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Abstract:
Zarrin Qabā Nāme is a huge verse in 23133 couplets that probably has been versified in the Safavid period. Its poet is unknown and beginning of itś matter is coming of Solomonś messenger (Zarrin-qabā) to Keyxosrowś court and his confronting with Iranians. Afterwards several stories are narrated that their important persons are Sistanś heroes. Structure, language and content of Zarrin-Qabā-Nāme are storytelling-folklotic. Therefore, studying of its important motifs is useful in knowing and completion of Iranian folk- storytelling literatureś motifs. In this paper, some of these kinds of points and motifs are studied in four parts: 1) Semitic and Islamic matters 2) Rare and single indications, 3) Other matters and contents, and 4) Modeling from other stories.
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Formula is a structural element of popular romances. This essay analyzes the situation of this element in the romance of Amir Arsalan. First, the concept of formula in the field of oral composition is defined; then functional arrangement of formulas is presented (formulas construct linear process of the story, shape the space of the story and dialogical formulas); afterward, through analyzing the subset of this three major groups, qualitative and quantitative effects of the factors such as literary tradition, naqqali's (storytelling) tradition, naqqal (the storyteller), addressee, writer, social setting and other factors depending on this romance have been demonstrated. It should be pointed out that among the above factors the influence of epic and lyric text and artistic prose, domination of metaphorical pole of language and poetic quality of the text and sensible effect of the addressee and the writer of romance (Naser al-din shah and Fakhr al-dowleh) on the process of creating the romance have been also influential.

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Realism addresses and explores the truth in different approaches. These approaches involve expressing details, accurate analysis of society and illustrating personality in combination with social environment. Mahmoud Teymour and Jamalzadeh are establishers of Arab and Persian storytelling. They were writing most of their stories in the form of realism. In this paper, we first discuss about the biography of Mahmoud Teymour and Jamalzadeh and their position in Arab and Persian story literature; then we argue about their similarities and differences realism approaches. Then we explain their dominant realism approach and attitude. This envestigation looks for the similarities and diffrences in their realism approach considering the American school of comparative the literature as a comparative research approach.    

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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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Allegory represents a type of thinking and world view as well as a style of speech in Molavi’s works, Masnavi in particular. In Molalvi’s “allegoric philosophy”, what makes necessary the use of this approach – as the principal narrative style of the tales – is the necessity to carry ideas over into sense impressions. Molavi presents the theoretical foundations of this thought in Fihe-ma-Fih, and practically portrays the thought in the Masnavi.   This allegoric philosophy which is based on the two-dimensional nature of allegory – narrative surface structure and intellectual deep structure – furnishes the tale with a double structure; one functioning as literary allegory and the other as spiritual and philosophical allegory. In the writer’s narrative style, this leads to the reduction of some essential elements of a story such as suspense. It could be seen that in the Masnavi’s stories the two structural dimensions mix along the narrative line of the story in a form known as “representation building”. Another manifestation of allegory in Molavi’s works is “allegoric interpretation”, used to describe the coded and implicit themes of stories, whose main function in all its forms is “to teach”. 

 
 

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This study tries to investigate storytelling manner in Samak – e – Ayyar in comparison with three other folk tales entitled (Darabnameh,Abou moslemnaeh Eskandarnameh e naghali).To achieve this goal and according to Chapman, the rate of narrator participation in Samak -e –Ayyar story besides some special stylistic features in this genre ( language , colloquial atmosphere , irony and humor) have been analyzed and compared with other stories. The results show that presence and participation of narrator while describing the place, temporal conciseness and person descriptions in Samak – e – Ayyar and Darab Nameh are more prominent in comparison with the other works. Also, participation manner of storyteller in  Samak – e – Ayyar , primary templatic propositions , inter textual templatic propositions differ from Aboumoslemnameh and Eskandarnameh naghali. It is important however to say that the manner of Darab Nameh is to some extent placed between that of Samak -e –Ayyar Aboumoslemnameh and Eskandarnameh naghali.
 
 

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Javad Asghari.PH.D.
 
Abstract
“Stream of Consciousness” is one of the modern techniques for narrating a story which has been of particular notice to the story writers, especially in the last century. This method is one of the most prominent methods in narrating a story and writing psychological novels, but despite what might be imagined by some of the readers of this article, this technique differs with “inner whisper” and “mental analysis” techniques. Actually the first psychological stories, or in other words the initial appearance of these stories was in the form of “inner whisper” which gradually developed and later on found its form as our discussion conveys in both story form and modern novels. This article makes an attempt to offer a clear and precise definition of this technique, while it discusses its methods and characteristics, added to the basic principles and the psychological principles of the related technique.
 

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As a simple text in folk literature, in Iskandar Nameh by Manouchehr Khan Hakim, which is in contrast to secretary texts of Safavid era, the author has tried to portray and create a literary and epic work in all text. This article seeks to determine what traits the author has benefited from in this style, and how successful has it been in achieving its goal. Among literary and colloquial style, which one is the most frequent? As a result, stylistic components at the lexical level were examined throughout the general examination of this work in seven volumes, and categories of folk writings were identified. The author's lexical tendencies are divided into two domains of archaism and common literary elements in all stylistic periods, and various constructs of adjectives, ancient words, interjection and Rā, various verbal construction , Arabic long titles, literary vocabulary and terminology, have brought it closer to technical and inspirational texts. In this field the cases such as colloquial words, fake nominalization, incorrect spelling, and swear words have contributed to the formation of colloquial text in this case. The glorious combination of genre writing has a dual style, on the one hand, literary, and on the other hand it is a kind of folk that the text has been influenced by numerous abnormalities and analogies, sometimes by eloquence and fluency, and consequently, it has become a kind of facetious text.

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Haft Keshvar is a narrative fiction by Heravi that includes an introduction, seven resting places, seven countries, and six journeys through some countries. The author discusses human virtues in the introduction and elaborates on politics, rulers, and their courts to reveal historical agendas of the time.  It is a 10^th century AH masterpiece that embeds ethics and politics in a literary narrative. The present study is a structural analysis of Haft Keshvar that examines its plot, characterization, and allusions. In other words, it aims at extracting components of the story to see how they are structurally bound to each other. Our results show that stories mostly encourage intellectualism and rationalism. Moreover, the plot is resolved either by a wise man or character actions at the end of the story. Results also show that, despite their trivial approaches and settings, all the stories follow a certain integrated philosophy that form a certain mindset. All the stories are close-ended.
Background
The Anthology of Persian Literature Volume 5 includes an entity on Fakhri Heravi’s Haft Keshvar (Safa, 1991). Moreover, Zekavati briefly recounts some tales and characters from different locations (Zekavati, 2008). Afshar reports on the first and second editions of the book (2010). Asadi (2017) compares the linguistic, rhetorical, and intellectual characteristics of Haft Keshvar and Mahboobalghalb. However, the study by Kadivar et al. (2020) is the closest to our analysis.
Aims
The present study examines narrative elements, structure, and the correlation between them in Heravi’s Haft Keshvar. In simple words, it seeks to explore the elements employed by Heravi in developing the stories in Haft Keshvar.
Discussion
Heravi (2016) rewrites tales of other writers and adopts the themes related to the tricksters to achieve didactic goals. The basic ground on which tales in Haft Keshvar rely on is organized and simplistic. Despite their weaknesses, they all have a beginning, a middle, and an ending. Most of the tales have a closed circuit of plot schemes that follow a linear timeline.
Characterization is highly important in Haft Keshvar. Characters are mostly static:

1. Foil characters.
2. Opposite characters who share the physical and perspective similarities and serve to transfer the author’s ideas.
3. Ambiguous characters that are deployed solely to drive the story.

Haft Keshvar is a classical and didactic work where human function is depicted through opposing forces. Dialogue, in the form of questions or argumentations between major characters, are the most frequent narrative elements. They appear as monologues or argumentations. In fact, the dialogue contributes to the construction of events and helps to form individual identities through conflicts, expressions, attitudes, and interests. Fairclough defines dialogues as systematic development of themes that speak for themselves (Fairclough, 2000).
Time is naively ambiguous. A span of 30 days is set for the character to visit seven countries, and the other times are only for the main event to be developed. Setting of the stories are mostly realistic and only 25% of the story is fantasy. This indicates the fact that the author intends to validate the events. We should bear in mind that the characters do not need to be taken from real life, and they only need to be realistic and believable (Zigler, 1989).
Since Haft Keshvar is didactic, the tone and atmosphere are serious and in line with the overall theme of the story.
A close analysis of the narratives in the story reveals 8 cases of third-person point of view. In the remaining 46 cases, a character from the story narrates the events. However, the third-person point of view is dominant.
All the stories begin with an introduction to the setting of the events and characters to set the action of the story. Everything is logically presented and the reader is not bewildered. All the stories have closed endings.
Travelogues are either realistic, in which the author reports his own observations, or imaginary in which the author uses his own subjective perception (Razmjou, 2003, p. 212). Afshar and Afshary called this work Ibn Torab’s travel book, asserting its value as a travelogue.
Conclusion
Our findings show that the story follows a linear report. Nevertheless, there is an artificial rendering of events that give a closed characteristic to the work. All the tales have a beginning, middle, and ending ample with emotional and physical conflicts. Resolution of the events is mostly given by a wise man and characters’ actions. Characters are dramatically developed and named based on the ethics of the story. Dialogue is the basic tool to drive the stories. The book is a travelogue that reports the main character’s journey to seven different countries.
References
Fairclough, N. (1995). Critical discourse analysis: the critical study of language. Longman.
Fakhri Heravy, M. (2015). Haft Keshavar. Nashr Cheshmeh.
Razmjou, H. (2003). Literary genres in Persian literature. University of Mashhad Publication.
Scoles, R. (1974). Structuralism in literature: an introduction. Yale University Press.
Ziegler, I. (1968). Creative writing: Barnes & Noble, Inc.

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Storytelling is a marketing strategy that any brand, company, product, or service Can take advantage of it. People remember stories. If a story can evoke emotions in consumers, they will never forget that experience. Thus, it is necessary to pay attention to the effectiveness of the content in storytelling to attract potential customers and build a strong relationship with them. The purpose of the following study is to investigate the effect of story content on increasing customers' purchase intention. Therefore, two types of content were used in the content of a hypothetical brand's story in the form of narrative scripting. One of the contents had a personal plot, and the five other commercial contents had different plots.
The statistical population was the female students of public universities in Tehran. A questionnaire with six scenarios was used as a statically tool that was filled out by 270 students. There was a significant difference between the impact of the mentioned stories on the intention to buy. Also, the story with the social responsibility content had a greater impact on the consumer's purchasing intention in comparison to the other story themes.

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The aim of this study was to identify the effect of oral storytelling and reading on the characteristics of narratives of preschool girl children. For this purpose, 24 pre-school girl students were selected as the sample of the study using a pretest-posttest research design with unequal groups. The subjects were randomly assigned into two groups through TOLD (Hamil & Newcomer, 1997): For the first group, the folk tale "Crow and the Farmer", from the series of Mohtadi Morning Tales (2008), was presented orally and for the second group, the same story was presented in the form of Parde-khani [illustrated storytelling]. In the post-test phase, each child's recounted narratives were recorded and transcribed. Narratives in both groups were analyzed based on the frequency of story elements, the sequence of these elements, the relative frequency of the grammatical elements, the length of the narrative in terms of number of sentences and words, as well as the consistency of the narratives with the main narrative in three dimensions: deletion, addition, and inaccuracy. Based on the results of the content analysis, the lengths of narratives (number of words and sentences) and relative frequency of grammatical elements in the recounted narratives of children were significantly higher in the oral storytelling group than the reading group. But the frequency and sequence of story elements and narrative adaptation were not significantly different.
Introduction
Communicating in human societies, regardless of age, requires an understanding of environmental events and happenings. In this regard, every human perception of events is not similar to other human beings, and every human being has his/her own narratives that, in addition to communication, also know the environment around him/her. According to the theories of narration and storytelling and in-depth research in the field of children's narrative, how stories and storytelling methods work is a question that can guide child-centered research in the field.
But so far in research conducted in Iran, this issue has not been considered. Therefore, it can be concluded that stories have an impact on teaching, learning, comprehension and skills development. However, children's narratives and the structure of these narratives as a dependent variable have not been studied; while the stories of children of different ages can be analyzed.
In this research, the issue is how children understand the stories that are presented orally as well as in the form of Parde-khani [illustrated storytelling]. In other words, how do these two methods of storytelling affect children's narratives? Therefore, the present study was conducted to identify the effect of oral storytelling and Parde-khani on the characteristics of retold narratives of preschool girls.
Background Research
It must be acknowledged that when a narrative is told in the form of a story, it is, in fact, a two-way creation time. The narrator and the listener work together to create a world based on words and imagination. Storytelling is a cross-linguistic event that encompasses all the features of narrative and can therefore be considered as a common means of getting to know the culture of any society. Stories form the basis of many children's educational experiences in all cultures, and all societies have stories that introduce their members to a set of experiences, expectations, and values.
Narrative and storytelling skills underlie many forms of discourse and communication (Heath, 1986). There are many types of storytelling, including oral storytelling, Parde-khani, drama, and puppetry. In this regard, Banafshe (2010) examined the effect of storytelling and story reading on listening comprehension and concluded that both methods have a positive effect on listening comprehension. Ukrainetz and Gillam (2009) also studied the narratives of children with language disorders in a study and showed that the accurate narration of narratives is sensitive to differences in age and language level and children with language disorders even to provide abstracts and orientation and evaluation do not show significant performance. In another study, Ukrainetz et al. (2005) analyzed the development of details of storytelling in school-age children, and examined three age groups: 5 to 6 years, 7 to 9 years, and 10 to 12 years. , Has a significant effect on the expansion and length of narratives.
Methods
In order to identify the effect of oral storytelling and Parde-khani on the characteristics of children's retold narratives, a pre-experimental post-test research design with unequal groups was used. For this purpose, 24 preschool female novices were selected as the research sample. The subjects were randomly assigned to two groups by performing the Language Development Test (TOLD) (Hammill and Newcomer, 1997). For the first group, the folk tale "The Crow and the Farmer" from the collection of Sobhi Mohtadi's oral stories was read orally and in the second group, the same story was presented by Parde-khani. In the post-test phase, each child's recounted narratives were recorded and written. Narratives in both groups in terms of the frequency of story elements, the sequence of these elements, the relative frequency of connecting grammatical elements, the length of the narrative in terms of number of sentences and words and also the adaptation of narratives to the main narrative in three dimensions of deletion, addition and inaccuracy was examined.
Results
According to the results of this study, the frequency of narrative elements according to the Labov's model, in the retold narratives of children in the group of oral storytelling was more than reading the screen. But this difference was not statistically significant according to the results of Chi-square test. Also, the degree of observance of narrative verses with a difference in the reading group was more than oral storytelling. But according to the result of chi-square test, this difference is not significant. Comparison of the frequency of connecting grammatical elements in the two groups of storytelling and Parde-khani also showed that the relative frequency of using these elements in children's narratives in the group of oral storytelling is higher than the group of Parde-khani and this difference is statistically meaningful. In addition, the length of the narratives in terms of the number of sentences and words in the group of oral storytelling was longer than Parde-khani. Finally, the general adaptation of children's retold narratives to the main storytelling narrative in the oral storytelling group is greater than Parde-khani, although this difference is not statistically significant. Based on this, it can be concluded that oral storytelling is an important method in developing verbal skills and increasing the child's understanding and concentration in education, and the child in this type of storytelling can have a more complete narrative in terms of length. Both methods can be used to improve the quality of narratives in terms of using narrative elements and making children interested in telling complete and sequential stories. Given the above results, it seems that storytelling in this way gives the child the opportunity to express his / her evaluations of the events of the story, and this increases the use of more words and sentences by the child. While in Parde-khani, the images are expressive, so its use reduces the child's imagination and the child chooses his/her sentences simpler and shorter with the idea that the listener will understand what s/he means by the images.
Conclusion
Based on the results of the content analysis method, the length of narrations (number of words and sentences) and the relative frequency of connecting grammatical elements in children's narratives in the oral storytelling group were significantly higher than Parde-khani group. But the frequency and sequence of story elements and the degree of adaptation of the narrative did not differ significantly between the two groups. Since the difference in sequence observance between the two groups of oral storytelling and Parde-khani is very small and also this difference is not statistically significant, it is inferred that in both methods of storytelling, the child is able to understand and express key events and the overall atmosphere that governs it in a sequence.
References
Banafshe, L. (2010). Barresi Miza̅ne T ̕ asir Qesegu ̕ i va Qesekha̅ni bar Dark-e Matlab-e Shenida̅ri. Daneshkade-e Adabiya̅t va Zaba̅nhae-e Khareji, Daneshgah-e Allame Tabataba ̕ i. [in Persian]
Heath,Sh. (1986). Taking a cross-cultural look at narratives. Topics in Language Disorders 7(1), 84-94. Aspan Publisher, Inc.
Ukrainetz, T., & Gillam, R.B. (2009). The expressive elaboration of imaginative narratives by children with specific language Impairment. Journal of Speech, Language, and Hearing Research, Vol. 52, 883–898.
Ukrainetz, T.,Justice, L., Kaderavek, J., Eisenberg, S., & Gillam, R. (2005). The development of expressive elaboration in fictional narratives. Journal of Speech, Language, and Hearing Research. 48, 1363–137.
Hammill , D. & Newcomer , PH.(1997) . A̅muzesh-e Roshd-e Zaba̅n , Sa ̕ id Hasanza̅deh & Asghar Mina ̕ i .Tehran : Paguheshga̅h-e Mota̅lea̅t-e A̅muzesh va Parvaresh . [in Persian].