نشریه روایت شناسی
سال پنجم شماره 2 (پیاپی 10، پاییز و زمستان 1400)

With the advancement of educational technology and their diffusion to all fields of science, history education has also entered new realms using educational technologies, especially in cinema. The film Twelve Angry Men with its content in relation to the teaching of philosophy is a case in point. This research, based on an interpretive method, attempts to examine the relation of the film Twelve Angry Men to the teaching of the linguistic philosophy of history. The findings suggest that the film is a conflict between positivists and commentators, or objectivists and subjectivists, as a result of which some concepts such as mind, objectivism, value, and understanding could be comprehensible through education. Also, historical narratives could be questioned due to the time laps between the narrator and the actual events. Keywords: Educational technology; Twelve Angry Men; history's linguistic philosophy; explanation; objectivity and value.

This article investigates different types of violence in relation to otherness and perception of hidden audience aboutThis article investigates different types of violence in relation to otherness and perception of hidden audience about violence in the novel of Laughter-seller Gypsy. Gypsies are almost absent in Iranian literature; being othered and marginalized signifies the hidden violence obliterating their footprint from literature. Laughter-seller Gypsy is one of the rarest novels representing the strange world of gypsies. It narrates their wanderings, and the violence they bear from insiders and outsiders. Violence can be found in two dimensions in this novel: violence as imposed by non-gypsies on the travelers, and the other type installed by gypsies upon themselves, which reflects the external pressures. The author takes advantage of “counter-storytelling” and uses gypsy narrators to make the violent atmosphere tangible. Also, by breaking the clichés up, it challenges the black and white image of gypsy characters. The dominance of the hierarchical system, racial and ethnic discrimination, insults and curses, accusations, division of gypsy and non-gypsy society, ban of marriage between travelers and villagers, murder, plunder and torture are some types of violence in the Akbarkermaninejad’s novel. This novel reflects the personal and social violence, seeking its causes through a deep investigation, and develops empathy of audience. Violence is a habitus for gypsies and they not only don’t stop it, but also do it themselves. Facing the “cultural other” adjusts the violence of the later generations of gypsies, however, the new generation with medial identity always remains in lower position. Although it has come to the center, it has been pushed to border right in the center.

This study examines the acting system of The Deer and Crime, made by Kimiai. Although many scholars have considered narratives limited to stories, and believe that these are the texts of a virtual nature, texts that have their own actants, but the fictional nature of the movies that excite their audience are full of the actants who have the power to change the status of the stories from the balanced to unbalanced and vice versa. Every fictional character has physical, psychological, and social characteristics, and makes this character in the narrative context a dramatic character. In fact, the value of each narrative depends on its latent beauties, and the right structure can add to these beauties. So, understanding the narrative structure of the story characters are among the most important points in literary studies. Researchers try to explain the relationship between the fictional characters through the use of semantics. One of the efficient ways of explaining the relationship of the characters is “actantial model” developed by Greimas. We have compared the actants of The Deer and Crime using the “actantial model”. In these narratives, the word “actant” goes beyond the fictional character and ultimately, the heroes convey important social and moral messages to the viewer with their death. The nature of these movies are similar in illustrating the pattern of Kimiai’s thought before the 1979 Islamic Revolution and the movement of the society to achieve a transcendent status from the individual subject to the social subject.

Proverbs in the reflection of culture and individual and social identity is one of the most important categories in language studies. People of every society and ethnicity use different methods and convey their meaning in the form of cultural and literary delicacies to others. Considering the importance of image schemas in cognitive semantics as one of the most important linguistic mechanisms and since little study and research has been done on Iranian proverbs and dialects, the need for this research was doubled. The question in this study is what is the frequency and type of imaginary schemas used in Tehrani proverbs and are there any proverbs without mental schemas? The purpose of this research, which is descriptive-analytical and qualitative, is to investigate the schemas of metaphors in the body of Tehrani proverbs based on the Evans and Green’s schemas model (2006) according to cognitive semantics. The statistical population includes the book Ghand-o-Namak (all Tehrani proverbs), in the form of purposeful sampling and contains 2000 proverbs. The results indicate that general types of image schemas such as containment, path, directional and force schemas are found in Tehrani proverbs, but containment schemas have the highest frequency compared to other schemas. Which is due to the urban lifestyle in the formation of this type of mental schemas and its metaphors.

Postmodernism is a revolt against one-dimensional and monophonic beliefs that do not fit into any particular mind or boundary, and it emerges at any moment and in any place, embodied in the frame of a work of art. There are no definite rules and regulations in postmodernism and its characteristics have not been compiled in a coherent way so far, but there is almost no doubt about its connection with language. The linguistic conception of postmodernism makes it possible to make a connection between historical texts and postmodernism. One of the Iranian stories which seems to be closely related to postmodern fiction is "Samak-e Ayyar". This research intends to study and analyze the components of postmodernism in the story of "Samak-e Ayyar" using narrative analysis of the three foundations of time, structure, and narrative. The general result of the research shows that the use of postmodernism in this work is quite obvious, and the components such as uncertainty at the time of the story, the shakiness of the structural frameworks due to the elements from other texts and the inner monologues of the characters, as well as the blurring boundary between fiction and reality in this journey can give us a better picture of the story.

The oral tales of a nation are one type of folk literature. We can gain much information about enthnic groups of a nation by studying the themes of different narratives of oral fables. Taleshis are one of the old communities of Iran. The history of Taleshi tales goes back to ancient times. Themes construct the base of these tales and add attraction to these tales. The main purpose of this research is to analyze the function of the themes of Iranian tales in Taleshi stories by investigating and studying the existing written resources. In this investigation, employing the descriptive-analytic method, we analyzed the most important and the most frequent themes of Taleshi folk tales in five groups based on a reliable index. First, we chose one hundred stories from seven sources based on oldness, fame, genuineness and a sum of 53 themes were extracted and analyzed. The classification of these themes in different groups were based on function, type, and theme. In this article, the most important and the most frequent themes were studied.

In the development of narrative analysis, three stages in the field of narratology can be enumerated: Vladimir Propp's morphology, the logic of Claude Bermond's possible narratives, and the semantic narrative of Greimas, which originated in the Paris school and merged with semiotics and led to semantics. Discourse and Narrative Semantics is the result of the structuralist semiotics of Saussure and Pierce and poststructuralist semiotics. Sign-semantics considers narrative text as a coherent and meaningful collection in which there is a directional flow and the structure of such texts makes the text static dynamic. It turns into identity, perception, value, and action. The semantic implications of this development are the intra-verbal and extra-verbal factors, practicality and dynamism, spatial and temporal space of speech and action relation, and the role of effective verbs in this novel. The result of this research is that in Gypsy by Fire, the actor is placed in an emotional capacity and enters the stage of Shush within the framework of narrative discourse process and the discourse components of this novel sometimes cause the text from narrative-semantics to narrative level.

The concept of war has been tied with the security and insecurity issues of the involved parties. The war itself creates sub-cultures which influence different sides of the society. The dominant code of a culture has a tendency toward the center of Semiosphere. As much as this center is more homogenous, there is more semiotic security of the subject as well, and in contrast, more inhomogeneous center disturbs the relations of the center and the margins and makes chaos. The involved parties of war may stand continuously in such relations and endanger the security of subject. The Iranian Sacred Defense Cinema which has been the image of the courage and self-sacrifice of the Iranian warriors always portrays another concept of disruption of the predefined dipole of the semiotic security/insecurity. How the subject feels safe within the semiotic insecurity, border and chaos?  The aim of the current study is to find the narrative macro patterns of security and insecurity in Holy Defense Cinema. How the linguistic security/insecurity in Holy Defense Cinema encounters us with the semiotic security/insecurity conditions? It seems the migrations during the imposed war make different relations between itself and the other in the narrative process like having no linguistic connection, imitative relation, and linguistic link. To study them, a film by Bahram Beyzai has been selected. These concepts happen in the different semiotic security/insecurity conditions. The other question of this study is the disruptive circumstance of the semiotic security assumptions and specially passing from subject to non-subject. It seems the concept of metalanguage and the perceptual relation of subject with the point of attack of presence in cinematic narrative leads to pass from subject to non-subject and the defamiliarization of semiotic insecurity assumptions.

By adopting a semiotic approach to literary discourse analysis, the present paper seeks to analyze and classify the underlying mechanisms of linguistic and semiotic discontinuity in the literary discourse of “ Don’t Worry” by Mahsa Moheb –Ali – the writer of forth generation of the  Persian fictional literature. Research method is descriptive-analytical. The author aims to show how discontinuities emerge in this novel and affect the process of meaning production and perception. Thus the main objective of the current research is to respond to the following questions: 1. what are the major types of discursive discontinuity in this novel? 2. What are their main linguistic and semiotic functions? The results showed that according to the narrator’s mode of presence which takes the advantages of existential regime of discourse, it would be reasonable to investigate discontinuity under linguistic and semiotic titles. Under the influence of existential and eventual-phenomenal components of literary discourse, the main argument of this research is to insist on this fact that fictional action has been marginalized and occupies the secondary function and its output consists of semiotic discontinuity with affective, sensible –perceptual, identity and existential functions.

In recent years, narrative theory or narratology has grown enormously. Narratology has been formulated by structuralists, and its purpose is to identify the commonalities in a narrative. This word was first suggested by Tzvetan Todorov in 1969, and has become an important subject in many respects. In this study, one of the Zeller's plays is examined (The Father) on the basis of Gerard Genette's theory of narrative. Also, the effect of time (order- duree- frequency) on the dramatic text has been studied. We want to show how Genette's theories are expressed in Zeller's play. It was shown how narrative affects characterization and the other elements of drama. This study is a descriptive- analytical one, and the documentary- library resources and valid websites have been used for that.

Batman is a recognized modern hero, which has been the axis of many narrations. Two examples of Batman's most successful narratives are Batman (1989) by Tim Burton, and The Dark Knight (2008) by Christopher Nolan. This article attempts to analyze and compare these two movies' mythological structures by a comparative analytical method based on the theoretical framework of Vogler's the writer's journey. This survey's primary purpose is to find the differences between the styles of two filmmakers in using the same mythical narrative. Tim Burton's Batman is centered on photojournalist Vicki Vale, who investigates Batman's real identity. Critics categorized Burton's Batman as a high concept film, less movie than a corporate behemoth. In Nolan's The Dark Knight, District Attorney Harvey Dent created an alliance to dismantle organized crime in Gotham City, but Joker menaces them. Film critics considered it one of the best films of the decade and one of the best superhero films of all time. The film received highly positive reviews, particularly for its screenplay. Based on the analyzed data, Nolan has been more successful in shaping his movie's mythical texture, which can be one of the reasons for admiring the film both by critics and the general public. The twelve stages introduced by Vogler are discoverable in both movies. However, as a movie in the superhero genre, faithful to the ups and downs of the journey, Nolan's film has been able to create a more engaging narrative for its audiences.

In this article, the narrative of The Cage by Sadegh Chubak is studied with a descriptive-analytical approach, and the influence and role of the minimalist literature in this narrative are analyzed. Then, the mentioned narrative is investigated through the criteria set by Schoots for minimalist narratives. The main purpose of this article is to show the formal and content roles of the minimalism in The Cage narrative. The Cage narrative, with features such as: limited volume, simplicity in the sentences and rhythm, the combination of short sentences with long sentences, incomplete sentences, realism, complex ending, high narrative speed, actors without identity and originality, and discrete and discontinuous plot is identified as a minimalist narrative. In the result section, it is shown that Sadegh Chubak describes the questionable orientation of man towards living in his own wisdom cage well and tries to reflect it in new and minimalist ways. With illustration of moral deviation of the contemporary Iranian society, he seeks to prevent transcendental and human concepts from more degradation. Finally, the advantages and challenges of minimalist thinking and life are presented.

As one of the most significant elements of narrative structure, time relationships bring the audience closer to the atmosphere and world of the story. The issue of duration is the most discussed realm of time in the narrative which takes into account the relationship between the period of events’ occurrence in a story as well as the amount of the text devoted to the same events’ presentation. Indeed, finding the duration of time within the text and its investigation in different versions of a story leads to a better understanding of the given text. It also lets the audience be in close contact with the scene of that event and proceed along with its different acceleration. This paper tends to study the duration of time in four versions of magicians’ story and their confrontation with prophet Moses (AS) and Pharaoh in the Qur’an in the light of Gerard Genette’s perspective. Consequently, the examination of narrative techniques related to the time duration in these versions represented that the scene and dialogue, and the descriptive pause have obtained the highest frequency, and as a result, it provides a condition to take a lesson from the story, while the elimination and summarization have attained the least frequency.

Ode as the main form of praise literature is one of the most common propaganda and ideological tools of the power apparatus in the classical Persian world. In ancient Persian literature, Farrokhi's poems, within the framework of a poetic narrative, try to support the political discourse/ thought of Iranshahri, which represented the authority and legitimacy of the Shah in a charismatic or cultured way; he is the successor of God, the identity of the subject of "king - praised" representing the supposed authority as a singular and divine concept. In this paper, the representation of the king- praised as being "superman" has been investigate focusing on the semiotics and lifestyle -taste- consumption in Farokhi Sistani's odes. The result shows that the narrator of Farrokhi's odes, in his praiseworthy narratives, describes the life style of the "king -praised" and his vicarious class as three types of capital: "physical", "possessive", and "institutionalized social-cultural", and at two levels representation "direct" and "vicarious" consumption. The result of this representation is the formation of the identity of the king- praised subject on three singular levels of "innocence-immortality", "possession-incompleteness", and "justice-discipline". These cases, as the presumed characteristics of the chosen or ideal king, were the political-sacred "desire-expectation" of most of the "king - praised" of that time, especially the Ghaznavi kings, in which the ode has fulfilled a part according to its hegemonic intention or mission.

This study is going to show the metaphoric nature of a text and the metaphoric relationship between the title and the text - one of the components of modern narratives- in the classic works. It is claimed that there are works among the classics equivalent to the modern ones. This merely means that some of the modern features and potentials are derived from the old works. Modern works may earn the specific features of their own by condensation, proliferation, and reproduction of some certain features of the old works. Amplification of the metaphoric pole in prose (stories/ novels) should be regarded as one of the characteristics of the modern narratives. This characteristic could be observed in the title of modern woks as well. We have shown that this trait exists in the works of Shahāb ad-Dīn Suhrawardī as well and has transferred from the text to the title of his works through the paratextual connections. This article is founded theoretically on the David Lodge's point of view in his well-known work The Modes of Modern Writing: Metaphor, Metonymy and the Typology of Modern Literature. We also applied Jacobson's Theory of Metaphoric and Metonymic Poles in a new way so that we can declare the distinctiveness of Suhrawardi's titling from that his contemporaries.

Narrative typology is one of the structural issues of narrative science that studies and analyzes the relationship between narrator, actor, and audience. Jepp Lint Velt is one of the most well-known theorists of narrative genres, based on the confrontation between narrator and actor. Ali Badr's novel The Jerusalem's Lantern is one of the postmodern novels in which this contemporary Iraqi writer has been able to distinguish the case of Quds and its true history from the fictitious Jewish narrative, making the story dynamic, believable, and true to the audience. Since this work has a strong narrative language and the author has used appropriate and specific narrative types in different situations, the present article uses a descriptive-analytical method to study and analyze the narrative types of this novel based on Jaap's theory. Lint Volt has explored and analyzed Ali Badr's narrative methods and techniques in creating this work besides his goals, in order to pave the way for a better understanding of the world of fiction and the hidden layers of the text. The research findings show that this postmodern fictional work is close to the characteristics of the narrative pattern of the homogeneous and heterogeneous transcript of the text, and corresponds to the internal focalization and zero in terms of angle. Given that the heterogeneous narrative version of the text, and consequently the zero angle of view in the above story has made use of the omnipresent and interpretive nature of the narrator in such a narrative, it is easy to understand the characters and explain the true history of the Quds. It is possible to say that Ali Badr, the author of this novel, had a special interest in the audience.