روایت شناسی

"Focalization," as one of the innovative theories proposed by Gérard Genette in narratology, examines the structure of narrative, techniques, and strategies for distributing knowledge (awareness) by the narrator. It elucidates the dominant ideology of the text in relation to its impact on the audience’s understanding of the narrative. Genette’s significant distinction between two key narrative agents—"Who sees?" and "Who speaks?"—identifies two primary functions within the text: the act of "telling" and the act of "seeing." The focalizer (the agent of focalization), after positioning itself as an intermediary between the reader and the text, influences the reader’sperception through different modes of focalization: perceptual, psychological, and ideological. These modes operate with varying degrees and qualities, leading to different effects on the audience.In this article, focalization techniques in Vis and Ramin, a work by Fakhr al-Din As'ad Gorgani, are examined to determine how the element of "awareness" is distributed within the narrative. The findings indicate that the narrator successfully maintains a balanced and proportional approach in utilizing both external and internal focalization. This balance ensures a meaningful distribution of information between the reader and the characters, effectively conveying the dominant ideology of the text. The organization of event sequences by the narrator-focalizer is structured in such a way that, in most instances, the reader does not possess more information than the characters. However, the reader is implicitly engaged in the psychological exploration of the characters' destinies, maintaining a distinct yet introspective presence within the text’s systemic framework.

As an emerging area in literary criticism, the study of narrative time has attracted narratologists’s attention since the 20th century. One of the figures focusing on the analysis of time in narrative is Gerard Genet, who believes that the time of story and narration are not parallel but different, due to three reasons; order or chronological sequence, duration or temporal continuity, and frequency or repetition. The Translation of Tārīkh-e Yamīnī is one of the old texts in the field of historiography, which chronicles the events of Samanid and Ghaznavid eras. As it is written in the form of successive narrative fragments, with the author employing various techniques of temporal manipulation, it can be analyzed in terms of narrative time. This study examined the use of time through an inductive reasoning approach, focusing on order, duration and frequency. The result demonstrates that, although this work falls into the category of realistic and historical writings, the author has skillfully employed various narrative time techniques. Its refined prose style ensures that prolonged descriptions remain engaging rather than tedious. Moreover, the author’s seamless blending of historiography and realism is evident.

Algirdas Julien Germes is a famous linguist from Lithuania who can be considered as one of the most famous theorists of semantics in narratology. Grems's theory, which was formed based on Vladimir Propp's theory, projects a kind of universal grammar for narrative. The main goal of this research is to analyze and investigate the narrative structure based on the theory of Grams's activism in Varagheh and Golshah Ayyoghi's lyrical system.

The research method in this study is a descriptive-analytical method based on library studies and documentary method, which will be analyzed by relying and emphasizing on Grams' approach as a semiotic analysis, the narrative style of action in Varagheh and Golshah Ayoghi's system.

Due to the linear and uncomplicated narrative structure and the clarity of the main and secondary actors, various confrontations and chains, the system of Varagheh and Golshah Ayyoghi can be analyzed and evaluated in terms of the action pattern of Grams, and based on the main, secondary experiences and the measurement of the factor considered by Grams In the mentioned model, it can be analyzed from the perspective of the action model.

The results of this research show that Verkeh, as the main actor, faces opposing and supporting actors in different situations. The violation of Golshah's parents' covenant and his marriage with Shah Sham moves the story forward in the covenant chain. This issue shapes the next chains, including the executive chain and other actions, to finally end in a positive situation and final balance.

In modern societies, the concept of death-wish is an intellectual notion that challenges an individual’s approach to the surrounding environment and significantly impacts the individual’s lifestyle. Playwrights such as Marsha Norman and Gholam-Hossein Sa’edi have explored the conscious confrontations with death in their works, particularly in Night, Mother, and Dast Bālāye Dast. These characters are portrayed as either pro-death-wish or anti-death-wish. This descriptive-analytical study aims to investigate the semantic contrast within the narrative discourse of the two plays. The central questions of this study are: How two playwrights from different cultural and linguistic backgrounds have addressed the death-wish theme in their works, and what narrative differences they have employed. To answer these questions, the present study centralizes the death-wish theme as the central axis of the two plays and comparatively analyses the two works in the light of narrative elements such as characters, plot, time, and setting. The analyses of this study show that by utilizing temporal-spatial continuity and a single opposing character to the pro-death-wish character, Norman exhibits a more profound understanding of death-wish compared to Sa’edi, and aligns the narrative characterization and components of her play with its theme.
 

In written narrative, from the perspective of today’s narratology and the reader-oriented critical view, imaginative and personal creation of setting in the mind of the reader is an important phenomenon. Our research examines these creations in the story of falling in love of KhorshidShah - the protagonist of the long folktale Samak Ayyar- and sketches a precise and part by part development of the narrative world drawn from the locations made possible in such settings. This article depicts that the narrator of Samak Ayyar, in some cases describes the setting briefly for the reader; sometimes uses the condensation and saturation of the described setting to achieve focalization and adds to its visual effects by describing the details in order to induce a setting in the mind; and other times leaves the existence of such locations to the imagination and deduction of the reader to reconstructs those settings of the narrative world, based on the symmetries available in the text; and in some settings utilizes both techniques in parallel, in order to introduce more locations. In this ancient substory, deductive creation of setting is one of the important elements which is used to develop and complete the other settings that the narrator has been obligated to describe them in the text; Also, we saw that by benefiting from the mixture of different types of setting creation, and the development of the map of the narrative world in intervals, it is possible to demonstrate much clearer and completer aspects of the space of long folktales in front the reader.

This article investigates Bijan Najdi's story, “The Day of Horse-Falling,” in light of ecofeminist criticism and narratology. It explores how Najdi’s narrative portrays the oppression of women and nature within a patriarchal framework. The key questions addressed in this study are as follows: How does Najdi employ narratological techniques to link women and nature? And how do these methods relate to the power structures within feudal and tribal societies? This study aims to analyse Najdi’s narrative techniques in highlighting the double oppression of women and nature, and to present a comprehensive analysis of the patriarchal power relations in a traditional society. This study underscores the significance of Najdi’s story as an example of Iranian ecofeminist literature, which contributes to the awareness of women’s and environmental issues in Iran’s cultural context. Informed by ecofeminist and narratological approaches, the research presents a qualitative analysis of the story. It demonstrates how the solidarity between women and nature is portrayed through the perspectives of the horse and Asieh. Additionally, it examines Najdi’s poeticity and symbolic imagery in depicting identities and emotional connections. The findings reveal that by telling the narrative from the horse’s first-person point of view, Najdi challenges the patriarchal structure of the village. The disappearance of the horse and Asieh, followed by the horse's capture as well as by identity distortion, symbolises the persistent oppression of women in a patriarchal society. The study shows that power relations in such contexts are deeply entrenched, and attempts to evade them are often futile.

Adaptation of Narrative Structure of the Novel The lone Pomegranate Tree with Greimas Narratology Theory A narrative consists of a sequential series of events, and a crucial condition of this sequence is the interconnectedness of these events. Narration begins with the history of humanity, and its antiquity is as old as mankind's discovery of literary innovations. The examination of narration has been a subject of interest itself since ancient times and traces back to Aristotle's studies. One of the schools that delved into narratology in contemporary times is the Structuralist School, which aims to uncover the language of narration and the structure behind it. The first person to propose a structural analysis pattern for stories was Vladimir Propp. Following him, another structuralist named Greimas delved into the study of narration. Using his theory, it's possible to comprehensively examine the structure of a narrative. This article aims to adapt a descriptive-analytical method to compare the narrative structure of the lone pomegranate tree novel with Greimas narratology theory. Greimas, seeks a generalizable overarching structure in all narratives, considering them all to be subject to a common structure despite their differences. In his analysis of narrative and stories, he focuses on the general narrative structure, narrative elements, propositions, and narrative chains. According to Greimas, all narratives have one of the following two structures:1. Contract-Violation-Punishment2. Absence of Contract-Existence of ContractThe lone pomegranate tree novel follows the first model structure. The main character in this novel is Javad, His father owns a funeral home (where dead bodies get washed to become ready for burial), and the occupation of washing the deceased is an inherited profession in their family. The father expects Javad to continue his occupation. This familial arrangement aligns with the contract of Greimas theory. However, Javad possesses a passion for art and shows no inclination towards the funeral home business. This contravenes the established familial agreement, coinciding with a violation as outlined in Greimas theory. His father opposes his decision, resulting in a consequence that matches the concept of punishment in Greimas theory.On the other hand, the six narrative elements that Greimas believes exist in all narratives can also be found in this novel. These six elements are as follows:1. Character: In the discussed novel, the protagonist is Javad.2. Goal: Javad's goal is to pursue studies in art field.3. Receiver: The one who benefits from the actions of the story's character, in this case, is Javad himself.4. Sender: Someone or something that propels the protagonist toward their goal, which in this novel is Javad's passion and feelings towards art.5. Helper: Someone who assists the protagonist in achieving their goal, which in this novel includes Javad's brother Amir, his mentor Raed, and his uncle.6. Opponent: The force that opposes the protagonist's goal, in this case, would be Javad's father and political and social conditions in Iraq.According to Greimas theory, every narrative is composed of three propositions:1. Descriptive Proposition: It portrays the characteristics and situations of the protagonist. In this novel, Javad is depicted as an art enthusiast who opposes his father's profession, and he suffers from nightly nightmares. All these attributes find their place in the descriptive proposition.2. Cognitive Proposition: The desires and beliefs of the protagonist are included in this proposition. For example, Javad wishes to become a prominent artist in Iraq one day.3. Actional Proposition: All the actions of the protagonist are encompassed within this proposition. For instance, from childhood, Javad engages in designing everything and exerts great effort to become an artist.According to Greimas theory, the structure of a narrative consists of three narrative chains:1. The Contractual Chain: Creating a contract and breaking it are elements of this chain. In this novel, Javad makes a personal contract with himself to pursue a career in art and find a job aligned with his field. However, due to the political and social conditions in Iraq, he is forced to break this contract.2. The Executive Chain: This chain pertains to actions and tasks that imply execution and a mission. All of Javad's efforts to achieve his goal are encompassed within this chain.3. The Disjunctive Chain: According to Greimas theory, all stories move from a negative situation to a positive one, or vice versa. This novel transitions from a positive situation to a negative one. At the beginning, Javad leads a peaceful life. However, throughout the story, his brother is killed, his father passes away, and despite his efforts to become an artist, he fails to achieve his goal. From the analysis of the lone pomegranate tree novel the following results are obtained: The overall structure of this novel is Contract-Violation-Punishment. The six narrative elements of the novel are as follows:1. Character: Javad.2. Goal: Pursuing studies in the field of art.3. Receiver: Javad himself.4. Sender: His passion and feelings towards art.5. Helper: Mentor Raed, Javad's brother, and his uncle.6. Opponent: Javad's father and the political and social conditions in Iraq.In this novel, the narrative propositions of Greimas theory (cognitive, descriptive, and actional) are identifiable. The narrative chains of Greimas theory (contractual, executive, and disjunctive) are present in this novel.Keywords: Narratology, Narrative Structure, Greimas, Senan Antoun, The Lone Pomegranate Tree

The quantity of time is one of the fundamental components in the creation of any narrative and fictional work, and without the presence of this quantity, the formation of any narrative and event is impossible. In examining narrative time, we face the components of the function of time, compression or stretching of the narrative, pauses, and positive and negative accelerations. In modern physics, the understanding of time depends on movement, and in Einstein's theory of special relativity, events can be transferred from the past to the present and from the present to the future. In narratology, two types of time are considered: chronological time (calendar time) and narrative time (time regardless of linear and natural time). Questions are raised in Bahmannameh system by using the elements of chronological time and narrative time. Including: How did the creator of Bahmannameh system use the element of time to advance the narrative? and what is the speed of narrating narrations in this system, and what is the position of time advance and delay (lapse of time) in these systems? Does the author have a more retrospective or forward-looking perspective on time disturbances? In this research, in addition to the analytical answer to the above questions, the inconsistency between the narrative time and the calendar time, which caused discontinuity and time breaks throughout the story, will be investigated.

In structuralism, linguistic theory is used in the field of non-linguistic subjects and activities. Narratology is one of the aspects of success of structuralists. A structuralist analysis determines the governing structure of narrative forms by examining the narrative elements and the rules of their composition. According to French literary theorist Roland Barthes, the narrative and its quality are based on three elements: function, action and narration. Meanwhile the Narrative works of Indi- Persian mystic poet Amir Khusruas Dehlavi, including Majnun - Laila, can be examind and analyzed and with the help of new theory of Barthes. In this article, which was done with descriptive-analytical method and narrative-cognitive approach, Barthes idea was empolyed in its dimension of function to study Majnun - Laila's system. The findings of this research indicate that such critical notions are applicable to Amir Khusruas poem a process through which the underlying meaning of the text and its beauties. In the narrative poem Majnun - Laila, the two main of functions of distributive (including cardinal and catalytic) and integrative help form a complete. There are thirteen sequence with cardinal or core functions in the story of the poem: the birth of Majnun (Qays), Majnun going to school, love between Majnun and Laila, revelation of their love , confinement of Laila at home, Majnun deserting home, Majnun's father's proposal to Leily's father, Laila's father's refusal, Nofel's battle, Majnun's marriage, Laila's meeting with Majnun, Laila's death, Majnun's deato

The novel of fire is one of Hossein Sanapour's novels that presents a narrative of several characters, events related to their lives and the atmosphere that governs the type of their communication. From the point of view of narrative methods and techniques, this novel is considered one of the modern novels. Various ways of narration, distancing from the linear narration style, multi-voiced narrations, use of new narration methods and factors of this kind have caused this work to be a modern work from the point of view of narratology. Based on this, two questions will be raised in this research. The first question is, from the aspect of narratology, how did the narrative techniques in the novel Atash contribute to the creation of a modern novel, and the second question is how these multiple narrative characteristics can be explained based on Genet's theory. The hypothesis of this research is that by presenting modern approaches in the field of narration, Senapour has been able to create a work that matches the narratological standards of the modern era, and these narrative features can be explained using Gerard Genet's theory.

In this article, we criticized Aidan Chambers' theory of the implied reader in children's and young adult literature. Chambers proposes techniques for identifying the implied reader in such literature. While the theory offers useful concepts, it contains flaws and gaps, which we explain under several headings: generalizations and ambiguity in definitions, overlap of categories, inconsistency in examples, and weak theoretical foundations. The proper application of this theory in practice requires revisions, supplements, and corrections, which we have addressed in this study. We further provide suggestions for improving the theory. Given that Chambers' theory aims to uncover the implied reader, we also explored techniques that enable us to identify this reader. In the fields of linguistic analysis of the novel and narratology, we found effective methods and concepts, and we designed an approach based on text structure analysis and narrative discourse, which helps infer the implied reader. This method includes the concepts of sème, focalization, voice, and distance, offering a more precise understanding of the implied reader.

Asli and Karam are among the Turkish oral love stories that have been popular among the people of Iran, Caucasus, Central Asia and Asia Minor. The action of discourse, space creation, characterization, which are interconnected with the plot of this oral story shows its coherent narrative structure. Today, narratology is one of the most influential and successful fields under structuralism. In this research, we have analyzed the narrative chains, action pattern and semantic square in the main story of Asli and Karam throug qualitative and quantitative analysis using library and documentary methods and based on Grimas's theory of narratology. Our findings show that this story has a consistent plot, and six components of Grimas' narratological action model have a meaningful match with the narrative components in it.

The main issue of the present study is how narrative lying can be a platform for suspending action, preparing new action and changing the narrative course of the story to a discourse perspective. Lie with prosthetic function and with the ability to increase, expand and replace causes the change of the horizontal system of the narrative to the vertical system and from this perspective, turns the action plan into a transcendental one. In the story of "Rostam and Sohrab", the main path of the narrative takes the form of a planned action. But each time, the actors of the narrative challenge the action plan of the story in the form of a narrative lie, and by making a change in the main direction of the narrative, they provide the ground for entering the fraction. Discourse legitimization, discourse rupture, value collapse and replacement of new value, status quo, change of action, magnification and illusion Instrumentation is one of the functions of narrative lies. In the present article, how narrative lies work and its role in changing the action process to action is analyzed. The main purpose of this article is to explain the functions of narrative lies and to examine its role in how to accelerate narration and achieve a transcendental situation. The results of the study show that the strategy of narrative lying hinders the adaptability of a sign and marginalizes the main action, thus replacing it with a new sign and semantic condition.

Many critics, including the Paris school, have studied the structures and narrative forms and examined the elements and rules of their composition. Among others, we can mention the model of Grimas, who, by inventing a system based on the representation of shapes for narration, proposes a plan based on how the relationships between units are. Semantics of the school of Paris and Grimas
believe that reality is always elusive and the external factors involved in the emergence of the narrative and its real roots are always ambiguous. Therefore, narration is a kind of simulation of reality. In this article, which was done in a descriptive and analytical way and using library sources; By comparing Ibn Yamin's pieces and Arash Azarpik's works based on the action model of Grimas, he tries to answer the question of what kind of relationship (imitationist, revivalist, innovative, heretical, transcendentalist) exists between the works of these two. In fact, the purpose of this research is to investigate the degree of adaptation and understanding as much as possible to the pieces of Ibn Yamin and Arash Azarpik and to recognize the pattern of grimace, and it concludes that the narrative structure of Arash Azarpik's pieces is innovative compared to Ibn Yamin.

Narration is one of the most important literary techniques and an essential element in literary theory, which helps us to understand literary texts. Many theorists have examined the structure of the narrative. The French general Georges is one of the most prominent structuralist theorists, whose theory is one of the most complete theories of narratology. The purpose of this research is to study and express narratology in the novel "Umm Saad" by Ghassan Kanfani and "Totally Special" by Abbas Maroufi based on Gerard Gennet"s theory.

This descriptive-analytical study aims to analyze Persian and Arabic novels based on the narrative information of Genet, which is rooted in the individual personality and emotional experiences of the narrator, based on Genet"s narratological perspective. Analyze the narrative text of the narrative centers, the narrative distance, the narration expression, and the types of views prevailing and involved in both novels, and determine and record the power of the authors" storytelling analysis in changing the narrative system of the novel and the value of each..

The novels "Umm Sa"d" and "Totally Special" each more or less directly or indirectly return to their past, which turns the narrative into a time of retrospective depravity. But the difference between Kanfani and the famous novel is that the novel "Umm Sa"d" is realistic and reduces the audience"s distance from the text, and this has added to the dynamics of Kanfani"s narration and turned his work into a living text, while The novel is "completely special" in accordance with imaginary realism, and this sometimes takes the narrator away from the context of the narrative text and sometimes makes the narration harmonious and sometimes heterogeneous, which is the criterion of the semantic attitude of a famous work. "Kanfani and Maroufi" also used real places in the novel that have an external meaning. The narration of both novels is omniscient.

This study delves into a comprehensive analysis of John Bunyan's masterpiece, The Pilgrim's Progress, utilizing the conceptual framework provided by Greimas's actantial model. The core objective is to critically examine the work through the lenses of binary oppositions and the foundational elements of its chain-syntactic structure. By meticulously dissecting these chains and elucidating the intricate concepts of covenant, test, and judgment embedded within the narrative, a nuanced and profound comprehension of the structural dynamics of the text emerges. The research further extends its purview by evaluating the broader applicability of Greimas's actantial theory to this specific literary work. Through the generalization of results, it aspires to contribute to a more comprehensive understanding of the inherent structural complexities present in similar literary works. Positioned within the realm of applied research, the study employs a descriptive-analytical implementation methodology to unravel the layers of meaning within The Pilgrim's Progress. The chosen content analysis technique, anchored in Greimas's actantial model, serves as a robust tool for dissecting and interpreting the results. In addressing the research questions, the primary aim is to elucidate Christian actantial models. The research anticipates that the identification, explication, and analysis of these patterns will not only yield a deeper insight into John Bunyan's profound thoughts but also foster a richer understanding of his artistic prowess. Ultimately, the study aspires to formulate a model that transcends its application to The Pilgrim's Progress and can be extrapolated to other texts sharing similar characteristics.

Real Saʾdi Versus Implied Sa’di in the Prologue of Golestân AbstractIn narratology, the discussion of the six components of the narrative communicative model has given rise to heated debate. The author discusses the six components of the narrative communicative model and how they relate to the external and internal voices of the narrator. The real Saʾdi Shirazi is the composer of the works, but there is also an implied author who mediates between the real Sa’di and the narrator. The narrator's voice conveys the Prologue of Golestân to the reader/narrator, while Saʾdi Shirazi's voice can indicate his ideology as a real author. However, the works are not a direct reflection of the real Sa’di's positions, but rather he expresses his point of view through textual tools. The article examines the real and implied position of Saʾdi in the Prologue of Golestân, using the authorial Saʾdi as a solution to discuss contradictions and paradoxes attributed to the real Sa’di. From this position, Golestân and Bustân are the works by this authorial Saʾdi rather than the real Saʾdi mentioned in the tazkiras.

Rimmon Kenan, in her book ‘The Art of Narrative Expression’ has introduced a theoretical-applied framework for analyzing different types of narratives from the point of view of structural narratologists. The present research has analyzed this framework, taking into account the two elements of time and characterization, in the collection of stories of ‘Somewhere Else’ by Goli Taraghi. The purpose is to use the descriptive-analytic method to analyze the capabilities of the structural-applied model of narratology in time components, including temporal elements, spatial components, and characterization from the book ‘The Art of Narrative Expression’ in rereading the two stories ‘Unfinished Game’ and ‘Somewhere Else’. The findings demonstrated that in the two components of time and characterization, in ‘Unfinished Game’, the occurrence of travel with retrospective anachronism, at the level of the story, caused the main character's reopening of the mental complexes, which had influenced his actions for years. In the characterization of the story ‘Somewhere Else’, the main character of the story has reached a spiritual transformation in terms of self-knowledge and connection with his spiritual interests. As a result, the reader is convinced and goes along with the story which is currently sought by the application of cognitive narratology in the field of postclassical narratology. 

Narratology, a field within literary studies, focuses on analyzing narratives, narrative systems, story structures, and storytelling techniques. It aims to uncover the more profound meaning embedded within texts and enhance our understanding of narratives. Postmodern literature often challenges conventional notions of time and narrative in prose fiction. Nader Ebrahimi's "A Quiet Romance" exemplifies this type of narrative. This descriptive-analytical study examines "A Quiet Romance" through the lens of Gérard Genette's theory of narrative time. Genette, a prominent figure in structuralist narratology, emphasizes the significance of order, duration, frequency, focalization, and voice in describing and analyzing the structures of literary texts. The research findings reveal that "A Quiet Romance" exhibits strong coherence. However, deliberate temporal disruptions in the events add artistic depth to the story. These temporal disruptions are prevalent throughout the novel, with frequent shifts between the past and the present. The initial chapter primarily focuses on the past, incorporating retrospective elements contributing to a slower pace. In terms of duration, the surface layer of the novel follows the passage of days, creating a sense of positive acceleration and time omission. Conversely, the content layer of the story conveys a negative sense of acceleration. Dialogues, predominantly conveyed through the emotions and beliefs of the character "Gile Mard," form the narrative's core. The story often includes extended descriptive pauses, contributing to a slower narrative progression. Repetition and recounting are also prominent features of the narrative. Regarding focalization, the story utilizes two perspectives: an omniscient narrator and a first-person narrator, with the majority of the novel adopting the first-person viewpoint while the third-person perspective is sparingly employed.

The science of narratology was developed under the leadership of structuralists and its purpose is to identify things that are common to all narratives and only narratives. The word "narrative" was first proposed by Tzvetan Todorov and in the past decades it has become an important topic of discussion in almost all fields from fine arts and natural and social sciences to the study of communication and media. Coffeehouse painting is one of the most important folk arts in Iran, which flourished with the birth of the constitutional movement and the awakening of public opinion. One of the most important features of the coffee house painting is its narrative, which makes it a suitable example for narratology. On the other hand, shabihname, as a performing art of folklore, often has a relatively complex narrative form. Investigating how this complexity also makes Shabihname a suitable option for narratological investigation. According to what has been said, in the first step of this research, Genet's narratology was investigated as the main framework of the research, after that, coffee house painting and shabihname (both Iranian religious-ritual arts) were briefly introduced. In the end, the narration of Muslim children's story in two arts, coffee house painting and Shabihname, with the aim of evaluating how and the extent of influence and influence on each other, based on Genet's narratology, was compared. This research is descriptive-analytical and it uses document-library sources and reliable internet databases