نشریه روایت شناسی
سال چهارم شماره 1 (پیاپی 7، بهار و تابستان 1399)

This article aims to study and analyze the discourse regimes of conservatism and risk-taking. Conservatism is related to companionship, convergence, and alignment; while risk- taking is related to the challenging space, nonconformity and divergence. The main purpose of this article is to analyze the novel Nocturnal Harmony from the Wood Orchestra by Reza Ghasemi based on the semio-semantic approach to explain the factors and tools that influence the semiotic and sign process in these two regimes. The study not only analyzes the discourse narratives that are agentive, interactive or adjusted with existence, it also discusses how the two regimes of conservatism and risk- taking emerge in this novel. It is assumed that the conservative discourse regime is formed with respect to (considering the transitional aspect of the discourse) the alignment and harmony between the agent and the world, and the appeasement functions are the contributing factors in this regard. But in the risk –taking discourse regime, the resistance function of discourse is involved putting forth discontinuity, rejection of assertion conditions and the creation of negative conditions, that make meanings of eventful and unexpected feature. The intermediate regime, the intensity system, the extensity and the tension process are other important tools and factors in forming these two regimes. The main purpose of this article is to analyze the two conservative and risk-taking discourse regimes, from the perspective of semio-semantics, to explain the discourse challenges that move us from the limited and adjustable situations to open and eventual situations.

The most brilliant aspect of Samuel Richardson’s Pamela is its epistolary aspect. The protagonist of the novel, Pamela, is the sole narrator of the novel through her letter writing and composing poetry to various addressees, and it can be best explained by Paul Ricoeur’s intensio anime and distensio anime in narration. Such explanation clarifies the relationship between existentialism, feminism and literature through distensio anime from one hand, and, it represents intensio anime through Pamela’s letter writing and love poems, on the other. In the meantime, Ricoeur is among those contemporary narratologists who believe ethics to be originated from narrative cohesion and narrative identity and he puts emphasis on the role of ethics and morality in narration. The aim of the present study is to explain intensio anime and distensio anime in narration and their effect on Pamela’s ethical narrative identity cohesion in existential feminist scope. The methodology in this study is descriptive-analytical.

Myth is one of the issues that has caught the attention of scholars in the field of literature since the beginning of the literary genre. The reflection of myth in contemporary Persian stories can, on the one hand, inspire the creation of meaning and instill underlie the novel's link to a precious legacy. The emergence and emergence of myths in contemporary Persian stories and the role they play in its richness are of particular importance. In this article, the course of reflection of national and religious mythical narrative in some contemporary Persian stories of the forties and fifties has been studied and analyzed. One of the main reasons for the rise of this trend has been the failure of the popular movement to nationalize the oil industry and the other approach of writers to historical fiction. The themes of Persian stories from the constitutional period onwards were mainly historical and social, but not without mythical references. But after the August 28th coup and the suppression of the national oil movement, the emergence and reflection of myth spread in contemporary Persian fiction and continued with a passive tendency because of the overwhelming sense of failure and frustration caused by the collapse of Mossadegh's government and the creation of an oppressive atmosphere. Draws on the widespread reflection of myths and the use of their symbolic language in the story. The national mythical narratives of our period are more focused on the narratives made from the Shahname

Risalat Al-Teyrs are narrative texts with the mystical content and the mystic allegory language. It is obvious that Risalat Al-Teyrs, with little addition and removal, change and transposition, are affected by each other. Among the Persian and Arabic Risalat Al-Tayrs, the present study aims to see which one is borrowed from the other, and in terms of narratology, how is it possible to investigate the effect and influence of these works relying on Searle's speech act theory and Genette's Hypertextuality borrowing an analytical -descriptive research method. The study seeks to investigate the intertexuality link of Persian and Arabic Risalat Al-Tayrs. It is hypothesized that these texts are Hypertextual and the newer narrators were consciously affected from the previous ones. In order to investigate the hypothesis, these works are analyzed at the level of sequence and predicate and then similar sequences are determined. Next, each predicate is shown with abbreviation, and at the end, these Risalats are described in terms of structure and content of these sequences, similarities, and differences. Results indicate that excessive use of affirmative and encouraging sentences is in line with the affirmation and expression of guidance or encouraging the reader towards the educational issues. Considering 17 similar sequences in these works, it is found that except the Ghasideh Eyniyeh that has few similar sequence compared to other Risalats, IbneSina and Mohammad Ghazzali's Risalat Al-Teyrs and Mohammad Ghazzali, with two different structure, are considered as pretext. Ahmad Ghazzali's Risalat Al-Teyrs describes more details compared to Mohammad Ghazzali's Risalats. Risalats of Chachi, Eynol-Ghozat, Mantegho-Tayr, and Kashfol-Asrar have followed the Risalat of Mohammad Ghazzali, but through embedding the changes in the sequence, have saved their works from general imitation, thus creating innovation in their works. The Risalat of Sohrevardi is so similar to the Ibn-Sina's in the first part, but Sohrevardi has used different sequences to create new work

The aim of this study is to examine and compare the image schemas in scientific and literary texts within the framework of cognitive linguistics. According to cognitive linguists, the importance of image schemas, as a part of language and thought, is that they, in terms of rudimentary embodied concepts, systematically provide the fundamental building blocks for more complex concepts. That makes their study inevitable in many fields. In this study, we examined Johnson’s basic image schemas (i.e. force, path, and containment) in scientific and literary texts, as two extremely different genres. We used qualitative, descriptive, and inferential methods in our examination. The results show that, despite their significant difference (p<.05), all three schemas are used in both scientific and literary genres. The most frequent schemas in scientific and literary texts were containment schemas (56%) and path schemas (52%), respectively. There also was a significant difference between schematic (9%) and non-schematic (91%) sentences (p<.05). We suggested that the observed difference between the two genres may be due to the fact that scientific concepts are more abstract, and the use of schemas facilitates their understanding.

In this essay, the short story of Moniro Ravanipour,s "yellow peacock" from the Kenizo Story Collection is based on Simpson's (1993) Narrative Viewpoint Model. The basic question of the research is first how the viewer feels about the selective angle and secondly how the emotion induced in the text can be proved without humorous interpretations.And based on the scientific method associated with reasoning.In this research the data are analyzed based on the categories and analytical tools introduced in the theory.The research method is therefore descriptive-analytical. Accordingly, our aim is to apply specific effects on the audience by applying Simpson's linguistic model and discovering rulesProvide specific impacts on the audience in a scientific wayExamination of this story shows that the narrator is a type B (negative third person narrative) using "estrangement words", avoiding the characters' emotions and thoughts, emphasizing specific physical features, expressing guessing and character alienation techniques, storytelling. Has created horror fiction.

Studying the "narrative” is a way of analyzing the adaptation. In the analyzing of the narration, examining the point of view is among the particularities that may expand the target text further than the source. This is Manfred Jahn's core concern in his theory of Windows of Focalization, which is organized as a mechanism in the narrative analysis theory. In Pasolini's movie, Sophocles' Oedipus takes place as a pre-narrative so that the director can create a novel depiction of the Greek classic. There are chapters in the play that are inevitably cut out of the stage renderings of the play due to the lack of theatrical feasibility, and the readers learn about them merely through dialogs along the play. Owing to the aforesaid approach, the filmmaker adds a mimesis of those chapters to the motion picture to reveal the underlying determinism of Oedipus furthermore, and to probe into the notion of destiny in the modern world. Using the desk research methodology to conduct a comparative research, the present study would ask the following question: How has Pasolini made use of a classical play in his narrative mechanism as an associative agent for his modern-day movie character's confrontation with the world? Also, the research hypothesis is concerned with the idea that the classical works seem to function as associative elements, making it possible to provide a narrative mechanism which in turn facilitates the process of perception in today's world.

The character is the central element of the story, and its review reveals new features of a story. In relation to personality, so far, various theories have been presented, but none of them have the fullness of Philip Humon's vision. In his theory, characters are placed in three categories: "reference (historical, mythical, virtual)", "pointers to the writer or singer," and "to the reminder." Levels of personality characterization are expressed in apparent, emotional and social dimensions, and the signifier and signifier are important in identifying characters. In this article, based on the library resources and descriptive-analytical method, the characters of the "Aghrab Rooye Pellehaye Rahahan -e- Andimeshk" by Hussein Mortazayian, Abkenar, have been investigated as one of the most prominent stories of the sacred defense based on Philip Hamon's views. . The results of the research show that the characters of the story are mainly social (soldier) and virtual (despair, fear and death) that are consistent with the general content of the story, the imposed war between Iran and Iraq. The story pointers mainly indicate the presence of the author. This means that Aquinas did not believe in the central reader and numerous readings of the story, highlighting the role of the whole wise narrator.

Multiple narrative perspectives are a new phenomenon in narratology and a common narrative methode in modern fiction. In this narrative technique due to some charastrictics like plurality of viewpoints, multiplicity of narrators and change the point of views understanding of its plot is more complicated than other narrative forms , and readers understanding of this form depends on the interaction and cooperation between reader and text directly. This phenomenon is generally analyzed due to element of point of view. According to popularity of this narration way in today`s fiction, my first purpose is necessity of introducing and learn more about this phenomenon. Despite being the most frequent of this method in the modern novels writing, very rare researches have been devoted to it. Present research is seeking comprehensive study and more explanation due to do further research in this case. Despite being the most frequent of this method in the modern novels writing, very rare researches have been devoted to it. Present research is seeking comprehensive study and more explanation due to do further research in this case.

We can consider two sets of views on the world: first the one from the the classical structural semiotics which considers the world as a “text” or as a “narrative discourse” and second the view which is based on the lived experience. These two sets of views on the world have each a specific design regime. In the first case we can say that we consider the world as page of a book on which we can find the hidden meanings, therefor to understand the world means to discover these hidden signs. On the contrary, based on the second regime we do not read the world anymore, but we feel it. In this article besides explaining about these two processes of meaning production and their relationship with the regimes of meanings suggested by Eric Landowski, we analyze the behavior of some main characters of the novels and in their interactions with their surrounding and the world.

There are many stories which have been created on archetype of immortality and transmitted to us mouth to mouth or in literal forms. Alcestis by Euripides and legend of Crazy Demerol are two examples which despite of cultural differences, have many similarities. The main question is in what context do the two worlds share and differentiate? What are the similarity and different aspects of these two works? This research is based on a descriptive-analytical method and data collection is done through library method. Findings show that despite of similarity in subject and endings, narrative process of two story are different. Alcestis narration is based on back-story and Aristotle unity. Play begins with Alcestis’ testament and ends with returning her by Heracles. But in Demerol the whole story is told in a linear way from the beginning, and there is no back-story related to the events. Demerol encounters with death-angel and beg him to let him alive and his wife sacrifices herself for him. Their titles show that, Demerol comes from a patriarchal culture because the name of the man entitled the story despite of woman’s devotion. But in Alcestis the woman's name is on title of the play. This point also attributed to author's (Euripides) point of view and also indicates to Iranian and Greek cultural differences. Finally by his begging to god, he forgive them. This comparative study shows that one single subject in two different story in two different cultures may have different components and functions as well.

Sa'di has used the story of Bostan to express his thoughts and put it in place for education of wisdom and wisdom, so that Bostan is in a special position among his works in terms of story writing. This work has anecdotes that are structured and dynamic in content and content that are compatible with contemporary structuralism and even post-structuralism theories of narrative validity that one of these anecdotes is the story of "in deception and politics" of the first chapter. It is important from the point of view of personalities, actors, actions, Function, values, tensions, motivations and movements. These features establish the structure of the narrative in relation to action and tension discourses that can be explained from a semiotics perspective. In semiotics, the interaction between the domain of expression and content, the free play between the signifiant and the signified, and the interaction between the narrator and the audience are examined through mediators such as emotional discourse, aesthetic, and perceptual-sensory. Accordingly, in this descriptive-analytical study, while explaining and recognizing the narrative of the aforementioned narrative, the active and tension system of this narrative is studied with a semiotics approach to explain how it is born out of a mere system of confrontation, a tense, intertwined system based on spectral and degree relationships, with phenomenological and ontological characteristics. In fact, the main purpose of the present article is to explain how the military forms of tension and value within an interactive and action system, and on the basis