narratology

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.

This article addresses to narrotologyof the anecdote the mouse belonging to frog in masnavi manavi based on theory of Greimas. The auothers try to indicate how to match the structure of the narrative with the model of Greimas. Greimas who is theorist in the field of narrationConsiders the character to be part of the text and subordinate to the action. By placing the main agent in the centre in relation to the goal he changed the role that propp had described and proposed to a new model in this research using descriptive analysis method it was determined that the narrative change of the anecdote can be adapted base on the of situation in comparison to dual confrontation and from actors point of view. There are two models of action in two separate situation and interpretation of the anecdote also were analyzed in two situation s. The plot of the story is logically coherent and resonate with gerems model

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.

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

"Creative Nonfiction" is an almost new literary genre that was formed from the late second half of the 20th century, due to the concern of modern man to avoid the dominance of imagination in various aspects of life, from the combination of journalism and the literary type of story, and soon became one of the most popular types of narration. The main distinguishing feature of this type of literature from other types of narration is its reliance on reality. That is, no matter how much the author of Nonfiction creates a work similar to other narrative works due to the use of the main components of this type, In the meantime, the use of the adjective "creative" has caused the important question of what is meant by being creative in this type of literature and what methods can be used to make the Nonfiction creative. In this regard, in this research, an attempt was made to analyze the techniques used by Aliye Atayi in the Koursorkhi collection - as one of the selected works in this genre- by using the analytical-descriptive method, in order to answer the question of which techniques to make the author's reports of his observations more creative. The results show that Atayi achieves this goal by using methods such as symbolization by emphasizing some aspects of reality, using dramatic techniques with the element of emotion, creating cinematic atmospheres and purposeful repetition of some secondary elements at the beginning, middle and end of the narratives.

Rahesh, amirkhani’s latest novel, is about urban developments and has received many literary awards. This paper is studying the take of this novel on collective identity by applying post-classic narratology methods and considering sociological theories about identity. In this study intentional reading oppposes symptomatic reading. Intentional reading is an interpretation that seeks understanding of the text based on the meanings considered by the implied author. Symptomatic reading is a decoding of signs from undeiscovered unconsiousness of the author. Rahesh, in intentional reading, is loyal to urban identity and at first it seems that the goal of the novel is to increase the urban identity. However, in symptomatical reading, the dualisation based on the social class which is achieved by building the construct of “other country man” and emphasisng on “nobility”, is attacking one of the main components of national identity. These results are yielded by analysing narratological elements: implied author, personalities, places, focalisation and narrator.

In Iranian culture, one of the recurring narrative patterns is the narrations in which the story of the birth of a hidden king is mentioned. In this article, three Iranian hidden narrations of the King are examined. In all these narrations, first a prediction announces the birth of the next king, and then the forces for or against it seek it, the child is born, raised in secret, and becomes the king when the opponents are defeated. The study of these narratives has been inspired by a combination of methods used by Propp and Roglan. The functions and characters of the king's hidden narratives are based on Propp's method in The Morphology of Folk Tales. The use of Roglan's models is also important because he examined the myths that have similarities with the subject of this study and gave a general model of them. The present study shows that the three narrations of Fereydoun and Kaykhosrow in Ferdowsi’s Shahname and Ardashir’s narration in Karname-ye Ardashir-e Babakan can all be placed in a single model with five main functions.

Narratology is a field of criticism and literary theory that tries to find out the general mechanisms of meaning-making in all types of narratives through a detailed analysis of narratives. This method of criticizing literary texts can be done in various ways, including narratology in the style of Roland Barthes. According to Barthes, in addition to having secondary cultural, ideological and political meanings, narratives shape our perception of the world around us. Based on this, the main goal of the upcoming article is to analyze the contemporary Persian novel "Azade Khanom and its author" according to Barth"s five codes and to represent this complex and multi-layered work with the help of these codes of the underlying and hidden layers.

This research was done in a descriptive-analytical way. With the approach of narratology, he collected information in the manner of five codes of Roland Barthes.

In examining the narrative structure of "Azadeh Khanum and its author" based on Roland Barthes" five-code model, it was observed that the narrative structure of this novel is different from other Persian novels. Its different parts are in terms of time, space, and events without a linear sequence. and are a logical sequence. According to Barthes" model of narratology, semantic symbols have a prominent and meaning-making function in this narrative. Because each of the characters, places and events have implicit meanings that include the theme of the novel.

In the semantic codes, the implied meaning is checked based on the characteristics of the characters in the story and their actions. In these codes, it was stated that the key signifier and the central role of the novel "Azade Khanom" are. The same name includes the theme of the novel, freedom; The opposite point evokes captivity. In symbolic codes, it was stated that two different views (Dai Oghli and Beb Oghli), the class of the powerful and ordinary people, men and women, are always in opposition to each other in the intellectual system of the society.