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The purpose of present article is to introduce the basic constituents of the story blueprint, and principles governing them. By the story blueprint I intend the reader's inference about some relatively short sequences of narrative events. The local rules operative on these sequences help the reader discriminate story characters' goal-directed actions from unintentional events and states, before mentally modeling an overall structure of interlinked larger sequences within a storyworld. Action, event, and state are among the concepts inextricably connected with the notion of story and reiterated through the history of narrative analysis. The concepts at issue, and with them the nature and scope of narrative itself, have been further illuminated by recent insights offered mainly by linguists, philosophers, and cognitive scientists. Most of these developments occurred long before the establishment of cognitive sciences, and even before the heyday of structuralist narratology. But despite their availability at the time, they have been brought within the compass of classical theories of narrative since only a couple of decades ago. Narrative theorists argue that to tell and comprehend stories is to operate within a system of rules in which events are preferentially viewed as structural sequences of intentionally-oriented actions. In recent works on the semantics of verbs, however, language theorists have made finer-grained classifications of expressible events, with actions as a mere subcategory. This article is thus meant to explore some of the implications of verb semantics for narrative theory, especially as concerns typology of narratives under various genres.

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Epic is the oldest type of literary that its form is similar to story, because epic, like a story, has three parts: beginning part, middle part & ending part. Epic is descended from myth. It also encompasses story and novel inside. This paper tries to achieve better understanding about a part of epical literature, which reflects on epical tents and enjoys narrative features and symbol language. Description and specification of narrative structure of pictorial and basically language epic through Mick Ball’s theory is the purpose of this writing. Rostam and Esfandiyar story is chosen because this paper tries to show features of narrative tents in literary form. Then these features are studied based on Mick Ball’s, theory to show Ferdosy’s, s tendency toward story waiting elements & structure of narrative tents. This paper shows that epical story (both pictorial and basically language) like other types of basically language stories, has story line (beginning, story progression toward Elman, problem solving and final result).  

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Expressing the Gnostic experiences and learnings through symbolic narrative texts have a long background. These texts due to exploiting the effective instrument for transferring the addressee from reality to objectivity and the narrator's mind guidance in the glorification manner provide the necessities of his/her transformation for separating from experiential ego and achieving the ideological world. In this way, Ghazzali's Resalato- Teir and Attar's Manteqo- Teir are two complete narrations with a masterful processing, which were written by a symbolic approach, which is indeed, a type of Gnostic epic that describes the heartfelt thought move in the form of adventurousness movement. In spite of the difference in the structure of both narrations such as: special attention of Attar to exploiting the intermediate narrations, using the primitive headings, explaining events and bringing on the stage the multilateral characters; consideration of Ghazzali to the joined narrative line, describing the unknown heroes and considering the maximum brevity in narration; the similarity cases of these two narrations are so important; as exploiting the viewpoint of “third person”, narrator as a whole wiseman and “travel” root in both narrations. Common feature is eventual distinction of travel; mobility, transformation and partnership of characters; and the indisputable governance of God (divine authority), which leads to the narrations having effective ability that is a solution of addressee's thought for moving from tangible to rational and determination to proof. Keywords: Comparative study, Narration, Resalato - Teir, Manteqo - Teir.

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Entry of Majaaz in the narrations is accepted by most of Islamic scholars; as they confirmed it independently or sometimes implicitly. However, some of scholars have accepted and it in the narrations, and practically have committed excessive interpretations of virtual expression in narrations. In contrast, others denied any entry of Majaaz in religious propositions and considered it synonymous false. Therefore, review of the views and theological foundations that shaped a range of absolute rejection to acceptance irregular is essential in understanding the right approach in the field of semantics and consequently, the correct translation of accounts. Each of the views, are based on foundations that of their owners accepted toward the nature of meaning. The rational hermeneutic-oriented approach -which most of its believers are attributed to the rationalism and logical and rule-interested interpretation of Majaaz expressions - is considered acceptable and reasonable approach in this area, so adopting it will lead to understanding and correct translation of narrations. As, a batch numerous Shi'ite and Sunni scholars such as Bukhari, Muslim, Saduq, Razi, Faiz Kashani, Majlesi and Qaradawi, in their traditional works have the same basis in the perception and understanding of the meaning of the narrations.

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The narratological approach in studying the fictional narrations structure provides an organized ground and a systematic pattern for analyzing the main elements of the narrative text, i.e. story and text. In the present research, the Do Donya (Two Worlds) is analyzed in a narratological approach and the first hypothesis of the research about the possibility of applying the structural of narratology for the modern fictional narration of Do Donya is tested. The reason for choosing the Do Donya fiction in the matters of deep structure, time, place and focusing is the conflicts and discrepancies which exist between death and life. The results indicate that the narratological approach with its componenets (including story level elements, such as time elements consisting of order, continuation and frequency; place elements consisting of fiction place and text place; characterization covering direct and indirect characterizations (action, speech, visual figure, environment and names deductions); focalization (internal and external); aspects of focalization conceptive, psychological and ideological)); narrating (the narrative levels (metafictional and subfictional), the narrative layers (internal and external)); representation of speech and thought (narration, crucibles (scenario, merely briefed scenario, indirect repetition of content, free indirect speech)) can present a structural analysis of all aspects of the narration of Do Donya story.

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Beyad ,M.,Ph.D
Nemati .F.
 
Abstract:
 
Focalization is like a prism through which the events and existents of the story’s fictional world are seen. As a literary term, Gerard Genette first used it in order to differentiate between "narrative mood" and "narrative voice". These two concepts respectively deal with these questions: "who sees?" and "who speaks?". When we read, we hear the narrator's voice; he is able to report what he himself sees and what the characters see. Assuming the transposition of another agent's perceptions in the narrator's report is what creates differences and divergences between various points of view. Moreover, the introduction of this term justifies the polyphonic nature of narrative since it deals with the various perspectives feeding the narrative.
 

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English

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Decoding Bibis` Narration Abstract Myths and mythical narration have several meaning and several values. This means that myths and mythical narration in meaning horizon of every tex and course , can be changed in term of surface structure and deep structure .Bibis`s narrations have two structures .one concerned custom of marriage and other depends on religious experience. Bibis` myth and narration such as " Bibi Shahr e Banoo " in Rey and " Bibi Shah Zeinab " in Yazdel e Kashan even if they have victimizing deep structure of fairies but in Islamic periods considering the recreation of stories again and also the form and appearance of restructured buildings are the indicator of religious matter and its joint to the holy time atleast tendency to it , " mysterious " , " awe " , and " splendor " which is at extreme the reason of revelation of descriptions of holly time. these signs and revelations in details and structure of narrator stories and related buildings is appeared . Key word : Bibi, sign,narration, religious experience ,myth .

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The purpose of this article is the comparative analysis of correlation of plot between two narrative stories: “The Prayer Dealer” (narrated in One Thousand and One Night), and “The Cittern” by Jalal A. Ahmad. We believe that the narration of “The Cittern”, from figurative point of view, is very similar to “The Prayer Dealer”. However, there is an element or word in “The Cittern” that has created a conflict in narrative coordination from plot point of view. We try to know what this element is. This question is the result of a comparative analysis between these two narrations. Analyzing the two narrations, we have found a question that was constantly preoccupying the author’s mind: “Why, in “The Prayer Dealer”, there is internal solidarity and harmony among the figures? In addition, why in “The Cittern”, we witness a conflict in the internal narrative structure and there is no such solidarity as the first one? Here is the theory based on which the author is going to answer this question: In the story of “The Prayer Dealer”, the narrative operant, “Namaz Forush” (the prayer dealer) uses his own imagination to see through the future. However, the narrative operant of “The Cittern”, a young musician goes back to his past to find answers. In the first case, seeing through the future puts the narrative plot in a very solid position, but going back to the past puts the operant in the terminal part of the narration (but the plot has lost this character in “The Cittern”). This terminal position is a potentially destructive power for a new narration. That is why the plot for “The Cittern” is not a complete one and only shows a minimal narration.

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This paper studies the conditions of production and understanding of the meaning of “Leqa-on Fi LazateRahil” by Nasrin Edris, Lebanese author. The story of “Leqa..” can be studied sustainability from a new semantic point of view, which includes the photographer and the fighters’ active discourses. Hamzah follows the program; his skill in the photography creates the main character in the action. The Commander has an important role in the acquisition of Hamzah’s emotional ability. In the second discourse, the fighters enter into action after the contract and obtaining the ability. Therefore, the main actions are performed simultaneously; the fighters fight and Hamzah takes photos. All procedures are performed respectively. The dominant discourse is intelligent, but emotional processes, especially photographer part, play an important role in the story forming. The aim of this research was to study the semantic process and narrative traits of the “Leqa..” story in order to achieve the main meaning functions and details. Also the effect of emotion on the meaning process has been investigated

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Hosseini,.S.M.,PH.D

 
Abstract:
 
Baha-e-Valad’s Ma’aref is among the texts known to have had a strong bearing on Molavi’s thinking and discourse. Molavi’s special interest in Ma’aref is reflected in his own works. Jalaluddin’s Masnavi-e-Ma’navi seems to be especially influenced by the Ma’aref as far as structural and thematic organization are concerned. The contents of the Masnavi and its improvisation style as well as the numerous associations it carries are strongly reminiscent of Baha-e-Valad’s Ma’aref. This very article addresses the shared features and intertextual relations of the Ma’aref and the Masnavi from the viewpoint of storytelling. In addition to the stories Molavi has directly adopted from the Ma’aref to only give them a more artistic treatment according to his superb storytelling taste, there is yet another subject which deserves due attention:  narrative exploitation of the characters and discourses built into the Ma’aref as well as common narrative hints and allusions, structural suspense and discontinuities, and thematic turns or abrupt changes in oratory eloquence style and discourse.
 
 

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Sarfi., M.R,PH.D. 
Abstract:
 
Center of narration plays an important role in the analysis of the abilities and tactics being applied by a story teller to shape his account. So much so that making any change in it will result in differences and changes in the principal course of the story and even its theme. Furthermore, we never deal with crude circumstances in stories, rather we do encounter incidents that have been represented in a special manner and have received attention from a specific center of narration. The varieties of center of narration and the story teller’s different ways of dealing with point of view in the Masnavi are accomplished so attractively and consciously that its analysis can reveal Molavi’s genius in creating a work of art which is beyond time and place.
 The present article which is based on document analysis seeks to examine different kinds of center of narration by focusing on the story “Daquqi”.
 

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Story utterances are means for expressing sayings and thoughts, and a suitable situation for promoting story incidents that establish a wide part of every story; the "narrator" should represent the utterances in a way that the reader gets familiarized with the story deeply. Therefore, stylistics of story utterances is necessary for better understanding of the story. Styles of representing story utterances, which comes from the relationship between the narrator and the story characters, are divided into five types:  direct speech, indirect speech, free direct speech, free indirect speech, and narrative report of utterances. The present article deals with descriptive and analytic styles of "Assabbar" novel (1976), while it presents a complete statistics population of story utterances. The findings showed that utterances in the order of direct speech style, narrative report of utterances and free direct speech style have the most frequency in this novel. The narrator allows characters to connect with the reader by using direct speech and free direct speech styles, and familiarize them with the political, social and cultural problems of their society, because these two styles cause intimacy between the reader and the characters, and transfer the message of the writer to the reader in a good way. Sometimes, the narrator establishes control over the time of the story incidents, and advances them with a narrative report.

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Telling or not telling story clearly distinguishes between narrative and non-narrative texts. As in narrative texts, there is a narrator, so there should be at least one audience. The most important factors, which determine the characteristics of the audience can be enumerated as: “level of narrative”, “level of narrator’s participation” and “level of his/her perception”. Here, in addition to explanation of two kinds of inter- and extra- text audience, we try to introduce direct and indirect signs of the presence of the audience. Thus the essential questions, which form the foundation of our study, are: “What is the difference between narrative and non-narrative texts?”, “How direct and indirect signs of the presence of the audience manifest in a story?” and the last question is: “What’s the meaning of inter- and extra- text audience in a text?”. This study through descriptive-analytic method and use of library resources represents direct and indirect signs of presence of the audience and it also explains differences between inside and outside the text audience in stories and narrative texts. The results of this study show that inside the text audience is identical with imagery addressee and outside the text audience is a real reader.

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Every story is formed from a strong link between two elements of surface and structure. In structuralism, narrative is considered as a structure, which has been studied by theorists such as Algirdas Julius Greimas (1917-1992) to find its components and provide a basic pattern for this structure. Algirdas Julius Greimas was a structuralist and semantic theorist, also a follower of Vladimir Propp (1895-1970). He introduced the theory of Actantial model for the narrative. This model aims to reveal the role of the characters of a narrative, and helps to indentify the characters by linking action and character to each other. In this research, we studied the Ilahi-name of Attar based on the modern literary theories including structuralist narratology, semantic pattern of Greimas, and morphological pattern of Gerard Genette. In addition, the narrative function of two stories of Ilahi-name, the “Pious Woman” and “Daughter of Ka’b and Her Love”, has been interpreted according to the narrative model of Greimas. We further studies stories by recognizing the situations of the narrative discourse (based on the focalization theory of Gerard Genette), and also the plot, i.e. Actantial model (six actants: sender/receiver, subject/object, supporter/oppositionist), to analyze the tales based on semantic square (le carré sémiotique).

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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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Keyxosrow in the Shahname after the final victory over Afrasiyab, goes to a mountain and disappears. In one of the oral- popular narrations of this wonderful disappearance, Keyxosrow goes to cave with a dog. Dog is seen in some other stories that in them a person ascends to sky or lives in under world and or goes to other world and returns. Dog in ancient beliefs and stories of many nations connected with another world and is supposed guard and guide of spirits. Probably dog of Keyxosrow in Iranian oral tradition is based on this mythical and ritual motif and in fact , dog is his guard and leader in cave.
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In poetry of some poets (from past to contemporary) is found allusions to some Iranian heroic names and stories that their sources not Shahname or heroic verses or other formal literary or historical texts and their explanation or story is in scrolls of storytellers or oral-popular narrations from stories of Shahname. These bardic allusions have entered in formal Persian poem because that storytelling has current and attached in junctures of Iranian social- cultural history. In this paper- without any deep investigation- has been recommended and studied twenty and seven bardic- vulgar allusions in verses of different poets from sixth century to contemporary. Furthermore we argument about eleven ambiguous allusions that their sources probably in scrolls and popular narrations.
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The ‘diachronic approach to narrative studies’ may take different directions, one of them being a typological research on narrative texts, and the other, a genealogical enquiry into the modern ways of storytelling as to see how they have historically originated from a certain group of folktales. Assuming, in the same vein, that some relics of Persian formulaic oral narration should have survived—through functional modification, or even obliteration— into the Iranian literary fiction, this article introduces just one instance of these Persian-folktale-specific formulae, drawn out from a bulk of more than 270 texts whose inscription dates back at least to 70 years ago. Then the question is whether the formula has completely vanished away, or simply alternated between a number of functions.

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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.