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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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One of the important issues in the study of grammar is the study of the structure and the functions of different sentences of a language, as well as describing the similarities and differences between them. This article aims to study the exclamative sentences of Persian according to a corpus and within a typological framework based on the study done by Zanuttini and Portner (2003). The article seeks answers to these questions: “What is the structure of exclamative sentences in Persian”?, “What are the semantic and pragmatic functions of such sentences”? “How these sentences can be differentiated from declarative and interrogative sentences”? and “What is the position of the negative markers in such sentences”? The results of this descriptive-analytic study showed that Persian Language has two types of exclamative sentences; declarative exclamatives and wh-exclamatives, which are different in terms of their semantic, pragmatic, syntactic and acoustic features.  

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We will argue against formulating the propositional unity as a problem of Order, Combinability, or Recognition. We find the issue of Representation surprisingly biased to the Correspondence theory of truth, and we show how wrong it may be to read the question of having truth conditions as a question of truth conditions itself. Finally, we demonstrate how certain structured propositions may escape the arms of the question of unity. We find the problem of having truth conditions to be the most to-the-point question of the nature of propositions.
 

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In the present article, after reviewing the classical typologies of focalization and considering discoursal markers of focalization identified by traditional narratologists, we will turn our attention to a kind of focalization which entails hypothesizing about what might have been perceived/conceived through a perspective never adopted by the focalizer; thus “hypothetical focalization”. For this kind of focalization to be described (ahead of any explanation), we need to apply some linguistic and philosophical insights gained either after, or out of, the ensemble of conventional narratology. The ideas specifically at issue here will be those first developed within the frameworks of the possible-worlds and intensional semantics. The due conceptual framework will serve to spotlight the intensional aspects (or the sense) of narrative well beyond the structural narratologists’ and logical semanticists’ formal accounts. Therefore, the present study not only will specify the most usual modes of verbal focalization in a number of Persian extracts, but will also examine some lesser known semantic dimensions of narrative discourse, drawing on those virtual aspects of focalization inherently refraining from the logical or formal investigations pertinent to structural narratology.

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Transition from the industrial age to the knowledge era has led to a paradigm shift in employer and employee relationship. Paying more attention to talent supply and demand diagram led to more focus on talented personnel in organizations. Winning the war for talent, organizations need to recruit more business for themselves through the creation of an attractive and distinctive brand. Since organizations have problems in creating a distinctive brand, it would be based in the employer's interest. The present study is an attempt to answer the question that how an attractive employer based on the employer's distinctive branding will be created. Based on the existing literature the conceptual model designed and tested in order to answer the above question. Statistical analysis of the results shows that when an employer creates the brand based upon the needs of the target group, differentiated EVP, people strategies, brand consistency, employer brand communication and metrics of employer branding led to the employer attractiveness in all aspects.

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This article studies the question of “meaning” in literary texts. First, I havepresented a definition for linguistic proposition. There is no proposition in language that does not have a linguistic definition; however,literature is replete with propositions without any acceptable referents. Under three circumstances the linguistic definition of a text is rendered null: (1) unconsciousness that is whenthe text indicates that the propositions were produced under an unconscious state; (2) anti-referentiality when the linguistic definition of a text is denied because itrefers to a referent that is inconsistent with our everyday experience; and (3) incongruity between the proposition and its producer, which happens when there is discrepancy between the linguistic definition of the propositions and our already-established assumptions about its producer. In conclusion, this article categorizes the propositions of a text in three categories: Propositions with acceptable linguistic definition that refers to a known referent; Propositions in which the secondary meaning is the speaker’s primary intended meaning and under this meaning they have external referents as well; Propositions that—no matter what generated their semantic ambiguity—are without any acceptable linguistic definition and that are not congruent with our known world and resist comprehension. 

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Oral –formulaic composition (theory) has been originated from Homeric studies in Parry and Lord Works and is widely used in most languages. In the field of folk prose texts of Persian several researches have been conducted, all of which have addressed the issue of general stereotyped propositions. On the basis of these achievements, foreign scholars have considered Persian epic poems, particularly Shāhnameh, as a product of narrative and oral tradition. With a new look at narrative scrolls as oral epic texts, this article in addition to presenting their general propositions, introduces another type of proposition in the form of epic statements in three parts: a) Propositions indicating the beginning or entry to the scene of wrestling c) Propositions indicating the beginning of wrestling and C) Proposals indicating the end of wrestling that are presented and describe the function of each category. The paper concludes by proving that the scrolls and narrators of the manuscripts had in mind a treasure trove of these propositions and used them automatically when they thought of combat. Therefore, one can better understand the narrative structure of the Persian oral epic by using this method and extracting the assertions used in various martial art.

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Literary cognitivism, as I understand it, comprises two theses: (1) some literary works can convey non-trivial knowledge to readers and (2) the cognitive value of a literary work is part and parcel of its aesthetic value. In this paper, I argue for the first thesis and elaborate upon the various mechanisms by means of which literary works produce propositional and non-propositional knowledge (including perspective-based knowledge, empathic or phenomenal knowledge and ability knowledge or know-how). To do so, I give a brief sketch of Plato’s anti-cognitivist epistemological objections against the epistemic status of literary works and go on to reformulate them from a modern perspective to provide a background for my epistemological inquiry. My defence of literary cognitivism welcomes different kinds of knowledge-forming mechanisms but pace thinkers such as Noam Chomsky and Martha Nussbaum who prefer the literary discourse over the philosophical or scientific discourse in that the former might sometimes provide us with a kind of knowledge that we may not find in the latter, cautiously and deliberatey averts from making such dubious claims.

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In this study and based on mental and affective axis the interrogative propositions have been investigated. According to results of this research, these propositions signify her quest and are crystalized in the form of love, the quest of self or searching identity, and the concern for humanity. Through this process of searching identification and in the poetic universe of Forough Farrokhzad, she asks always numerous question on the nature of love, life and herself. From affective view point, the analysis of interrogative propositions shows that the priority of love in her both early works gradually get pale and her questions have been quantitatively and qualitatively transformed. It is worthy to note that the addressee of these propositions is an example of her mental and affective metamorphosis and this study tries to show that her addressee from personal “I” or default and presupposed addressee changes into an interpretable and generalizable pronoun to all readers and addressees. With no doubt, adopting this approach shows the great extent of Forough Farrokhzad mental and affective universe.