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Showing 60 results for Narration
Volume 5, Issue 21 (12-2008)
Abstract
Foroq Sahba.PH.D
Abstract
This article reveals the findings of a research using the theory of “Time in Narration” through the inductive method for studying time in Beihaqi’s History. “Time in Narration” discusses the time division of narration; whereas in this research it is discussed on the basis of Gerard Genet’s theory; shaped in three major central points; regularity, constancy and frequency. Although the theories about the devices and methods of time within historical and literary narrations belong to the twentieth century, the analysis of information shows that Beihaqi has artistically utilized these techniques and devices unconsciously; creating a work which enjoys fictional aspects as much as historical aspects. Considering the final results of this research, brevity, development, retrospection, foresight, and alternation are some of the most significant time devices used by the author in order to make history close to the literary domain.
Volume 6, Issue 7 (3-2015)
Abstract
Although regular study of the story plots opened the new way into analysis in literature by the formalists’ studies, especially by Propp's findings, Structural narratologists after Propp, including Greimas, have tried to find a comprehensive pattern for the study of narration by removing some shortcomings of Propp's framework. This article tries to answer these questions by studying Joseph Story in The Quran according to Propp’s and Greimas' views: do Propp's findings conform to The Quran’s Stories? Can these three syntagmes offered by Greimas be found in The Quran’s stories? Analyzing Joseph Story as a sample of The Quran’s stories can decide which of these views is more efficient in the analysis of The Quran’s stories. The text of the twelfth surah of The Quran has been examined with a descriptive-analytic method. The findings of this study show that: 1) in spite of the fact that Propp's view is capable of analyzing a lot of stories, analyzing The Quran’s stories according to this view requires basic changes in it. 2) Due to the fact that Greimas' syntagmes are not specified for a special kind of narration, they can be found in The Quran’s stories, too. 3) Considering the analysis of Joseph Story as a sample of The Quran’s stories, it can be said that Greimas' view is more efficient in the analysis of The Quran’s stories than Propp's view.
Volume 6, Issue 24 (12-2018)
Abstract
The story of “Kush Pil Dandan” in “Kush Namah “has been consisted of several important parts. The story of “Kush and Darnush “ , “ Abtin and Franak “ , “ Kush – Zahak’s brother “ , “ Kush’s battles in China and India “ , “ Kush’s battles in West” and finally “ Kush’s repentance” story. Based on these sections, the stories entitled “ Abtin and Franak “ , “ Kush – Zahak’s brother “ , “ Kush’s battles in China and India “ , “ Kush’s battles in West” have been frequently quoted in story scrolls. This paper will only examine "Kush’s story- Zahak’s brother and “Kush Pil Dandan’s battles in the west” in eight story scrolls. However, there are some important notes in these texts. Therefore, this paper, using a descriptive analytical method and based on the resources of the library, tries to analyze this issue by analogy. It should be noted that Kush has entered a number of different names, such as Kush, Ears, Bough, Nishad, Nayriz, Qatran, as well as Pil-dandan and Bil-dandan in narrative texts.
Volume 7, Issue 1 (6-2019)
Abstract
It is clear that theories of "imagery" and "intertextuality", which are based on analogy, are linked, respectively, to the concepts of "writer" and "writing." Similarly, one can imagine a kind of comparison that this time recognizes as the "reader" dimension and, as a result, relates to the issue of "understanding". In fact, the basis of the discussion is the belief that, regardless of the type of literary work that belongs to it, it is a perception of a kind of "sensory reception" that is formed by the reader through a kind of "visual equation". In fact, understanding a text, irrespective of how much text it is capable of excite mental images to the reader, is inevitably linked to a type of referral to the outside world. In simple terms, it can be said that reading is a visual adaptation, so that at any moment it is a moment or a sequence of an artistic film. Given the fact that each reader, because of his psycho-socio-cultural data, creates his own version of the novel, we believe that it is possible to The title of a theory in the field of comparative literature studies of literature this time is to compare the text and the various mental representations created by different readers. Consequently, in this paper, we intend to show, through a study, which elements in this comparison, or, in other words, "
Volume 7, Issue 14 (3-2021)
Abstract
The words "ummi" and "ummiin" have been used singularly and collectively in the Qur'an a total of six times. According to commentators and Quran scholars, this Quranic term has different meanings such as "illiterate, common people and a person without a divine book". The translators of the Holy Qur'an have translated it into "the illiteracy and illiteracy of the Messenger of God (pbuh) and his people", which seems to be coordinated with the context of the related verses and the issued narrations. In this article, which was written in a descriptive-analytical method, the translation of this Quranic word was reviewed and it was found that the mentioned meanings do not seem correct and accurate, but according to the context of verses and authentic Shiite narrations, "ummiin" are the ones to whom the Divine book has not been revealed and who do not have the Book. So the majority of translators have only translated literally because they are influenced by intellectual and mental presuppositions.
Volume 7, Issue 29 (3-2011)
Abstract
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.
Volume 8, Issue 3 (9-2020)
Abstract
The present study is a comparative study of Jean-Paul Sartre’s The Age of Reason and Iris Murdoch’s The Bell. The main focus is on “unreliable narrator” which is a popular concept at the present time when humanity enjoys manipulating each other and suffers himself from misunderstandings. Wayne C. Booth was the earliest theorist who provided a practical definition of “unreliable narrator” and his theory is considered as the framework. Previously, the studies only focused on homodiegetic narrators but, here, other narrative techniques are analyzed. In other words, the point of view and the presence of multiple perspectives and voices are crucial in the analysis of unreliable narratives. These narrative techniques and unreliable narrators are scrutinized at the social and political contexts of the novels. Accordingly, New Historicism, specifically Stephen Greenblatt’s theory, is used as another approach to reveal the presence and function of the unreliable narrators in the selected literary works.
Volume 8, Issue 6 (3-2017)
Abstract
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.
Volume 8, Issue 33 (12-2011)
Abstract
"Tarabi'srebellion"is one of the interesting parts of Jahan-goshaHistory. The analysis of narrative elements of this text can help understanding the spirit of the whole work. Joveyni, the writer, confesses inthe Introduction that by writing history he aimesto perpetuate Mongol's magnitudes. That means the readers encounter with a one-sided narration. In spite of this fact, according to the expectation of readers, the writer tries through some textual tricks to show he has an objective position in history narration. But this target would not be possible by two reasons: the first reason deals with the nature of narration that does not let the creator to take a neutral position. The second reason relates to the intentions that force Joveyni to write his work, i.e., he reduces the history to a panegyric. "Tarabi'srebellion" is one of the texts thatis structurally cracked through a deconstructive approach of reading, so that not only the writer fails to achieve his goal, but also the text stimulates a rebel against itself. Through a creative re-readingof this historical event, this article tries to present a new interpretation and portrait of Tarabi.a reading that can be extended to the whole text.
Volume 8, Issue 34 (6-2012)
Abstract
This article analyzes the function of the verb in the elements of anecdote and narrations.
Efforts have been made to show the importance of verb in narration’s grammar, and its relations with anecdotal elements. Study of the fundamental concepts of narrations, especially the new classifications of narration verbs is one of the goals of this project.
In this study, some of the structural elements of the story; such as the plot, tone, and characters have been assessed with due regard to verbs. By assessment of view of experts in this domain; efforts have been made to present new genres of anecdotes to the related addressees.
The tenses of the verb and their dual roles in grammar and narration have been taken into consideration. Efforts have been made to present examples of anecdotes; and to show how the authors have dealt with particular tenses of the verb; while elaborating on the benefits and restrictions of each of them in relation to the story’s persona, and the rhetoric within the narration.
Volume 8, Issue 35 (11-2020)
Abstract
Abstract
Many manuscripts and editions of Mush-o Gorbeh [Mouse and Cat] have been listed or published as the most famous work of Obaid Zakani; however, its comparison and examination clarifies that these various editions of Mouse and Cat are significantly different in terms of language, style, and even story. These narrations are largely considered as belated and folkloric compared to Obaid Zakani’s era and language. Therefore, many people have hesitated to attribute Mouse and Cat to Obaid. In order to investigate this attribution, these works should be compared, so that their shared roots can be identified. This paper merely follows this in three phases. In the first section, different editions of Mouse and Cat are compared and grouped based on the ending verses of the story. In the second section, the ending of the story is examined in all narrations. In the final section, some hypotheses are given regarding the relationship of these narrations, their origins, and other possible narrations based on the verses recorded in these editions of Mouse and Cat. They are, then, compared with the incomplete but older manuscripts. These editions of Mouse and Cat can be grouped in nine categories in terms of narration, and in two general classes in terms of story, based on the style and language. These very differences and a few ancient recordings that can only be seen in some of the belated and folkloric manuscripts indicate that none of these editions of Mouse and Cat can be attributed to Obaid.
Introduction
Research Background
Unfortunately, we cannot find an ancient, complete edition of Mouse and Cat today. The oldest manuscript can be found in the Anthology of Ali Ibn Ahmad No. 3528 (written in the ninth century AH) which is kept in the Central Library and Documentation Center of the University of Tehran, and the other manuscript is Obaid’s generalities of works (written in the ninth century-the early tenth AH century) which is kept in Mahdavi Library, and microfilm No. 1547 kept in the Central Library and Documentation Center of the University of Tehran. Both works are incomplete.
Since ancient manuscripts cannot be found, there are lots of debates over the attribution of this work to Obaid Zakani. Many studies have been conducted on Obaid, and some researchers, such as Mahjoob and Mohades have tried to reject the attribution of Mouse and Cat to Obaid in the introduction on Obaid Zakani’s Generalities of Works (Obaid Zakani, 1999), and the introduction on Mouse and Cat (Uppsala, 2011), respectively.
However, no study has been conducted on different Mouse and Cat narrations so far and this study is going to fill this gap.
Aims, questions, assumptions
Dozens of manuscripts of Mouse and Cat are attributed to Obaid. However, a comparison reveals that these manuscripts of Mouse and Cat are significantly different and cannot be considered as a single work. This paper tries to answer three main questions on this issue.
Although there are dozens of manuscripts and printed editions of Mouse and Cat, a comparison manifests that these editions are to a large extent different and cannot be considered as a single work. A thorough understanding of Mouse and Cat can be achieved by examining these editions, examining whether this work can be attributed to Obaid Zakani. This paper tries to answer three main questions.
1. How many narrations of Mouse and Cat are identified?
2. How are these narrations different from each other?
3. Do these different narrations share a common ground?
Results and discussion
The most ancient, complete manuscript of Mouse and Cat which is kept in the National Library of Tunisia was written in 1153 AH. Comparisons made between this manuscript and the other manuscripts as well as the lithography and prints that date back to the Qajar era reveal that there are various narrations of Mouse and Cat that can be classified into nine categories. These narrations differ in terms of the number of verses and vocabularies as well as the story.
Some of them are more difficult while the others are weak and folkloric. The handwritten narration which is kept in Tunisia can be considered more intact compared to the other narrations in terms of story and language. The manuscripts and the printed copies manifest the popularity of the Tunisian narration in the 12th, and particularly in the 13th and 14th centuries. However, it (or it could be said the other narrations of Mouse and Cat) cannot be considered as an ancient narration attributed to Obaid Zakani due to its linguistic distinctions with the eighth-century poetry. However, some conclusions can be drawn after reflecting on some of the ancient elements of other narrations that cannot be seen in the Tunisian narration, and some similarities could be found between this edition and the manuscript that can be found in the Anthology of Ali Ibn Ahmad and the edition which is kept in Mahdavi Library. If a narration can be attributed to Obaid Zakani, it should be one of those two incomplete manuscripts. Although some other narrations of Mouse and Cat were released in the interval between the release of these two manuscripts and the 13th century, none of them have survived.
Conclusion
There are various narrations of Mouse and Cat which are attributed to Obaid Zakani, but none of them can be considered as a work from the eighth century. The differences in these narrations are the results of the interferences that scribes made in collecting this work. Nine narrations of Mouse and Cat are available. The most ancient one is a narration originating from the Tunisian manuscript and since some manuscripts and prints of the 13th century are based on this version, it can be concluded that the Tunisian manuscript was the most popular narration in the 13th and the early 14th centuries.
In addition, there is a narration in the printed editions of Mouse and Cat that should be considered as an independent narration despite its general similarities with the Tunisian narration. This narration has been published frequently during the current century and today everyone recognizes it as the Mouse and Cat attributed to Obaid Zakani. Seven other narrations were released in the interval between the release of the Tunisian narration and the printed narrations, which were abandoned and less read for some reasons such as weak verses, weak plot, etc.
References
Obaid Zakani. (1999). Generalities of works (in Farsi) (edited by Mohammad Jafar Mahjuob). Bibliotheca Persica Pres.
Many manuscripts and editions of Mush-o Gorbeh [Mouse and Cat] have been listed or published as the most famous work of Obaid Zakani; however, its comparison and examination clarifies that these various editions of Mouse and Cat are significantly different in terms of language, style, and even story. These narrations are largely considered as belated and folkloric compared to Obaid Zakani’s era and language. Therefore, many people have hesitated to attribute Mouse and Cat to Obaid. In order to investigate this attribution, these works should be compared, so that their shared roots can be identified. This paper merely follows this in three phases. In the first section, different editions of Mouse and Cat are compared and grouped based on the ending verses of the story. In the second section, the ending of the story is examined in all narrations. In the final section, some hypotheses are given regarding the relationship of these narrations, their origins, and other possible narrations based on the verses recorded in these editions of Mouse and Cat. They are, then, compared with the incomplete but older manuscripts. These editions of Mouse and Cat can be grouped in nine categories in terms of narration, and in two general classes in terms of story, based on the style and language. These very differences and a few ancient recordings that can only be seen in some of the belated and folkloric manuscripts indicate that none of these editions of Mouse and Cat can be attributed to Obaid.
Introduction
Research Background
Unfortunately, we cannot find an ancient, complete edition of Mouse and Cat today. The oldest manuscript can be found in the Anthology of Ali Ibn Ahmad No. 3528 (written in the ninth century AH) which is kept in the Central Library and Documentation Center of the University of Tehran, and the other manuscript is Obaid’s generalities of works (written in the ninth century-the early tenth AH century) which is kept in Mahdavi Library, and microfilm No. 1547 kept in the Central Library and Documentation Center of the University of Tehran. Both works are incomplete.
Since ancient manuscripts cannot be found, there are lots of debates over the attribution of this work to Obaid Zakani. Many studies have been conducted on Obaid, and some researchers, such as Mahjoob and Mohades have tried to reject the attribution of Mouse and Cat to Obaid in the introduction on Obaid Zakani’s Generalities of Works (Obaid Zakani, 1999), and the introduction on Mouse and Cat (Uppsala, 2011), respectively.
However, no study has been conducted on different Mouse and Cat narrations so far and this study is going to fill this gap.
Aims, questions, assumptions
Dozens of manuscripts of Mouse and Cat are attributed to Obaid. However, a comparison reveals that these manuscripts of Mouse and Cat are significantly different and cannot be considered as a single work. This paper tries to answer three main questions on this issue.
Although there are dozens of manuscripts and printed editions of Mouse and Cat, a comparison manifests that these editions are to a large extent different and cannot be considered as a single work. A thorough understanding of Mouse and Cat can be achieved by examining these editions, examining whether this work can be attributed to Obaid Zakani. This paper tries to answer three main questions.
1. How many narrations of Mouse and Cat are identified?
2. How are these narrations different from each other?
3. Do these different narrations share a common ground?
Results and discussion
The most ancient, complete manuscript of Mouse and Cat which is kept in the National Library of Tunisia was written in 1153 AH. Comparisons made between this manuscript and the other manuscripts as well as the lithography and prints that date back to the Qajar era reveal that there are various narrations of Mouse and Cat that can be classified into nine categories. These narrations differ in terms of the number of verses and vocabularies as well as the story.
Some of them are more difficult while the others are weak and folkloric. The handwritten narration which is kept in Tunisia can be considered more intact compared to the other narrations in terms of story and language. The manuscripts and the printed copies manifest the popularity of the Tunisian narration in the 12th, and particularly in the 13th and 14th centuries. However, it (or it could be said the other narrations of Mouse and Cat) cannot be considered as an ancient narration attributed to Obaid Zakani due to its linguistic distinctions with the eighth-century poetry. However, some conclusions can be drawn after reflecting on some of the ancient elements of other narrations that cannot be seen in the Tunisian narration, and some similarities could be found between this edition and the manuscript that can be found in the Anthology of Ali Ibn Ahmad and the edition which is kept in Mahdavi Library. If a narration can be attributed to Obaid Zakani, it should be one of those two incomplete manuscripts. Although some other narrations of Mouse and Cat were released in the interval between the release of these two manuscripts and the 13th century, none of them have survived.
Conclusion
There are various narrations of Mouse and Cat which are attributed to Obaid Zakani, but none of them can be considered as a work from the eighth century. The differences in these narrations are the results of the interferences that scribes made in collecting this work. Nine narrations of Mouse and Cat are available. The most ancient one is a narration originating from the Tunisian manuscript and since some manuscripts and prints of the 13th century are based on this version, it can be concluded that the Tunisian manuscript was the most popular narration in the 13th and the early 14th centuries.
In addition, there is a narration in the printed editions of Mouse and Cat that should be considered as an independent narration despite its general similarities with the Tunisian narration. This narration has been published frequently during the current century and today everyone recognizes it as the Mouse and Cat attributed to Obaid Zakani. Seven other narrations were released in the interval between the release of the Tunisian narration and the printed narrations, which were abandoned and less read for some reasons such as weak verses, weak plot, etc.
References
Obaid Zakani. (1999). Generalities of works (in Farsi) (edited by Mohammad Jafar Mahjuob). Bibliotheca Persica Pres.
Volume 9, Issue 39 (6-2021)
Abstract
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.
Volume 10, Issue 4 (3-2021)
Abstract
Aims: The overall purpose of the current study is to read the spiritual contexts of the resurrection in the revival of the monumental and narrative perspective of abandoned in inner-city cemeteries. It has emphasized on the Quranic teachings and narrations of the infallible Imams in this study.
Instruments & Methods: This study has been conducted a descriptive-analytical method and using Library and field method (Question from the professional experts in the fieldes of religious and landscape architecture) to gather information. The issue of resurrection has been explained in accordance with the interpretations of the Holy Quran and Hadiths and the views of philosophers, mystics. Reviewed Also how to use the objective and mental codes of resurrection according to Quranic verses in the perspective of abandoned cemeteries in the city.
Findings: The relationship among the location's components, landscape, and semantics in the historic cemeteries landscape reading and perception is the most important finding in this study. The findings emphasize resurrection in accordance with the interpretations of the Holy Quran and hadiths and the views of philosophers, mystics.
Conclusion: The conclusion shows, in reviving the abandoned inner-city cemeteries landscapes, the concept of resurrection can lead citizens and visitors to a better understanding of death narration and its remembrance in the minds. It will also help to connect them more with landscape and reinforce place attachment.
Instruments & Methods: This study has been conducted a descriptive-analytical method and using Library and field method (Question from the professional experts in the fieldes of religious and landscape architecture) to gather information. The issue of resurrection has been explained in accordance with the interpretations of the Holy Quran and Hadiths and the views of philosophers, mystics. Reviewed Also how to use the objective and mental codes of resurrection according to Quranic verses in the perspective of abandoned cemeteries in the city.
Findings: The relationship among the location's components, landscape, and semantics in the historic cemeteries landscape reading and perception is the most important finding in this study. The findings emphasize resurrection in accordance with the interpretations of the Holy Quran and hadiths and the views of philosophers, mystics.
Conclusion: The conclusion shows, in reviving the abandoned inner-city cemeteries landscapes, the concept of resurrection can lead citizens and visitors to a better understanding of death narration and its remembrance in the minds. It will also help to connect them more with landscape and reinforce place attachment.
Volume 10, Issue 19 (9-2023)
Abstract
Translation is a skill aimed at rendering speech and conveying the meaning of a text from the source language to the target language, in a way that preserves all the objectives of the original text. To achieve a meaning close to that of the source language, especially in sacred texts like the Quran, reliance on available contextual clues and other auxiliary resources is indispensable. The discrepancy among contemporary translators regarding the translation of verse 178 of Surah al-Baqarah (the verse on Qiṣāṣ – retribution) in the two phrases "Fa Ittibāʻun bil Maʻrūf" and "Fa man Iʻtadā baʻda Dhālik" is prominent, and the main reason for this difference stems from a lack of attention to the narrations of Ahl al-Bayt (AS). The present study, using a descriptive-analytical method, aims to evaluate the degree of conformity between contemporary translations of the verse on Qiṣāṣ and the statements of Ahl al-Bayt (AS). By examining interpretive narrations and relevant translations, it becomes clear that the phrase "Fa Ittibāʻun bil Maʻrūf," according to the narrations, refers to the Responsible (Walī) of the victim, and its meaning is the appropriate adherence of the Walī to his right of blood money, i.e., to be lenient and not harsh with the killer. Similarly, the second phrase also pertains to the Walī, and the meaning of "Baʻda Dhālik" (after that) is the transgression and greed of the Walī after forgiveness and reconciliation with the killer. Some translations, however, have interpreted this part with a general and broad meaning.
Volume 10, Issue 42 (3-2014)
Abstract
Although narrations have been at the center of attention for a long while, precise discussions in this regard were presented as of the waning years of 20th Century. One of these discussions is the Structural Movement which studies the status of narrator in the narration and the relationship between watching and speaking in narrations. One of the most prominent theorists in this field is Gerard Genette.
Meanwhile, parts of Holy Quran state narrations with a unique artistic form, which maintain a wide-scale anecdotal-literary capacity for psychological studies. Hence, in this research, the narration of Joseph has been analyzed and studied based on Genette’s theory. Although this narration has been stated in Holy Quran based on educational and guidance goals, all the factors considered by Genette such as diversity in the Structural approaches, diversity in expression and reconsideration of actions; and usage of different structural approaches are evident in this narration.
Volume 10, Issue 43 (9-2022)
Abstract
The Masnavi Ma'navi is one of the most outstanding works of Persian literature in which many manifestations of our culture are featured. The origin of some Masnavi's anecdotes is in verbal literature, which has appeared in literary works for a long time. The expression of contemporary verbal narrations adapted from some of the Masnavi's anticathodes represents the repetitive stories which have been frequently recited in our literature and culture. The transformation of Manavi's stories in verbal literature is a matter for which studies have not been yet conducted by scholars. The difference in the form and structure of the stories, the clear change in the characters and the different interpretations are some of the transformations that have distinguished the verbal narrations and the narrations of Masnavi. The three anecdotes that have been selected as the basis for the work for exhibiting the transformation between the stories of Masnavi and the verbal narrations are: Three Travelers: a Moslem, a Christian, and a Jew, Nakhjirans' Reliance, and the Fool Who Trusted the Bear. The data indicate that Rumi presents many high mystical concepts in the form of narrations and textual codes, but most of the verbal narrations are presented for entertainment. Also, the verbal narrations tend to be reasoning-based ethics, whereas Masnavi's anecdotes are Rumi's specific individual ethics
Maryam Seyedan,
Volume 11, Issue 44 (4-2018)
Volume 11, Issue 44 (4-2018)
Abstract
In the cultural history of Iran, some didactic books have been written to rulers. These books not only have so many linguistic and historical values, but also reveal theoretical topics in the area of politics as well as the practical ways of using them. In addition, one can recognize the political and social moralities of rulers, by these books. Narrating was the most common way of expressing the meanings which the writers of these books wanted to share. Seyar al-molook (Siyasat-nameh), created by Khaje Nizam al-Molk, is one of the most important Adab al-molook (royal more)s in Persian, has been written in the 5th century. This book chiefly includes the numerous tales which the writer expresses some policy and ethical recommendations among them, for Saljuqian rulers. In this article, it has been studied on the tales of 39 chapters of the book, according to some parts of the Criticism of Structuralism. First, it is indicated some parts of the Structuralism Criticism which are used in this article. Second, the tales was separated with numbers. third, it is discussed about the time, mood, voice, the structure of actors and plot, according to Structuralism theory. Forth, the writer has written the conclusions.
Volume 11, Issue 44 (9-2014)
Abstract
Manzar Soltani,PH.D.
Sayyed Ali Banifatemi.
Abstract
This article is on the roles of verb in narration. Initially, the significance of verb in the view of experts in narration are presented and upon research of the fundamental concepts of this topic of importance, classifications in the study of verbs have been presented based on the study of narrations.
The features of verb and its double role in the fields of grammar and narrations, have been thrown under the spotlight.
Upon application of theories on narration, this study intends to find out the role of verb in concepts such as action, description, display, and grammatical changes in a clear and transparent manner. Ultimately, the impact of verbs in creation of classifications of story in addition to study of the writing style of novels are covered.
Psychological wise, a number of tests have been presented manifesting the importance of verb in reading, memorizing, and understanding narrations. In the grammatical structure, different types of verb are introduced. Moreover, a definition of the verbs in narrations can also be rendered, within the framework of which the researcher tries to display the delicacies and capacities of verb in creation of prominent literary texts.
Volume 11, Issue 45 (12-2014)
Abstract
Sepideh ـJavaheri.
Mahdi Nikmanesh,PH.D.
Mahin Panahi,PH.D.
Abstract
Mosibat Nameh is the longest and apparently last elegy of the three elegies of the renowned Iranian poet, Attar. The narration of the journey of a wayfarer who has embarked on the path of Sufism raises the opportunity for study of narrations; given the particular narrative features of this elegy and its mystical origins. In this article, the narration on the wayfarer’s journey is studied based on the view point of Tzvetan Todorov; the Bulgarian-French historian, philosopher, literary critic, sociologist, and essayist. Among the three manifestations that Todorov proposes for study of narrations, the verbal manifestation is taken into consideration for study of this narration. The study of the four elements of aspect, time, view, and tone in this manifestation shows the concurrency of time and narration in a large segment of this adventure and the high frequency of the uniaxial narration in the time zone; the superiority of the reporting aspect of the narration; the outside viewpoint; and the focus of the narrator on the wayfarer in the first place, and the addressee in the second place.
Volume 11, Issue 45 (12-2014)
Abstract
Ghodrat Ghasemipur, PH.D.
Abstract
This article has studied and assessed the structural poetics of poetry via adoption of a trans-critical approach. This article initially enumerates the structural narrative scope and its enriched and multiple outcomes, which have occurred due to the success of structural poetics in analysis and study of the grammar of narration. In the second part, the article analyzes the poem and concludes that these analyses are based on a formalist approach or have modified the achievements of present day critics. Hence, the structural poetics has not outpaced structural narrative studies.