narrative

This article examines Zoha Kazemi’s novel Humanoid through the lens of memory studies and pursues two goals: first, to delve into the effects of advanced technologies on the dystopian society depicted in the novel, particularly their effects on characters’ memories and the transformation of their human identity; second, to examine the interplay between narrative, memory, and its functions, as well as their role in shaping political action and social reform. This research is necessary as Humanoid came into being in an era of rapid technological change whereby the impact of these developments on mind, memory, individual and collective identity, and culture is inevitable. Thus, the investigation of these concerns in the crucible of literature is a timely response. This study adopts theories from the field of memory studies and provides a close reading of parts of the novel whenever required. This study explores key issues, including declarative and procedural memory, the relationship between memory, technology, and identity formation, as well as the intersection of memory, politics, and narrative within the novel. The results show that modern technologies in the field of biology in the dystopian society of Humanoid are tools to control and shape the human identity, steering it toward a post-human state. Conversely, narrative emerges as a tool for preserving human identity whereby it leads to political action, and moves the society towards awareness, resistance and change

The new Arabic novel cannot reach its creative climax, and it cannot maintain its continuity except by inventing new mechanisms that carry rhetorical connotations and discourses in all its dimensions. Miraculousness is one of the eminent experimental and literary phenomena that preoccupied the thought of critics and scholars. In this type, there is a penetration and breaking of everything that is realistic and familiar and the creation of another world that causes confusion and astonishment in the mind of the reader. The contemporary Jordanian novel tried to build a modern text novel and was able to transcend the narrative traditions and enter a new experience in a way that presents a narrative technique represented in the miraculous and the exotic. We have chosen the novel “Novels of Warraq” by ، Barjas, Jalāl, which won the Booker Prize in 2021 AD, as a model for this study, for reasons including the lack of university studies in it. In the search for manifestations of the miracles in “Dafātir al-warrāq” we relied on the most appropriate approach, which is the descriptive-analytical approach, and then on the structural approach in analyzing the narrative text. In the end, we reached the most important results, the most important of which is that this novel can be considered one of the examples of miraculous literature according to Todorf’s theory.

The village holds a significant place in contemporary narrative discourse, showcasing its narrative essence through ballads and vivid imagery. Utilizing various conceptual connotations, the village adapts its functions based on the poet's interactions and his reliance on themes that relate either realistically or dreamily to this setting. Mohammad Afifi Matar, a prominent Egyptian poet, perceives the village as an open space rich in narrative mechanisms and characteristics, emphasizing its importance through scenes from his hometown and the needs of its inhabitants. His poetry introduces readers to a series of real or imagined events, inviting them to engage more deeply with the narrative process. This research employs a descriptive-analytical method to explore the portrayal of the village in Matar's poetry. The findings suggest that the poet serves as a wise narrator with a significant presence in shaping these narratives. His depiction of the village encompasses three main aspects: nostalgia for his childhood and past; an optimistic image characterized by natural beauty and abundance; and a darker tragedy linked to the village's social and environmental challenges, manifesting in drought, poverty, and hunger among its residents.

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.

Studying the mutual relationship between literature and cinema and the emergence of the characteristics of each of these two arts in the other has been the focus of interest of many researchers in these two categories. Examining the cinematic potential of literary works has been the focus of scholars for nearly a decade. Authors of literary works, by knowing cinematic elements and using them in their works, make their works dynamic, and filmmakers, by adapting these successful literary works, find enduring themes and present them to their audiences. Most film adaptations are based on novels. Youssef Zidane is one of the authors whose visual abilities are evident in his novels dedicated to cinema. In this research, an attempt was made to analyze the text of the story of the sheikh in prison using the descriptive analytical approach and the comprehensive approach. Our goal in this research is to analyze the structure and content of the aforementioned novel and show aspects of its quotation from different angles. The results of the aforementioned research indicate that this novel has great potential for cinematic adaptation and screenwriting due to its cinematic structure, its accuracy in describing details, its directing and dramatic dialogues, and its ability to be serialized.

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 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.

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.

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.

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.

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.

The concepts of "the real", “object a”, and "fantasy" are among the most important and, at the same time, most difficult ideas of Jacques Lacan, a famous contemporary French psychologist and philosopher who, in addition to his knowledge of psychology, plays an important role in the critique and analysis of works of art and literature. In Lacan's view, the real refers to pre-symbolic materiality, which strangely resists symbolism and disrupts the symbolic realm. Fantasy is also a subconscious function that provides a basis for expressing people's suppressed desires and aspirations. Both of these concepts can also effectively analyze the hidden messages of literary texts, especially texts, especially texts with a cryptic and symbolic structure. The long story "With Pomegranate and Bergamot from an Apple Branch" by Ghazaleh Alizadeh is one of the distinctive works dedicated to the description of different narratives of the members of an aristocratic family about an imaginary bird that appears in a different color and shape for each character, disappears from view, and then reappears, causing the formation of different dreams for these characters, including their subconscious desires. In this research, an attempt has been made to analyze the mentioned story using a descriptive-analytical method, relying on the views of Jacques Lacan. The results show that the characters’ different and conflicting perceptions of the imaginary bird are in accordance with the concept of different perceptions of the real. Also, the final dreams of the characters, which appear at the same time as the bird reappears, are basically the subconscious function of their psyche, displaying their suppressed wishes and desires.

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.

The present study investigates the narratives of children with autism spectrum disorder and normal developing children focusing on the language used to describe character’s thoughts and emotions (i.e., internal state language, ISL).

the sample of the study consisted of 21 autistic children and 24 normal developing children who were matched on IQ, receptive and expressive vocabulary.

The present study had three major.

First, despite equivalent performance on standardized language assessments, the volume of children’s narratives (i.e., the number of utterances and words, the range of unique verbs and adjectives) was lower in children with ASD than in typically developing controls. Second, after controlling for narrative volume, the narratives of children with ASD were less likely to reference the characters’ emotions than was the case for typically developing controls. Finally, our results revealed a specific association between children’s use of emotion terms and their performance on a battery of experimental tasks evaluating children’s Theory of Mind abilities.

The results of the study showed that the poor narrative skills of children with ASD may at least in part be attributed to deficits in the ability to interpret others’ thoughts internal states.

Since the 1930s, narratives of the fundamental story of the Arash myth have been narrated by contemporary Iranian writers. These narratives have read this myth with impressions that are influenced and appropriate to the intellectual, cultural and political currents of the society of their era. The common denominator of all these narratives are the dual confrontations that constantly repeat themselves in the narration process. The confrontation between Arash and the people, between Iran and Turan, and even between Arash and his own self. For a clear analysis of the structure in mythology, Strauss calls it in his own way as Asturaj. This method, which originated from linguistics, is a suitable method for analyzing this myth. In this research, an attempt is made to study five contemporary texts that focus on the myth of Arash and by using the method of separating the constituent parts of the myth according to Strauss, to address the differences between the retellings of the myth of Arash in the mentioned texts. The idea of knowing myth as a form of language has always been of interest among mythologists. Myth, in its roots, before stories and legends, was alive in the discourse of humans, and it was considered a form of language for communication between humans, and it was also the way of thinking of previous humans. Claude Lévi-Strauss, by studying the origin of mythology, had noticed the existence of dual oppositions of their ancient foundations. In the book Raw and Cooked, Strauss sees the dual opposition as two parallel lines that flow into each other.