شخصیت پردازی

This article analyzes the narratives in Sadegh Hedayat's short stories through a psychoanalytic lens based on Freudian theory. In this study, selected works of Hedayat, particularly stories such as "Three Drops of Blood," "Alive to the Grave," and "Dash Akol," are analyzed using key Freudian psychological concepts, including the unconscious, repression, the Oedipus complex, and dreams. The analysis focuses on the impact of the unconscious on character development and the narrative structure. The findings of the study reveal that Hedayat, through the use of symbols and metaphors such as blood, death, shadow, and mirror, indirectly alludes to the hidden layers of the characters' and author's minds. These symbols and images reflect the psychological conflicts, repressions, and inner anxieties of the characters, influenced by the unconscious. Additionally, the article demonstrates how Freudian psychoanalysis can contribute to a deeper understanding of Hedayat's works and enhance the understanding of psychological interactions in Persian literature. Finally, the article offers suggestions for future research, which may lead to further development of psychological analysis in the critique of contemporary Persian literature.

Literature has earlier been the origin of alterations and human communities’ diverse movements. Children has been the continuation of human generation from intellectuals’ special attention. Novel genre due to the deployment of fiction elements has been a good bed for the revelation of social humane manifestations. A comparative outlook of literature takes the reader far beyond the boundaries of social humanities so that it would express the common pains and facilitate the problems.

The research approach is inferential-analytical one, and the population is the selected works of Kermani and Lee, namely The Children of Weaving-carpet Place and to Kill a Mocking Bird respectively. Data collection was based on content analysis of the novels and the framework of the analysis was centralized over characterization and narrative-point of the elements of fiction.

The results revealed that from both authors’ viewpoint the children are alongside the narrators of the events of the adult community of the writers as well as their own spoiled rights.

The two authors via opposite literary engineering of the child personality project the reader’s minds the bitter theme of the communities of the novels in order to change them into reconsidering their attitude towards the attitude of the societies and their dominant human relationships with each other as well forming them into a kind of obsession in their minds.

 Characterization is one of the main components of storytelling. Character is a set of characteristics that make up the existence of a person in the story, and the audience expects to see the same characteristics in that person when dealing with that person at different stages of the story. Therefore, characterization is the art of portraying the characteristics and character of the people involved in the story in such a way that it is expected and believable. In this article, an attempt is made to compare the characterization in Khosrow and Shirin Nizami and Shirin and Farhad Vahashi Bafghi, and the similarities and differences of the views and tastes of these two poets in The field of characterization should be explained.

 This research has a comparative aspect and is based on the comparison of Khosrow and Shirin Nizami and Shirin and Farhad Vahshi Bafghi in the field of characterization methods. Discussions are presented in a combination of description and analysis.

 The findings of this research show that although the theoretical discussions related to the field of characterization are new and have become common in Iran since the encounter between Persian literature and Western literature in the contemporary period, two great Parsigo poets, Nizami Ganjavi and Vahsih Bafghi with Relying on their ingenuity, they have done characterization at an appropriate level.

 Nizami actually wrote the history of Khosrow Parvez"s life and reign, although he highlighted its romantic aspects as well. The main character of his poem is Khosrow, followed by Shirin and other characters, who are also numerous, some of them have secondary aspects and some of them are black. On the other hand, Vashvih has chosen a section of a bigger story and according to this choice, he has also chosen the characters. The number of characters in the wild system is as minimal as possible. The characters in the military system have more individuality due to the fact that they act in the heart of a historical text, and in the wild system, the aspect of the type of characters, whose number is also small, is more impressive, and even Farhad can be more or less He considered a symbolic and at the same time eternal character. The characters of the military system have more action, but the characters of the wild system are more like the people in the painting, who are quiet and still, and the poet is standing next to this painting and is talking about the people in it.

Character and characterization are the most important story elements. The methodology of characterization and the ways they are used, affect the quality of the author’s conveyance of his/her message and the audience’s perception of the story. The present research seeks to compare and analyze the characterization methods of historical and natural epics, however, due to the publication requirements; we have selected Garshaspname and Hamle-ye Heidari. The narrator of Hamle-ye Haidari’s verse, reports the events; for characterization, he has used the method of direct character description in first person point of view. In Hamle-ye Heidari, the function of descriptions is to pay homage to religious figures and honor them, therefore, there are no common miraculous heroic deeds like other epic verses. Characterization in Garshaspname is mostly done by the method of direct character description from first person point of view; some of these descriptions are long and exaggerated. The method of introducing people by the other characters is also used in this verse. Of course, both epics are similar in this respect, but the descriptions of Hamle-ye Heidari for characterizing the Muslim characters in the story is more about describing their moral, spiritual, desirable and courageous traits. Regarding the enemies’ description, the designated attributes also emphasize their misguidance, deception, and darkness. In Hamle-ye Heidari the characters do not break the habit and the number of unusual events in the narration is limited. Here, research data have collected by analytical by library approach and have processed by analytical and descriptive methods

The characters of each story are chosen by the author and they play a role in the story. In general, it can be said that the story is a slice of reality and fantasy created and elaborated by the author's mind. An important part of characterization is the borrower of a set of elements that the author of the story takes advantage of in order to create the desired work. The novel "Tooq al-Hamam" by Raja Alam, a female Saudi novelist, has a socio-religious reflection, the events of which take place in the two cities of Mecca and Madrid. This novel has a high artistic position in terms of characterization. Raja Alam has used the method of dialogue and description in the characterization and introduction of the characters in his novel, and the characters in the story are mostly complementary characters. The religious and imaginary atmosphere of the story, its attractive structure, chases and arguments, have kept the reader's desire to continue the story. The temporal, spatial and logical order of the events in the introduction of the characters is more or less stable in such a way that sometimes the surprising events of a character disrupt the temporal and spatial arrangement of the story. The formal structure of the story is divided into two parts with two separate places but repeated and sometimes new characters, only with a different identity of "Ezzah". In examining the characterization in this novel, the author considers the preservation of the identity of this place to be the main concern of the narrative by placing the focus of the narrative in Mecca and the events that take place in this holy space. This research aims to investigate with an analytical-descriptive method how the types of characterization have caused the order, continuity and arrangement of different parts of the story "Touq al-Hamam". One of the results of this research is that the mind of the narrator and the character of the story and the subject have a harmonious and coherent connection, and this coordination is for the purpose of realizing and establishing the main goals, and its main content, which is about the history of Mecca and the customs of its people, is strengthened and emphasized with these connections. will be The thoughts and mental images of the story often have a certain integrity and structure. Among the salient features of this novel, we can mention the attention to the element of time, the relationship between the author and the reader, and the central character instea.

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

Characterization and its methods are very important and key topics in modern fiction literature, which, despite its novelty in the field of theoretical debates, has a long-standing presence in Persian verse and prose literature, and can be traced to various extents in ancient fiction works. It is an explanation. One of these interesting and exemplary literary works in terms of characterization is “candle and butterfly” a masnavi by Ahli e Shirazi. Ahli e Shirazi, the master poet of the 9th and early 10th centuries of Hijri, has replaced the human heroes in a love story with animals and elements of nature in this fictional masnawi with a stunning innovation and in a believable way. Ahli has made his story similar to the scene of a play where the characters taken from nature enter one by one and the poet introduces their characters and then leaves them to play their roles. Domestic artistry in this work is not only based on the method of simple and straightforward diagnosis, but it is a broad comparison between human life and the non-human world, which in addition to giving life to the characters themselves, for human belongings such as houses, tents, beds, servants, diseases, death, sigh, etc. also find believable matches in the non-human world.

In this article, a combination of descriptive and analytical methods is used. First, the description of the category of personality and its types and ways of characterizing are discussed, and then the character of the protagonists in the story of Ahli e Shirazi"s “candle and butterfly” and their ways of characterizing are analyzed.

The findings of this article indicate that although the topic of characterization and its methods is new, the master Iranian poets and writers have been aware of it in various ways, unconsciously or based on their progressive ideas, and have used them in their successful stories.

Despite its brevity, “candle and butterfly” is the scene of the presence of various personalities. Some of these characters are static, and some of them undergo diversity and change and are an example of dynamic characters. Also, their presence in the scene of the story is accompanied by appropriate arrangements and justifications that provide their humanity and the believability of their personalities and actions in a successful way.

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. 

In this article, based on Gumperz’s (1982) view of prosodies as contextualization tools, we study tone of voice in characterization. First dialogues of an actor (Javad Ezzati) are chosen from Iranian films and series, playing both positive and negative roles. Then the dialogues are transcribed in North American Phonetic Alphabet and are studied based on Jeffersonian conversational analysis symbols to categorize different prosodic characteristics of the actor’s voice in different roles. It is assumed that prosodies are one of the most important tools available to the actors to reconstruct a particular character and enliven the character in order to pursue the narrative. In all, positive roles show low volume, low pitch, breathy quality and distinct pronunciation and negative roles show high pitch, high volume, balancing speed and pause to keep the turn and to represent higher status.

Trauma is a theory in psychology referring to any psychological pressure which the human mind is unable to accept and analyze it. The wounds inflicted on a person's mind would leave a deep impact on him and may lead his life and destiny to a different direction. There are different factors can cause trauma. One of them is war events which has an enduring effect on human's psyche. Therefore, due to the numerous wars that have plagued our country throughout the history, especially the eight-year imposed war, the literary narrative of trauma has found its way into the works of some Iranian writers.The present research was conducted in an analytical-descriptive way and it aims to investigate the literary expressions of this psychological damage in the novel "Zamin Soukhteh" by Ahmad Mahmoud and analyze the damage caused to the psyche of each of the characters. In this regard, first, we have discussed the theoretical issues about trauma, then we have analyzed and examined its effect on the characters of the mentioned novel. At the end, it was concluded that the reaction of each character is different from the other; In this way, due to the psychological wounds inflicted on them, the "Shahed" character is hospitalized in a mental asylum; "Nene Baran" distances herself from his previous personality; "Narges" falls into acute depression and "Golabetoon" completely loses his emotions. Obviously, in addition to the important fictional works in praise of the heroes who appeared in the holy defense, this novel can also be worth studying from the perspective of theoretical framework.

Many of the stories of the Masnavi of the Al-Silsilah al-Dhahab, are human allegories, and Jami has used them to explain general and deep meanings. These stories have moral and religious purposes and are written for the reader's pleasure. Factors such as limited space, short time, and few fictional characters make the allegorical stories of this book fall under the category of short stories. In this research, which was carried out using a descriptive-analytical method, the character and characterization in the allegorical stories of this Masnavi were investigated in order to answer the following questions: What are the types of characters in the allegorical stories of Al-Zahb? What methods has Jami used in characterizing allegorical stories? Because characterization is one of the components that shows the artistic power of the poet or writer and is an important factor in revealing the characteristics, moods, attributes and thoughts of the character; Therefore, it is necessary to explain the way of attitude and processing of the characters in the allegorical masnavi of the the Al-Silsilah al-Dhahab in order to be effective in understanding its deep meanings. In this article, an attempt has been made to examine the types of characters and methods of characterizing in this Masnavi. The results of the research show that most of the characters in this allegorical system are static and simple, and in the methods of characterization, dialogue and direct description have the highest frequency.

Psychological analysis of fictional characters provides the ground for achieving the perspectives and attitudes of fiction writers and paves the way to understanding fictional characters correctly. The psychological Enneagram theory is a new typology that categorizes the behavioral traits of human beings into 9 personality types: Reformer, Helper, Achiever, Individualist, Investigator, Loyalist, Enthusiast, Challenger, and Peacemaker. The main purpose of this research is to examine the adaptability of the main character of the story "The Pear Tree" from the collection of stories "Somewhere Else" written by Goli Taraghi, with the 9 types of Enneagram and also to analyze the behavior of the main character based on the Enneagram pattern. The results indicate that most of the behavioral components of the main character of the story "The Pear Tree" correspond to Type 5 (Investigator) of Enneagram, and in some situations, the behavior of Type 4 (Individualist) of Enneagram shows itself and is consistent with the Enneagram pattern and can be analyzed accordingly.

Every writer is obliged to pay attention to their psychological stability in the treatment of fictional characters. A character who is a set of special states and thoughts at the beginning of the story must have these characteristics until the end, unless he undergoes psychological changes due to logical reasons - which include influential events and incidents. "Theories of personality" is one of the topics that many theorists have addressed. The story "After the End" is one of the stories that has a lot of similarities and harmony with the personality theory from Jung"s point of view. The question of this research is whether the characters of the story "After the End" have psychological stability according to Jung"s theory? If the answer is no, what is the logical reason for this instability?

This article is done with descriptive-analytical method, using library sources and emphasizing Jung"s personality theory.

In choosing the characters of his novel, Vafi chooses a variety of types so that the reader"s identification is realized while reading. On the other hand, the use of four personality types along with four examples of psychological approaches shows his mastery of character development and the appropriate and harmonious selection of dialogues with the desired types.

This research validates the stability of the psychology of characters by presenting evidence and justifies the cross-sectional transformation of some of them with logical reasons. The harmony between Vafi"s selective approach and the performance of the characters in his novel is undeniable.

Every literary work uses a main and key element. The most important element of the story is its characters. The characters are actually the soul of the story and the charm of the stories largely depends on their characters; Therefore, its processing method should not be considered simple. The author is the creator of the characters of his fictional work and must have the ability to show their inner and outer layers to the reader. The purpose of this essay is to investigate and analyze the characters of the story of D’abel and Zulfa. The purpose of analyzing and criticizing the character of D’abel and Zulfa is also to achieve the meaning and structure hidden in the characters of the story in order to determine whether the processing of the character of D’abel and Zulfa has been done correctly in its structure and context, according to the author"s goals?

The research method in this study is descriptive and analytical, which was done in a library form by studying sources, taking samples and classifying the materials.

The novel D’abel and Zulfa, written by Muzaffar Salari, is a romantic novel in a historical and religious format. The main axis of the story is based on love. The tasteful and thoughtful writer has mixed the bitter memories of the caliphate of Harun al-Rashid and Ma"moun Abbasi with the spice of love to make it sweet and pleasant for the audience and describes the characters in an artistic way.

Characterization in this story is mostly done through dialogue between the characters, and the element of dialogue, in addition to playing an important role in the flow of the novel, also plays a significant role in dramatic characterization. The characters of the story play a role in the creation of the story in both positive and negative poles. In conversation, characterization through dialogue (two-way conversation) is superior to characterization through monologue. Salari has used two descriptive and dramatic methods for characterization; That is, the characters of the story have been introduced both by their actions and behavior and by the author by describing their appearance, moods, moods, thoughts and opinions, and by using the mind, one can find each of these descriptions and put them together.

Ebrahim Golestan is one of the pioneers of contemporary story writers. His works are a full-view mirror of the social and human developments of the Iranian society, therefore, in the upcoming research, the story of "Khorus", including the long stories of Golestan, has been examined from the perspective of the sociology of personality to reflect the society and its changes in the actions of the characters in the story. be shown

This research has investigated some sociological theories of personality with a descriptive-analytical approach and using library studies. In the meantime, the components that overlapped according to the mentioned theory were extracted and then analyzed by the fish vector method.

Based on the available findings, this story symbolically reflects the effects of the August 28 coup in Iranian society and the relationship between the Shah's government and the people. The contrast between tradition and modernity is one of the most frequent concepts that the author has mentioned in the processing of characters.

The results of this research indicate that Ebrahim Golestan has been successful in representing the conflicting relationship between the text and the social conditions of Iran. Through dynamic and comprehensive characterizations, he creates numerous symbols that represent the superstitious and naive classes in opposition to people protesting the conditions of society. In the form of a narrator, he indirectly criticizes and scrutinizes the troubled situation of Iran in the 1930s and 1940s.

Masoud Kimiyaei is famous for scriptwriting and filmmaking, but he has showcased his art in literary creation by writing a novel, Jasadhaye Shishei. The main question of the present research is to what extent the author is aware of the principles of story writing and has utilized those principles, and to what extent his skill and experience in filmmaking has been effective in writing this novel. In this article, using the method of content analysis, the writing techniques used in the text of the novel and their consistency have been evaluated. The title, chapters and structure of the novel have been explained. The author has been successful in using historiographic metafiction to approach the subject of the story. Characterization of the novel is generally satisfactory; however, in some cases, the narrator passes judgment instead of storytelling through the character’s actions or sayings. The characters language is compatible with their position, level of literacy and responsibility, though the narrator introduces some characters haphazardly. The author utilizes Cinematic capacities thoroughly in giving depth to characterization, narrating details of the setting, activating and visualizing the abstract issues, choosing the viewpoint, mixing discourse with images and depicting poetic exegesis. Meanwhile, the author’s interest in visualization brings about redundant sequencing in the novel, which leads to a voluminous text.

In the Arab world, moral themes were sometimes presented in the form of poetry and, sometimes prose. However, in the present era, this trend has emerged in an educational context and as a new art called "children's literature". Among the Arab countries, Egypt can be addressed as the pioneer in this respect and the genius of people like Kamel Kilani is a proof to this claim. The present study is an attempt to examine the various aspects of characterization in Kilani's work in a descriptive-analytical procedure via addressing Kilani's collection called; "Ten Stories". As the obtained results indicated, research shows that characterization, as one of the elements targeted in the story, is more direct in Kilani's "Child". For the main characters, more of the narrator element and dialogue is used, and, for the sub-characters, dialogue, description of behavior and face, expression of correct behavior are presentd in a more indirect way. Kilani's work comprises intellectual, educational, and moral goals, lexical and linguistic goals, and themes such as fidelity, honesty, and truthfulness.

Every story is made up of parts that make up the body of that story, and the criticism of the authors' art of storytelling is expressed by examining and analyzing these elements. This article is devoted to the investigation of story elements in the novel "The Postman" by Chista Yathrebi. The selection criterion was the audience's attention and acceptance of this novel. The purpose of this research is to criticize and analyze the elements of the story and the quality of its use in this romantic novel in order to answer this question: "what are the most obvious story elements in the novel ‘The Postman’?" For this purpose, by using library-documentary manner, descriptive-analytical method, structural elements, after stating the general plan of the research, the literature review, and after explaining the types of stories, the important elements of this novel was investigated. The most important finding of this research is that the plot of the stories follows a certain cause and effect order and often has a simple and elementary plot. The characters are more human and static. The romantic and often true-like theme is present in the stories. The point of view used to narrate the stories is the first person point of view and the conversations are very effective in the process of the story. The author often mentions the scene in the manner of summarizing and shortening it.

Accepted in the background without argument or catching the attention of the addressee, presuppositions are linguistic structures discussed in semantics and applied pragmatics. Based on Yule’s popular divisions of suppositions - existential, factive, lexical, structural, non-factive and counterfactual, this research aims to answer the following research questions: What are the most and least frequently used presuppositions? Which presuppositions are used by the powerful and powerless families and how is this justified? How are men and women different in their use of presuppositions How are presuppositions and plot line related? The finding showed that the structural and non-factive presuppositions are the most and least frequently used presuppositions, respectively. The powerful family members use more structural presuppositions in order to ask, find and complete their information. The powerless family members use more lexical presuppositions in order to help characterization of themselves and others and help the development of the plot. Although men’s use of presuppositions is higher than women’s, this difference in factive presuppositions is more obvious due to the men’s tendency to be more direct. Furthermore, the plot line and the use of presuppositions are inversely related.