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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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Rahbari.M.                                                                       
 
Honore de Balzac, the French realistic author, offers us a work that might be the one of the greatest real-fantastic works in 19^th century. In the story of Leather Shagreen, the reader is introduced two Balzac’s mental aspects of Balzac namely critical point understanding and imaginative Balzac which explain Balzac’s interests in supernatural forces, talisman and superstition. The story Leather Shagreen points to a pieces of miraculous leather which surely is similar to Solomon’s seal. In this comparative study, we showed the two stories’ similarities, which indicates that stories might have a common source. Then the characters and elements of the story are studied.
 
 

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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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Metalepsis, in its narratological sense, is a trope in which an unnatural relationship is built between different levels of narrative. The natural relationship between narrative levels is formed by the act of narrating; a character from one level becomes the narrator of another. The term “Metalepsis of topic and illustration” can be coined to name a similar trope. This trope has been used for centuries in Persian poetry. Every Image comprises a topic and an illustration. The topic is what is being talked about and the illustration is what the topic is compared to. When several images are present along together, two different levels are distinguishable: the level of the topic and the level of illustration. The natural relationship between these two levels is similarity and any other relationship will result in metalepsis. As in the narratological metalepsis, there is always a paradox in the metalepsis of topic and illustration. The effect of these two kinds of metalepsis is also similar and can be humorous, fantastic, or a mixture of the two.