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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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This paper examines two modes of fantastic genre, i.e uncanny and marvelous, with regard to the stories of Tanookhi's the Relief after the Grief. We will start by a discussion of Todorov's work on the 'fantastic'. In doing so, the etymology of the keywords and the review of literature are also given. Then, it is referred to Todorovian structural approach to 'the fantastic'. Due to this approach, it is told that in the fantastic stories of the book (sometimes titled as "keraamaat" genre), the reader has to experience the world described as a possible or impossible world full of fear and strange: depending on the readers to explain the occurrence of strange events naturally or supernaturally, the stories may undergo the category of uncanny or marvelous, respectfully. Finally, as conclusion and new results, it is said that in the Relief after the Grief: 1) the focus is on one central character as the center for all events 2) events of the stories are seen through the focal point of this character as the main narrator- focalizer and 3) The reader’s point of view should be that of the central character and the events should be focalized through his eyes.

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Talebian.Y.,PH.D
Hosseini. N
 Abstract:
 
In the several last decades, structural approaches of the study of narrative had a great affect on narration and folklore. The first research in the field is a prop's, the morphology of the folktale" generalized and completed by some rhetoricians including Todorove, which analyzes the narratives into bits and studies the relations of them in categories of theme and space order.
This study, based upon the Todorve's view, deals with the typology of narrative in Sandbadname, an Iranian narrative, so that places it in the row of mythological narratives as Hezaroyekshab (one thousand and one night), an Iranian legend and Decomeron a European one, mentioning some traits of it and comparing them with the specifies of mythological narratives.
 
 

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This paper examines the tradition of writing ‘adjā’ibnāmeh as the fantastic writing. The question is how we can/not regard ‘adjā’ib (marvels) as fantastic. First, we refer to the literature of both ‘adjā’ib and the fantastic. Then, the etymology as well as the religious and socio-historical origins of both words is examined. It is concluded that the fantastic has a root in fancy and mental hallucination while ‘adjā’ib has its roots in reality, originating from observer’s exact observation. Then, Todorovian structural approach to ‘adjā’ib is counterbalanced, showing that some tales of ‘Adjā’ib-e hend conform with the five kinds of the marvelous fantastic in Todorov's diagram. In sum, it can be claimed that ‘adjā’ib conforms only to certain aspects of fantastic writing.

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With the promotion of the structuralism theories, narration was assumed as the structure and each individual theorist tried to explore the constituting elements of the narrative structure, offering a basic pattern for it. One of these theorists is Tzvetan Todorov.
The narratology of "Maghamat Hamidi" based on the model suggested by Todorov shows that the element known in here as "Maghame" (status) follow one unique narrative structure. The narrative structure of each of these status elements relies on three minor parts (known as "Peiraft" in here) which stand in a certain order one after another. In addition to the three minor parts, in 60% of the major elements (Maghame), two other minor elements are present due to reasons such as foreword for future discussions; expressing the reason of occurrence or as the reciprocal pair of the major element (in this case the Peiraft). These minor elements regularly make a chain and in one case are internalized. Regarding the fact that the narrator goes to a trip in all the major elements (Maghame), this is situated in a lecture or advice-like atmosphere and finally learns some points; in other words the basic grammatical elements of Maghame is travel, debate, lecture and learning which has roots in a Prophet's saying.
 
 

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Marxism is one of the most influential and yet controversial intellectual and philosophical movements in the twentieth century. Some critics have viewed Marx’s theory of history as unscientific and rather religious, mythic, and literary. Following that, we can understand his philosophy of history as a narrative text and therefore analyze it with the tools of literary criticism. In Iran, socialist realism style was introduced in the mid-1320 sand arose to extend the teachings of Marx and socialism. Drawing on the structuralism of Tzvetan Todorov and Marxist historicism, this paper studies the structural similarities of some of the most famous novels of Persian socialist realism, namely, Dokhtar-e Ra’yat,[1] Chashmhayash,[2] and Hamsayeha.[3] According to Todorov’sGrammar of Narrative, all the actions in these Iranian socialist-realist novels and their Marxist narrative of history can be reduced to three fundamental and recurring propositions: (1) establishing of a new authoritarian order or capitalism (equilibrium); (2) the emergence of class consciousness (lack of equilibrium); (3) repression of the opponents in the Persian novels, or realization of a classless society in Marx’s approach (equilibrium).   [1]. The Daughter of the Common  Man [2]. Her Eyes [3]. The Neighbors

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Alireza Nabiloo , PH.D.
 
Abstract
In this article, four anecdotes i.e. Siyavush and Sodabeh from Persian literature, Konaleh and Tishirak Tshita from Scythian literature, Yousef and Zulekha from Semitic literature and Phedre and Hippolyte from western literature selected and have been studied based on the content analysis of Todorov. In all these four anecdotes, actual and incidental circumstances and proposition can be reached in the similar fashion. In other words, all peripheral incidents show three personalities and in each of these anecdotes, queen falls in love with a boy but the boy remains faithful to the king, uncovers woman’s love and charged with and at last, the fact is revealed. The propositions of these stories emerge identical with the situation, traction and adjective. With reference to the viewpoints of Todorov, existence of five-dimensional aspects i.e. predictive, prerequisite, supplicating, conditional and foresighted have been studied in these four stories and these matters emphasize more on the similarity of permissible structure of the stories.
 

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Sepideh ـJavaheri.
Mahdi Nikmanesh,PH.D.
 Mahin Panahi,PH.D.
Abstract
 
Mosibat Nameh is the longest and apparently last elegy of the three elegies of the renowned Iranian poet, Attar. The narration of the journey of a wayfarer who has embarked on the path of Sufism raises the opportunity for study of narrations; given the particular narrative features of this elegy and its mystical origins. In this article, the narration on the wayfarer’s journey is studied based on the view point of Tzvetan Todorov; the Bulgarian-French historian, philosopher, literary critic, sociologist, and essayist. Among the three manifestations that Todorov proposes for study of narrations, the verbal manifestation is taken into consideration for study of this narration. The study of the four elements of aspect, time, view, and tone in this manifestation shows the concurrency of time and narration in a large segment of this adventure and the high frequency of the uniaxial narration in the time zone; the superiority of the reporting aspect of the narration; the outside viewpoint; and the focus of the narrator on the wayfarer in the first place, and the addressee in the second place.
 

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Majid Hushangi. PH.D
Fatemeh Jafari
Abstract
In this study, efforts have been made to analyze and study the narrative and structural integrity of Aql-e Sorkh treatise of the acclaimed Iranian philosopher and mystic, Shahab Ed-Din Sohrawardi, based on narrative norms and the theory of literary critic, Tzvetan Todorov. Upon the consideration of role models and the grammar of the text, it was concluded that Sohrawardi has made use of the unity of narrators and has expressed four series in a narration which matches the approach of Illuminism school of thought, and has taken advantage of the element of time to exit the linear repetition, while getting close to modern narrations.