narration

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.

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.

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 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.

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.

This research deals with the semantic analysis of architectural elements in the paintings of Kamaluddin Behzad and the story of "Gonbad Firouze" by Nizami, focusing on folk aspects. At first, key concepts such as architectural elements, narrative, and semantics are defined to clarify the theoretical framework of the research. Then, the similarities between these two works are examined. The main question is how the architectural elements, especially the dome and color, are used in the narration of these works and what meaningful role they have in the narrative and visual structure. The research uses a three-stage approach: In the first stage, architecture and literature are introduced as two separate narrative structures. In the second stage, the picture and the story are reread simultaneously to analyze the popular aspects of each work. In the third stage, the findings are evaluated and twelve indices are extracted for narrative architecture and eight indices for folk literature. The results show that architectural elements and colors act as mediators for conveying symbolic concepts, and in these works they have roles such as evoking a special atmosphere and creating tension. This research also emphasizes the relationship between architecture and literature through a semantic approach and examines the role of architectural elements in the creation and development of cultural narratives.

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.

Persian literary prose represents an independent stream from the domain of Persian poetry. While it bears clear artistic and social responsibilities, it also possesses an autonomous aesthetic system. In classical Persian literature, prose has generally been overshadowed by the artistic and cultural dominance of poetry, and in traditional rhetoric, its aesthetic nuances and principles have been less thoroughly examined. This lack of attention has been so pronounced that even a clear and widely accepted definition of Persian literary prose and its works is not available within the literary community. This mode of expression has, on one hand, been the primary vehicle for thought and the principal instrument for conveying religious, philosophical, political, historical, and other concepts. On the other hand, it has assumed, and continues to bear, the significant responsibility of narration and storytelling to a greater extent than poetry. Therefore, defining its frameworks and recognizing its unique capabilities in creating literariness, and consequently influencing the audience, is of paramount importance. It appears that the rhetoric in syntax, as the most comprehensive rhetorical tool, alongside the balanced application of figurative primes, as well as an understanding of narrative poetics (which is independent of conventional rhetoric), could be the key to uncovering the beauty of ancient Persian literary texts. These are texts whose distinguishing literary qualities, in comparison to poetry and contemporary narrative beauty, remain unrecognized. Our hypothesis is that through the combination of rhetorical literature and narrative literature, one can arrive at a noteworthy criterion for assessing the literariness of ancient prose. In this fundamental research, we have endeavored, using a library-based method, to analyze three samples of Persian prose texts utilizing rhetorical and narrative tools to arrive at a reliable measure for distinguishing literary prose texts from non-literary prose texts. Based on the findings, the prose of Seyar al-Moluk [Rules for Kings] is literary from both rhetorical and narrative perspectives. The History of Sistan (both in its initial and final sections) possesses a literary narrative, but rhetoric does not predominate, and it cannot be termed rhetorical-literary. The prose of Zabān va Tafakkor [Language and Thought] is considered neither rhetorically nor narratively literary.

Expression in any film, including the documentary genre, takes place through images. Sometimes filmmakers use narration to fill the gap of images. Morteza Avini is one of those whom, meanwhile the years of the holy defense, during the seventy episodes of the documentary film series entitled Rewayat Fat’h, tried to pass the audience from the appearance of the images to the truth of the battle scene by writing a cognitive discourse narration about the holy defense, using analyzes Ritual, philosophical and poetic. In this research, which is of a qualitative type and was carried out with the method of content analysis and MAXQDA 2020 software, after selecting five episodes of this collection with the titles: Shab-e-Ashurai, Pathak-e-Rooz-e-chaharom, Reza, Shahri dar aseman (Part 5) and Ba man sokhan bego Dukohe (part two) and the study of the related texts, tries to extract the ritual themes used in their narration. The obtained results show that Avini tries to introduce the truth in the form of death awareness to his audience by dealing with the volunteer warriors who believe in Ashura culture as the main hero of his films.

Memories have been written for centuries in Iran and the world, but in oral memories, a knowledgeable interviewer plays a role in its production and review and puts the narrator's unsaid in front of the audience with his questions. For this reason, most of the oral memories are more important than writing the memories in the traditional way, but the inclusion of the interviewer and the writer in the narration may also cause harm. One of these damages is the interference of the author in the text, in such a way that some memoirs, at least in parts, enter the scope of literary prose, or historical sources are used instead of narrative data. In this article, the authors seek to answer the question whether the originality of the narrative has been damaged in the book Ask the Mountains. Also, with narrative illustrations, does the reader establish a better relationship with the text or not? In addition, the challenges of narrating the book "Ask the Mountains" including narrating without meter and criteria and referring to unreliable sources, not referring the text to documents and data and other narratives and not completing the interview are shown in order to determine how much the author Has the size been successful in illustrating the text, and has the amount of the author's intervention damaged the originality of the narrator's narration or not? The research method in this research is the historical method in a descriptive-analytical way.

Analysis of the levels of narration and Pirang design within the fictional world shows that “what is the main theme of the text” and “with what tricks can a storyteller show this theme or main theme to the reader of his work?” To achieve this, we have analyzed and explained the level of narration and plot of two stories by well-known and active Afghan writers. The story of “Man and Stone” by Rahnavar Zaryab, is one of Afghanistan` s most famous writers over the past few weeks. The story of “the insects that become human” is written by Spozhmi Zaryab, who is also one of the famous storytellers and his knowledge about the French language affects the structural quality of his stories. A comparative narrative analysis of these stories can well illustrate the main theme of them. The audience by reading these stories without recognizing the narrative structures, may not easily understand their main content, but with care and attention to the narrative structures, they can easily achieve this.

The book of Samnameh is one of the texts that its attribution to Khaju-Kermani and has been discussed since its composition. Recently, some researchers have come to the conclusion that Samnameh was written by Khaju ShahnamehKhan, and the reason for the difference in the number of verses and even the existence of short and long narrations is the shortening and lengthening of the story by the narrator. However, the current research, seeks to find another answer to the question of why the Samnameh manuscripts are fundamentally different from each other in terms of the number of verses and the type of narration. This research aims to compare the short and long narratives of Samnameh with the help of the elements of the Naqqali tradition and the opinion of prominent researchers in this field, and the result shows that the differences between different manuscripts of Samnameh are due to different texts that were written by different scroll writers over time, and not different versions of the same narration. According to this research, only one short narration, which is one of the shortest narrations of Samnameh, was written by Khaju Shahnamehkhan Karati.

The present study investigates the effect of the authors’ gender on the speech features of the characters with different genders. In so doing, two stories were selected in which the genders of the authors were different from those of the main characters. The theoretical framework used in the present study was Lakoff’s (1975) theory of gender language which was more in historical harmony with the two corpuses under study. The verbal characteristics of the main characters of the two stories show that despite the authors' awareness of gender differences in language, they have left traces of their gender in the speech of their characters. A comparison of the two stories shows that Al-Ahmad is more successful in using appropriate language in the speech of the main character. The feminine linguistic features in the speech of his main character are: swearing, prayers and cursing, hesitations and doubts, direct quotations, as well as emotional attributes. On the other hands, the same features in Raheem’s speech is not in accordance with his masculinity. Based on the findings of this research it can be concluded that gender language is inevitable and completely cultural-bound.

Mohammad Hossein Mahdavi, a new wave poet, in Hossein Ali's book, retells the dusty events of Ashura, old from repetition and manipulated by the praisers, in the frame of an original work of art. With the help of the rules of narration, he has been able to Repeated writing of a historical work will create a literary and artistic work.The basic question of the research is: How can the author make a literary artistic narrative from a historical report? This article tries to answer the research question by using the library, descriptive and analytical method, by collecting information, evidence and documents, with detailed description and quantitative and qualitative analysis of data, with the help of narratology knowledge. By relying on his language ability as a poet, by using the procedural and internal capacities of the Persian language and by defamiliarizing it, as well as by the accurate and skillful use of narration and narrative techniques, allegory and the necessary staging and By adjusting his aesthetic distance from the subject, he has succeeded in creating a work that puts the reader in a new aesthetic experience and a deep and fresh feeling in dealing with Ashura.

Written by the famous Syrian novelist "Hani AL-Raheb", the novel Al-waba (1981) is considered as a masterpiece. It is known as one of the best among a hundred Arabic novels in the Arab world. In this novel, the author has depicted the social and historical events of Syria in a realistic manner. Using story techniques have a significant role in the charm and success of this novel. Story technique is considered to be a set of techniques facilitating the story narration. The concept of the techniques address the howness of writing and narrating stories and novels. In this paper, Al-waba is discussed from the perspective of using narrative techniques. The research conducts a descriptive- analytical method and the results revealed that intertextual relationships and combination of different situations create two contradictory feelings known as Grotesque. In this respect, narrative techniques such as the simultaneous narration of two or more events, narrative compression, and the narration from whole to part are remarkable. One main purpose of using these story techniques is that the author does not allow the multiplicity of characters, topics, and sub-stories to endanger the inner coherence of the novel and will be able to narrate the story of novel with an attractive literary and artistic form

Gerard Genet, a prominent structuralist narrator, has proposed a comprehensive blueprint for narrative texts. He has proposed three aspects of narrative structure in his narrative theory including grammatical time (order, frequency, duration), dimension (distance and focus) and the tone or sound (narrator in three levels: meta-narrative, narrative level and sub-narrative). This study, examines the novel Asfar Kataban, by Aboutrab Khosravi based on the theory of Genet’s narratology with a descriptive-analytical method. The results of this research indicate that the author has created temporal distortion by using the method of flashback. He has slowed down the narration of the story by eliminating and summarizing it, and has slowed down the narration by expressing a descriptive delay. Also, in critical moments, with the frequent repetition of a narration, the importance of the incident has been highlighted, and the novel has reached the meta-fiction level with the multiplicity of narrators and narrations, anachronism, the death of the author and the narrative nature of history.

Mantagh al Tair is one of the prominent mystical works in Persian literature, which in a narrative structure, deals with the story of the quantitative and qualitative calling of "birds of the world" and their collective efforts to search and reach "Simorgh". He used 194 "Anecdote" in the structure of Mantagh al Tair. The question is, what is the role and function of these stories and why does "Attar" insist on using this type of narration? The presupposition is that the story is one of the tools and arrangements needed to shape a collective mobilization, and Attar consciously tries to base the structure of Mantagh al Tair on the "story". The premise is that the "anecdote" facilitates the transformation of the story of "I" into "us" and causes the birds to accompany "Hoopoo". The "anecdote" creates a crisis and extreme urgency. The "anecdote" intensifies the theatrical requirement of the call. The "anecdote" highlights the good and the collective interest of the birds. The "anecdote" builds a common socialization and worldview of birds. "Anecdote" increases the action and persuasion function of language and its persuasive power. The "anecdote" facilitate the fascination and conquest of the birds' minds.

Greimas as the founders of the French narrative science was influenced by formalists and structuralists and tried to infuse it with semiotics to establish a theory of meaning. Greimas highlighted meaning and took the conflict between subject and object as the basis for production of meaning in actantial model; meaning is generated through the process of narration. The present study analyzes Bakhtiar Ali’s latest novel titled Bender Feyli based on the actantial model. Bandar as object for the Baath Party and its regime was born and raised in prison with a paradoxical personality. The Baathists tried to erase his identity and include him as a member of their party. This is the drive in the novel till the Baath is defeated and its members are punished. Americans as a new actor free Bender. The main image in the novel consists of freedom and slavery; Greimas considers it as a universal image, composed of a series of minor images. Bender is trapped between freedom and slavery. Bender is freed finally but he does not feel free because he is encouraged by the Iraqis to take his revenge upon the Baathists. However, at the time of revenge, a disease attacks him, which is a sign of health because it frees Bender from being similar to others. The present study investigates the novel based on three pairs of Greimasian actantial model to clarify its manifest and latent layers.