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Ph. D.student in Persian Language and Literature Of Tehran University   Structuralists consider literature to have a structure similar to language and try to compile special syntactic rules for it. In fiction, Structuralism mainly studies narration.Structuralist narratologists try to compile a single coherent narrative structure for the different domains of fiction. In this article, we have tried to analyze one of the most famous Persian novels,Shazdeh Ehtejab by Houshang Golshiri ,within the framework of the structuralist viewpoints of Genette, Greimas, Bramond, Todorov and Barthes. To do that, we have studied the structure of Shazdeh Ehtejab in three levels: in the first level which we call "narrator and point of view in Shazdeh Ehtejab" we study the point of view,method of narration and the narrator/ narrators who narrate Shazdeh Ehtejab.In the second level we study the narrative structure of Shazde Ehtejab and in the third level we structurally analyze Shazdeh Ehtejab

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Dramatic and fictional literature has long been inextricably linked since language emerged as a means of communication; storytelling as a means of expressing life events and drama as a means of communicating with the world around us, have always met the most important human needs in relation to each other, and in the course of their lives, their tools and capabilities have been shared and expanded to the present. Today, the drama uses some of the features and capabilities of fiction literature and fiction literature for some drama. However, in this study we try to focus on some of the dramatic situation that Georges Poletti has identified in Thirty-Six cases to study works “Ivy” by Deledda and ²Christine and Kidd² by Hooshang Golshiri in a descriptive-analytic method to show how content subscriptions have created the dramatic capacity in two works. Accordingly, the findings of the study show that although the works of these two authors have been formed in two different schools with different coordinates, but they share the dramatic situation associated with a common theme of love and attention to human and emotional relationships. Due to Golshiri by focusing on individual dimension of relationships and deledda by focusing on the social context of the formation and development of the characters, have succeeded in creating dramatic situation in thier work

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 The focus on time and temporality is of central importance for the fiction as well as literary criticism of the twentieth century. Georges Poulet (1901-1992) is a Belgian literary critic who opposed formalist approach criticism. He devoted the foundation of his critical-philosophical idea to the time category and studied the “perception” of the writers through their stories. Hushang Golshiri is an influential modern Iranian writer who explicates the question of identity and the perception of time in his works. All his characters, in one way or another, struggle against time. Drawing on a descriptive-analytic method and through Poulet’s theoretical lens, I will expound on Golshiri’s perception of the temporality of a transient instant. The personal space of characters in his stories is closely related to a perception of an instant through different temporal measures—for instance, the act of staying in the long lines, the narrator walking with people, focusing on the steps, etc. all trying to establish an interpersonal perception of time. Furthermore, the past memories in his stories constantly bleed into the present instant through different associations of sounds and images and therefore make the present instant eternal. The fragmented structures in Golshirir’s stories such as the repetitive water fountain or breaking of the small waves on a pool, while pointing to the transience of time, also draws attention to a notion of infinity. In other words, the repetitions, remembrances, and even the act of forgetting in his stories are all essential for constructing a notion of identity in relation to the transience of an instant.

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The present study has been carried out by applying the components and discourse strategies of Roger Fowler in order to reveal the ideology of the author and the social actors of the novel of Mirrors with Doors. In his discourse theory, Fowler pays special attention to the structure of the text in the fields of superstructure and deep structure. Therefore, the present paper has tried to gain a deep understanding of its construction through the analysis of the superstructure of the novel of mirrors, according to Fowler's views. In this regard, the main question of this research is to seek the strategies Houshang Golshiri used in the superstructure of his work in order to show the depth of the text. The method of this research is qualitative borrowing a descriptive-analytical approach to describe and evaluate the data. The results indicated that Glorification and Marginalization are the governing mechanism of novel discourse practices and behaviors. Using the following strategies, the author has been able to demonstrate the ideology of the Iranian immigrant communists: Discourse functions of pronoun reference, suspension, ambiguity, modality, activation, question sentences, changing the position of sentence elements, removing some linguistic elements, and anachronism. The most frequent discourse strategy is related to the component of pronoun reference and the least frequent is related to changing the position of sentence elements. It should be noted that the above-mentioned discourse strategies are the most important features of Golshiri's novel superstructure.
 

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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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Sociology of literature is one of the systematic and scientific efforts that helps to study literature. To examine the role of social structures in the production of literary works, Lucien Goldman chooses the method of evolutionary constructivism, which discusses the effects of creative structures. According to him, the literary text shows the links between the mental structures of literary realities and social realities. The author does not reflect the pure reflection of consciousness, but there is a strong connection between the categories raised in his work and his social consciousness. In this research, relying on the method of formative constructivism, the relationship between the characteristics of the main character of Golshiri's stories and the political, social and cultural conditions of the time of their writing is analyzed. This study shows that although Golshiri belongs to the middle class of society, by entering the privileged group of intellectuals, he has paid more attention to the issues and problems in this class, including political and reformist concerns, more than the general problems of the people. This, along with his party and political leanings, has led most of the main characters in his stories to be selected from the new, educated middle class. Therefore, political ideology is more prominent in its stories than other ideologies. In this context, Golshiri provides a vivid picture of political deceivers, expedient actions, and the fear and pessimism of political repression. In social ideology, the confrontation between poverty and wealth and its consequences and the boredom of the main characters from family and professional life are prominent. In cultural ideology, the tendency of the middle class and the intelligentsia to study socio-political works as well as the tendency of deprived and rural people to superstition and popular beliefs is evident. Finally, from the point of view of religious ideology, most of the main characters have a religious nature, and the author, by creating them, shows his critical and anti-sectarian view of this ideology.