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The present study aimed to examine the use of different levels of syntactic architecture in written personal and fictional narratives in both Persian and English across three discourse communities, namely Persian native speakers, English native speakers, and Iranian EFL learners. To this end, the participants of the study were selected based on convenience sampling and were asked to write one of their happiest memories. Also, an English fable from Aseop's fables and a Persian story, chosen based on comparative literature and having the similar plot, were given to them to read and write whatever they remembered; there was no limit on the number of words and paragraphs. To analyze the data, the Berman and Nir-Sagiv's (2009) model was followed. The findings showed that in fictional narratives written by both Persian and English native speakers, isotaxis, asymmetric parataxis, complement (CMP), and parataxis levels were frequently employed; however, personal narratives in Persian were dominantly isotactic, paratactic, and asymmetric paratactic, CMP, while isotactic, hypotactic, and paratactic levels were frequent in English written personal narratives. Also, after receiving explicit instruction on different types of English sentences, the use of adverbial and relative clauses (hypotaxis level) increased in Iranian EFL learners' written narratives. It can be concluded that explicit teaching of syntactic levels enabled EFL learners to arrange their sentences correctly to express their intended meaning. Teachers can benefit from the results to gain a more comprehensive understanding of narrative connectivity and help EFL learners elaborate clause linkage in their written narrative tasks.
 

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Bahaar-e-Daanesh is one of the folk and ancient Indian legends in Persian language with the theme of love,written by Inaayatullaah Kanabweh Laahoori(died 1088 AH)who authored it in the year(1061 AH)under the name of Shah Jahaan Gurkaani. This book is part of fiction literature, that is,the intersection of folk and literary stories and in the Indian storytelling style, a story within a story. Its main and long story is fictional and its theme is the love of "Bahre-Varbaanu and Jahaandaarshaah" and the theme of the main story and its main sub-stories are stories about women's tricks. In the spring of knowledge, themes such as shape-shifting, spells, magic, incarnation in a shape-shifting state, awareness of the science of dismembering the body,and the transfer of the soul from one body to another can be seen throughout the stories. In addition, the presence and conquest of Divan and ghouls,talking with magical animals, using the magic in the elements of nature,etc. are present in all the stories. In this article, the functions of magic and its helpers,objects and tools of magic and the ways of using them, magical trips and places and surreal beings,ways to achieve magic factors and nullifiers. Magic and talismans in the stories of Bahaar-e-Daanesh have been examined and analyzed to emphasize the importance of studying,knowing and preserving the cultural and social background of folk tales,which is the most important platform for the presence and manifestation of mythological and ancient themes among the masses. It is the people - to be emphasized.

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Nations categorize fictions differently. In the Persian literature, tales and epistolary writings can be considered as fiction while in the European literature, fiction only includes certain styles according to their modern definitions.
In this article, the author differentiates between the modern age and the contemporary era. She divides the contemporary and modern age literature into seven phases in view of major historical events. In this chapter only the first two phases are dealt with: First phase or the era of modernity (1206-1285) and the second era that is from the establishment of the constitutional government till Reza Khan’s rule( 1285-1299).
 

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Unlike contemporary poetry, hemistiches in modern poetry are not arranged on a predetermined and specific style. In fact, by composition of poems, the poet designs the writing structure of his work. It can be said that there exist as many writing structures as the poems composed to this date.
In this article the author endeavors to while reminding the reader of modern poetry’s violation of norms, analyze some aesthetic functions of this genre.
The author focuses on the role played by the style of writing in helping the reader in properly reading a poem and the style’s contribution to the true conveyance of thoughts and feelings as well as distinguishing the images and highlighting the concepts of time and place.
 

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As the Masnavi is a preaching-mystical work by Molavi, he made his efforts to express his advices and recommendations in forms of stories, tales and fictions and also his ethical and mystical thoughts are expressed there. Hence, all these are of various and miscellaneous types. The best sample of entering Masnavi Tales into the third book is shown in the story titled “the people of Saba and looting their godsends”. This story commences with the couplet 282 but, left later on and then referred to in the couplet 364. The story is left again here and then referred to in the couplet 3600, following some long couplets to be finished.
Mentioning the various points in tales has resulted in different usages of the characters in Masnavi. This is because of the foundations of any story are made by its characters who are themselves the factors or causes of the events.
Personification by Molavi in Masnavi for the characters is of three following methods:
A) Direct method in which he explicitly expresses his ideas upon the persons.
B) Indirect method in which he not only expresses the characters’ behaviors and briefs the readers on the role played by the characters but also the readers understand their real essence.
C) Mixed method which is an integration of the two previous ones.
The tools for personification by Molana, the characters’ features in Masnavi and classification of the persons’ names in the Masnavi stories are scattered through the study.
 

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In this essay we will study the principal European literacy movement in the latter half of the 19^th century and the first decade of the 20^th century.
The term “Naturalism” describes a type of literature attempting to apply scientific principles of objectivity and detachment to its study on human beings. Unlike realism, which focuses on literary technique, Naturalism Implies a  philosophical position: for naturalism writers, since human being are in Zola’s phrase, “ human beats” Characters can be studied through their Relationships to their surroundings who said that novelist should be like the scientist, examining  dispassionately various phenomena in life and drawing in disputable conclusions.
The naturalists tended to concern themselves with the harsh, often sordid, aspects of life, Zola’s description of this method in the Experimental Novel, (1880).
Following Claude Bernard’s Medical and the historian Hippolyte Taine’s observe that     “Virtue and Vice are products like vitriol and sugar” That is, that human beings as          the “producers” should be studied impartially, without moralizing about their natures.                                                                                                                    
 

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Narrative semio-semantics is based on two principles: action and change. In this system, all actors often move logical and planned until achieve the favorite and permanent sense. It seems that in the texture of myth and epic fictions, dominant discourse is logical and narrative. In this research, we study the fiction of Rostam and Esfandyar of Ferdowsi’s Shahname based on semio-semantics theory in order to show that discursive components likewise narrative signs, have also effect to assign meaning to the fiction; because the enter of Simourgh to the fiction transforms normal narration and causes this study to go beyond narrative semio-semantics and get closer to discursive semio-semantics. The result of this study showed that in ideological discourse of Shahnameh, Rostam, as unconquerable Iranian hero, is located in the central thought. Events never occur in a way that damage authority of Rostam in the context of Shahnameh. Thus all signs lead to victory of Rostam in all championships in the fiction according to the narrator.

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One of the problems which prevent a correct or common comprehension of a fiction and its precise analysis is the diversity which exists in understanding and using the common terms in fiction domain. Although most of these terms have been listed in dictionaries and used by researchers, there is no unanimity about their usage. Due to this matter, distinction of fiction's elements and the analysis of narratives confront some difficulties. In this paper we intend to revise one of the most common terms in narratology i.e. motive, focusing on dependent motive and independent motive. Hence it is necessary to criticize the most important definitions in dictionaries for motive, to show their credibility and the degree of their expressiveness and to present our definitions. Also, all types of motives in traditional Persian fictions will be categorized and their four functions in narration will be explained. In our point of view, motive is a structural – semantic term that is related more to structural elements of a story than to its semantic aspects.

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The novelty in typography coupled with narrative techniques has turned Bivatan (Tehran, 2008) into a quasi-metafiction, i.e. a story which explores the process of its own construction. While in Bivatan the author is supposedly trying to produce a metafictional effect, a closer investigation into the novel will prove this claim void. In fact, Amirkhani’s novel fails to step into the realm of postmodernism.

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Bagheri. B. ,PH.D
Abstract:
 
Latayef-al-tavayef, valuable literary work of fakhr-al-din Ali Safi , is one of the most important Iranian fictions which,because of containing
short,satiric and admonitory tales, has a special and important position in Persian literature. In the academic associations and researches, most of classic texts, particularly fiction texts, are only examined from the view point of philological aspects and less examined from the view point of fiction nature. This essay examines and analyzes four fiction related elements including character, theme and narration and narrator and dialogue. In the character related section, we examine the tales of latayef-al-tavayef from six view points(character’s numbers,character’s
gender, character’s social classes, their jobs and occupation, their internal and external disorders and their main and important characteristics. 
In the second section, we examine the subjects and themes of tales divided to four parts of political, social, moral, religious and artistic themes.
All the information, presented in the two parts of character and themes, are based on the statistics, numbers and schedules showing exactly the frequency of presence of any case. No generalization and personal statement have been used by us. we try to prepare a brief study and knowledge based paper by using the exact statistic and figures. 
In chapter three and four of the essay, "narration and narrator" and "dialogue" are studied. I hope that the results of this research will be useful in literature sociology studies, especially that of Iran in 9_th and 10_th century.
 

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Folklore Fictions such as mystery and legends contain magical elements which have been considered since further past years among people. Whereas the metaphysical beliefs provide the psyche calm, they have approved their places despite of scientific progress. Folklore Fictions are one of the most popular features of folkloric culture which has provided the suitable bed for the collective consciousness of a nation. This study approaches two layers including; deep-structure and surface structure of fiction simultaneously. The different forms of magic appear in the surface structure, while the deep structure refers to the critical method of archetype. The findings show that 89% of magical elements appear in the fictions containing the archetype of hero’s journey. Such fictions overlap with the archetypal elements .There are either white or black magic due to archetypal heroes in such fictions, their connections are as if that shadow or the black magic make conflict for the hero and the archetype of old wisdom or white magic guide the hero, in order to remove problems. Their functions are diabolical. The different forms of magic make the elements of fiction which are respectively frequent like: the magical objects, the natural elements, the human personality, the imaginative elements and creatures, the semi-human creatures, the surrounding elements of human, the pseudo-animals, semi-animals, and Satan.

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This paper studies the concept of metafiction in Charmshir’s play Dastan-e door vaderaz-e safar-e sultan … be diyar-e farang (1998). Metafiction, as a result of an analytical perspective emerged first in modern novels, attempts to challenge the conventional frame of fictional reference to the reality of the external world as it is suggested in literary Realism. In this type of stories, narrative elements such as plot, character, time, and place are no longer representatives of imagined reality, but they in fact reflect a perpetual conflict between art and reality. However, it can be suggested that reality here is subordinated by the referents of the external world. Linguistically, metalanguage and poetic functions of drama would dominate its object language. The story then will be directed toward its narrative elements as well as its own process of creation. Adaptation and meta-historiographyare some of the other features of this style of writing stories which is associated with parody and irony. Charmshir’s play is not really a narrative of the king’s long journey to Europe;rather it is a challenge for the playwright to realize a metafictional probability in form of a postmodern drama. This play is an artwork about the process of building an alternative story and is a new exploration on narrative facts.The elements such as characters, structure, plot, the authority of the narrator, and the style of narrative are no longer the hidden parts of drama in the representation of the story and meaning;in fact, they are the story in itself. The foregrounding of language here is an ironic reference to literary and dramatic texts while it is a fictional device for fabricating history and manipulating data by which the reader expects to receive narrative information. This studyunravels new aspects of narrative structure in Iraniandrama using an analytic-descriptive approach.

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The emergence of magical realism in Germany and its success in Latin America indicate that localization in any way is the basic precondition for its use, Especially in the magical realism that would not be beneficial without localization and adapting it to the cultural context of the author. Interestingly, there are more similarities between this way and the Sufis texts Tazkera , as Taḏkerat-ol-oliya written by Attar. This article is a step in providing a localized pattern of magical realism based on the story and mysticism in Persian culture. Achieve a literary pattern known as magical realism that localized with fictional texts of Sufism could be a good start for the development of an Iranian-Islamic schools, known as "mystical realism". The first step in this direction is the comparative study of indexes in two field of the structure and the content between the fictional texts of magical realism that One Hundred Years of Solitude written by Gabriel Garcia Marquez is the best representative of it, with the remaining texts of anecdotes Sufis Tazkera that Taḏkerat-ol-oliya written by Attar is the best representative of it. Can be thought after the recognition of the most important characteristics and differences, in the next step to the providing a definition of mystical realism.

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Cognitive poetics includes a theory of analogical mapping, which shows employing different skills of finding similarities, relationships, and structural systems. Microstructure could be considered as parts or constrains of sentences in a discourse, while macrostructure is a large-scale statement of the content of a text. If some common schemata cover these both structures, this part-whole relation will map the macrostructure of the text through some paratextual and cohesive elements on all texts of the stories in a collection, and will create an untold story, a macrofiction. In fact, this untold story has a main role in the interpretation of the “Conference of the Birds”. The aim of this study is to investigate how the macrostructure influences the structuring of each story of the world text of the “Conference of the Birds” (1177), a well-known Persian poem, by cognitive poetics approach. The author is going to demonstrate how the macrostructure leads to creating a macrofiction, which offers a new reading of the text. Moreover, it examines how macro-fiction and system mapping may interact in a literary text like the “Conference of the Birds” and what is the result of their interaction. This study posits, firstly, how the concepts of variety (multiplicity) and unity (oneness) assume to construct the macro- and micro-structures of the “Conference of the Birds” through the system mapping, and how the text leads to a new structure, called macrofiction. Secondly, how macrofiction could have an effect on the reading of the text. Consequently, the concept and structure of the “Conference of the Birds” are in harmony, so the variety and a large number of the birds who desire to reach phoenix (Simorgh) are represented in the course of different and various stories concerning the same pattern. As a result, studying the text world by this approach could provide a suitable device for analyzing a text and its macro-structures through conceptual mappings as a step forward in the area of literary critic.

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Folkloric fictions are considered as part of cultural heritage of every nation that reflects customs, ideas, traditions, and world view of each nation. Sometimes mythical, cultural and sociological themes are placed in their deep structure. In the recent centuries with growth of technology, many of these oral fictions are going to be endangered, it is important that these fictions be recorded and analyzed before death of their narrators, as far as possible. So, in this study, some fictions of Doshman Zeyari region have collected with field study research methodology and then have analyzed based on mythical, cultural and sociological deep structure. Some mythical, cultural and sociological themes in these fictions are the woman valuable place, emergence of heroin, the battle of drought dragon with rainy year, the relation of horse and moon with fertility, existence of the universe from the cosmic egg, the growth of plant of God’s blood and revealing the secret of slain by the reed that has grown from the blood of slain. On the other hand, we can see the theme of discussed tales in other folkloric tales such as: "Girl and yellow cows "," Mah‌Pishani "," Ajah k m hoo "," Smiling flower "," The secret of the beautiful reed ","The Girls of pomegranate "and" Orange and bergamot "
 
 

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There are several attitudes about the linguistic characteristics of literary works by female authors. The present study aims at highlighting the need for a stylistic analysis of female fictions as a method for linguistic, literary, and ideological analyses of these works. In this study, we have studied the most important stylistic aspects of Pirzad’s writings through a feminist stylistic approach. The results of the study indicate that from the first work of the author (Mesl-e hameh-ye asr-ha^[1]) to the last work (Ādat mikonim^[2]), a feminist point of view has emerged at different levels of the texts, e.g. lexicon, sentence, and discourse. The changing trend of thought which leads to linguistic transformation and development in the author’s work is as follows: in Mesl-e hameh-ye asr-ha,Ta’m-e gass-e khormalu,^[3]Yek ruz mandeh be eid-e pak,^[4] the women are engaged in routines and have no intentionality of their own, while in Cheragh-ha ra man khamoosh mikonam,^[5] the women status is challenged, and in Adat mikonim, due to the role of women in social activities, a different description of female identity as the agent of change is presented.
[1]. Like All Evenings [2]. We Will Get Used to It [3]. The Acrid Taste of Persimmon  [4]. One Day before Easter [5]. I Turn off the Lights

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

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Writing, along with fiction, editorial, translation, and writing research papers and critical literary career jamalzade forms. Impact on language practices jamalzade fiction writing and literary issues as one of the main themes, the author of a literary privileged position makes. Major topics include literary criticism, review and introduce new fiction writers have noted that different motivations for jamalzade were sent. . Critical jamalzade impressionistic style in these letters (Tasrgra) and is a hobby which is based on his personal beliefs and preferences as often, and as a professor and veteran informal tone sometimes intimate and loving tone, as Written friends and colleagues. In recent chat critical and scholarly discussion between the two is similar. Issues of language and writing, the main topics of this review. This letter, along with critical essays jamalzade complete picture of him as a literary critic, offers and shows in jamalzade principles and Persian prose fiction, literary manifesto issued from time Until the end of his life, without The same principles remain the same, the assessment criteria for the new generation, he has been criticized for fiction.