فصلنامه نقد ادبی
پیاپی 8 (زمستان 1388)

Regarding the discursive or semiotic approach, unlike the structural studies which consider the linguistic products as external and independent objects toward theirs producers, very semiotic items influence the obscurant process of linguistic productions. The most important, meanwhile, is the discursive presence that its dynamism leads us to a discursive pointing and helps us to extent our relationships, and so the interaction between compatible and incompatible powers. Now the question is this: what helping us to transmit from a systemic relationship between the signifier and the signified to a processional? It seems that the cause arises of a substitution of a processional system instead of the fixed relationships of the signifier and the signified. But someone may ask: what traits cause that the lingual plans change the borders of meaning, and produce a semiotic process? Our purpose in this article, besides answering that question, is studying the conditions which lead us from a structural semiotics that the predetermined meanings are very important for it, to a processional semiotics which for that the meaning is a tributary to the dialogue and conflict between the plans of language. Key words: semiotics, discourse, lingual plans, process, meaning

Eyn-ol Ghozat Hamedani is one of the prominent scholars and theosophists in the field of literary theory with lots of in-depth studies in this area. In his four excellent works, he has introduced fresh and unique ideas regarding the criticism and interpretation of the literary texts, among which one can point out: the relationship between expression and meaning; words’ connective and separative forms with respect to the meaning and content; the relation between poem and prose, and the mentality and the viewpoint of the reader; the impromptu writing especially in three stags including childhood, the state of wisdom, and the state of being in love. This study intends to analyze Eyn-ol Ghozat Hamedani’s works based on the frameworks proposed by him.

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 scholar's views of the narration and narratology in his works will precede the main discussion.

Nihilism in the beginning part of “boof e koor” and its similarity with Nietzsche’s nihilism is an issue that has already been explored by writers of this paper. Despite the fact that Nietzsche’s influence is not deniable in Hedayat’s work, this nihilism radically different from what Nietzsche recognizes as “active nihilism” and is realized in Zarathustra. The distinction between the Narrator and Zarathustra can be investigated in the second part of “Boof e koor”, which is in fact the practical nihilism of this book. This paper unearths the similarity and distinction dimensions between Zarathustra and the Narrator of Boof e koor and explores “passive nihilism” especially in second part of this book. The paper also argues that although the Narrator has mentally reviewed Nietzsche’s argument, he approves of it, and, in the first part, thinks about killing the celestial girl; this girl's deep influence - that is in fact a realization of the extraterrestrial world- and narrator's passion deter him from being able to practically obliterate influence of the prostitute’s presence, that is the social symbol of the celestial girl, from his life.

The narratology, with a relatively vast domain, is the center of attention for many circles of literary criticism. Besides, the relation between narrative elements with other fictional elements has introduced various new perspectives in the field of literary criticism. The aim of this article is to explain and analyze several narrative techniques, and also to show some instances of these techniques in the Masnavi’s tales. The focus of this paper will be on four major concepts, namely narrative past, Material and mental process verbs, narrative proceeding and intercalated narration. In the part devoted to narrative past, the different functions of the tense of the verb in fictional and factual texts is explicated. In the next part, it is discussed that the reporting of the persons’ external verbs like eating wearing running and the like can occur in nonfictional texts; yet, explanation of the internal verbs like thinking, hoping, and etc., is possible only in fictional texts. In the third section of the paper, the linear narrative and interruption of linear narrative will be dealt with. Finally, in the last part of this paper, the concept of intercalated narration is explored. It should be noted that the intercalated narration involves tales in which the narrative framework proceeds alternately between fictional acts and characters’ dialogues.

This study is a stylistic narratological analysis of Ravāyat-e Moharram (The Narrative of Moharram) by Seyyed Morteza Aviny based on a framework adopted from Randall’s (1999) Narrative Intelligence Theory. Although many claims have been made about the unique qualities of Aviny’s narratives, none of his works have been academically analyzed to confirm the narratological features of his works. The researchers believe that scientific analysis of Aviny’s works based on reliable theories of narratology can substantially contribute to a better understanding of special qualities of his style, and using them in new forms and contexts. In the present study, mechanisms contributing to the promotion of narrative intelligence and their realization in Ravāyate Moharram are quantitatively and qualitatively analyzed using Labov’s (2001) narratological model as a structural instrument. The linguistic manifestation of some narratological features of Aviny’s prose are discussed from a stylistic perspective.