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The present work is a comparative study of Aristotelian and narrative dramas with reference to “Oedipus Rex” by Sophocles and “Mother Courage and Her Children” by Bertolt Brecht. The basics of Aristotelian drama come from Aristotle’s Poetics, which was considered as an undisputed tradition in drama until the eighteenth century. The aim of this dramatic tradition is catharsis, which is achieved through pity, fear and empathy in the audience. Among the other main principles of Aristotelian drama are the observance of the three units: dramatic climax and peripetia, and the first and the last moments of excitement. The narrative drama is based on Bertolt Brecht's non-Aristotelian theories in drama. Brecht believes that we must create a critical distance from daily events through alienation so that the audience can reconsider them and develop a critical view. The duality of the actor's role, the inconsistency between the actor's thought and action, time leaps, musical interruptions of the story, strong lightening on the stage, a half-empty stage with a half open curtain, the use of titles at the beginning of the scenes, and putting placards that free the audience from illusions are some of the alienation techniques used in Mother Courage and Her Children. Aristotelian drama emphasizes the unity of sequences and coherence of events, and considers the play as a whole, which aims at involving the audience wholeheartedly and making the audience identifies himself with the hero of the play.  In contrast, narrative drama is a  montage of single  scenes, which causes pauses in the play. In this type of drama, the audiences, because of frequent interruptions, does not get involved in the play, gets distance from the scenes, and is persuaded to critically view the play, present solutions, and make decisions. In sum, the fundamental difference between these two types of drama lies in the effect they have on the audience. In this work, an attempt has been made to discuss the major difference between Aristotelian and narrative dramas with a number of examples taken from Oedipus Rex and Mother Courage and Her Children.  

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The oldness of religiousness and literature, and their co-relation ascribe to the first steps of human being toward the reflections and inner contemplations. The contemporary literature is also involved in the representation of themes referring to belief, faith and ontological questions that create man’s point of view. The present article performs a comparative study of Kiss the Beautiful Face of God and Jean Barios. The man’s fundamental questions like faith, religion, unbelief, skepticism, existence of God, love, life and death are represented in a communal manner in two novels. Furthermore, the representation of anxiety, solitude, loneliness and homeless are included in the “religious situation” of the two stories that get to doubt, denial and at last to creed. Moreover, in spite of their different origins and their literary value, these two novels are really successful in representation of a theme like return to the significant as well as agreeable and meaningful roots of spiritual life. The likeable and symbolic end of these novels is among the pleasant themes of comparative literature that displays man’s common experiences, visions and points of view.

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The article is a study of the structure of "Zal and Roodabeh" (in Ferdowsi's Shahname). To do so, it presents a description of the story at first and then of its structure. It continues to seek for these features in the texts of "Zal and Roodabeh" by presenting some proves while analyzing these elements of structure and determining the appropriateness of them. The conclusion is that the text is narrated – dramatized in which the story elements are used for promoting the story. A design including cause relations of it from the beginning to the end and strengthen it. 

 

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Black stem is one of the most important fungal diseases of sunflower which is caused by Phoma macdonaldii. This research was conducted to clarify the interactions between a few breeder lines and wild-type accessions of sunflower with seven isolates of Phoma macdonaldii, the causal agent, under controlled conditions. The experiment was carried out in randomized complete block design with three replications. Each replication consisted of 30 seedlings. Twenty micro liters of spore suspension was deposited at the intersection of the cotyledon petiole and hypocotyl of four-leaf-stage sunflower seedlings as well. Three, five and seven days after inoculation, seedlings were scored on a 1-9 scale for percentage of necrotic area. Highly significant differences were observed among genotypes, isolates and their interactions for disease severity 7 days after inoculation based on AUDPC (Area Under Disease Progress Curve) values. Two models of GGE biplot including Isolate-based and genotype-based models were used to study the pathogenicity of the isolates and susceptibility of sunflower, respectively. Isolate-focused biplot revealed that there was a considerable difference between virulence of isolates. Based on genotype-focused biplot model, accessions including 665 Iowa, 1012 Nebraska, 211 Illinois and 1016 Nebraska were more resistant to studied isolates of P. macdnaldii. Results revealed that GGE biplot approach could lead to good understanding about interactions between sunflower genotypes and Phoma macdonaldii isolates.  

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Intertextuality of two text: Comparative analysis between king Lear and Feridoon Comparative study which has opened to investigation the text could illuminate the relationship between cultures and shows the originality and richness of one literature alongside with range of its stubbornness of our or other culture. Comparative analysis between Feridoon’s tragedy and King Lear shows the interlocking relationship and arrangement between two texts in different and completely dissimilar culture and different historical context with two kind of language. Although mapping out the conscious or unconscious trace and impact of this texts over each other is completely impossible but the high level of intersexuality between the two texts is obvious so that this relationship could not be ignored. “similarity of plot”, “being tragically”, “impulses”, “familiarity of two text”, “dividing of kingdom”, “presence of destiny”, “parallel of characters”, “conflict”, “prediction”, “chorus” could be accepted as issues which are convinced common points between the two text. The analysis and survey toward understanding the equivalent between the two texts by helping of comparative literature is the fundamental question which has been followed by this paper.

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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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The objective of this study was to identify the species of thrips associated with rice crops in order to determine population fluctuation of the dominant species. Studies were conducted during the month of April to August in the year 2017 form different growth stages of rice in Babolsar city, Mazandaran Province (Northern Iran). Samplings were done from four fields located at two sites, KeyxaMahalle and MirBazar. A total of seven species of thrips belonging to four genera and two families (Thripidae and Phlaeothripidae) were identified. Amongst them, Haplothrips eragrostidis Priesner was the dominant species accounting for 75.47% in abundance. This was followed by Thrips hawaiiensis Morgan comprising 6.47%. The other species include Anaphothrips sudanensis Trybom, Frankliniella intonsa (Trybom), F. tenuicornis (Uzel), Thrips tabaci Lindeman and Haplothrips flavicinctus (Karny) which comprised of4.85%, 4.32%, 4.31%, 4.04% and 0.54% respectively. The maximum number of thrips species was found in the middle of July and minimum in the month of May. Assessment of thrips abundance in rice fields were started at the beginning of dough stage and were continued until complete maturity.

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 Abdollahian.H.,PH.D.
Abstract
 
There are, still, many unmentioned subjects in the Persian rich literature, deserving careful consideration and discussion. Line-story is a fictional form that has been exercised in Persian poetry from the ancient periods up to now. As far as the writer knows, this form has not been examined up to now, while it is worthy of paying attention as a kind of fictional form, having special features. Line-story, as its name indicates, is a complete story which is narrated in one line and has the essential elements of a story. Considering the fact that it is not possible to elaborate a story within a line, the fundamental narrative features should be recognized. As the sources reveal, plot, character, action, time and place are the basic components of a story, and each line, having these elements, can be considered as a line-story as well. To give some examples to support his argument, the writer has found 22 line-stories in both old and contemporary Persian poetry. The techniques for developing plot, character, action, time, place and atmosphere are studied in this tiny form as well. Line-story, on the one hand, is like Japanese Haiku because of its brevity, and on the other hand, it is close to the American Minimalism due to succinctness and avoiding description.
 
 

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The present article studies the reality-based adaptation of a religious event in the Islamic history through comparison between literary and daramtic narrativs in Rowzat-al-Mojahedin (by Waez Heravi) and the TV-series of Mokhtarnameh (by Mirbagheri) and its aesthetic limitations for the mass media. the popular literature in the Persian language sometimes have retold and described the religious history which has led to an imaginary fictionalized narrative to be spread among the public. The important point about this genre of the Persian Literature is the incorporation of the author's imagination with the historical narrative for the particular effect onhe audience to be reached; this is the very method today - with emersion of TV - being used by dramatisrs to dramatize the historical texts of Islam. The TV-series Mokhtarnameh is one of the latest attempts made to blend the historical text narrative with imagination; an attempt that resembles that of Heravi's during Safavid era which led to Rowzat-al-Mojahedin to be created. The comparative study between the two explains the imaginary functions in both and the different attitudes towards fictionalizing in the process of literary and dramatic narrative based upon historical text. The contemprary case of Mokhtarnameh uses the imagination to reach a political historical analysis while on the other hand Heravi's narrative portrays an ideal world rooted in a different view on the universe.

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Thousand and One Nights is tales from the language of an informed and literate narrtor which is aware from tales of different nations anf fiction litertures earlier than himself (or herself); such that it is said that there is rarely an story in this book that not to have leaders, derivatives and similarities. One of anectodes of this book is "Anectode of Women's Imposture" which its plot structure has many similarities with "Soudabeh and Siavash" tale in Shahnameh. This research in a comprativemanner, has addressed to this narrative elements and has obtained this conclusion that the plot in these two stories is very close to each other and this similarity of the plot structure in these two stories is related to thier root and background. Present sermon implying that anectode of Women's Imposture from Thousand and One Night book beacause of morphophonemics reasons and similarity and harmony of plot structure of these two stories and writing of Thousand and One Night in periods earlier than emersion of the Siavash tale in Iran, can be another report and narration from Siavash tale that has been narrated in Ferdowsi's Shahnameh

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Among the various types of folklore literature, due to the legends of Azerbaijan are part of the oldest of these stories and from the perspective of the theme is one of the best and most content-rich stories, in the world, they have a special place. The breadth of information, the diversity of subjects and the historical background presented in these stories, has identified Azerbaijan as one of the most important centers for the creation and influence of folk tales in the world. The study of the cognitive layout of the myths of Azerbaijan is a significant contribution to understanding the beliefs, customs the people of Azerbaijan. Beliefs and opinions that are full of amazing magical happenings, occurring with the involvement of creatures like ogre and fairy tale, and so on. Therefore, it is worth noting that folk tales in the folklore literature of the Azerbaijani people share the same aspects with all the diversity and appearance variation. The authors of this article will study the plot story of the thirty myths of Azerbaijan and study and analyze the early, middle and final plot sections of these folk tales in Azerbaijan. By studying the cognitive layout of the myths of Azerbaijan, it was concluded that in the folk tales of Azerbaijan the foundation of creation was based on the presentation of moral messages. Within these myths, it's more about teaching ethics and love in life, and what makes plot stories stronger is their amazing attraction to their audience.

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Eshhaq Toghyani.PH.D.
Zohreh Najafi
 
 
Abstract
 
Sanayi Qaznavi, as a wise man, focuses on the elaboration of mystical teachings and discourses in his masterpiece; known as “Hadiqat-ol-Haqiqat”, which is in the form of poetry and narrative. The survey and study of these narrations has a high significance in revealing the poet’s manner of expression.
The survey and analysis of narrative or in other words narratology is based on identification of signs; which deals with any kind of narration, whether literary or non-literary, fictional or non-fictional, oral or written; which identify the units of narration; or in other words the form of plot; whereas some theorists have also called it the grammar and structure of story too.
This research has focused on the survey and study of structure in Hadiqeh’s narratives based on three elements; dialogue, action and plot, while the researchers have also made an attempt to analyze Sanayi’s storytelling manner within these narratives.
 
 

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In order to identify plant-parasitic nematodes of eastern forests in Guilan province, soil and root samples were collected and the extracted nematodes were studied based on morphological and morphometric characters. Twenty eight species of plant parasitic nematodes were identified. A population of the genus Hoplotylus was recovered and identified as H. femina. The identification was also verified by partial sequencing of the large subunit ribosomal DNA (rDNA). In addition, two populations of the genus Malenchus were also recovered and based on morphological and morphometric characteristics were identified as M. solovjovae and M. acarayensis. The two species Hoplotylus femina and Malenchus solovjovae are new records for Iran.

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Tarsousi's Darab- Naameh is a long folktale related to sixth century. According to the main action on which the subject's intention is focused, Darab-Naameh is divided into three separate stories. The story, in addition to its three main plots, is comprised of infinite narratives within each grand narrative. Sometimes the little-narratives become structurally related and coherent to the main narrative, and they are also formed independent from the grand-narratives in other situations. And so these little narratives distort the unity of narration by their disturbance, independency and separation from trilogy processes of speech evolution. The discourse system, despite its action-oriented nature, in the story of Alexander precedes two types of the state and actional discourses on parallel bases, and cognitive and situational discourse system affects actional discourse too. This paper aims to study narrative syntax, organizing levels of narration and interaction between them from the narratology perspective, and examine the way of meaning creation in the long folktales by dividing Darab-Naameh into deep and surface structures. Have narrative processes been organized in a distinct juxtapositional system? Can scattered narratives of the story, as instrumental narratives, lead the grand-narratives to the achievement of the main action? Is the story plot within its narrative syntax in interaction and harmony with the basic structures of meaning? We try to answer these questions within this research by analyzing Darab-Naameh. Keywords: Tarsousi's Darab-Naameh, Narrative Semiotics, Plot, Semiotic square tensive axis
 

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Narrative, like Language, is a concept abstracted from various representations of a semiotic system in the name of “narrative poetics”, i.e. a kind of grammar which maintains structural cohesion within a narrative text and provides such a text with the features necessary for its narrativehood. For the concept of narrativehood to be defined more clearly in this article, the bi-stratal mechanism of narrative system is investigated, after structural narratology, just at the story level. Focusing on narrative structure at this level, the article holds that the mere chronological sequence of events in a discourse is quite sufficient for it to be judged as narrative - whether logically consistent or not. Also, comparing narrative with linguistic semiosis and analyzing it within the frameworks of structural linguistics, the article points up the indispensability of poetics and its key concepts (including narrativehood) from narrative studies, however outmoded they may appear long after the scientific credibility of poetics was deluded by traditional narratologists. These objectives are achieved through a structuralist analysis of Pagard (Shahsavari, 2005), seeking the novel for the major constituents of narrative and the hierarchical relations among them. In spite of structuralists, thus, narrativehood is defined both as a function of one specific superstructure, and an attribute common to all narrative texts.

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This article analyzes the function of the verb in the elements of anecdote and narrations.
Efforts have been made to show the importance of verb in narration’s grammar, and its relations with anecdotal elements. Study of the fundamental concepts of narrations, especially the new classifications of narration verbs is one of the goals of this project.
In this study, some of the structural elements of the story; such as the plot, tone, and characters have been assessed with due regard to verbs. By assessment of view of experts in this domain; efforts have been made to present new genres of anecdotes to the related addressees.
The tenses of the verb and their dual roles in grammar and narration have been taken into consideration. Efforts have been made to present examples of anecdotes; and to show how the authors have dealt with particular tenses of the verb; while elaborating on the benefits and restrictions of each of them in relation to the story’s persona, and the rhetoric within the narration.

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According to the opinion of Aristotle, mythos or tragic plot has some aspects analyzed and compared with utilizing documents on an analytical-descriptive method based on the elements through the tale of Jamshid and the play of Oedipus Tyrannus. The most important results including: the three aspects of the mythos of tale – transformation and recognition and catastrophe – are in descriptive category shaped with the morality of protagonist and in the case of the play it should be shown in two types of mixed – on transformation and recognition – and grievous – on catastrophe –. The complexity of mythos that is established of solidarity and its relation to transformation and recognition, indicates the tale in a simple mythos – because of rupture of actions and absence of recognition – and the play in compound one – on solidarity with continuity of dependent actions and transformation and recognition –. The tale is not regarded in a complete mythos; because of its affiliation to the out; but the play conversely is embedded in complete one. Referring the tale to an epic, which is narrated, prohibits to show it as the play which based on visual actions. Both of two works have the surprising conditions of mythos; hence everything has two sides of reasonability and unpredictability. The end of both composed in the way dedicated from their own. The referential myths are about the upper class human being and it is obviously shown the next imitative ones were patterned on them.

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    The purpose of this paper is to examine the structural elements of narrative based on theoretical model of actional –manipulative regime of discourse in Persian classical and contemporary Literature. Investigating the narrative structures of Persian fiction literature, both classical and contemporary, indicates specific narrative rules in the plot structures of these works and have led to their categorization in actional regime of narratives with different approaches. The hypothesis of the present research is that each story begins with a kind of imperfection and actor’s efforts to liquidate this imperfection and to achieve the object of value in the chain of narrative and discourse. Now, the question of the current research is as follows: what are the underlying mechanisms of actional – manipulative and narratives in Persian fictional literature, based on examples drawn from classical and contemporary stories? The results indicated that in this narrative structure the actor is in the quest of achieving something worthy by referring to convincing and persuasive approaches with various features such as encouragement, threats, flattery, bribe, provocation and rebellion.