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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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Approaches and intensions (purposes) of dialogue in Mazandarani and Khorasani folk couplets
Abstract
Conversation is one of the basic devices and techniques used by the writers and poets to bestow a deeper understanding of their intensions to the reader. This literary device has three manifestations in literature: Dialogue, monologue, and homologue. Although dialogue is mostly used in dramatic literature e.g. tragedy and stories e.g. novel, it has its special aesthetics in folk literature. Through a descriptive analytical method, this study was set out to investigate the approaches types in dialogues and the purposes behind them in the couplets of Mazandaran and Khorasan. Results indicated that dialogues and monologues were mostly used in folk literature. In dialogue, purposes such as asking for a kiss from the beloved and the presence of another lover are discussed. Public dialogues, within the theoretical framework of this study, were not observed in couplets. The researchers have investigated couplets addressing the public based on the purpose of the lover asking for witness to his own purposes and intentions.
Key terms: dialogue, monologue, homologue, folk couplets Mazandarani and Khorasani
Vida Saravi: Ph.D. candidate in Persian language and literature, Roudehen Islamic Azad University (corresponding author)
Mahdi Mahuzi, Associate prof. of Islamic Azad university Branch of Roudehen
Mahmud Tavossi, prof.of Islamic Azad university Baranch of Roudehen

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Fatemeh Moeineddini, PH.D.
 
Abstract
Molana, known in the west often as Rumi, elaborates and conveys a significant extent of his story narrations through dialogues. Some of these dialogues do not have a specific audience, in other words, one of the heroes or even the narrator of the story himself speaks with himself in moments filled with severe passion and excitement. In this manner, this character helps the process of the story; while he reveals his consciousness or unconsciousness; so that the reader is informed about that particular character. It is actually through this method that Massanvi’s monologues are formed. According to the author’s purpose, structure and his particular linguistic shape and patterns, Massnavi’s monologues are divided into three types; intrinsic, dramatic and. self revelation.
The types of monologue play an important role in turning external point of view into an internal point of view. As a matter of fact this point of view suits Rumi’s main method in narration; as his stories often start with quite an open focus associated with the omniscient point of view, but then gradually the point of view and the focus of narration becomes narrowed and closed.
This paper was prepared through exploring documents, offering the results in an analytical-descriptive form, in order to survey the different types of monologue in Massnavi.
 

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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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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.