زمان پریشی

"What time is it in your world?" Produced in the first years of the nineties, it is the first feature film of Safi Yazdanian, a documentary maker, in the romance-social genre. Although this film has faced numerous journalistic criticisms, it has not been analyzed through the lens of any theory. The value and centrality of time, as well as the duality of worlds, are depicted in this film in different ways. Due to the importance and central role of the element of time in the cinematic narrative and in order to describe and analyze the film methodically, in this research the component of parallelism is analyzed from the point of view of Gérard Genette, a French thinker.This article seeks to answer these questions; What systems and time components are represented in this film and how these components play a role in the relationship and relationship between the narratives of the film. The purpose of this research is to present a systematic model of time lapse, to show the application of hindsight and foresight components, and to explain parallelism in film sequences. The results of the research indicate; The final product of the filmmaker to show two different worlds is a film with complete and multifaceted time-lapse characteristics, which, while using a combination of time-lapse components, has the characteristic features of the parallelism component.

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.

Every story is a narrative of events that take place in time. These events follow a continuous and chronological sequence, but somewhere there are inconsistencies in the form of time lapse, which expands the space of the story and creates suspense and anticipation in the reader. By using the time-lapse technique, the author breaks the linear system of the story and by showing the inner world of the main character of the story, calls the audience to re-read a dynamic, complex and involved story. Ali Khodayi, the author of the story of Sunday evenings, has used retrospective time travel (internal and external) by breaking the linear course of time. Internal flashbacks are a way of using time in the story, and external flashbacks are like a bridge to reach the main events of the narrative. The present study tries to analyze the concept of timelessness by analyzing the story of Sunday evenings by Ali Khodayi and examines the author's technique in discontinuing the time of the story .

In Western civilization, the genre of the novel has turned towards mythologism, which was previously often negated and concealed due to the ideological functions of myths. Even in its early stages, the return of myth to Western novels signifies an undeniable aspect. In this process of transformation and grand narrative, fundamental backgrounds and stirrings that have significantly influenced the intellectual transformation of Western civilization and served as the triggers for ancient myths and constructs are observed within the realm of the novel. Firstly, there is a clash between the essential nature and the negation of myths. Secondly, there is the distortion of narrating events and the attainment of self-centered perceptions. Thirdly, there is the inclination towards divinity over identity rupture and accepting resulting transformations. Fourthly, there is the pursuit of justice by opposing movements (such as feminist totality and radicalism) and efforts to reform the intellectual infrastructure of Western societies. Fifthly, there is the reconstruction of ancient myths and the retrieval of constructs. The sixth stirring involves abstract references combined with tangible perceptions. These hermeneutic stirrings unveil the Western response to contemporary historical realities. Along this path, adherence to self-reflexivity and the expressive role of ancient myths is also felt.

Narrative is an action-oriented structure defined on the basis of a linear system based on material imperfection. The main purpose of such a narrative is to show the acquisition of value based on the movement of agents. However, with the advent of the post-Greimas period in the Paris school, we come to a new aspect of the narrative in which events are not in their original place and therefore cause anxiety, anomaly and mental confusion of agents and readers. It is in this context that the narrative overlaps and, by shifting the elements of action, time and place, the narrative leaves its strong structures. Accordingly, a new era of narrative begins, which we call the post-action and post-deterministic period: these shifts and narrative interactions occur in the heart of the narrative cause disnarrative. Disnarrative leads to encountering a kind of intervention and movement of elements or a kind of surprise in which the narrative is no longer a function of phases and process stages based on the classical pattern. The main question we face is how disnarrative disrupts the narrative process and changes it from a fixed and coded state to an indefinite and turbulent state? According to the post-action approach, the main issue of the article is to see how disnarrative changes the conditions of meaning production. The main purpose of this paper is to study the process of disnarrative with emphasis on elements such as anti-action, anachrony, displacement and dissemantic by focusing on the story of “Shazdeh Ehtejab”.

In the world of narratology today, Gérard Genette’s narrative typology is among the most annotated schemata and it is widely popular since his narrative theory seems to prevail over a great number of narratives in the whole history of literature, ranging from classic to modernist and postmodernist works. It is as if such works were following a prescribed scheme to expand and develop – which proves the universality of his narrative theory. Throughout this article, Genettian typology is discussed from a partially different perspective in one of the canonical British prose works in The Age of Sensibility. The dominance of Genettian typology in Tom Jones is undeniable as it shall be discussed how; however, a modification and manipulation of one of the anachronies – analepsis – and the introduction of a new type of analepsis – false analepsis – by Henry Fielding employed for the first time in the very period is the major focus of this article. In this study, false analepsis are justified by means of exemplification and multiple references to Tom Jones as the only case study of this article. Moreover, the impact of anachronies on this work is emphasized. Fielding’s work not only employs anachronies, but also introduces a new branch of anachronies, which is the very false analepsis as a form of anachrony.

Time is one of the important topics in narratology. Gérard Genette, a French theorist of structuralism, has provided the most comprehensive theorization of time in narration, especially the discrepancy between the time of the narration and the time of the story. The present research tries to examine Ghada al-Samman’s “The Fire of that Summer,” published in her 1973 collection of short stories The Departure of Old Ports, based on Genette’s theorization of time order so as to determine the extent to which anachronism is used in two retrospective and prospective modes in this story. The main hypothesis of this study is that Samman’s short story, since it has many temporal inconsistencies so that the past, present and future intrude into one another, can be analyzed by Genette’s theories. The research, adopting an analytical-descriptive method, analyzes the inconsistencies between the time of the story and the time of the text to demonstrate that the author, using retrospective anachronism (in three forms: diegetic, non-diegetic, and a combination of these two) and prospective anachronism (diegetic and non-diegetic), breaks the linear time of the story. The story begins at a moment when the internal and subjective conflicts of the main character (the narrator) are highlighted. By exposing the inner world and the chaos of the protagonist, Samman invites the audience to read a moving, complex, and, sometimes, highly engaging story. She uses retrospective diegetic anachronism to depict the protagonist’s bitter memories of the fall of the West Bank and the defeat of 1967, while she uses non-diegetic anachronism to portray the Arab community’s negligence of the suffering of Palestinian people. Prospective anachronism is used to portray the predictions of the protagonist about the future of Arab societies. Since the story is based on the portrayal of the reminiscences of the protagonist, retrospective diegesis is highlighted.

Khosravi is one of the post-revolution writers that could establish his outstanding place in the story writing scope. By relative knowledge on the Iranian ancient literature, he has employed the elegant and purified prose for narration of story. What is seen mostly in his works is the importance that he gives to the language and words. This research aimed at investigating the postmodernism criticism of the novel of “Malekan Azab”. Khosravi has used postmodernism techniques such as anachronism, paranoia, religious and native origin, delay in the process of narration, language preference over reality, narration of history and eclecticism. In this novel, the writer visualizes the time interval of two generations. Any narration narrated by the characters encounters with distortion of time and disturbance of point of view. The writer has combined the time with the events by narrating memories. Paranoia is one of the most outstanding postmodernism features of this story. In this post modernistic novel, the characters always feel that they are surrounded by the creatures which are invisible and they are able to tease others and nobody sees them while committing crimes and they take revenge quickly. It seems that the writer has used this component for showing the human solitude in the contemporary period and also visualization of the suffocation and tyranny of the imperial era.

Time is considered as a major and basic element in all fictional text and stories, in which events develop and different stages of story are identified by it. In novels, in terms of time, most events follow a horizontal direction and happen successively. However, sometimes a kind of disorder occurs which Genette _ french structuralist critic _ calls it "Anachrony". This disorder appears in two forms: analepsis and prolepsis.In Hanna Mina's first novel, "Al-Masabih Al-Zorq",the events, as in classic novels,follow a successive and chronological trajectory. Nevertheless, in almost all parts of the novel, some chronological inconsistencies regarding anachrony in two forms including analepsis and prolepsis are observed.In this novel, Mina has employed these two terms (analepsis and prolepsis) in both internaland external forms.Utilizing this technique one the one hand has led to the expansion of time in narration, and on the other hand, by creating suspension in the narration, has encouraged the reader to eagerly follow the story.This research,Using descriptive method, this research, based on two forms, i.e. analepsis and prolepsis, has been conducted to reviewanachrony, in the novel, "Blue Lamps ", by Hanna Mina.

Chinua Achebe’s Things Fall Apart, is considered to be the most impressive account of an African culture being affected by European culture. The novel was written to provide an authentic account of African culture and to portray the detrimental effect of the Europeans’ arrival on the invaded lands. Drawing on Gerard Genette’s theory of narrative, we attempted to discover the story/text discrepancies of the novel. Given that Genette mostly concentrated on the level of text, this study would additionally benefit from Seymour Chatman’s theory on narrative. In unearthing the difference of the plotted course of events from their actual route, we gave special attention to the narrative time and its manifestation in the level of text. We particularly answered to this question that how Achebe brings narrative time at his disposal to fulfill his divergent intention in the two parts of the novel. In so doing, Genette’s definition of narrative time, embracing three elements of order, duration, and frequency, as well as Chatman’s definition of the building blocks of story is provided. The researchers, then, magnified the function of narrative time throughout the novel. The result of this study not only demonstrated the want of story in the first part of the novel, but also revealed how Achebe’s different intentions necessitated dissimilar duration and order of presentation of incidents in the two halves of the novel. It should be mentioned that no discrepancy was observed between the level of story and text in terms of frequency.

One of the significant elements in the formation of narrative structure is the sequence of its events which is explored under the umbrella term of temporal element. Abbas Maroufi’s novel Peykar-e farhadis a work in which real and imaginative times are what narrative is based upon. The novelist relates, in the novel’s surface structure, one single story in three different temporal frames, yet breaks the narrative linearity, so that for the most part the existing relations and temporal order of events remain obscure and, consequently, time, losing its quantitative value, fades away in the narrative. The current paper attempts to survey the order of events and narrative temporality in addition to studying how the author, by deploying some features of stream of consciousness, has narrated the mental structure as well as confusion of the novel’s female character. These features range from temporal and spatial turbulence, free association, author’s textual removal, and assigning a role to the reader in narration act due to direct displaying of disturbed subjectivities as well as uncensored stream-of-consciousness memories—being the same as pre-lingual mental layers—to utilizing internal monologue and soliloquy in some parts of the story, poeticness, mental obscurity and difficulty of finding the decisively right meaning for the novel with the purpose of developing a particular narrative technique.

Based on Genette's theory, this study examines the narrative element of time in one of the short stories of holy defense. First, the problem is presented and there is a brief reference to the history of ideas on "time" whereby the subject of chronological narration of stories and Genette's theory of order, duration and frequency are indicated. In part two the usage of the narrative element of time, in the short story “Waiting at Railway Station” by Javad Afhamee from the third series of YOSEF short stories (1387) is discussed. It is indicated that, based on Genette's four narrative time relations, i.e. analepsis narration, prolepsis narration, homodiegetic narration and heterodiegetic narration, and taking advantage of stream of consciousness technique, the writer has surpassed the boundary of time. The results of this research can be used for surveying other contemporary Iranian short stories.

Dans le domaine d’études littéraires, la critique interprétative est toujours mise en avant dans l’analyse des œuvres. Cependant, au XXe siècle, la forme d’expression et celle de narration deviennent plus complexes qu’avant. Ce changement de la structure attire l’attention des critiques vers l’étude du mécanisme du récit, surtout celui de la narratologie. Gérard Genette, est l’un des critiques qui, dans le domaine de la narratologie textuelle se donne à l’étude du mécanisme narratif par le biais de la notion du temps et de l’anachronie. Mais une question se pose toujours : Est-ce que l’adoptation d’une approche formelle ignore totalement la thématique de l’œuvre.
Dans cet article, nous avons essayé d’étudier une nouvelle de Mitra Elyati, Mademoiselle Katy, de point de vue de la narratologie textuelle genetienne concernant le temps du récit et l’anachronie. Ce faisant, nous avons pu dégager le schéma de l’ordre temporel qui existe entre les éléments constitutifs du récit et aussi celui de l’anachronie. De plus, en vérifiant la narratologie formelle de ce récit, nous avons pu atteindre à une certaine thématique de l’œuvre, ce qui peut être considéré comme la réponse à la première question.