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Manُ s natural inclination towards rational detection of the surrounding realities, which has been manifested in the forms of oral and visual storytelling about his physical and intellectual experiences throughout history, was allegedly studied in a systematic way by Russian, in tandem with, Anglo- American formalists for the first time ever at the outset of the twentieth century. Then their intellectual legacies passed on to the francophone narratologists through the works of the Prague school structuralists and from the mid- twentiethe century on, were embodied under the rubric of Narratologie and fostered in a very broadr sense including modern literary narratives. However, reviewing certain binary, taxonomic, and typological concepts underlying the structural – narrotological outlook, in this article we have followed up the diverse genealogical lines of the "morphological narrative studies"- especially those based on the linguistically oriented theories- a little bit further beyond their very well acknowledged formalist ones, into the German tradition. We could not have started the venture, had we not drawn briefly on the most fundamental ideas put forward by such outstanding figures in the discipline as Barthes, Genette, Stanzel, Bremond, Ball, Chatman, Prince, Todorov, as well as many others. Finally, we have touched upon the recent developments brought about in the field of narrative studies, directly under the impact of cognitive linguistic pragmatics.

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The word " Qaswara " ((قَسْوَرَه  in the verse "Farrat men Qaswara "(فَرَّتْ مِنْ قَسْوَرَهٍ ) is one of the words that the translators, especially the Persian translators, have not translated in the same way. Unlike the Persian translations, the Latin translators have translated the word in almost the same way, but it is often accompanied by a question mark and sometimes an exclamation, which indicates the translator's doubt about the meaning of the word. In addition to the translators, commentators have also expressed different views on the meaning of this word, so that more than seven meanings for this word have been mentioned in the interpretations. There are many narrations in Shia and Sunni commentary sources regarding the meaning of Qaswara. Therefore, the commentators have chosen a separate interpretation for themselves based on the hadiths. This research has been done with a historical and linguistic approach and with a descriptive-analytical method, with the aim of finding the causes and origins of the difference in the meanings of this word in the process of time and presenting a meaning that is close to correct. Examining the sources of the word and the historical course of the interpretations and the analysis of the traditions carrying the meanings of this word show that both the lexicographers and the commentators do not have a definite opinion on the meaning of the word and over time some meanings prevailed over others and were gradually established and later it crystallized in the translations. The study of the genealogy of the word in the Semitic and Syriac languages shows that this word in this language means a weak donkey, which can be used in the semantics of "Qaswara".
 

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 Manâqibs of Sufis (Hagiography) contain abundant stories that have been allocated to express wonder’s Sufis. The task of the article is an archeological approach to indicate regimes of truth in Manâqibs of Sufis, Shiite of Mânaqibs, the Prophet’s hagiography, the New Testament and the Old Testament. Then it reveals the rule of miracle of God is the hidden idea on the miracle of the saints. Miracles appears as a real continuance for the Prophet’s successors as a priority of the Prophet and his religious to other prophets and their religious. It also appears as a sign to confirm for prophethood. Having an affirmation of God and the claim of doing wonders puts Sufism in relations of power. It associates Sufism onto secular sides of social life being well-known to deny. 

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Apart from the well-known functions such as teaching, praising etc. Persian literature has also been afiction for the games and entertainment of people;there have been many literary games in the past which boobs have been the most famous of them.Also this game having a long history has not had the rules and specific form to the years before the era of modernity and its purpose has mainly been humor, entertainment, etc. but with the spread of modernism in Iran, extensive changes have created in its rules (the familiar and commonly form used today); its purpose changed and become a tool for preserving the past culture.
The reason for this change of rules and objectives remains unspoken until todaybut it seems that traditionalists - which have redesigned the rules of boobs - not only by changing the purpose did they intendto save the new poetry of ancient poetry from destruction that was challenged, but also with an emphasis on bits as the unit boobsthey suppressed new lyrics not allowed to enter -which its unit is the whole poetry - and it was marginalized.In other words,redesigning and articulating boobs by traditionalists at the present time have been a means to rejection of modernity and strengthening the position has been challenged and made change for the past poem.

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