نشریه روایت شناسی
سال هفتم شماره 1 (پیاپی 13، بهار و تابستان 1402)

The present paper aims to study John Maxwell Coetzee’s novel Foe in the light of Pramod K. Nayar’s concept of “anti-spectacle.” Nayar employs the term anti-spectacle to refer to those segments of reality that are systematically and silently omitted from the content of the mainstream media representations due to the gap they create or the rupture they cause in the dominant official spectacle-making currents. In Foe, which is a rewriting of Daniel Defoe’s Robinson Crusoe, Coetzee changes the narrative point of view and employs a circular multifaceted narration to intermingle the Robinson myth, which is the product of narrative spectacle-making, with anti-spectacles that are themselves the offspring of imperial and colonial discourses as well as of the ethics of Protestantism. He re-narrates the protagonist-oriented myth of Robinson from the perspective of European woman and non-European man, as two subaltern groups, to demonstrate the links between Daniel Defoe’s novel and the colonial discourse of the eighteenth-century Europe as well as the interrelatedness of European patriarchy and imperialism. The results show that, in his Foe, Coetzee deconstructs the conventions of Realism and realistic novel in an attempt to emphasize the inability of the colonial language in representing the experience of the other as well as to demonstrate the capacity of the postmodernist novel as a site for anti-spectacle.

 "character" is one of the most important elements of the narrative and how the characters are interpreted is one of the main components of text interpretation. The purpose of this study is to analyze the semantic codes of fictional characters based on the theory of semantics based on new approaches to characterization analysis in narratology and a combination of theories of "Raymond-Kennan", "Rollanbart", "Michael Ball" and ... in the novel "Involved in Love" by Maryam Basiri With library and descriptive-analytical studies. The results of the research are as follows: Semantics is the achievement of a concept whose subject is not a word but is understood according to the compositional structure of the word and calls the word a signifier and the meaning signified and meaning. Typical and static characters of this novel, according to the principles of generalizability, repetition, contradiction and similarity; They have a combination of several attributes such as responsibility, humility, religion, sacrifice, etc., and have been created in the continuation of the flow of religious literature with a propagandistic approach with the aim of disseminating religious concepts and teachings and the achievements of sacred defense. Character traits are depicted in textual contexts such as the direct description of the omniscient, the description of appearances, the naming of characters, their actions and conversations. The most important codes and semantic context of the characters of this religious novel are beliefs and the most prominent semantic value is the characteristic of self-sacrifice and devotion.

The present study was conducted according to the approach of discursive semiotique and based on the corpus research methodology. The purpose of this study is to investigate how different types of discourse systems compete in the "Mr. Asrari's journal " drama written by Bahram Beizai and as well as the semantic processing in this discourse competition.This research first analyzes each of these discourse systems in the drama and then examines the competition between those discourse systems during the semantic process. We find that an " accident -based event" interrupts the ordinary state of the subject and "state discourse system", which has penetrated his state due to envy and jealousy, and goes so far that state is replaced with action and therefore the beginning of the drama is characterized by the domination of the " performance discourse system". In fact, action transcends the sensory-perceptual process and diverts the drama from a discourse system. The connection of Asrari with the value object and the separation of Shirzad, who owns it, develops the discourse of " performance " and "state" systems in competition with each other.Throughout the drama and in the middle of the tense discourse between the characters, the subject is sometimes dominated by the performance system and sometimes by the state system. The existential process also appears from the fifth scene and undermines the state system.Subjects' identities also experience other meanings, and consequently, go through different stages of discourse and negate the previous Dasein in the seventh scene

This article has been written with the aim of examining and analyzing the mechanisms of narrative structure in modern, post and modern dramas. Since the subject of narrative is primarily concerned with the study of fiction and in the world of drama the main indicator is based on the centrality of the concept of action and the applicability of the play text, the subject of narrative in drama has been a source of theoretical challenges. .so, in this article, with the analytical-comparative method, postmodernism in drama has been studied from the perspective of postmodern narratology, and at the same time, the question of whether postmodern narratology exists or not has been analyzed and examined. In fact, the main findings of this article in an analytical process address the challenges of justifying postmodern theory and show that classical and modern narrative structures are still the mainstay of drama writing trends in the world, although this article focuses on important types of drama narrative structures. However, the findings of the article show that, even with the expansion of the concept of post-dramatic theater and counter-textual and visual genres, dramatization based on linear and vertical narratives is still one of the narrative structures in the world of dramatic literature and understanding the mechanisms beyond literature. Theatrical requires the analysis of narrative methods in drama and its obvious differences with fiction.

Story elements are the most important tools for narration,There are many narrations that have a common theme and subject But different narrators have narrated them in different ways at different times. The story of "Playing Backgammon by Taghanshah" in the sixth century has been narrated by a Nezami Aroozi After that, Dolatshah Samarkandi repeated that in the ninth century and in the tenth century by Fakhreddin Ali Safi.One of the factors that changes the narration of different narrators of a narrative is thenarrators' use, non-use or type of use of narrative elements in the narration. In this research, the three narrations have been compared in terms of narrative structure, characterization, staging and theme. These narrations have differences in narrative methods ,These differences are due to the type of narrative elements used in them.In an analytical-comparative study with reference to the library method and based on themethod of taking notes, it was found that the volume of the narration of the CHAHAR MAGHALE is more than the other two narrations.Characterization is seen only in two "Nezami" and "Safi" which is stronger in "Nezami" narration. The staging is weak in all three narrations and the type of theme expression is different in these three narrations.The amount and manner of use of narrative elements causes a change in the type of narration.

This article discusses the importance of non-human agency in the environment which role is often ignored in a human-centric ideology. Removing or over-plantation of a flower can massively change the lives of all living beings in its environment and an iceberg can endanger the lives of many humans on a ship. This dynamic relationship between human and non-human entities needs to be in the consideration when researching post-colonization topics. Post-Colonial Ecocriticism is created based on this understanding that it is not only humans that are effected by colonization but other entities play an important role and are influenced by it. One of the most important issues that connects colonialism and non-human agency is Development, which is the process of changing the environment in course of monopolizing certain products in the colonized country. These changes also influence the lives of the natives, changing their lives for worse causing them to lose their jobs and lead to their impoverishment. This then leads to their displacement from their homes, seeking a new area where they can find new resources to survive and build their lives around. This is a chained set of events, from the promise of a development that is in truth monopolizing one or more products, to changing the environment and lives of the natives and then human and non-human natives forced to leave their homes in a struggle to survive.

This study examines four theories of screenwriting by Syd Field, Christoph vogler, Robert Mckee, and John Truby. The theoretical framework of this research is to study the narrative method based on the models presented by all four theorists discussed in this research. The main purpose of this article is to compare the narrative style in the four theories of screenwriting. The research question is what are the common features and differences in the way these four theories are narrated.The approach of the present research is qualitative and the research method is a combination of comparative, descriptive and analytical methods and the method of data collection is library, observational and objective perception. The research findings show that there are commonalities and differences between these four theories and based on the use of three-part narrative method, all four theories are applicable. From the research findings, it can be concluded that the narrative style in Syd Field's model can be considered as a plot-based model based on the script's greater focus on plot. Mckee does not distinguish between a plot-driven and a character-driven screenplay, and the narrative style in Vogler and Truby patterns, which focus more on the character and change it, can be called a character-driven model. It should also be borne in mind that the narrative style in these four theories, apart from their dependence on Aristotelian drama, forms the narrative style common in fictional cinema.

Current researches on discourse and communication are often based on linguistic and verbal communications. In this regard, the performance of speakers and the way that communication competence is developed among speakers based on discursive context would be significant. The linguistic developments indicate the existence of communications and the ability of human beings in having meaningful relationship using effective methods of interactions. Regarding the development of communication competence, Bachman’s approach has been considered and debated as it pays special attention to the organizational and pragmatic competences. Bachman proposed linguistic, discursive, psychological, and contextual criteria as applicable layers of the competences. What makes the debate more important in this study is the capability of assessing the mentioned aspects in Heart of Darkness. At first, different concepts of competence are discussed in detail and then, they were explored and assessed in communication structures of the novel. The novel narrates what happens to the characters, their action and reaction in different social conditions and the way they communicate. Considering the linguistic aspects of the novel and using a descriptive-analytical method, it was tried to present a precise assessment of the mentioned elements in selected samples of the novel. The results show that, generally, since characters tend to social facts, such issues as the tension between the characters in linguistic communications, the occurrence of events in the social and linguistic contexts, and dominant social limitations can be investigated using the elements of Bachman’s model of communication competencies.

The Narratology of Drama has been one of the challenging topics of study in preceding years. Theorists like Brian Richardson and Ansgar Nunning, by publishing multiple books and papers about narratology of drama, attempted to detach the narratology from the restrictions of fiction. Along with Richardson and Nunning, Monika Fludernik used structural narrative concepts to establish an approach that highlights narrative possibilities in playscripts. Fludernik’s propositions, her analysis of dialogues and exploring the roles of different narrators in plays, has been a huge step towards narratology of drama. Researchers in this article will study and analyze Majles-e Ghorbani-e Senemmar by employing Fludernik’s approach in order to explain the narrative structure of this play and to illustrate the practical functions of Fludernik’s approc. Majles-e Ghorbani-e Senemmar is one of those plays with a narrator as a personage narrating the story for the audience. Types of narrators, presentational models of narrating, types of character introductions, use of metonymy, setting, time\space, and finally different types of representation of speech, are characteristics that Fludernik emphasizes on as categories of narrativity. These elements can be traced and explored in the aforementioned play by Bahram Beyzaei. Fludernik’s approach helps us to discover fresh aspects of Beyzaei’s oeuvre that have been overlooked since now.

This article aims at answering how meaning is produced in Gholamhossein Saedi’s ‘Aye Bikolah, Aye Bakolah’, which means Capital A and Lower-case A, and for this, Julien Greimas’ Semiotic Square and Jacques Fontanille’s Tensive Model have been used. The narrative of the play was analysed thoroughly, and two opposite concepts were derived from the text; namely, passivity and activity. Then, the Semiotic Square showed that there was a movement from passivity to non-passivity, but this never continued to activity. However, this does not show the meaning of the play completely. Since the themes of the play are not shown here, the play had to be analysed using the Tensive Model which illustrates more values in the text. Sleep was related to unawareness and awakening was related to awareness, and the values derived from them were worldly relaxation and enlightenment, respectively. The Tensive Model also showed that passivity led to unsafety and activity made a safer world. These are in close relation to the theme of the play which is showing the catastrophic consequences of being passive.

fluid state provides the basis for other actions not to be subject to a logical programmed flow, but to follow something unexpected and eventual. In this case, the discourse spaces continuously enter another space and through that space, they expand their circle of presence. In the present study, in a descriptive-analytical method, we try to re-examine how the systems of action interfere in the discourse and the process of destruction, procrastination, preparation, extension and development of action in the story of "Young Boxer" from the third chapter of Golestan i. In fact, the purpose of this study is to investigate the situation of challenge and tension in the narrative based on the type of interference of the spaces formed and the action systems involved in the narrative and to reach a narrative pattern based on this story. The result of this study shows that in the narrative system of this story, in the process of transition from an unbalanced state to an organized state, we see the formation of a new action that tries to interfere in the action of actors or shifting actions, a new perspective in Open the path of the main narrative. But this new perspective is destroyed each time by the intervention of other action factors, and then by preparing a new action, the action is renewed again.Finally, although the transition from one situation to a new action situation is hindered, the action process is still delayed so that the space for the formation

Content analysis of textbooks, with the semantic semantics model approach of discourse, is a suitable way to understand how to select and use stories and narratives in each level of education to acquaint children with discourse systems in life.The purpose of this study is to use Paul Ricoeur model in analyzing the narrative identity of book stories in the fourth and fifth grades of elementary school in Iran in 1998-99 and to explain the types of discourse systems so that among the stories in the fourth and fifth grade textbooks, 2 stories Both samples were selected by purposive sampling method.The research method in the present study is descriptive-analytical. The main questions of the present study are: 1- The emotional process in stories is a function of which functions and features of the semantic sign of discourse? 2- How is the emotional and moral impact as well as the belief in another formed?In these stories, it is the individual identity that, according to the preservation of national identity, values and patriotism, based on the author's discourse systems, directs the character of the stories towards Shush altruism, patriotism and individual identity. In order to preserve the national identity, one culture remains in itself and does not become another cultural. The process of nostalgia in this story changes during two stages from the crisis of tension to the aesthetic system.