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Besides the main elements such as setting, theme, plot, and conflicts, any narrative or story requires another key element called character. It is the character that adds meaning and life to each of these elements, transforming a narrative into a compelling story. Characterization is essentially the process of bringing life and creating human figures from the elements of a narrative discourse. Creating and developing characters in the realm of storytelling and art is a delicate and novel task referred to as “characterization.” This process results in the creation of characters that are believable, engaging, and understandable for the audience. Characterization establishes a bridge of communication between the reader’s or viewer’s mind and the world of the story, enabling them to empathize with the characters, understand their emotions, and become curious about their actions and motivations, thereby increasing audience engagement.The corpus of this research consists of short stories by the Afghan author Mohammad Asef Soltanzadeh. The present study, relying on Soltanzadeh’s ability to utilize and develop story characters, is conducted in a descriptive-analytical manner. The aim has been to analyze the use of the element of characterization and the interaction between pragmatics and stylistics in three short stories from the collection “Nowruz is Only Splendid in Kabul,” considering Culpeper’s theoretical framework (2017). The results of this study indicate that characterization consistently follows three elements: the degree of narrative control, the dialectic of self and other, and explicit and implicit meanings within the overall narrative discourse, which the author skillfully employs.
 

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Every person in society has a perception of reality and the translator is no exception. Identity construction is somehow related to reality construction. So the main issue is not how the narrative is constructed as a text, but how the narrative acts as a mental tool in constructing reality and, consequently, identity. Like the controversial issue of language-thought, it is not easy to deal with narrative discourse and narrative thinking, since the reality existed in the mind, depends on the spatio-temporal framework of the culture. Eelaborating on the concept of narrative identity, and Goffman’s Frame Analysis and its applicability in the mentioned concept, this paper shows how society, as a cultural frame, forces the translator (or the publisher) to retell the narrative and to reconstruct the identity, and why this identity formation will be more pronounced in the paratextual elements (translatorial & authorial prefaces). Analyzing the frame, along with literature and media, it proposes a hybrid model based on Somers’ features (Paul Ricoeur’s Mimesis), and Goffman’s Framework for the concrete manifestation of renarration, and the incorporation of the core conception of identity formation, to indicate how orientalism concepts have been renarrated in translatorial and authorial prefaces of Edward Said’s Orientalism, affected by structure or agency during 80s in Iran, and how these prefaces play a role in framing readers interpretation. Finally, it has concluded that, regarding structure/agency, and the involvement of multiple agents in translation, different author-functions and identities have developed through the presentation of the prefaces in question.
 

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The Historical Ashura books are historical reflections of the Ashura event and they are expressed in the form of narration. The application of new theories of literary criticism in the analysis of historical provides a better understanding of the narrative context of these works. The purpose of this study is to introduce an unknown Ashura historical book and its narratology from Todorov's point of view. This article tries to examine the syntactic level of narration in the book Sar-e-Asrar in a descriptive-analytical way. So that narratives better illustrates the narrative structure of such works. Todorov's narrative analysis is one of the most prominent structuralist approaches that deals with manifestations such as syntactic representation. According to the findings of the research, the narration with its developments, propositions, etc., which show the syntactic manifestation of the narration, has advanced the design of the narration. In terms of linguistic structure, the murder is based on the traits and actions of the characters. From a syntactic point of view; It has ten basic enhancements that include a minor enhancement. According to the findings of the research, the narration with its developments, propositions, etc., which show the syntactic manifestation of the narration, has advanced the design of the narration. In terms of linguistic structure, the book is based on the traits and actions of the characters. From a syntactic point of view; It has ten basic enhancements that include a minor enhancement. Descriptive and present propositions have emerged side by side with various narrative aspects...

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Mirajnamehs are narrative poetry that refer specifically to the Ascension of the Prophet Muhammad (PBUH). The creators of these poetic texts have composed their works by imitating or slightly changing the prior ones. Following the approach of Searle’s speech act and Genet’s hypertextuality, the analytical –descriptive method, and library research tools, this article explores the structural and linguistic interplay of Mirajnamehs. It was hypothesized that the poetic texts were hypertextually connected and the contemporary narrators consciously followed the prior narrators in composing their poems. Examining 26 similar sequences indicated that not only the works of Sanai and Khaqani with 17 subordinate poets were hypotexts of other texts, but also Sanai, Qawwami, Akhsikati and Molana were not subordinate to other poets; moreover, it clarified that contemporary poets had a greater tendency for the change rather than the imitation; in addition, it revealed that the quantitative generative transformation of the aesthetic expansion type as well as the applied transformation of the qualitative internal type had a higher frequency; furthermore, it showed that the most diverse speech acts were those of Helali and the most frequent ones belonged to Khajoo. All things considered, detailing, adding figures of speech and act episodes and actors, description, educational and moral discussions, creating a contrast between two concepts or characters, creating dialogues and using auxiliary characters were the reasons for the high frequency of speech acts in similar sequences.
 

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Narrative discourse and the arrangement of its components that reflect the narrative world provide the accessibility terms to the ideology and hidden values in the text; hence, it is important in the multilateral understanding of literary texts. Because the experiences and comprehension of the authors in interaction with the surrounding world do not have a similar effect on their perception, the narrative discourse changes from one narrative type to another.In “Biroon Az Gozashteh” by “Mehri Bahrami”various worlds coexist, there is no border between reality and fantasy, and the multiverse idea helps to understand the narrative discourse of the story. The main objective of this article is to show the selection of elements of the discourse through which the author constructs the story and the dominant ideology of the text, by investigating the narrative discourse of the novel. This research is text-oriented and has been done using text analyzing method. The main focus of this article is to investigate criteria such as the narration type’ various kinds of narratorsand their relation with the characters’ embodied experiences the narrator and characters and in line with it the formation of aesthetic and symbolic objects and hidden location in the narration. In this novel, the narrator’s subjective functions and her connection to other constructive elements of the text have an identity function and reflect the ideology of a text that tries to depict a woman who wants to pass behind her cultural-historical past and create a new self of herself.

 

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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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One of the important problems in Structuralist narratology is the relation between narrative and time and the manifestation of time in narrative.Some philosophers such as Paul Ricour believe that understanding time in an abstract form is very difficult but the action in narrative makes the time objective and concrete.According to Structuralists’ analysis, time, -with causality- is one of the essential components in developing the narrative.In addition, every narrative text has two times:the narrative’s signifier time ( the time it takes a reader to read a narrative text) and the narrative’s signified time ( the time taken up by the events of the narrative).The Structuralists, especially Genette, have posed three issues regarding the time in narrative: 1- Order,i.e.the way the events in the narrative are ordered and presented 2- Duration,i.e.the relation between the length of time of the story and the time of the speech or the signifier of the narrative 3- Frequency,i.e.the number of times an event occurs and the number of times that event is narrated.In addition,at the end of the article, different kinds of relations between the time of occurance of the events in the narrative and the time of their narration by the narrator are examined.

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One of the style-oriented features of narrative texts is frequent application of “epithet” with various functions. In documents and texts of narrations, epithet often refers to persons through expressing the parentage relationships, such as a proper noun; however, in addition to the foregoing, in many of cases not as per such parentage relationships, but through a virtual implication, it makes a certain name for someone to show him/her as considerable in being attributed to a certain feature, so that again it virtually names other phenomena or even abstract concepts. Whereas the epithet discussion is fully based on Arabic culture, it causes certain challenges in translating narrative texts into Persian; especially due to the fact that apparent inclusion of the same in Persian text as a proper noun hides the relevant variable semantic implications; like the fact that due to the syntax and spelling differences between Arabic and Persian languages, the aforementioned also causes further problems in terms of writing. The action of translating narrative text into Persian language enjoys a considerable background, but after all, the problems caused by epithet inclusion in such action have not been studied in any independent work. Relying on several samples taken from the narrations of Bihar Al- Anwar Book, this study addresses and analyzes some of the major issues caused by transferring epithet in translating narrative text into Persian and then practically gives certain solutions to solve such issues and problems.

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The purpose of present article is to introduce the basic constituents of the story blueprint, and principles governing them. By the story blueprint I intend the reader's inference about some relatively short sequences of narrative events. The local rules operative on these sequences help the reader discriminate story characters' goal-directed actions from unintentional events and states, before mentally modeling an overall structure of interlinked larger sequences within a storyworld. Action, event, and state are among the concepts inextricably connected with the notion of story and reiterated through the history of narrative analysis. The concepts at issue, and with them the nature and scope of narrative itself, have been further illuminated by recent insights offered mainly by linguists, philosophers, and cognitive scientists. Most of these developments occurred long before the establishment of cognitive sciences, and even before the heyday of structuralist narratology. But despite their availability at the time, they have been brought within the compass of classical theories of narrative since only a couple of decades ago. Narrative theorists argue that to tell and comprehend stories is to operate within a system of rules in which events are preferentially viewed as structural sequences of intentionally-oriented actions. In recent works on the semantics of verbs, however, language theorists have made finer-grained classifications of expressible events, with actions as a mere subcategory. This article is thus meant to explore some of the implications of verb semantics for narrative theory, especially as concerns typology of narratives under various genres.

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Epic is the oldest type of literary that its form is similar to story, because epic, like a story, has three parts: beginning part, middle part & ending part. Epic is descended from myth. It also encompasses story and novel inside. This paper tries to achieve better understanding about a part of epical literature, which reflects on epical tents and enjoys narrative features and symbol language. Description and specification of narrative structure of pictorial and basically language epic through Mick Ball’s theory is the purpose of this writing. Rostam and Esfandiyar story is chosen because this paper tries to show features of narrative tents in literary form. Then these features are studied based on Mick Ball’s, theory to show Ferdosy’s, s tendency toward story waiting elements & structure of narrative tents. This paper shows that epical story (both pictorial and basically language) like other types of basically language stories, has story line (beginning, story progression toward Elman, problem solving and final result).  

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Julien Greimas, a French man with Lithuanian descent, has a great knowledge on semantics and narratives. Greimas, who is one of the highlighted European thinkers on the grounds of “Componential analysis” of semantics, has tried to present a coherent and systematic pattern for the study of narration and story. This article is based on the semiotics analysis of “Mahi seyah kochoolo” (Little black fish) story and it tries to review the semiotics phase of this discourse according to Greimas model of study. In this article, we examine the semiotics process of “Mahi seyah kochoolo” story in order to find a right answer to this question: “What are the main elements, which make meaning in the aforesaid story?” In other words, “What are the elements of meaning production in this story?” The aim of this article is to review the narrative features of this story in order to make clear that how a story will pass from itself to break the narrative restriction and cause narrative diversit.

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Myth and archetype represent the universal aspirations and ideas of human. On the other hand, they represent religious experience and exposure to Holy Existence. On this basis, the mystical narratives are the basic vehicle for development and exposure of archetypes and myths. As for symbolism, and the significance of mystical narratives, necessary to interpret for understanding their texts and to obtain narrative functions, we have surveyed three authentic and effective texts of Attar`s Tazkarat-ol-Olya, Hojviri`s Kashf-ol-Mahjoob and Goshairieh’s Resaleh with mythology approach. Because the mystical narratives benefit from all components of the thought and culture sphere of human, especially archetype, we have reviewed, classified and decoded, according to the their texture, have archetypes such as tree, mountains, caves, animals, colors, cycle and center, the names and numbers in the mentioned three texts. This review illustrates that mystical narratives like other areas of human thought, benefit from myth and archetype to achieve its objectives and functions as one of the dominant elements. Based on these features, many mystical narratives use narrative folk or close to their structure. Archetype and myths explain religious experiences in mystical narratives, which are covered in symbolic forms. Although mythological elements have a bond with Holy Existence, they take distinctive color and odor to the mystical narratives, and describe and three stages of birth, death, and rebirth, and encounter with Holy Existence.

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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 narratology, with a relatively vast domain, is the center of attention for many circles of literary criticism. Besides, the relation between narrative elements with other fictional elements has introduced various new perspectives in the field of literary criticism. The aim of this article is to explain and analyze several narrative techniques, and also to show some instances of these techniques in the Masnavi’s tales. The focus of this paper will be on four major concepts, namely narrative past, Material and mental process verbs, narrative proceeding and intercalated narration. In the part devoted to narrative past, the different functions of the tense of the verb in fictional and factual texts is explicated. In the next part, it is discussed that the reporting of the persons’ external verbs like eating wearing running and the like can occur in nonfictional texts; yet, explanation of the internal verbs like thinking, hoping, and etc., is possible only in fictional texts. In the third section of the paper, the linear narrative and interruption of linear narrative will be dealt with. Finally, in the last part of this paper, the concept of intercalated narration is explored. It should be noted that the intercalated narration involves tales in which the narrative framework proceeds alternately between fictional acts and characters’ dialogues.

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This study is an analysis of the narrative prose of Aviny in his narrative Ravāyate Moharram1with regard to the features of narrative intelligence and the narratological features of his prose based on Randall’s (1999) framework for the Narrative Intelligence Theory. Although many claims have been made about the unique qualities of Aviny’s narratives, none of his works have been academically analyzed to show the narratological features in his prose. The researchers believe that scientific analysis of Aviny’s works based on reliable narratological theories can substantially contribute to a better understanding of the special qualities of his style, and using them in new forms and contexts. In the present study, narrative intelligence promoting mechanisms and their realization in Ravāyate Moharram are quantitatively and qualitatively analyzed using Labov’s (2001) narratological model as a structural instrument. The linguistic manifestation of some narratological features of Aviny’s prose are discussed from a stylistic perspective.

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This study is a stylistic narratological analysis of Ravāyat-e Moharram (The Narrative of Moharram) by Seyyed Morteza Aviny based on a framework adopted from Randall’s (1999) Narrative Intelligence Theory. Although many claims have been made about the unique qualities of Aviny’s narratives, none of his works have been academically analyzed to confirm the narratological features of his works. The researchers believe that scientific analysis of Aviny’s works based on reliable theories of narratology can substantially contribute to a better understanding of special qualities of his style, and using them in new forms and contexts. In the present study, mechanisms contributing to the promotion of narrative intelligence and their realization in Ravāyate Moharram are quantitatively and qualitatively analyzed using Labov’s (2001) narratological model as a structural instrument. The linguistic manifestation of some narratological features of Aviny’s prose are discussed from a stylistic perspective.

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In this paper, we researched about poetry “Katibe” (inscription) according to the theory of morphology. For this purpose, we defined the theory of morphology. Then, according to this theory, this poem has been analyzed. This poem is divided into roles, personalities and movements. Katibeh (Inscription) is a narrative poem that has dramatic structure. In this poem, the reader sees the story from the poet's point of view. There are twenty-three roles in the poem. Characters in these poems are divided into two categories: Human and natural. In this poem, five characters are doing things and there are three movements.