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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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 Narration (Naqqali) is one of the oldest jobs, which is common in Iran. Some of the narrators (Naqqals) were engaged in Kings Court, known as the “Samar Khan”, “Qesse Khan” and ”Naqqal”. “Naqalbashi” was a position title in the court of Qajar. Some of the Narrators (Naqqals) were “Naqibalmamalek”. One of the most famous Naqibalmamaleks was the narrator of Amir Arsalan. Years after the publication of Amirarsalan's introduction by Mohammad-Jafar Mahjoub, Mohamed-Ali Nqibalmamalk was known as the narrator of the story. In recent years, a number of researchers in the field of folk literature know Mirza Ahmad as the narrator of Amir Arsalan. This article primarily explains Mirza Ahmad’s biography and then, according to one of the most important resources in Qajarid period, proposes that Mohammad Ali Naqibalmamalek was the narrator of Naseraldinshah’s court as well as Mirza Ahmad, and therefore, jodgement on which one was the true narrator of Amir Arsalan is too difficult.

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The scientific view and analysis of folk culture causes to the understanding and recognition of nature of internal elements and factors in fluential in the process of oral culture. Storytelling is one of the oldest forms of oral folk literature. In ancient times, the storytellers used to transfer their history, traditions, religion, customs, heroism, and ethnic Pride from one generation to other generation. Basically, the story is created and objected when it is quoted from the language of its narrator. The storyteller or narrator finds his/her ego in the story, and in order to attract the reader or listener, employs the best of his/ her artistic taste and talent to help to further define the story. This cause changes in the structure and content of the story. The present study explores the role of story teller in the formation of the story, and seeks to find the teasons encouraging to make changes in course of creating a story. A note worthy point obsersved the authors during the recording and collecting the collecting the Amureh stories within the last two decades is that there are a huge lurden of various narrations of a single story due to the multiplicity of story tellers and their possible manipulation of the story.

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Dolatabadi is the most prolific author of the last two decades in Iran. Before writing novels and creating his great works such as Saluch's Absence and Kaleidar, Dolatabadi wrote long short stories, which shows his interest in writing novels. There have been only a few studies on his works and those available are mostly about the content of his stories and novels. This paper is a study of fourteen short stories by him with a particular attention to issues such as plot, point of view, characterization, and the type of beginnings and endings in them. A brief review of Dolatabadi's life and works before 1357 as well as some scholars' views of the narration and narratology in his works will precede the main discussion.

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Passive Nihilism in “Boof e koor” By: Dr. Sayed Kazem Moosavi Fatemeh Homayoon Abstract: Nihilism in the beginning part of “boof e koor” and its similarity with Nietzsche’s nihilism is an issue that has already been explored by writers of this paper. Despite the fact that Nietzsche’s influence is not deniable in Hedayat’s work, this nihilism radically different from what Nietzsche recognizes as “active nihilism” and is realized in Zarathustra. The distinction between the Narrator and Zarathustra can be investigated in the second part of “Boof e koor”, which is in fact the practical nihilism of this book. This paper unearths the similarity and distinction dimensions between Zarathustra and the Narrator of Boof e koor and explores “passive nihilism” especially in second part of this book. The paper also argues that although the Narrator has mentally reviewed Nietzsche’s argument, he approves of it, and, in the first part, thinks about killing the celestial girl; this girl's deep influence - that is in fact a realization of the extraterrestrial world- and narrator's passion deter him from being able to practically obliterate influence of the prostitute’s presence, that is the social symbol of the celestial girl, from his life.

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The Difference between Narrator and Spoken Narration: The Analysis of “Lion and Cow” Story in Kelile and Bidpay The comparison includes: narrator’s participation in the beginning of the story, extradigestic and intradigestic narrator, the role of narrator in lexical emphasis, narrator’s tone, the mode of narrator’s conclusion, the focalizer-narrator, and strong appearance of the narrator in the end of the story. Finally, the difference between two styles in narration of two texts (Kelile and Bidpay).  

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Haft Lashkar is one of the examples of comprehensive scroll written by an anonymous narrator in the Qajar era in 1292 BC. This title has been allocated to the name of one of the famous battle - narration due to its reputation and popularity as scrolls comprehensive.
Narrative aspect of the text is the prevalent factor of relationship between literature and drama. Imitating the movements of individual states by the narrator will orient the text toward the dramatic storytelling. In this case, narrator’s structural- subjective manipulation in the text of comprehensive scroll, in addition to explain the position of his/her, prepares the way to special narrative techniques in order to increase dramatic content of the work.
Based on Gérard Genette theory, in the present study narrative features of comprehensive scroll are examined in order to orient the dramatic content. Accordingly, the structure of narration in narration (Trans-narration), besides other narrative properties like order, voice or mood in the form of retrospective or prospective, focalization in narration and the relationship between focus and omniscient narrator are among the important narrative aspects of the present work which have shaped the orientation of dramatic text. 

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 A. Nabilou.PH.D. 
M.Akbari.PH.D.
Abstract
This research has surveyed the stories in “Toti-Nameh” from a variety of different aspects. “Toti-Nameh” is a series of lyrical prose and allegorical stories related like “A Thousand and One Night” stories. Most of the story features can be traced in the “Toti-Nameh” stories; such as emphasis on incident, the existence of supernatural factors, loose connection between the cause and the effect within the events, absolutism, ending with moral conclusions, the inalterability of characters, the quality of narration and also having an assumption about the setting- including both the time and place. The tone of all the stories is serious and there is actually no sign of humor and wit in them. Toti-Nameh is combined of 100 stories. About 521 characters are used in these stories; while 67.5% are general and 32.5% of them are specific ones. Most of the characters are chosen from the animal species ( 22.5%) and then the important individuals with a high position possess the second place with 19%. The narrators and storytellers in “Toti-Nameh” stories include; the parrot ( the Persian name is Toti) which relate about 57% of the stories. Animals such as shark, snake and jackal etc make up 11% of the stories, humans such as the monk; minister and king etc narrate 18% of the stories, whereas the narrator of about 6% of the stories is unknown. Among the 100 stories, 69% enjoy action while the other 31% lack any specific action at all. Also about 54% of these stories bear moral conclusions and advice, while the rest don’t bear this characteristic. Thirty five percent of these stories point to supernatural incidents, fifteen percent have a particular time setting, but eighty five percent of them lack any specific refer to the time. In addition, about 50% of these stories possess a place setting, though the other 50% do not mention any certain place for their setting. This survey has revealed the findings through charts and tables for a more clear and tangible understanding.
 

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Maryam Bayad. PH.D
Q.Karimi Doostsn.PH.D
Zakarya Bezdodeh
 
Abstract
This article means to survey the focus of attention and the focus of narration in the narrative theories within a novel entitled as ”Turn of the Screw”. Within the narrative approaches, there is no tendency to make discriminations between the two aspects of point of view in narration. The distinction between the two concepts of narration and focus of observation were of notice before Gerard Genette; the famous French narrative theorist. Yet Gerard Genette made a systematic study on this distinction. Genette used these two different terms for point of view, in which the first one relates to the act in which verbal transfer of story takes place by the storyteller, ( narrator in literature) while the second one refers to the focus through which the narration is observed from these aspects; setting ( place –time) , psychologically and ideologically. Genette believes that in every narrative work two distinct aspects of point of view might be manifested through one single person or be transferred simultaneously through a few narrators and observers. In a narrative work such as “Turn of the Screw” by Henry James, which is as a matter of fact a prominent work in narrative literature, one can observe different aspects of point of view, in addition to focus of attention there. Therefore this research intends to study the two distinct aspects of point of view as mentioned and further on point to their significance within the best world literary works.
 
 

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Mohammad Ali Mahmoodi, Ph.D.
Hashem Sadeqi
    
Abstract
In a stream-of-consciousness novel, the author attempts to pave the way for his audience to encounter the characters’ mental experience directly. The characters’ mental content, which covers various levels of the mind and even reaches its pre-speech layers, is narrated within this variety of levels. Since connection of memories in the pre-speech layers of the mind occurs through association, one of the methods used by writers for showing the mentality of characters is association. In this case association becomes a device in the hands of writers for creating a link between the objective and the subjective world of the characters, in addition to depicting the constant flow of the mind from memory and a mentality, moving then towards another memory and mentality; finally depicting a picture and image which links to other related pictures and images too. This article is essentially concerned with the survey of association and its related features within the pre-speech layers of mind, its quality in the stream-of-consciousness stories, in addition to its correspondence with the mind’s mechanism. For this purpose, initially association and its governing rules are expressed, and then the significance of association in the narration of such fictions and its difference with recall is defined. Following this, the manners in which mentalities are offered in different methods of narration are surveyed through giving some examples from these fictions. The results of this research show that among different stream-of-consciousness novels, the method of inner monologue shapes associations more than other methods and develops through a high range of associations. Furthermore, utilization of recall of memories and mentalities in inner monologue counts as a weakness due to its contrast with the entity of the pre-speech layers existing in the mind.
 
 

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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.
 

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The “unreliable narrator” is of high significance among the modern narrative issues, that is a person due to the restricted knowledge and having no enough information, memory and Alzheimer disorders, psychosis, no attention to the grammatical signs in narrating events, speech and behavior contradiction, fear and doubt, as well as prejudice narrate those events which are incredible. Through the descriptive-analytical approach, the proposed research compares novels “Quabis Beirut” written by Ghadat-al-Saman, the Syrian author, and “Prince Ehtejab” written by Houshang Golshiri, the Iranian author, based on the components of unreliable narrator. The results indicate that the narrators of both novels are psychotic and disturbed, and this psychosis is more evident in the novel “Quabis Beirut” and the nightmare title of this novel is a clear reason itself for undesired mental state of its narrator. Both narrators have less information about the events; therefore, they regularly use the word "maybe" in their speech, and even when using the word "for sure", the sentences’ context implies their uncertainty. Both narrators are permanently in fear and hesitation states and transmit it to their reader. Memory disorder, uncalled-for repetitions, as well as speech and behavior contradiction have invalidated their narration, of course, the narrator’ non-reliability in Prince Ehtejab was prominent more with another factor called his prejudice against the Qajar dynasty, which prevented some reports being impartially presented.

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Ayyari, which dates back to the pre-Islamic Iran, was considered a socio-political phenomenon the main origin of which was the urban society. This class had such a position among the masses that most of the heroes of the folk tales were Ayyars. The influence of work and behaviors of Ayyars were not limited to such stories, but we also occasionally see traces and signs of it in the Persian heroic poems. With the spread of narration in Iran, the influence of Ayyari literature intensified in epic and heroic stories, and we see the peak of such literature in the figures named Rostam Yekdast / Kolehdast. This emerging figure, created and paid for by the creative and popular minds of the narrators, is a hero who stands up to Rostam and the Iranians, and challenges the heroic face of the Iranian people.  By examining the history and literature of Ayyari in Iran and the Islamic world, this study tries to portray the elements of Ayyari in the actions and behavior of Rostam Yekdast / Kolehdast. In addition, by analyzing the dual nature of Ayyari in the social and political history, it examines the dual personality of Rostam Yekdast / Kolehdast.

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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.

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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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Fereshteh Rostami

Abstract
 
The point of view is a window which is opened by the author for the reader for the latter to pay a glance at the events unfolding throughout the tale. The narrator is valued and treasured as long as he maintains his own voice. Whenever the narrator turns autonomous, the narration is harmed and the tale becomes unilateral.
This report has been carried out within the framework of categorization made by George Genette, within which five points of view in the stories authored by Daneshvar have been assessed. This article intends to realize that up to what extent the point of view in these tales has impacted the means used by the narrator and in regard to which point of view, the author has rarely interfered in the story. This article has come to realize that there are two types of voice in the said tales. Firstly, it is the voice of character or narrator which builds up the inner-text voices, and secondly there are the trans-contextual voices which are added to the text. In some points of view, there exist trans-contextual voices, and in other parts, inner-contextual voices are maintained.
The collection of data has taken place upon the assistance of library techniques. This process has been assessed with the descriptive-analytical methodology. At the end, the statistical graph will display the point of view and the scattered trans-contextual voice in texts.
 
 

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Authorization is a process in narration that according which the narrator constructs her/ his own legitimation and narration using the discursive articulations. The authors’ aim in this paper is to investigate the linguistic processes of development, maintenance and fixation of authorization which the female and male narrators use in the narrations. Hence, they provided a deconstructive reading of the authorization by Van Leeuwen (2007) based on Laclau and Mouffe (2001) and Derrida (1983). Then, in order to identify the linguistic tools of development, maintenance and fixation processes of the personal authority, they went through the “Se-Ketab” by Pirzad and “Solok” by Dolatabadi and purposefully examined those parts. Finally, it was found that Pirzad and Dolatabadi try to legitimize their own dimensions by using their selves and others’ positions, creating discursive nodes, and crystallizing around them. At the same time, they try to delegitimize by rejecting the meanings of the signs from others’ narratives. Also, on a larger scale, it was revealed that the two narrators’ self-representation was different; Pirzad constituted the discursive “We” and Dolatabadi an omniscient narrator. Neither of these two narrators could escape the paradox.

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