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Bayat ,H. ,PH.D.
 
Abstract
 
The stream of consciousness stories are called sometimes as time stories ,due to its special approach toward the concept of time. In such stories, present and future times are removed in order to present a revelation from the present time. In such situation, time continuous sequences is replaced by intensive interlinked memories systematized not only based on the time sequentional but based on the depth of the experience.In this stories  past, present and future times are also interlinked.
            The writers of stream of consciousness approached to various types of skills for reflecting the human mind and its adjustment with time. Final return to time, continual change of narration between past, present and future time, long narration from past in form of the whiles limited to present time, continual change of the narration of the story between the person’s mind layers of difference and so internal and external time or clock time and mind time, exploiting the reverberations integrating past and present time, unflavored use of verb tense ect, are the methods applied to show the various  considerations of minds upon the time concept.
            In this paper when the most important west stream of consciousness stories are studied from the view point of the way for time concept use, it is tried to study the various writers’ special approaches in this regard and then they are compared. Finally, some Persian novels are studied from this view points.
 
        
 

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Taslimi ,A. ,Ph.D
Abstract: 
This article presents the characteristics of the postmodern fiction. The examples of these characteristics are found in a variety of Persian novels, long and short stories, although sometimes the foreign stories have been quoted as well. The main concern of the article is the manner of the arrival and presence of postmodern characteristics, postmodern theories and mechanisms in short story and novel. This matter has been categorized into three headlines:
 
1-Expressing the theory in text through establishment of the theoretical story ;  
2-Applicating the theory on the surface of the text ;
3-Applicating the theory on the deep structure of the story which is the highest achievements of postmodern art;
 
A theory revive in fiction; for example, non–obedience of the  character from the author shows the death of author idea in the deep structure of the fiction. 
 
 

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One of the significant elements in the formation of narrative structure is the sequence of its events which is explored under the umbrella term of temporal element. Abbas Maroufi’s novel Peykar-e farhadis a work in which real and imaginative times are what narrative is based upon. The novelist relates, in the novel’s surface structure, one single story in three different temporal frames, yet breaks the narrative linearity, so that for the most part the existing relations and temporal order of events remain obscure and, consequently, time, losing its quantitative value, fades away in the narrative. The current paper attempts to survey the order of events and narrative temporality in addition to studying how the author, by deploying some features of stream of consciousness, has narrated the mental structure as well as confusion of the novel’s female character. These features range from temporal and spatial turbulence, free association, author’s textual removal, and assigning a role to the reader in narration act due to direct displaying of disturbed subjectivities as well as uncensored stream-of-consciousness memories—being the same as pre-lingual mental layers—to utilizing internal monologue and soliloquy in some parts of the story, poeticness, mental obscurity and difficulty of finding the decisively right meaning for the novel with the purpose of developing a particular narrative technique.

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Javad Asghari.PH.D.
 
Abstract
“Stream of Consciousness” is one of the modern techniques for narrating a story which has been of particular notice to the story writers, especially in the last century. This method is one of the most prominent methods in narrating a story and writing psychological novels, but despite what might be imagined by some of the readers of this article, this technique differs with “inner whisper” and “mental analysis” techniques. Actually the first psychological stories, or in other words the initial appearance of these stories was in the form of “inner whisper” which gradually developed and later on found its form as our discussion conveys in both story form and modern novels. This article makes an attempt to offer a clear and precise definition of this technique, while it discusses its methods and characteristics, added to the basic principles and the psychological principles of the related technique.
 

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In recent years, more than twenty articles have been published in scientific Persian journals on stream of consciousness as a narrative mode. But in some of these articles, there is little knowledge about the theoretical aspects of this mode of narrative. This paper reviews 18 articles published in scientific journals on the subject and studies their errors. Some of these errors are as follows: misperception of the concept of the unconscious and its place in the internal monologue narrative, mistaking dramatic monologue for stream of consciousness, confusing internal monologue with other forms of first-person narratives, and misunderstanding the concept of soliloquy. One of the causes of these problems is that the authors do not refer to reliable sources. Another problem is the evaluation procedure of some journals that allows these articles to be published.

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A number of Persian literary studies in the recent years have connected the unconscious to the internal monologue and stream-of-consciousness narratives. Conversely, psychoanalysis has taught us that the content of the unconscious has a nonverbal, obscure, and hidden character and, in fact, because of the resistance from the human conscious psyche, this content do not have a way to become conscious and only perhaps someone like a psychiatrist or therapist can interpret it through intermediaries such as dreams or psychosis symptoms. Since such a claim is limited mainly to Persian articles and books, the present article has critically reviewed some of these studies and their theoretical resources. My conclusion is that this error is sometimes caused by lack of proficiency on theoretical issues and often is the result of untrustworthy and secondary theoretical resources. In contrast, in the more reliable scholarships on the stream of consciousness in fiction, the claim of imitating unconscious in this kind of fiction—unlike certain psychological and surrealist stories—is refuted.

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By adopting an analytic –descriptive research methodology, the present study analyzes the narrative acceleration in the “Stone of Patience “novel. To assess acceleration of narration, Gérard Genette divides the time of narrative text’s reading in the required time of novel’s events to be happened in real time. In this novel with stream of consciousness narrative technique, the future comes back in advance. From this view point, frequent retrospections along with several long shows guaranty the existence of novel. In this novel, temporal limit of fiction is not clear and the measurement or assessment of narrative acceleration based on speculation is not realistic. Since fictional axis of this novel except the shows are the result of two or more characters’ monologues. To assess narrative acceleration in each fictional axis, it should never ignore this phenomenon in the narrators section of that part. It is expected that narrative acceleration in this novel be fix and neutral due to this fact that the “Stone of Patience” is a text with numerous scenes. But, this novel is full of descriptive and explicative pause, retrospection, the representation of characters’ internal world and outer fictional narratives making the narrative acceleration slow.