روایت پردازی

Today, paisley is a symbol found in Iran’s and some other countries’ artistic discourse.There are controversies about the origin of this symbol. It has been said that it is derived from cedar, pine, fire, etc. Now paisley has gone to culture and has produced discourse and identity there.Today, this symbol has penetrated the borders and has been drawn from the national discourse to the international one. Paisley belongs to cultural and mythological experiences and when it is studied from the narrative point of view, it is clear that it has a mythological origin and creates a narration and a discourse. The research questions are: how does paisley maintain its narrative position within the discourses? How does it develop its discourse role and function? How has it been able to reach from the national discourse to the international one? In other words, how has it gained its discourse legitimacy to transfer itself to other cultures? In order to answer the questions the semiotic approach of discourse was chosen to show the value position of paisley, as well as analyzing the conditions of its narrative development within multiple discourses. The results indicated that paisley in artistic social systems preserves its value in addition to transforming it through producing movement. Paisley achieves its identity not by change but by stability. By producing imagination paisley forms a dialogue between nature and culture, so it links its value with myth and imagination. As a result, it moves from a national position to an international one.

Arthur Geffery Believes that the word "Iblis' is a borrowing from of the Greek word "diablos', which was introduced into the Arabic language by Aramaic or Arabic-speaking Christians. The Sufi understanding of the concept of Iblis is not compatible with the mental schemas of the jurists and consequently not with the masses. Iblis is separated from divine time (lahut) and wanders in nasut time (the material world), connecting the eternal time with the material thime, and the story becomes temorally distorted. These stories gragually shed their historical narrative skin and approach fictional narratives. The figure of Iblis in the stories of Tadhkerat al-Awliya, like the events of certian, disrupts the story's equilibrium and leads to a kind of imbalance. Attar employs a mystical and jurisprudential perspective with two different voices and meaning to portary a single character (Iblis), with these two voices having a conversational relationship. These two voces are evident in most of the stories of Tazkirat al-Awliya. The narration in the stories of this work, not only lends an artistic aspect to ordinary speech, but ix also a means of persuading the audience. In these fictional narratives, the person in the act of narration becomes a character. The aim of this study is to explian the characterization of Iblis (in the stories of Tazkerat al-Awliya) in the two opposing aspects of hero and anti-hero in the act of storyelling.

Considering the complexity and newness of democracy as a category it is natural that many works of Arabic classic literature that adhere to dogmatic traditions, significant principles, and rules lack it. But in some of the works the writer by conversing the narration into a context for reflecting different voices, cultures, and ideas tries to express problems of ordinary people and society’s different classes with a democratic approach. This process provides the way for releasing the story from dogmatism and one-sided view and has resulted in the fusion of ideas, cultures, and induction of more readings. In the story book Al-Mokafat, Ibn Ud’daye by following realism has reflected socio-political conditions of Tulunian period in Egypt. And as a writer with democratic thought, aims for normalization of culture and reconciliation of beliefs, ideas, and tastes. Ibn Ud’daye’s activity in Cairo’s court and political center of Al-Tulun period which accompanied with vast reforms was an influential subject in adopting such an approach. Considering the necessity of exploring this issue in Arabic classic works this article is about to study the democratic narration and its main features in Ibn Ud’daye’s Al-Mokafat. The results indicate that mentioned story collection includes characteristics such as diversity of voices and tones, inclusion and comprehensiveness, pluralism and reconciliation of cultures, ideas, and fusing them, reflecting popular culture and application of oral language. It is a work with a democratic approach that is narrated by depending on free-thinking concept and avoiding dogmatism

The travelogue can be studied and analyzed as one of the types of narratives. Nim Dang Pyongyang's travelogue by Reza Amirkhani is the result of his two trips to North Korea. In this travelogue, unlike conventional travelogues, field visits and descriptions of places and anthropological experiences, etc., have not taken place. It focuses on the discovery and understanding of North Korean man in the form of travel writing.The answer to the question of how a travelogue can be formed without field visits and the conventional method of travel writing should be sought in the narrative method of this travelogue. Different perspectives can be opened from the perspective of different theories on the narrative method of this work. After examining the characteristics of this travelogue and the active role of the author, adapting and analyzing this work based on Jaap Lintvelt theory (based on "point of view" and "functional confrontation between narrator and actor"). Focuses) was found appropriate.The result is that the narrative in this travelogue is the same and the narrator, as the actor or the main character or the main hero, is the center of the narrative; The perceptual-psychological, temporal, spatial, and verbal foundations all indicate that although the author also pays attention to the contemplative narrative, the dominant method is the active narrative.

The modern semio-semantic approach has gone beyond structuralism and entered the realm of narrative discourse, creating the conditions for the production and acquisition of meaning in discourse. This paper, examines the process of narrating in One Thousand and One Nights from a semio-semantic perspective by analyzing the movement from the narrative structure to the narrative discourse systems using the Greimas model. The purpose of the study is to discover how embedded narrative structures leak into the discursive structures of the story, and the tense (sensory-perceptual) space created by the narrative process controls and recreates the process of meaning production. Analysis of the narrative process in this work shows that narratives are never formed without the formation of a discourse system. On the other hand, the resistance of the narrator, Shahrzad, changes the emotional crisis and the lack of meaning in Shahriyar during the narration of several narratives to change the meaning of the presence of change. Using the tools of narrative language, he changes Shahriyar’s socially deplorable situation and mental state, and finally Shahrzad’s energy injection and practice in the discourse space has caused unfavorable stabilized conditions to become liberating conditions, and Shahriyar is confronted with a new meaning of life in the world. These changes are the result of his Dasein mutations after hearing the story. Shahriyar, in order to be himself and to fill his emotional vacuum, by being in the path of narration, takes away his previous Dasein and enters a new Dasein. In order to reach a new Dasein, he must first discard his faulty and critical previous Dasein in order to enter a new and improved Dasein. This is what puts him in front of another meaning of life and existence. The changes resulting from the Daseini mutation in existential discourse system are sometimes so profound that it is difficult to see a trace of the past. Perhaps it can be admitted about Shahriyar that he was accompanied by a great Daseini leap and the resulting changes were so profound that they were also observed by the people of that land.

The present study dealt with the narration process of the story “One Thousand and One Nights” and sought demonstrating the movement trends of the narrator’s narration-processing for postponing and neutralizing a morbid action and achievement of the ultimate goal, i.e. complete cessation of that action and reaching the discourse’s teleology based on Greimas’s semio-semantic approach. The main issue of the current research was figuring out how the narration leaked into the discourse and caused a change in the discourse mechanism following which the action system (i.e. murder and the king’s sense of revenge) was suspended; the continuation of such a suspension caused the value system to be changed and it was seen that the change and transformation of the value system resulted in returning from nothingness to existence. The semio-semantic analysis of this story showed that the initial opposing actions between Shahrzad and Shahriyar were transformed into emotional  and adjusting  status in the course of the narration-processing and a semantic transcendence occurred with the change from the disordered status to the organized status.

The phenomenological instance of the author is reflected in textual reality via the depicted realm or by the themes developed in the digesis. Indeed, the style of author’s writing, his specific style of characterization and particularly, his very specific narration, play an important role in reflecting his way of looking and being in the world. The purpose of this article is to examine the homogeneity or heterogeneity of identity themes with narrative patterns according to Lintvelt’s narratological theories. The main question that may be raised is whether there may be an effective link between the narrative structure and thematic (identity) content of this work? Do the author's minds fluctuations, negative impulses, and mental anxieties which have been reflected in earlier novels (and according to the author’s own statements they all have been finalized and condensed in Soluk) are able to adapt meaningfully with the narrative patterns of this novel? It is presumed that within a work, both narrative structures and novelistic content contribute synergistically in reflecting the author’s way of being in the world. Saying so, if the thematic level contains identity fractures, or ideological impairment, the novel’s narrative structure should also reflect the author’s phenomenological dissociation Our investigations of the so-called corpora have pointed out a complete compliance between the formal narrative features and the phenomenological/ideological content of the novel. The author’s identity disintegration has thoroughly tinted all narrative aspects of the novel; whether narrative instances or narrative types, all are forming a strong homogeneity between thematic structures&narrative structures.

We believe that narrative practices have undergone a transformation in fictional literature in moving from classicism to modernism and postmodernism. Although the classics adhere to the sequence of events on the axis of time in the story, modernism has largely dissipated this commitment, so that this inconsistency of sequence of events focuses on time is seen obviously in modernism story writing. One of the ways of modern narrative is “analeptic Narration” method which has been shown in two forms, "Circular Narrations" and "analeptic Narrations". Alaa Al Aswany (1957), a contemporary Egyptian writer, has narrated two novels "Chicago" and "Jacobian Mansion" with a focus on "analeptic Narratives". This article refers to the methods of analeptic narrations in the two mentioned works in a descriptive-analytical manner using library resources.

Expressing the Gnostic experiences and learnings through symbolic narrative texts have a long background. These texts due to exploiting the effective instrument for transferring the addressee from reality to objectivity and the narrator's mind guidance in the glorification manner provide the necessities of his/her transformation for separating from experiential ego and achieving the ideological world. In this way, Ghazzali's Resalato- Teir and Attar's Manteqo- Teir are two complete narrations with a masterful processing, which were written by a symbolic approach, which is indeed, a type of Gnostic epic that describes the heartfelt thought move in the form of adventurousness movement. In spite of the difference in the structure of both narrations such as: special attention of Attar to exploiting the intermediate narrations, using the primitive headings, explaining events and bringing on the stage the multilateral characters; consideration of Ghazzali to the joined narrative line, describing the unknown heroes and considering the maximum brevity in narration; the similarity cases of these two narrations are so important; as exploiting the viewpoint of “third person”, narrator as a whole wiseman and “travel” root in both narrations. Common feature is eventual distinction of travel; mobility, transformation and partnership of characters; and the indisputable governance of God (divine authority), which leads to the narrations having effective ability that is a solution of addressee's thought for moving from tangible to rational and determination to proof.

Mowlana has told tale in Ghazel (ode). Some tales are about his mystic seeings. In this case, these tales are mysterious and, they have been used in Symbolic forms. Awareness of the common Structure of these tales is a way of analyzing the Mowlana's thought. In this type of tales, the main step is suddenly taken by the entrance of one of the main characters (lover or beloved) at the beginning of the tale. Then they meet each other repeatedly. Having met each other, the characters make efforts for four actions. The actions includes: a) vine drinking, b) dream a surprising and unexpected scene, c) talking, d) seeking for solutions and finding a way to remedy it. These actions result in their own consequences by which the tale comes to an end. Indeed this structure reveals the Mowlana's hope and eagerness to meet Shams, who is the symbol of divine nature and Mowlana, in turn, feels attached to the source of light or divine destination.