نشریه روایت شناسی
سال هفتم شماره 2 (پیاپی 14، پاییز و زمستان 1402)

The present research examines physical metamorphosis, how the subject transforms from “body” to “heterobody”. It also examines the situation in which the system of meaning is produced by accident in the novel “The Clown and the Other Insects” based on physical stylistics. It is hypothesized that the principal factor for the physical metamorphosis of a subject in the process of transformation from “body” to “heterobody” is the episodic, elusive and paranoid existence of the subject which results in varieties of states for the subject in discourse from subject to quasi-subject and finally to the No-Subject. The main reason for the physical metamorphosis of the subject is the realization of self “I”. Afghan fiction has metamorphosed since the 1380s, so one can straightforwardly find traces of the metamorphosis in all domains such as discourse, narrative and semantic systems. The novel The Clown and the Other Insects manifests the characteristics of this situation. From the semiotics perspective, the discursive state is transgressed from the closed structural subject by the act and movement of post-modernist subject for the realization of self and other. It is metamorphosed into the other via the consciousness process. It then starts to realize oneself “ego” by distancing from self “I”. The result indicated that, through transgression from self to other, the body is metamorphosed, which has enabled the subject to realize oneself “ego” Here, we are dealing with text-based/non-subject, which is interconnected and produced synchronously with the text through a collection of contradictory and unrealistic illusions.

In the representation of the real world, depending on whether the imitation focuses on the temporal or the static phenomenon, a particular facet of being, in its general sense, can be depicted. Accordingly, the purpose of this study, after the preliminary definition of Mythos and Dianoia as the object of mimesis, is to suggest what devices are used in artistic/literary representation in case the imitation is directed to the static phenomenon. In this regard, while explaining the characteristics of the object of imitation, we try to determine the dominant atmosphere of the work of art, the characteristic of the represented phenomenon, and the dominant style of representation. This study shows that the relation of the thing represented to the real world cannot be reduced to a mere corresponding relation. In fact, imitation on the one hand is based on the representation of matter and on the representation of the form of the phenomena on the other hand. Thus, the thing represented may establish relations based on (a) similarity or (b) homology to phenomena, either by the principle of correspondence or homogeneity. It goes without saying that adopting such an approach to the object of imitation promotes the theoretical capabilities of mimesis theory as a more comprehensive approach and thus strengthen its analytical power in the analysis of literary genres.

Mohammad Hossein Mahdavi, a new wave poet, in Hossein Ali's book, retells the dusty events of Ashura, old from repetition and manipulated by the praisers, in the frame of an original work of art. With the help of the rules of narration, he has been able to Repeated writing of a historical work will create a literary and artistic work.The basic question of the research is: How can the author make a literary artistic narrative from a historical report? This article tries to answer the research question by using the library, descriptive and analytical method, by collecting information, evidence and documents, with detailed description and quantitative and qualitative analysis of data, with the help of narratology knowledge. By relying on his language ability as a poet, by using the procedural and internal capacities of the Persian language and by defamiliarizing it, as well as by the accurate and skillful use of narration and narrative techniques, allegory and the necessary staging and By adjusting his aesthetic distance from the subject, he has succeeded in creating a work that puts the reader in a new aesthetic experience and a deep and fresh feeling in dealing with Ashura.

The current paper is a phenomenal semio-semantic study of the tree in Iranian modernist paintings. The motif of the tree would escape definition if confined to its semio-semantic dimension. That is why the present study intends to find new meanings for the complicated motif of the tree within the visual frameworks. The focus on the visual elements is central to this semio-semantic method. Interestingly, some Iranian modernist painters were preoccupied with the phenomenon of the tree in different forms. I have selected some works by Davoud Emdadian, Abulqasem Sa’idi, and Abdullah Ameri Alhosseini (picking two works from each artist). Along with the desk research including library and online sources, the data have been collected and analyzed according to the semio-semantic approach. The data shows that the becoming agent A/painter represents the motif of the tree by drawing a connection between the sensory-perceptual and the esthetic functions. Moreover, in the discursive processes, the becoming agent A/painter takes the advantage of elements such as the event, becoming, tension, phenomena, and body. The becoming agent B or the interpreter’s repetition of the process, during the passage through different layers of meaning and culture, re-creates the meaning of the tree as different layers are accumulated.Keywords: semio-semantics, phenomenology, phenomenal semio-semantics of the visual, tree

Although literary works serve as an excellent medium for witnessing trauma, postcolonial and diasporic literary texts are often overlooked for their disturbing accounts of traumatic experiences. Recent studies in the field of trauma on immigration literature have disrupted the old western views and on the other hand, have created empathy and recovery. So, the present study chooses a mixed analytical framework to examine the representation of trauma in the trilogy "Homa and Kaushik" by the Indian-American writer Jhumpa Lahiri. This article has tried to deal with the representation of trauma in the story by choosing the narratologist Gerard Genette and some special concepts of narratology including order, frequency, continuity, and state. These concepts are used to challenge the western definition of trauma and convey the main message of decolonized trauma to the audience. colonial researchers have emphasized the need to conceptualize the decolonization of trauma. This study shows different ways the main characters of Kaushik and Hema in diasporic conditions as those who can overcome the adverse effects of traumatic memories with the events of authentic reports of their experiences narrate their traumatic memories. These findings also show that Lahiri, using a special narrative technique, shows trauma as a non-sudden event that affects the daily life of the characters in the story and at the same time causes solidarity among immigrants.

Foucault’s panopticon represents a new form of discipline in subjects in which the subject institutionalizes a kind of discipline behavior. The design of panopticon is such that the subject always considers himself under observation and plays the role of subjugator and submissive at the same time.The architecture of stadiums is such that by stepping inside them, we immediately remember the structure of the Panopticon,how the spectators are sitting under the watchful eyes of the security and discipline agent. These agents have the role of Panopticon of the subject or subjects that leaning on the chair of maintaining discipline and according to the main rule of Panopticon they are hidden from view. In order to transcend the research,the authors have associated it with the narrative system from Shairi’s point of view.What is achieved in the Offside movie made by Jafar Panahi(2006) is the adaptation of the Panopticon with the Shairi’s prespective discourse.In order to solve the lack of discipline,both system prescribe an action that ultimately institutionalizes the discipline value in the actors,as if the actor plays the role of subjugator and submissive at the same time.

Representation of cities and urban spaces in literature is one of the topics of interest in storytelling that has led to the formation of an approach in comparative literature; called geocritics. This approach, which is called as “geographical critique” in Iran, focuses in parts of its theory on the historical, geographical and identity representation of the city in fiction and works of art. In the first stage of the development of his theory, Geocritics examines how different types of space are formed in literary works in order to be able to represent the distance between the image of an ideal city and the image of a real city. In the present study, looking at this approach, the novel "Rahesh" written by Reza Amirkhani has been read to determine how the city and urban spaces are represented and its impact on human relations. Accordingly, it can be said that the narration of this novel is of a native-sensory type with a monophonic narrative that has prevented the presence of other sounds in the text and also challenges the concept of metropolis in the novel. The main character of the novel aims to preserve parts of urban spaces such as green spaces and human spaces inside the house due to his child's illness to the point that sometimes the audience feels the existence of another called disease, has formed the main character's view of these spaces.

Rahesh, amirkhani’s latest novel, is about urban developments and has received many literary awards. This paper is studying the take of this novel on collective identity by applying post-classic narratology methods and considering sociological theories about identity. In this study intentional reading oppposes symptomatic reading. Intentional reading is an interpretation that seeks understanding of the text based on the meanings considered by the implied author. Symptomatic reading is a decoding of signs from undeiscovered unconsiousness of the author. Rahesh, in intentional reading, is loyal to urban identity and at first it seems that the goal of the novel is to increase the urban identity. However, in symptomatical reading, the dualisation based on the social class which is achieved by building the construct of “other country man” and emphasisng on “nobility”, is attacking one of the main components of national identity. These results are yielded by analysing narratological elements: implied author, personalities, places, focalisation and narrator.

Literary text is the hidden narration of moving a human being to the world of imagination. Writing has a refining and healing role in different time periods in either the group riots or personal stresses. Narrative structures are interconnected to the mental structures in a texture of the days and world of author, and include the new narrative and structural skills. Social or natural crises and riots cause the existential crises, and some new styles and structures are arisen from among these riots by upside down of the world and human psyche so that the origin of modern novel, Decameron, is resulted from the heart of plaque in the 14th century. The conversation among psyche and context is a refining process arranged in art. As a skillful psychoanalyst in literary criticism theories, Julia Kristeva knows the role of refining the literature and art in modern periods in description, vacation and removal of pollution by word. Work of art organizes a stress in the heart of artist in a symbolic form by creating another world. The mystery of creation of the first novel may be: outflow of rejections and acceptance of disharmonic and incompatible emotions together through a symbolic issue and reasoning network reappeared in a symbolic form. Boccaccio's Decameron was a new and innovative narration upon the collapse of social systems due to plague, changing to the leading of modern novel concurrent to the decline of traditions by breaking tradition in style and content.

In this article, we try to examine the transition from the action system to the story of "1Q84" and the production of meaning in the discourse context of the story, which is mainly based on the emotional system. The essay is a descriptive method based on a descriptive method that analyzes Shushi discourse in the 1Q84 narrative of Haruki Murakami, a surrealist novel of two parallel worlds. The article in a semantic-semantic framework, using the Shushi model of discourse, analyzes the subject and while analyzing parts of the story, analyzes the sensory-perceptual and emotional infrastructures that cause different actions in the story. The article concludes that in Shushi discourse, the production of meaning in the context of the story is mainly based on the emotional-perceptual system and the emotional system of the two main characters of the story, namely "Aomameh" and "Tango". The text is also formed according to the various dimensions of the relationship of the Shushgars with the elements around the text. Emotion and perception as the two main subsets of Shushi discourse have had the greatest contribution in creating the meaning of the text in this story. Tango and Ayomama cross the border of an actor, and many of their behaviors and actions fall within the realm of Shushi discourse.

The main issue in this article is the analysis of the character of Bruce Wayne (Batman) in Christopher Nolan's Batman trilogy from the point of view of the male archetype theory of Jane Shinoda Bolen. In her male archetype theory, inspired by the Greek gods, Bolen mentioned the archetypes of Zeus, Poseidon, Hades, Apollo, Hermes, Ares, Hephaestus, and Dionysus, that these archetypes influence the behavior and reaction of us humans. The present research Looking for answer the question of which archetypes Bruce Wayne (Batman) followed and which archetypes help Batman to achieve his goals, which is to establish justice in Gotham city. Therefore, the purpose of writing this article is to know the archetypes of Bruce Wayne (Batman) to carry out the heroic journey and establish justice. The research results show that Batman follows the four archetypes of Poseidon, Apollo, Ares and Hades. The research results show that from the beginning to the end of the third movie, the character of Wayne (Batman) follows the four archetypes of Poseidon, Apollo, Ares and Hades. But the archetypes of Apollo and Ares are the dominant archetypes of Batman's character and they help him in fulfilling his duties. The current research is descriptive-analytical in terms of method, and the method of collecting information is library and field.

Critical discourse analysis is an approach that examines language as a form of social function and emphasizes the reproduction of social and political power through text and dialogue. One of the types of discourse analysis is critical discourse, which tries to systematically explore the unknown relationships between texts, events, discourse practices and structures, the relationships of cultural and social processes at a wide level. In this research, the discourses related to the ideology of "freedom" in the novel "Dog and Long Winter" have been investigated with the descriptive-analytical method and by referring to Fairclough's critical model, the level of influence and the set of tricks used by the author to express his ideological goals are determined. The purpose of the author of this research is to discover the natural implied propositions that have an ideological meaning and are used in the discourses related to the hegemony of freedom in the novel "Long Dog and Winter". Perhaps a large number of these assumptions (for example, the use of metaphors, symbols, or the selection of words specific to female writers, etc.) have become completely natural, and people are generally unaware of their existence; The emerging data show that all the elements of the novel - including "title selection", "repetition", a large number of negative words against positive words, the gray theme of the novel, metaphors, the author's perspective, the context of the situation, etc. coherent, they contribute to the presentation of the ideological concept of "freedom".

Written body in the East is the symbolic function of engraved images on the body of the subject. The ritual presence of three points engraved with a mystical function on the subject's hand as a non-modality contract represents the seal that existence puts on the subject's body. In the tension-emotional process, the subject's body in a state of impulse has become physical, which is the center of energy production. The subject is in a state of transcendence in crossing himself to reach the meaning aura of love. In this atmosphere of discourse ecstasy; The referential and objective body has become invisible, and the mystical points in Shushi's time make an indeterminate system visible on the body of the subject. Shushgar's subject is tied to the soul of the universe in the separation and escape from the cognitive state due to the mutation of design and experiences Bush from the inside. due to discourse transformation; The written body of the phenomenon is adapted to the body of existence, and the subject redefines the existence of his presence by descending and connecting to the multifaceted space of love in the moment of sparkle. In order to get out of its lack of meaning, the subject surrenders its determination without resisting existence. Everything moves in harmony like a symphony. The results of the research show that the subject of Shushi is connected with the existence of the presence of love at the deep level of discourse construction.

"Creative Nonfiction" is an almost new literary genre that was formed from the late second half of the 20th century, due to the concern of modern man to avoid the dominance of imagination in various aspects of life, from the combination of journalism and the literary type of story, and soon became one of the most popular types of narration. The main distinguishing feature of this type of literature from other types of narration is its reliance on reality. That is, no matter how much the author of Nonfiction creates a work similar to other narrative works due to the use of the main components of this type, In the meantime, the use of the adjective "creative" has caused the important question of what is meant by being creative in this type of literature and what methods can be used to make the Nonfiction creative. In this regard, in this research, an attempt was made to analyze the techniques used by Aliye Atayi in the Koursorkhi collection - as one of the selected works in this genre- by using the analytical-descriptive method, in order to answer the question of which techniques to make the author's reports of his observations more creative. The results show that Atayi achieves this goal by using methods such as symbolization by emphasizing some aspects of reality, using dramatic techniques with the element of emotion, creating cinematic atmospheres and purposeful repetition of some secondary elements at the beginning, middle and end of the narratives.

Identity and how to process related information is one of the most important concerns of adolescence, and literature, especially teenage novels, has been able to reflect this concern. novel Hasti is among the novels worthy of attention in this field. The purpose of this research is to investigate the capacities of this novel in showing identity processing styles. This research has been done using the content analysis method, and by following the actions of the main character of this novel, we have tried to analyze her identity processing styles with Michel Berzonsky's approach and show the narrative techniques of identity representation. The findings of the research show that Hasti has used all three styles of identity processing to achieve a unified and independent identity; Although her confused processing style is more pronounced and her unconventional character distinguishes her from other characters in novels. The analysis of the narrative methods shows that the author has been able to show the different spiritual and personality dimensions and her concerns by using the method of intra-event narration and internal focalization to show the style of identity processing in Hasti.

In the history of literature, typology or genre determination of the text is a fundamental issue. In order to take a step in this direction, the present study studies the genre of a story that is seemingly non-political but is the first story from a completely political series called "Azar, Mahe Akhar -e Paeez". This typology is done with a critical stylistic approach whose main function is to analyze the text layers in order to discover the hidden ideology of the text.The results of the research show that "To the Stolen" is an allegorical and subjective narrative, written with socialist ideas and a modernist style.Text socialism is in the populist and non-partisan superstructure, and in the deep, partisan and propaganda superstructure. The author uses allegory, which is a technique for indirect expression of thought, and also by choosing a modernist narrative method, in the form of mental narration, which is a suitable genre for propagating and indirectly imposing an ideology, and includes features such as: use From the narrator of the finite universe, mental and non-consecutive time, variable and relative place, stereotyping in the plot, breaking the causal relationship, direct expression of thought and emotions, regardless of any explicit interpretation in the characterization , As well as being a complex and multi-layered language, has left the audience free to perceive the ideology of the text. Because the method of centralizing the narrative is such that it leads the audience to the desired ideology with the least pressure, and.