نشریه روایت شناسی
سال سوم شماره 1 (پیاپی 5، بهار و تابستان 1398)

One of the most successful works, in this respect, is Faulkner's Sound and Fury (1929) in which he follows the theory of relativity and ignores the linear conception of time. The major concern in this paper is to analyze the impact of Einstein's relativity on early twentieth novelist in general, and on Sound and Fury, in particular. This attitude found its way into literature and affected twentieth century novelists. Despite classical authors who viewed time from the outside and based on causal consequences, modern novelists distorted the time sequence and employed the stream of consciousness as a means of their narration. The Emergence of comparative literature bestowed to a great extent the democracy and justice to the world of doing research. One of its branches is interdisciplinary studies which deal with the mutual interactions among different sciences. Before the twentieth century, time was considered as one of the rigid criteria which was used to measure. By the advent of Einstein's theory of relativity, time was to be considered relatively.

The false Calisthenian script (sixth century) is another narrative of Alexander's life and struggles, and has been transformed, as in other scriptures, into the manipulation of narrators and storytellers. In this story, Alexander goes to the fairy-tale city, which is the ideal of women or hero, contrary to other scriptures, fights with the king of women and enslaves him, and then marries him; the dream of women With the reality of the sixth century. The analysis of the sign of semantics can, while analyzing the text, by separating and analyzing the relations between the signs, the separation of the orientation of the primary discourse from the new value systems that are represented as semantic homogeneous, and the removal or distortion The stories that other scholars point to has speculated about it, in the structure of the story and in light of the new cultural forms. The present study first examines the narrative model, then the octanes and actors based on their model identities and their figurative identities. What kind of modeling and identity ideas women have dreamed about in their ideals, and what their dreams have changed in relation to the social and cultural reality of the sixth century. How do semantic identities make inaccessible areas of activity and how women experience cultural activities prohibited areas of activity? The discrepancy between the structure of narrative and discourse with respect to the presence of the writer through the examination of the system of action It comes.

Regarding realism as a non-significant and marginal movement of contemporary literature, the authors tried to modify it. Coined and introduced by Rudy Rucker, transrealism is a postmodern movement that consists of fantasy and science-fiction elements as well as realistic features, not to mention that the realism which is used in transrealism is not the sheer one. Time travel, new inventions, alternative worlds, aliens and supernatural elements can be observed in transrealistic works. Satire is another pivotal element of transrealism alongside the aforementioned features. It is employed in order to criticize society and mankind’s follies. Metafiction is considered as a method of narrative in postmodern stories which is also observed in transrealistic works. In metafiction the narrator tries to indicate that the story is artificial. Kurt Vonnegut’s apocalyptic novel, Cat’s Cradle, can be regarded as a transrealistic literary work. It indicates elements of science-fiction, fantasy, as well as satire, and employs them as tools for repressing inhuman deeds. Employing science-fictional, fantasy and apocalyptic literature features, the transrealist author provides a nonrealistic atmosphere. Synchronically, it represents realism. This dichotomy generates an ambiguity and a suspension on the border between the nonrealistic and realistic world. This paper intends to examine the features of transrealism and its objectives in Kurt Vonnegut’s Cat’s Cradle. Besides, it attempts to demonstrate the diversity and complexity of the contemporary narratology by highlighting the narrative features of the very novel.

This research intends critically to analyze the potentials of cultural criticism in narrative fiction. Cultural criticism and cultural studies have several objectives. One of their objectives is that they want to be a project for the productive use of narrative fiction in modern society, because modern society is no longer much interested in narrative and seemingly takes almost no responsibility towards it. This seems a real cultural challenge in the modern society with which the researchers in narrative and cultural studies are concerned hoping to provide practical solutions for it. In this climate of cultural lag, if narrative dreams to find readership, it must have certain qualities. A quality is that narrative fiction is symbolic in language and takes outstanding semiotic functions also. However, symbolism and representation are two generic and productive features in narrative, while it is equipped with many other features making it into a suitable space for cultural criticism. The Emergence of powerful language in narrative, the link between reality and meta-reality in narrative, elucidation of subjectivity, "self" staging, and confrontation of “self” with "other”, and the concept of “form” are among the components of narrative that the present research is intending to examine which render narrative a productive field of cultural criticism. All of these components add to the critical values of narrative discourse, and via the rendition of narrative fiction into a space of critical innovation, strengthen the narrative potentials in the production and criticism of culture.

This article seeks to introduce the concept of narration in museums in order to show that a part of museum narrations can be created based on a story plot, in which the narration includes revolution and expansion of the story, dramatic sequence and confliction, and is able to involve the audience and guide them to follow the story of the museum. For this purpose, the authors initially investigate the concept of museum narration and consider the main challenges in assuming museums as narrators. From the authors' point of view, the main challenge in this issue from one hand and the presence of a narrator in museum narration on the other are the way the narrative plot is associated with the relics displayed at the museum. This paper tries to introduce the concept of narration and its generalization to the museums to show that in the shadow of this concept, all museums can be considered as a narrative design. Subsequently, the article examines the equipments of museum designers for embedding a story plot in the narration and offers the possible methods while designing stage as one of the most vital tools in the area. Finally, the article has presented a case study on the museum of Sacred Defense and Islamic Revolution in Tehran and tried to show the common narration methods in museums along with illustrating how the museum designers had worked to go beyond narration and offer a story plot for the visitors.

Corpse, like text, soma, body and media is one of the important substances and mediation discursive in performance art. Corpse is always mixed with soma and body concepts however, their applications in performance and narrative are different. Corpse is an object in scene which has identity which makes senses from the depth of cultures, history, tales, contexts and individual and public memories. In the performances of ‘Fashion’ shows we mostly deal with simple approaches but, Thom Browne; the senior designer of American ‘Channel’ brand changes the borders of discursive substances and their relations. The things in his performance make different discursive situations either on the scene or in narrative aspects which we are going in current paper to study those aspects in performative manifestation. How corpse in his performances makes different images of the place of his show? It seems corpse as mediation discursive is able to cut its own physical connection with the place by two features of deterritorialization and disintermediation from the principle of the narrative. In ‘Fashion’ show, corpse in which intercorps discursive make metamorphosis in ready to wear clothing? Seems, corpse by forming compound corpse in multicorporeal discursive situation is able to put ready to wear or cutting clothing which holds a sign of casual sewing in a kind of new layer.

Most definitions encompassing the concept of identity refer to the "sense of belonging to categories and social groups". Accordingly, sociologists as well as linguist and specialists of discourse analysis have tried to provide a comprehensive definition of the term. Based on the scholars of the first category, identity is part of a person's "self-concept", which stems from his knowledge of his membership to a social group. While linguists and discourse analysts such as Kroskrity (2000: 14) have identified identity as the result of language function in the process of linguistic and narrative production. In other words, identity has a kind of discursive – linguistic mechanism of belonging to one or more groups and communities in which language and discourse play a key role in its formation. Given this theoretical framework, the present study seeks to analyze and investigate the emergence and formation of narrative identity in literary discourse of Goli Taraghi – Iranian immigrant writer by adopting a descriptive – analytical research methodology. In this approach, "self" and "other” are no longer considered as fixed, and stable elements, but rather they are taken into account as dynamic elements emerging in the context of discourse and narrative action. However, this research seeks to answer two fundamental questions: what are the main discursive components involved in the formation of literary narrative identity? What are the major levels of analysis in this case? The results showed that social bias and representation, categorization and agency as discursive components are analyzable at semio- textual levels.

Mythical language is language where the temporal, spatial, and semiotic methods in the structure of a myth are regenerated. In this paper, it has been analyzed and explained using text from Sang-o Saye (The Stone and the Shade), a novel by Mohammad Reza Safdari, how such a reconstruction of myths occurs in language. In the course of such an analysis, the status of history, as the temporal representation of myths, and nature, as the spatial representation of myths, is of great importance. It is in regard to the very status of history and nature confronting or corresponding to each other that linguistic implications make sense. Linguistic implications of human beings’ cognitive signs specify their status as subjects or objects, and it can be perceived from the very methods of semiotic implication how myths take shape in language. Mohammad Reza Safdari seems to have achieved such a system in language in Sang-o Saye.

The issue of the present article is based on the hypothesis that objects with a universe of their own can play a role in various functions of a Subject, Between the subject and object, phenomenological, prosthetic, and physical form. Based on this, the main question is where is the position of the object in the social relations? And how can the object, based on which discursive functions, take the perspective of the subject and the narrator and, by structuring its action sequences, even organize communication between subject and object? In fact, the main purpose of the present research is to explain the role of the object in the inter-sign, between object and social events in terms of semiotics based on the narration of the Golshiri's Khaneh-Roshanān. The examination of the semiotics of the object in the Khaneh-Roshanān indicates the improvement of the object's objective position to the level of the subject-actor and the role of activism and subjectivity in the context of the activities between the subject and the social. The Khaneh-Roshanān is based on a non-linear narrative and is one of the few works in which the subject assumes the duty of narration and evaluates everything from his point of view. In fact, in this work, an object with roles and functions between subject and objects takes the pulse of narration and takes place on the basis of social actions in a perceptual-sensory interactivity with other subjects, and thus leads to the position A subject-actor is promoted.

In addition to investigation of the objective narrative structure, another aim of Narratology is manner of understanding and interpreting of narration. This view is based on the relationship between the structure of the text and understanding of author and interpreter. Following this point, this article has explained the process of forming the interpretations of the stories in Mantiq- ut- tayr. Thus, it can be said “nothing” as a central concept in the Attar’s mysticism has had a clear effect on the structure of reading and interpretation of stories in Mantiq- ut- tayr. Attar through the multiple story - lines in a story, select one that contains one of the components of “nothing” concept. The laws of the selected story- line affected by these components, and actants must also subordinate from these laws. On the other hand, interpretation of the story is based on the actants who don’t do any act and mostly have a reactive function. These properties are in relation with the centrality of “nothing” concept in Attar’s mystical view. In the other words, laws and actatnts whose Attar attend to in interpretation process are structural categories that introduce the ruling discourse on Attar’s mind in reading of story.

Attributing human traits to non-human is the traditional description of personification. In this article we want to go further than the limits of this definition. We hypothesized that personification is a process which is formed by many factors in a context and without considering these factors, we can’t get into right conclusion that matches up with the real nature of discourse. A short-Persian story called ” Boof-e- Koor”, by Hedayat, a famous Iranian writer, is chosen to be studied on the basis of discursive-semiotics, to show how the process of personification forms. It was estimated that socio-cultural factor and mythical, ecstatic and nostalgic-function affect the formation of the process of personification also discontinuance is a crucial factor that can change the subject to an object and causes another kind of personification happen. At last, the results certified our hypothesis. If attributing human traits, decrease, personification process is lead to the minimal side.

The purpose of this article is to show how the magic of language is realized in magical realism novels. Language as an important factor in creating astonishing reality, has a contradictory function. On the one hand, by expanding the imagination, it burnishes the literature of novels and reinforces its magical aspect in a way that it separates the readers from this real world, On the other hand by a linguistic function in creating fictional logic and strengthening the casual relationship, it returns the readers to the real space so that at the peak of wonder, they accept magical phenomena as realities. This research by examining the linguistic features of the novel " the passed days of the old people" written by Mahmoud Dolat Abadi, checks the amount of this ability in the writer and concludes that the linguistic style of Dolat Abadi has been successful in creating magical realism in this novel.