روایت

Saadi's fame has gone beyond the borders of Iran due to the power of his pen and the impact of his speech. Researchers of Iranian writers and others have written a lot on the discovery and recognition of Saadi's pen. Narratology is one of the new literary sciences that examines narrative texts, especially stories, from the perspective of quantity and quality and how successful they are in using narrative skills, their impact on the reader, and the percentage of their ability to deliver a message to the audience and recipient of the work.In this article, three stories of Golestan Saadi are re-examined using the library, descriptive and analytical method, with the help of the rules and skills of modern storytelling. To answer this question, what is the secret of the power, beauty and perfection of Golestan stories? In this article, by re-reading and examining Saadi's stories, it is correctly proven that Saadi's intuitive and unconscious focus on how to process the narrative and his precision in the construction and presentation of the story structure, as modern story writing is looking for after centuries. The main reason for the success of Golestan's stories is their perfection, power, impact and beauty.Saadi in an extraordinary way to skills such as: how to start the story, create a knot in the longitudinal axis of the story and bring the story to the crisis and climax, and unravel the knot and bring the speech to the end, and the role of dialogue and characterization in the fullness of the story and send a message to the audience is aware.With artistic precision, he tells the story with an energetic incident that hits the reader's mind and emotions, and what will happen to him in the face of the question? It starts, and by making the necessary knots and creating questions and a sense of curiosity in the mind and soul of the audience, it brings the story to the peak of the crisis, and by unraveling the knot, it reaches its goal of sending a message to the audience.

The present article intends to study the narrative sequences of Iranian folktales from a constructionist perspective and by reflecting on and rereading the narrative from the perspective of Claude Bermon. Darab Nameh Beighmi (15th century) is one of the eloquent and valuable texts of Persian prose, which, in addition to epic narratives about ancient warriors and heroes, also pays attention to manifestations of folk legends centered on knights and romantic events around their personalities or lives. In this descriptive-analytical research, a sample of evidence has been selected from the text of the story, which can be adjusted to Bremon's model. For example, in the story of Jahan Afrooz, there are three sequences that create the main sequence or the whole narrative. The actions and events that follow in the story of Jahanfaroz have created a very coherent and character-oriented narrative. In addition, based on the patterns designed in this paper, three types of sequences considered by Bermon, including Enchainment, Enclave, and Joining, can be seen in the narratively analysis of the story of Jahan Afrooz. Thus, in the enchainment, enclave sequence, which is a set of continuous actions, the character is guided in the right path in the story, and in the part of the joining sequence, the reactions of the anti-hero and the restraining forces are in conflict with the actions of the hero and the main character of the story.

Semiotics refers to the conditions of receiving and producing meaning in narrative discursive regimes. In the field of narrative, we can mention Greimas and Landowski, two researchers of the Paris School, who have classified various types of narrative and its discourses into four categories: Action, Interaction, Accommodation, and Fusion. “Time” is one of the elements of narrative which plays an important role in the semantic chains of the narrative systems. It appears in the action systems on the basis of physical and temporal conventions, and in the modern narrative systems, it appears as sensible/stative times, such as ecstasy, circular, etc. In this article, by examining the framework of semiotics on the subject of narrative discourse and its various types, and also relying on each of the narrative models and their associated times, we answer the following questions: How do the dominant systems in a literary-dramatic work change, and how do these transformations of discourse systems lead to changes in the types of time in the narrative. According to the Discursive semiotic approach, the main issue is how the narrative systems and their times are able to change and enter the domains of each other. The main purpose of this article is to investigate the various types of narrative systems in the Semio-Semantics discourse and their transfer to each other, and consequently, the types of times that have a narrative function in these regimes. To achieve this goal, the focus is on the narrative in the play Afrā by Bahram Beyzai.

 The aim of the current research is to investigate the deconstruction of the narration of women's characters in the Shahnameh and the rewritten texts narrated by Atusa Salehi. In deconstructive analysis, rewriting presents a new and fresh narrative by changing the center and centrality of the construction of the old work. In this research, it is shown how the presence of the omniscient and omniscient narrator in the rewritten stories is pale and a kind of change and deconstruction in women's narration is created through shifting the centrality and axis of the narration. The most important issue for deconstructive analysis is the use of contrasts hidden in the text; the contrast of love and affection with epic and war is one of the most prominent contrasts of this rewriting. The research method is descriptive-analytical and the method of collecting information is the examination of library documents. The results of the research showed that Salehi presented a different narration of the women of Shahnameh and new dimensions of their personality with a creative narrative and using the contrast of epic, war and love. Where characters such as Gordafarid, Manijeh, Jarireh, Shahrnaz, etc. have a more effective and prominent presence in the narrative than in the original text, and their emotional and peaceful character prevails over their warlike and epic spirit. This new dimension and reading is suitable for the mood and personality of the teenage audience

Ending or how to end the narrative is one of the main elements in narratology. Study of Ending techniques in literary works can show the level of creativity and artistry of the owner of the work, also could have a noticeable impact on understanding the whole text and the point of view of the poet or writer. Akhavan-sales is one of the poets who pays special attention to the narrative and how it ends in poem. The creativity and bluestocking of this narrator poet are visible in his brilliant and successful endings. In the present study, various Ending techniques, was examined in eight poetry books of Akhavan-sales in three sections: linguistic, literary, and narrative.   Among the linguistic techniques, things like all kinds of refrains, interjections, questioning and dialogue are visible in the ending of Akhavan-sales’ poems. The use of literary techniques such as Simile, Metaphor, Symbol, contrast, allusion (especially with his pen name Mim. Omid), visualization, and satire, in the ending of Omid's poems attracts attention. On the other hand, Akhavan-sales’ attention to narration has led to some fiction and dramatic techniques such as resolution, the surprise Ending, an open Ending, rotating Ending, and spacing at an ending of his poem.The method of using these techniques in the eight poetry books of Akhavan-sales and the comparison of traditional and modern forms is considerable.

This research uses the theory of Joseph Hillis Miller, a contemporary theorist of narrative, to study several theories about the functions of the beginning in the cinematic narrative in the movie Passengers, made by Bahram Beizai. The questions of this research are as follows: firstly, with the centrality of the three functions that Miller provides for the narrative, how can the beginning be made in the film Passengers based on the views of the cinematic narration of Michael Tierno, Laura Schellhart, Charlie Moritz and Edward Forster analyzed? And secondly, the three functions of the narrative in the view of Joseph Hillis Miller, about the beginning in the narration of the film Passengers, can be explained in what detail? The aim of this research is to show how conflicting functions of narration in movies start their narrative and move them forward. The result of this article shows that the film Passengers reveals the critical function in opposition to the creative function of the narrative from Hillis Miller's point of view. That is, it opposes the dominant culture that regards death and the end as superior to life and continuation and guards this culture and insists on a culture based on the preservation of life to the extent that either all the movie characters and audience firmly believe in the authenticity of this alternative culture, which emphasizes the superior intrinsic aspect of life against the apparent inferior aspect of death.

The first-person narrator should be considered a "narrator-character" who is simultaneously a narrator and an experiencing character. From a semiotic-semantic point of view, the first-person narrator is a 'becoming" subject narrating his/her own experience from the surrounding world. The identity of the first-person narrative depends on this binary function; however, sometimes it takes effort to balance them since occasionally the first-person narrator only acts as a narrator (like a third-person narrator). Reviewing the background of the narratologists' theories, such as Stanzel (1984) and Fludernik (2002), shows that despite recognising these binary functions, the existing challenges and the ways to keep the balance have yet to be studied so far. The present study aims to develop the discussion of binary functions of the first-person narrator in a descriptive-analytical way by using the semiotics-semantics approach regarding "becoming" discourse to investigate the causes and the solutions regarding these binary functions. The statistical population of this research consists of nine novels: "The Blind Owl", "The School Principal", "The Year of Riot", "The Neighbors", "The Story of a City", "The Scorched Earth", "The Dog and the Long Winter", "I Turn Off the Lights" and "my bird". The result shows that in the "description" and "dialogue of characters", the role of experience is a severe challenge. In addition, the involvement of the narrator's mind in the narrative through referring to his/her feelings, thinking, judgment, interpretation, or speculation, along with methods such as "association" and "stream of consciousness", can be effective strategies to balance the binary functions.

The present article is devised on the basis of a descriptive-analytical procedure and is based on the theory of Genette, with the aim of identifying the types of time lapses in the narrative and the cause for their use in the novel; “Game Rules.” Furthermore, it is to examine different forms of acceleration and frequency and their impact on the process and attractiveness of the aforementioned novel. The content of the novel is the rule of the psychoanalytical and philosophical game. Zonouzi has set up a well-considered structure for better transmission of this content. In the concept of order, the findings indicate that a high percentage of the text has anachronism of lapse in past time. By objective correlative, the narrator breaks the timeline and expresses his mistakes in past. These past tendencies have created suspense of the work. The narrator's internal monologue and expression of ideologies have created negative momentum; but considering that Zonouzi's goal is to deal with the character's story, its acceleration is completely appropriate and natural. The highest frequencies are dedicated to the repeated ones. By doing this, he has caused a better transfer of confusion, psychosis and narrator's complexes and recounts the effect of those events on the narrator's psyche. In this work, there is, not only no inconsistency among the components of Genette’s theory, but also an effective connection and interaction among the components. The techniques used in the narration of this work are appropriate, and the structural study of this novel has led to the understanding of its complexities.

The importance of memory enhancement in language learning is often overlooked in educational resources, despite its crucial role in the foreign language acquisition process. Different literary genres offer unique benefits in improving retention and cognitive reserve, with each genre stimulating different parts of the brain. This research focuses on the potential of dramatic literature (French) as a valuable educational tool to aid in the memorization of vocabulary and phrases during French language learning. By exploring the relationship between memory and literature, this study aims to highlight the benefits of incorporating dramatic literature into language education to enhance learning outcomes.

Background of the Study:

In a series of research articles, various approaches to teaching foreign languages, specifically French, have been explored. Shobeiry (2020) delves into the use of literature in language instruction, emphasizing task-based teaching methods to enhance students' understanding of cultural and social aspects through literary texts. Mohammadi and colleagues (2017) compare the neurocognitive linguistic approach with traditional methods in teaching French in Iran, highlighting the effectiveness of the former in improving oral expression skills. Ghashmardi (2017) discusses the importance of cognitive neuroscience in language teaching, suggesting that it can serve as a theoretical basis for cognitive learning and contribute to the development of effective teaching methods. Collectively, these studies shed light on innovative approaches to language instruction that aim to enhance students' language skills and cultural understanding.

The research aimed to determine the effectiveness of using drama versus narrative in improving memorization and cognitive reserve in students during conversation. The study involved 54 third-semester French language students with an A1 language level, divided into a control group (narrative) and an experimental group (drama). The Vocabulary Knowledge Scale (VKS) was used to measure cognitive reserve and word recall, focusing on sentences and phrases. The research method was descriptive-analytical, with the goal of proving the superiority of dramatic literature in enhancing learning outcomes compared to narrative literature.

The study examined the assumptions of the variance analysis in Table 6, which revealed that the drama group had a higher average in the post-test compared to the narrative group. The results of the covariance analysis in Table 7 further supported this finding, showing a significant difference between the two groups in the post-test after accounting for the pre-test. The main goal of the research was thus achieved, demonstrating the effectiveness of the drama group in comparison to the narrative group.

There is a strong connection between narration and philosophy both in its general sense, which means people's attitudes and worldviews and its specialized meaning, which refers to the systematic philosophy of professional philosophers. In the first sense of this connection, authors use the tool of narration to put forward their own thoughts, beliefs, feelings and judgments, and in the second sense, different narrative formats are used as tools to express philosophical concepts, similar to Camus's Myth of Sisyphus. The novel Sherrir by Seyyed Ali Hijazi Yazdi is an Iranian example of the second type of relationship between philosophy and narrative, in which the author has used the novel to express the concept of existential nihilism. Existential nihilism is one of the branches of nihilistic thought, which is based on absolute skepticism and rejection of accepted beliefs on issues such as the meaning of life, death, loneliness, love, etc. Based on this premise, the present paper aims to examine the ways in which this concept is described in the novel through an analytical-descriptive lens and drawing on the theoretical framework regarding the concept of nihilism. The results show that in this novel, the author has paid attention to topics such as futility, death, emptiness, disbelief in God, loneliness, boredom, and finally the tendency towards an illusory existence, all of which are narrativized aspects of the philosophical concept of existential nihilism.

Memoirs are modern narrative types and have significant narrative capacities. In these works, narration is used with special shapes and forms, and in many ways it is comparable to the superior type of narrative-story types, i.e. novels. The present essay aims to use the descriptive-analytical method by enumerating three important components of narrative in the genre of memory, i.e. "the use of the narrative self", "emphasis on the narrator instead of the hero-cultivation" and "increasing the volume of descriptions instead of events and incidents". ", to measure and evaluate how the narrative departs from this conventional rule in the book of Memoirs of Ahmed Benbouleh, a famous Algerian fighter. It should be mentioned that each of the different narrative genres have specific narrative coordinates and the metaphor of the coordinates of other genres in memory can be analyzed in interdisciplinary researches. In fact, in the contemporary era, by examining the interplay of genres, borrowing the characteristics of one genre and literary style in another literary type, a widely used case in the direction of breaking the borders and lines between genres, draws attention, and in the meantime, memory is also It borrows the narrative features of other genres. The findings of the research show that the narrative in Ahmed Benblah's memoirs has gone beyond its conventional structure and moved towards the form of a novel in narrative and epic, and this song is memorable because of the dynamics of the character, the theme of struggle, and the shortness of time.

The frequency of Leyli and Majnoon's tales is high in Persian literature. The tale of Leyli and Majnoon has been considered by Iranian poets and authors since the fourth-century AH and has been included in their works. Evolution of narrative, characters, and themes in the tales and anecdotes of Leyli and Majnoon in Persian literature, their relationship in terms of where and when the tale is written, and its difference from the original version and the location of the Arabic story would help to have a better and different understanding of the stories written under the common name Leyli and Majnoon. In this study, the main purpose is the investigation of the Leyli character changes among Persian poets. The research shows that the Layla and Majnoon poems in the history of literature in Persian poets, based on the imitation of Nezami, do not have much variation except minor changes. And all authors reach a consensus about the location and culture, and the pure love, although interesting minor differences were in Leyli's character in their writing.

Intertextuality is an important term in contemporary literary theories that refers to the relationships between texts; According to this theory, literary texts are not formed in isolation and they cannot be read and interpreted without communicating with each other. After the Islamic revolution and especially in the last two decades, we see the use of intertextual relationships in the works of many contemporary authors.
Intertextuality in postmodern era has an inseparable link with other features of these texts, such as temporal discontinuity, non-linear narration, vicious circle, etc. In this article, by using the descriptive-analytical method and using the theory of intertextuality, the effectiveness of the narrative of the Well of Babylon from the myth of Harut and Marut has been investigated and analyzed. The results of this study show that the characters, actions and events of the story of the Well of Babylon have many similarities with the mythological narrative of Harut and Marut, both in form and content, and the use of mythological elements such as motifs, characters and symbols has turned the Well of Babylon into a mythological narrative. In this story, the fluidity of the narrator's mind in mythological intertexts has created a postmodern narrative of the world that is full of suffering and torment that characters has endured. This article has analyzed the novel of Well of Babel with the aim of representing the role of intertexts in the narrative of the postmodern novel and its relationship with other features of this type of texts.

Kowlivaareh is a collection of sixteen modern sonnets written by Simin Behbahaani, published in "Dasht Arjan" in 1362. While reading, the readers confront with a series of narratives by the main structure of dialogue; Therefore, the authors of this article have investigated and analyzed the conversational language of this collection. It's required to mention that the investigation and analysis of the conversational language in the narration is based on the theories of the structuralists, in which the linguistic elements involved in the conversation such as words, compounds, pronouns, tone, propositions Dialogue, literary elements in dialogue relations and the function of dialogue are examined and analyzed. In this article, the linguistic structure of Simin Behbahaani's Kowlivaarehaa has been investigated and the authors have found new and considerable results regarding the innovations of this great contemporary poet in modern sonnets. The function of dialogue in Simin Behbahaani's Kowlivaarehaa is carried out in the form of "reflection of the poet's inner states, description of the current situation and the demand for the desired situation" and the poet in these sixteen narratives, the Kowli - who is a symbol of she, herself and every free woman and man she calls for trying to build a better society.

Gothicism and Gothic, in addition to art, are known and accepted as a style and method in literature. The elements of this style are generally expressed in fiction works, but its manifestations can be found in the poetry of some poets today, including Nosrat Rahmani. In this article, adescriptive-analytical method has been used to investigate and analyze the dimensions and quality of Rahmani's unconscious and sometimes deliberate use of the components of Gothicism. in this regard, the poems that can be found and analyzed based on Gothicism; Or the poems whose norms and content are based on characteristics that are related to Gothic elements, have been selected and analyzed from the perspective of Gothicism. The findings of the research show that Rahmani brought narratives with event, description, space creation and unconventional and surprising themes in his poetry, which can be evaluated as Gothic narratives. These narratives have an adventurous and nightmarish style and report the failure of crazy and tragic loves; Also, include surprising, ominous and generally related to death, grave, shroud and similar events. it has been classified under the titles of "Gothic and Surreal", "Gothic Description", "Gothic Spatialization", "Gothic and Place" and "Gothic and Objects". In these narrations, descriptions and images are also used that have an illusory and melancholy aspect; In this way, they can put strange, dark and scary spaces in front of the reader's eyes and thoughts and cause him fear and annoyance. These coordinates have established a kind of closeness and similarity between Rahmani's narratives and Gothic works, and have made Rahmani one of the poetswho are attracted to the elements of Gothicism.

Each narrative, as a combination of narrative chains, is made up of small components such as nouns, verbs, and words, so that the foundations and underpinnings of the narratives end in these elements in the shortest possible time. In linguistics we consider verbs to be dynamic, definable, and time-bound phenomena that represent the action of the actor, but in the narrative science the extraordinary power of the verbs and their frequency becomes apparent when we know each genre depending on the theme, theme, and theme of the actor. Accordingly, the present study seeks to illustrate the process of linking the color and hierarchy of verbs in psychological and horror narratives, and to map the process of action in such stories from situational verbs to achievements in a precise and calculated scientific course. The results of the present study show that in the psychological and horror narratives we see a regular hierarchy of verbs: situational, dynamic, accomplished and attainable, and this hierarchy is very closely related to the color of such narratives.

Autism is one of the most common neuro-developmental disorders that can influence an individual’s cognitive and linguistic abilities. Since it is necessary to make use of both cognitive and language abilities in narrative discourse, autistic individuals face a challenge in narrative production and comprehension. Therefore, the present study aims to investigate the space domain, as one of the inseparable components of each narrative, and in a broader context, narrative discourse in children with high-functioning autism and normal Persian-speaking children. To this end, the representation of some components of space such as predicates (including static, active, active-accomplishment, and semelfactive) and spatial grounds (including nouns and pronouns) in the narrative discourse of children with high-functioning autism and normal children was studied based on Hickman (2004) and Roberts, Barjastefc Delforooz and Jahani's classification (2009).

The series of novels A Song of Ice and Fire is known as one of the most popular novels of the century. Time magazine George R. R. Martin is called the American Tolkien. This fantasy novel was adapted into the TV series Game of Thrones in 2011. The Game of Thrones series is one of the most watched series in the world. In this article, an attempt has been made to analyze the narrative differences of this adaptation with a descriptive-analytical method, focusing on focalization. In this research, relying on the theories of Gérard Genet, the focalization of focalizers in the novel A Song of Ice and Fire and then how it changes in the Game of Thrones series is examined. Also, in this research, the focus is on the main focal points of the Game of Thrones novel and series and the events that happen from the perspective of their focalization, in order to determine which focal points are focal points in the epic fantasy novel and series and what events are narrated from their point of view. The results of this research show that for the television adaptation of the novel, internal focus has become external focus. Also, other narrative changes such as simplifying the complexity of some sub-stories, removing some characters or using their stories for existing characters, adding some romantic narratives, dramatizing some events and changing focal points in the series and novel can be mentioned.