fictional Literature

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 Comparative literature uses the method of comparison to study the literature of different languages ​​and their complex relationship at different times and in various areas of subjects, schools of thought, literary theories, literary types, etc. Payment. In the Kurdish language, there are some poetic lyrical stories influenced by Khosrow and Shirin, but so far no significant research has been done in the field of their application. The Kurdish poem Shirin and Farhad, narrated by Mirza Shafi Pavehi, is one of the poems written following Khosrow and Shirin Nezami. In simple and fluent language, this work tells a different story about the story of Shirin and Farhad with a mythical structure. In the Kurdish system, apart from the names of the characters, the main course of events and the general framework of the story differ from the military narrative. In this research, which has been done in a descriptive-analytical and library method, the author intends to analyze the building blocks of the story in two poems "Khosrow and Shirin" and "Shirin and Farhad" by Mirza Shafi, strengths and Identify their weaknesses and gain more knowledge about them. In this study, the differences between these two stories in the field of story design (conflict, knotting, untying, accident), characterization and staging were examined. Studies in this field show that Mirza Shafichr('39')i did not do well in imitating the military system and the elements of the story in his work are poorly represented, which makes the plot of Shafichr('39')s story weaker than the military.

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Due to individual regression in ancient world, body and its components were not important identity-making elements in the semiotic system of Persian classic texts. On the other hand with the emergence of socio-cultural factors in the contemporary world, literary subjects reflection based on body and its requirements became common, and body -orientation and body knowledge were the bases of social and textual subjects-objects introduction and calling. In this study the body-oriented reflection of subjects-objects identity of Jamalzadeh’s Yeki Bud,YekiNabud is analyzed in the light of “body as a symbolic-sociological theme” based on Weblen and Bourdieu’s theories. Because Jamalzade is one of the first Iranian story-tellers who has relied on body portrayal and its component to reflect the identity of textual and inside-story subject-objects identity and to reproduce the identity of subject-objects, both directly and indirectly reflected as actions and conditions which emanate from body and contain consumption and taste signs. The conclusion showed  that in realistic narration, out of the mentioned subjects, three categories have been reflected:A)The high class who by means of cultural capitals such as: literacy, language, clothing and physical distance as well as different types of apparent and real consumption flaunts its power, and simultaneously they are degraded by satire and grotesque. B)the middle class with deprived and non-ostentatious cultural capital,  which can be observed in clothing, language and lack of confidence which is seen in their physical distance from others. C)another class as the removed or silent one, in these reproductions, body-orientation and body-knowledge have been mainly organized in the form of actions and behaviors such as speaking, wearing, arranging body distance and some forms of body language; and this body orientation in the form of taste and consumption or signs of flaunting consumption and some types of cultural capital, not only has portrayed class distinction due to body, but also has reflected the anxiety, anger and struggle latent in them and has impeached them. Unlike the two previous classes, they have been affected by this classification of taste and consumption. Such narration along with cultural-social texture and reflecting the individuality of the subjects based on physical function, decreases the prestige of dominant discourses on the one hand, and reminds the forgotten prestige of the silent voices on the other hand.
 

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Today the interdisciplinary studies have very much influenced the dynamics of the literary criticism. The main goal of our paper is to introduce the “Literary Geography” as a type of literary criticism. As the name implies, this inter-discipline is the result of the interaction of geography and literature, and its emergence is directly related to the importance of the concept of “space” and “place” in the humanities. From the 1990s space and place studies have been a dominant trend in the humanities, which eventually resulted in the birth of the field of “Literary Geography” with its various branches such as “Geocriticism,” “literary tourism,” and “literary cartography.” In this study, the theoretical basics of Literary Geography are introduced, relying on the concept of space and place. Furthermore, we have introduced some important related subfields and their use and current position in the academic studies. Among these branches, “literary cartography,” as a prerequisite for literary geography, is emphasized more than the other branches. Literary Geography provides an apt ground for analyzing different aspects of poetry and fiction. The collected data in Literary Geography can be instrumental in the literary studies and sociology of literature. In fact, geographic data have an important function in literature even though most literary critics usually overlook them.

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    The Islamic Revolution, by transforming the political, social, and cultural foundations of the society, paved the way for experimenting with new modes of novel-writing. In the 1990s, postmodernism became a dominant trend in the Persian novel. Refusing to obey the standard form of the novel as a genre, both in the content and style, the postmodern Iranian novelists have tried to keep pace with their international counterparts and to experiment with new forms. The epistemic background for this literary movement has been the postmodern philosophy. Postmodernism, against Enlightenment rationalism and the concept of an autonomous subject, concentrates on the questions of language and discourse. In addition to describing the position of language in postmodernism, the present study attempts to explain the rhetoric and ideological techniques in the postmodern Persian novels. Studying the linguistic components of these novels at the two levels of ideology and rhetoric, our research reveal that these works of art more frequently employ rhetoric techniques and that there is not a single ideology ruling over them.

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Intertextuality is Mikhail Bakhtin’s evolved polyphonic theory based on which the literary texts of past and present are in dialogue with each other and no text is self-sufficient and devoid of its earlier texts. The intertextual feature of artworks and literary texts challenges their independence and makes the boundaries of their independence unstable. Drawing on this idea, the present study analyzes the short story “Mirza Yunos” from the short story collection Ayne va Se Dastane Digar by Sirus Shamisa. In addition to being a manifestation of the characteristics of postmodern era, I argue, the instability and suspension of boundaries among literary texts is a consolidating element for the ontological aspect of fictional atmosphere in the realm of fiction, through which the textuality of history/reality is realized. This study shows that the various inter-texts in a text can make it possible for the existing and non-existing experiences to be interwoven in a way that recognizing their limits becomes increasingly difficult. I also argue that literary texts are not just in dialogue with written texts, but the semantic and conceptual scope of the word “text” becomes wider and includes various new aspects. In fact, as different genres enter the fiction realm, one should speak of “inter-genre” concept and think of the fiction as its subcategory.

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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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To challenge the authority of Grand Narratives is a dominant feature of postmodernism and, naturally, postmodern writing. Amongst these grand narratives is History. Historiographic metafictional novels – as postmodern works of fiction – challenge the objectivity of History and reinterpret (or, better said, demystify) the historical record. The writers of these novels seek to show the multiplicity and textuality of history. Therefore, history in these works of fiction is a discursive construct and has an intertextual nature; and as a discourse it is constructed in and through language and is thus open to rewriting and recontextualization. The present paper examines two historiographic metafictional novels in both English and Persian literatures, namely, Graham Swift's Waterland (1983) and Hamidrezā Shāhābādi's Dilmāj (2006), in order to reveal the extent these novels have transformed the conventions of historical fiction.

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The current research aims to analyze and classify the semio-discursive components of Narrative “doubt” in the discursive system of “As you had told Leyli” – the novel by Sepideh shamloo- one of the writers of Persian fourth generation fictional generation. Research methodology is descriptive –analytical. In fact, the authors seeks to explain for the first time the underlying semio-discursive components of “doubt “in literary discourse by relying on the theoretical framework of post –Gremassian semiotics in order to show how the notion of “doubt “ emerges in the literary discourse and affects the process of meaning production and perception. To this end, the main objective of the present research is to answer the following questions: 1. what are the main semio-discursive components of “doubt” in literary discourse? 2. What are the major narrative and semio-discursive functions of “doubt” in the whole discursive system of the novel? It can conclude that in semiotic analysis of “As you had told Leyli” two main actants of the novel (Mastaneh –Sharareh) enter in competition with each other for the concept of love. This competition results in the interplay of negation and affirmation at the heart of semio-discursive system of the novel. As seen throughout the current research, by highlighting the Leyli’s scheme, the writer tries to challenge the narrators / enunciators affective states throughout the history of the novel. The main thematic of this story which is doubt is the central and main narrative program of the novel. Neither Mastaneh nor Sharareh can approach to Leyli’s scheme. In fact, in this work discursive tension sometimes leads to discursive action (here Mastaneh’s suicide) and sometimes to negate it. It is worth mentioning that the marginalized narrative action casts doubt on Leyli’s scheme and in this step Sharareh loses her modal competence and is concerned with modal verbs turbulence. The enunciator who has the virtual semiotic presence till the end of narrative. Undoubtedly, this novel presents a semio-discursive paradigm whose main feature is “doubt”. In this novel, discursive action has the secondary function and is based on thymic (the interaction, multiplication and turbulence of modal constituents), tensive and existential components of discourse which are highly under the influence of negative functions. Consequently, none of the enunciators/ narrators can never retrieve their actual presence. The results showed that narrative doubt is as a result of tensive and existential components of discourse which marginalizes in its own turn the narrative action and has the close relationship with all the styles of semiotic presence whose meaning is based on negation and fall and affects the process of meaning production and perception.
 

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Moral criticism is an approach to the literature presently discussed with a new view. Many contemporary behavioralists and authors didn't yet believe in the former dogmas (moralism and autonamism) but in the way of using art and ethics from each other.  In the past, ethics is defined not based on the emotions and sensations but the speech capability. In this view, literature served the ethics. Moral topics presentation methods in past advising texts were usually directly by relying on the news or compositionsentences or referring to the words of authors. T By appearing the sentimental approaches and paying attention to the role of imagination in sympathy, relation of literature and ethics changed. Nowadays, ethics is not only a collection of composition sentences reflected in the literature, and the purpose of literature is not the promotion of ethics. Literature, narrative and fictional texts promote our recognition and awareness more than others by partial recognition and direct expression of human experiences and emotions and search in the human being, being possible through our simulation with others by the imagination. This research analyzes the moral presentation methods in 20 Persian short stories. Consideration of the different forms of moral conflicts, presentation and description of details, use of objective and subjective point of view, use of metaphor, symbol or simile and ironic situations are the most important techniques of story writing in inspiring the moral message to the audience.
 

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Narrating as a third person, limited to the mind of the character, is one of the common methods in Golshiri’s works; (as in Shazde Ehtejab, parts of Christian and Kid, parts of Bare Gomshode Raii and some stories of daste tarik, daste roshan). Golshiri has proved himself as a specialist of this method. So, actualization of all the related facilities of Persian Language in narration is one of the most remarkable aspects of his privilege in fiction of 60s and 70s. Based on the coming up evidences and analysis, in this paper we have stated that in narrating Ayene haye Dar dar, Goshiri has stepped beyond Persian fiction and introduced a restricted narrator:  this restricted narrator narrates not only the main layer, but also the lower layers of the story and links all of them in a complex and multi-layered manner. In addition, all the signs of the presence of “hidden author” in the story is presented to the reader, mediated by this narrator. The whole research has been done to answer a fundamental question: in the midst of all these attempts to establish ties and proximity between these layers and the characters at each level (these characters are mostly writers), why Golshiri, using his restricted narrator, has attempted to draw a boundary –though very pale and not recognizable- between them to claim that they are close but not identical? This article answers this question, considering Golshiri’s theory on the model of  “aesthetic independence of the fiction”.    
 

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Fictional names have been one of the most important and serious topics in the contemporary philosophy of language and metaphysics.Several questions such as “Do fictional names refer to any objects?” “Are fictional characters existent objects?” have resulted in a considerable literature of philosophy. In this essay, we will follow two objectives. First we will describe and elaborate the ideas of three great philosophers who believe that fictional names are genuine and proper names which do refer to existent fictional characters. Second we will criticize the theories of two philosophers (Peter Van Inwagen and Saul Kripke’s theories) and will eventually defend the third i.e. Nathan Salmon’s theory of fictional names. Through the issues we will presuppose direct reference theory as our main semantic theory for proper names .

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The theory of possible worlds presents a model for narrative semantics. This essay focuses on the use of possible worlds’ theory in narrative semantics with interdisciplinary approach. Conception of narration based on possible worlds’ perspective is the main purpose of this paper. Based on this perspective, plot is not only textual actual worlds which some events occur in it, but also include possible worlds which without regarding them, narrative semantics will remain incomplete. Such perspective is derived of semantics of modal logic; therefore, for explanation of this perspective attention to modal logic is necessary. Contemporary
semantic theories have three main branches: philosophical, formal and linguistic semantics. Linguistic semantics uses formal semantics as a semantic logic in order to make clear how the study of meaning is. In this essay it will be illustrated that logical semantics can be applied in narrative semantics. Consequently, if the readers include private worlds of characters or fictional minds’ worlds and various possible worlds in their reading, they will get more complete and more profound conception in reading narrative text, because a fiction is considered as a complete modal system and the mental representations of characters is equal with the PWs of a modal system. Some of accomplishments got, through foreshadowing to meaning of narrative text on the basis of this model, are the redefinition of plot and conflict notion. In order to apply this model in a narrative text, the binary Wandering Island and Wandering Cameleer novels by Simin Daneshvar has been chosen.

1. Introduction
The theory of possible worlds presents a model for narrative semantics. This essay focuses on the use of possible worlds’ theory in narrative semantics with interdisciplinary approach. Concept of narration based on possible worlds’ perspective is the main purpose of this paper. Based on this perspective, plot is not only textual actual worlds which some events occur in it, but also include possible worlds which without considering them, narrative semantics will remain incomplete. Such perspective is derived from semantics of modal logic; therefore, for explanation of this perspective attention to modal logic is necessary. Contemporary semantic theories have three main branches: philosophical, formal and linguistic semantics. Linguistic semantics uses formal semantics as a semantic logic in order to make clear how the study of meaning is. In this essay it will be illustrated that formal semantics can be applied in narrative semantics. By making interdisciplinary connections between semantic method in formal logic and its use in narrative semantics, a helpful correspondence was made between this method and how to explain meaning in narration. Before that narratologists use formal semantics in studying narrative semantics, linguistics had the benefit of this method to study meaning in language. Linguistics in linguistic semantics branch used the conception of possible world in semantics of modal logic and formal semantics to understand and explain the meaning. In this essay, it has been represented how narratologists have used this method to clear the ways for construction of the meaning of narration. The main question of this research is to determine what is the process of construction of the meaning in narration in the light of possible worlds’ prospective? And based on this, how the classical definitions of some narrative elements are redefined? And why? The importance of this subject lies in the significant place of concept of possible worlds in literary theory and illuminate the meaning of narrative from a new aspect. This concept is used in four area of literary theory: 1) theory and semantic of fictionality 2) theory of typology of fictional worlds 3) narrative semantics and 4) postmodernism poetics. Contemplation and research in every of these aspects needs a distinct research but now this essay is about the use of concept of possible worlds in narrative semantic domain because of its special use in understanding the meaning of narrative. This essay clears out that the concept of narrative on the basis of possible worlds’ perspective has effect on understanding the meaning of narrative more completely and thoroughly. Among narratologists, one of the preeminent figure who worked in this area and tried for conception of the fiction in form of a complete modal system was Mari Lure Ryan. Therefore, this essay focuses on Ryan’s collection of works from the methodological point of view. If we look at the meaning of narrative in terms of concept of possible worlds, in order to understand the logic of acts of fiction correctly, in narrative semantics we must consider potential events in characters’ mind that they think about alongside factual events which happen in story world. From this point of view, characters’ mental representations are understood as possible worlds of a modal system. Accordingly, textual actual world is the center of our “system of reality” and non-actual possible worlds also exist in this modal system of realism. Analysis of concept of a narrative is done in terms of its fundamental components and private worlds of characters is one the most important components of the meaning of a narrative. Therefore, how to understand the meaning of a fiction is directly related to whether include the fictional possible worlds or not. This attitude provides a special understanding of the dynamics of narrative acts. By considering fictional possible worlds (which include: wish world, obligations world, goals and plans world and fantasies world) in meaning of plot of narrative. In this new attitude, the plot of a fiction is the movement of different and various worlds in textual universe and in fact, it’s the complex and intricate connections among these textual actual and non-actual worlds that keep the engine of narrative machine on and add to its dynamism. In the same way, conflict as another important narrative factor, also is no longer traditionally defined as the problem or contrast between good or evil forces. For practical explanation of issues, two novels by Simin Daneshvar have been chosen: Wandering Island and Wandering Cameleer. Actually in these two fictional worlds only occurs one plotline (ATW) but many other plots (possible worlds or other  alternative situations) parallel to actual fictional world are moving in story world which in no way without them the meaning of fiction can be understood. There are possible or suppressed plots in these two stories that a shadow of their tracks is shown in narrative but they remain unfinished and incomplete. Understanding the more complete meaning of these plot stories depends on considering this suppressed plotline. Possible worlds that “Hasti” could make them real but it did not happen. Conflict is also evident in possible worlds of characters in Wandering Island and Wandering Cameleer. In plot of this story the character who has least success in resolving his conflicts by aligning all his private possible worlds with textual actual world is "Salim". Consequently, if the readers include private worlds of characters or fictional minds’ worlds and various possible worlds, they will get more complete and more profound conception in reading narrative text, because a fiction is considered as a complete modal system and the mental representations of characters are equal with the PWs of a modal system. Some of accomplishments got, through foreshadowing to meaning of narrative text on the basis of this model, are the redefinition of plot and conflict notion. Understanding the story from the perspective of possible worlds’ theory sheds new light on the conception of the meaning of narrative, story conflict, personality psychology, fictionallity of events, genre studies and so on.

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Studying the mutual relationship between literature and cinema and the emergence of the characteristics of each of these two arts in the other has been the focus of interest of many researchers in these two categories. Examining the cinematic potential of literary works has been the focus of scholars for nearly a decade. Authors of literary works, by knowing cinematic elements and using them in their works, make their works dynamic, and filmmakers, by adapting these successful literary works, find enduring themes and present them to their audiences. Most film adaptations are based on novels. Youssef Zidane is one of the authors whose visual abilities are evident in his novels dedicated to cinema. In this research, an attempt was made to analyze the text of the story of the sheikh in prison using the descriptive analytical approach and the comprehensive approach. Our goal in this research is to analyze the structure and content of the aforementioned novel and show aspects of its quotation from different angles. The results of the aforementioned research indicate that this novel has great potential for cinematic adaptation and screenwriting due to its cinematic structure, its accuracy in describing details, its directing and dramatic dialogues, and its ability to be serialized.