پژوهشنامه ادبیات داستانی
سال دوازدهم شماره 4 (زمستان 1402)

The novel Pruning written by Nasim Marashi is the story of the war-torn women of southern Iran who - unwillingly and despite the cultural context of the society - try to escape from the male colonialism of the war and gain their independence and natural revival.  The main subject of this article is the feminist-postcolonial reading, analytically and descriptively of the novel Pruning to show the main statements of this point of view in the said novel.Feminism based on post-colonial ideas considers woman as a cultural construct. Post-colonial feminists consider this to be a product of women's unconsciousness and their moving away from their natural position, under the hegemony of male authoritarian discourse, and they have always sought to find a suitable place for women and invite them to self-confidence and revive their identity and personality beliefs. What masculinity and femininity are depicted in "Haras" novel shows the subjectivity and power of men and the loss and decay of female gender identity as "other" in male authority. In this article, these two characteristics of the gender ideology represented in Hares' story have been analyzed and explained by separating the components of post-colonial feminism.The novel "Pruning" succeeds in representing the gender ideology in a certain geography of the world with its own culture and customs and gender stereotypes. The theme of war and its violent consequences also plays a leading role in highlighting the views and cultural signs that shape the identity-gender structure of women and men. Brind has clearly reflected the two colonial issues, patriarchal culture and war - which in the world of nature, is considered a masculine thing by nature - the division of the male and female world and male subjectivity and female otherness in the novel. The gender identity of the women in the story (Nawal, her mother-in-law, the women of Dar al-Talah, etc.) is formed by internalizing the belief that a woman is an inferior other, and women, like men, define masculinity with traits such as stoutness, strength, and greater physical abilities (especially the power to fight) is preferable to their gender identity, which is a cultural and social construction.In this colonial and gendered view, being a woman is dignified by being accepted and accepted by men; Therefore, women use all their efforts to get closer to that "self" defined for them by the components of patriarchal culture and power (such as giving birth to a boy instead of a girl). In this novel, the statements of post-colonial feminism, such as returning to oneself, believing oneself as an original and natural existence (not a weakly held other), trying to redefine the original gender role and identity, coming out of the shadows and margins, recovering one's agency with a positive effect On the environment, nature and others after the unwanted separation of women from men and the patriarchal society, it makes its way into the lives of women and typically Nawal

Throughout history, society and literature have continuously interacted and influenced each other. Art has many sub-branches, and one of these sub-branches is fiction, which includes novels and stories. Novel and story have the ability to keep pace with the two dimensions of literature and society. The authors of fiction literature have also expressed the problems and realities of society in their works, according to their social, geographical, cultural and intellectual structure. Therefore, it can be said that there is a logical link between literature and society.

The method of this research is descriptive-analytical which has used library tools.

Due to the fact that all human beings are dependent on their social environment, as a result, they are influenced by the society they live in and at the same time leave their own traces in it. As an artist, the poet and writer sometimes has a significant impact on the surrounding environment, so that this impact sometimes amounts to a revolution. This condition arises from the intervention of parties who are higher than several people. According to Goldman, these several personalities are transpersonal actors.

Reza Brahini, a talented writer, like any writer who is influenced by various environmental and social factors in his society, looks at people and society with an open and alert view. As an informed person, he has always paid attention to the issues of his environment and looked at the issues with a critical and enlightened view, and the situation of the social environment and the concerns and issues of the people in the society have become important to him, and he has tried to somehow The format of the plot or the fictional characters should portray these issues.Brahni is one of the few writers whose female characters in his writings are based on the knowledge of the ruling patriarchal culture. Women in "My Land's Secrets", contrary to the stereotypes of women in Persian literature, are represented in the main characters and have a stronger presence than men in the story. In this novel, with a critical attitude to the history of the revolution, Brahni considers women as the creative and effective forces in the revolution symbolically and in the form of narrative actions. This powerful image of women and their active role and effective activism during the revolution, as well as the power of leadership that was given to them, is rare among social and political novels before the secrets of my land. In fact, Brahni has chosen women to express his thoughts and political ideologies.

The novel Selouch Vacancy is one of the prominent works of Mahmoud Dolatabad in which the author depicts the problems of the rural society of the Pahlavi era with an eloquent expression. Using his critical expression in a confrontational way, the writer highlights negative traits of "others" (classes of rulers and landowners) and positive features of "us" (poor people), and showed  negative traits of "us" and positive traits of "others" non-significant, and these four pillars are the basic axes of Van Dijk's theory. The purpose of this research is to analyze the socio-political views of Daulatabadi based on a theoretical base in order to better understand and know their instances. At the same time, the author's methods and techniques of expression are also mentioned. Many articles have been written in the field of analysis of the novel " the Vacancy of Seluch" from which we can refer to the article "Comparative Analysis of Seluch Vacancy by Mahmoud Dolatabadi and Marun Abboud's short stories from the viewpoint of regional literature" " (1393), by Mohammad Khaqani Isfahani and Hassan Najafi which compares regional, social, and cultural characteristics in two stories. The article "Investigation and Analysis of Silence in Literary Discourse with the Semiotic-Semantic Approach of a Case Study: 'Kolidar' and 'Vacancy of Seluch' by Mahmoud Dolatabadi" (1398) by Mina Alaei and Ali Abbasi, which examines the tense function of discourse and its role in examining silence. The article "The link between the audience and the text in the polyphonic creation in the Novel 'Vacancy of Seluch' "(1395), By Zulfiqar Allami and Zahra Azimirad, which deals with the relationship between the audience, the text, the author and the compound dialogues in the novel. The article "Analysis of the element of incident in Daulatabadi's Novel  "Vacancy of Seluch"(1388) By Tahereh Khushal Dastjardi and Milad Shamei in which she has examined all kinds of incidents in the novel, categorizes incidents into different sections, and for each of these types, gives examples of the story. The article "Analysis of the post-colonial Appearances in 'Vacancy of Seluch'"  (1394) By Saeed Hajti and Ahmad Razi in which they examine the components of post-colonial criticism in the novel, state the main topics of this criticism, and compare it with the story. However, so far, no independent research has been done about the novel "Vacancy of Seluch" from the perspective of Van Dijk's Ideological Square.  The authors are trying to criticize and analyze this novel by looking at the type of expression and the author's point of view towards the situation of the society of the time and relying on the function of the theory of critical discourse analysis Based on Van Dijk's Ideological Square.

This research answers the following questions:

Has the author used critical discourse to express the issues of the society and the ideology that governs the society in the novel "Vacancy of Seluch"? How does the author use critical discourse analysis? And what topics has he discussed? Are the pillars of Van Dijk's Ideological Square used in this novel to form the structure of critical discourse? The method of this research is a descriptive-analytical and library method; In fact, discourse analysis seeks to discover the relationships in the text; because the author has tried to express her complaint about the existing conditions by using critical discourse. This method of analysis in the approach of literary criticism is more related to structuralism, formalism and hermeneutics; because in the methods of hermeneutic criticism and post-structuralism, they pay attention to the context of the text and its situational context to discover the meaning. No discourse expresses all the truth and they must be analyzed to reach the truth. Layered stylistics examines and analyzes texts at different grammatical, lexical, rhetorical, etc. levels (Fotuhi, 1391: 237).Based on Van Dijk's Ideological Square theory, this work can be examined at the three mentioned levels. In fact, by focusing on "our positive points" and "the negative points of others" and downplaying the negative traits of "us" and the positive points of "others", it is possible to identify and analyze the elements of the text. Also, by using this structure, the author penetrates people's minds and changes their thoughts. As a result, critical discourse analysis causes the unconscious awakening of defeated people against modernity. (Ghiyathian, 1386: 207 and 208) It is in this situation that the analysis of texts based on the theory of critical discourse analysis becomes important. The purpose of using it, is to reveal the hidden power relations, unravel the ideologies in the text and specify the meanings. The story of "Vacancy of Seluch" is the story of the poverty of the family and the people of the society who are faced with modernity. In most of this story, what the author expresses is the oppression that has been perpetrated against them by the lords, the chieftains, the stewards, and the small owners. People like: Kodkhoda Nowruz, Karbalai Dushanbeh, Mirza Hasan Khan, Ali Genav, Zabihullah, etc. are representatives of cruel and oppressive people. This section of the society with their selfishness and self-interest oppresses the people and takes "God's land" from them to carry out land reforms. The government also supports them and supports this oppression, and because of these events, the people of the village are forced to migrate. The aim of the authors of this research is to provide a new interpretation of this story, using Van Dijk's Ideological Square approach; a description that shows how the oppression of the powerful hurts the poor and inferior people and forces them to migrate. Among the results of the present research is that Doulatabadi, with a critical statement, seeks to reform the society in which the oppressed people have failed against the modernists. By expressing the positive and negative characteristics of us and others, he expresses his criticisms towards the oppressed society of his age, and he has benefited from lexical, syntactic and rhetorical tricks. This article talks about the negative characteristics of others such as trickery and cunning, theft, selfishness, lust, condescension, etc., and about the positive qualities of "self" such as courage, harmlessness, hard work, loyalty, zeal, independence, respectability, etc. Basically, the author rarely mentions the positive qualities of others and our negative qualities, however, qualities such as: cleverness, wisdom, foresight, compassion, religiousness (for others) and irresponsibility, selfishness, bullying, rudeness and arrogance and (for us) can be extracted from the side of the story.

Humans have been puzzled from the past to the present in front of the Earth and the world above and they have found no way to decipher the causes of existence and answer these problems except to use symbolic language to unlock their understanding of the universe and existence in the mirror of myth. Nature has been the best source of inspiration for man and tries to use the elements of nature for abstract thoughts about the knowledge of the universe, thus seeking to discover life and death in these four elements and symbolizes them to discover the secrets of the universe. Today Literary works are examined from different angles such as psychoanalysis mythology and old patterns. In these criticisms, the critic seeks to deepen the structure of the work, and the author seeks to reveal the secrets hidden in the secondary reading of the Literary work. Among literary critiques, mythological literary criticism is one of the ways to achieve these mysteries. This article tries to understand the author's goal in the story and for this purpose, it examines the knockout plot of four contemporary mythical novels and tries to discover myths and archetypes in them. Identifying the main plot and sub plot and dropout plot another goal of this article is.Based on the study of the elimination plot, descriptive-analytical method and data analysis based on comparative literature with the aim of showing the myth as an escape for the author and discovering the ambiguity in the unsaid in a comparative way.Birth, Death, Tree, Mountain, Colors, Numbers, Animals, Water, Swamp, Vegetable, Earth, etc. All are mythical concepts and elements. Some writers with knowledge of mythical backgrounds point to these ancient elements to understand the deep concepts they desire. In the novel Gavkhoni two methods are used; one is water and the other the father's murder. In Avesta, Ab is "a beautiful, well-formed, tall woman whose praise dates back to far away periods and even before Zoroaster. In ancient Iran, the goddess of water is the goddess of fertility. And the myth of killing father and Oedipal tendencies. It's a dark relationship with dad and hate. The narrator does not regret the death of his father. The subplot of the novel "Yeklia and Her Solitude" is derived from the myth of the fall and eating forbidden fruit. The author sees "feeling alone" as a motive for the fall, and another sign of the myth of the fall is the serpent, which was the temptation of Adam and Eve. The subtitle of the novel "Yekelia and Her Solitude" is derived from the myth of "Hobot" and the eating of forbidden fruit. The author sees "feeling lonely" as a motivation for "Fall" and is another sign of the myth of "Hobot", the serpent that tempted Adam and Eve. In legend, snakes and dragons are often associated with treasure, but in this story, the meaning of treasure is wisdom and logic. Modarresi refers to "the first Hobot of the expulsion of Yeklia from the city" and the second "Satan is driven out of heaven." "Touba and the Meaning of Night" based on the events of the 1930s and the Constitutional Revolution, in addition to the main plot depicting the stifled society of those days, depicts a complete subplot using mythical concepts depicts a complete secondary plot using mythical concepts. The confusion of women in society, loneliness, insecurity and melancholy thoughts are involved in this imagery. The style of the writer sometimes tends to be hyper-realistic. The choice of the name of Toba in this novel is purposeful because "Toba" in religious sources is a paradise tree that God created with His own hand, and in the sources of legend, it is a tree on top of Alborz and a nest of simorgh and a symbol of fertility. Using the myth of plant-forming, Parsipur has designed a very beautiful secondary plot and clearly shows the cry of oppression and the persistence of the voice of women of history in the ears of despotic centuries. This is the "Elimination Plot". In the novel "Javid", in addition to showing the contrasts of good and evil, relying on the four elements and mythical concepts, another elimination plot in the novel is unleashed. In this novel, water: purification and life, a sacred and pure fire, sometimes the result of the wrath of the gods and sometimes a means of torment. Wind is the cause of life, the soil: in two positive aspects, i.e. growth and the negative side, it is a reminder of death and nothingness. Another mythological component of this novel is rationalism and its plot is strong and intelligent which, in addition to showing the dark society of the constitutional years, reminds contemporary man of the mythological precedents of Iran.In the novels discussed, ten myths have been applied. The existence of these elements shows that the authors have been very careful in choosing archetypes. Of course, not all of these plots are seen, but each writer has necessarily used two or three archetypes. In Gavkhoni's novel, the main plot is in the superstructure, and two novels, "Toba and the Meaning of Night" and "Yaklia and Her Solitude" have a plot with a social and cultural theme. In the "Javid story," we are confronted with the presence of the devil and Ahura. "Modarressi" and "Fasih" with political tendencies, through ancient myths, remind Iranians of the place. Modarres Sadeghi and Parsipour revived criticism of traditions and protest against the laws that prevail in society by reminding old patterns. The contemporary novel, therefore, became a place of national and religious myths. Thus, the contemporary novel became a place of national and religious myths. Writers talk vaguely to alleviate the pain of society.

The spread of Persian language and literature has been associated with the birth of numerous species since the distant past and with a faster pace in recent years, and of course these emerging species are also associated with the name of a person or persons. Fiction literature has not been far from this transformation and its most prominent feature in the sixties and seventies was the effort to find new ways to the world of fiction. In a brief look at the style and style of poets and writers of the past and present eras, sometimes we come across figures and works that had a completely different style. But the contemporary short story and of course one of the writers of this type of literature; Bijan Najdi, with relatively few works, but full of substance and index, has another story. With a quick look at his works, it can be seen that Najdi is a poet before being a storyteller. His dramatic images scream the unconscious mind of the reader; Images that know no boundaries for poetry and short stories; Because the short story is the closest type of literary prose to poetry. Anyway, if the structure of the short story is such that nothing can be removed or added to it, the poetic image in this construction is considered the most important feature of the text.In this article, we seek to find elements in Bijan Najdi's stories that blur or even destroy the border between poetry and short story, and we want to show why this important thing happens in the works of this author. The method used in this article is a descriptive-documentary method that ends with gathering, discussion, criticism and analysis. In the end, we can say: the theory of Russian formalism provides us with the best suggestions for examining Najdi's stories, but how Najdi and his stories can lead us to the principles and presuppositions of formalism and how this theory It can reveal the surprise better. For us, his stories are one of the important topics of the plot in this topic.In addition, most of Najdi's works are idealistic and committed in terms of content, and in terms of expression, technical and modern, in addition to observing the features of story writing, he has used special elements and components of poetry to present an attractive and enjoyable combination to the reader.In general, it can be said: Najdi stories are among the best stories that show the suggestions of formalists such as Ashkolevsky, Jacobsen and Eichenbaum; Stories whose dominant aspect is benefiting from preparation and industry and defamiliarization method desired by formalists.In this research, after examining the story elements and linguistic, emotional, imaginative and aesthetic features; That is, the main elements of the poetic text in the stories of Bijan Najdi, we come to the conclusion that: the stories of this author, while benefiting from the elements and components of the poetic language, have a new and somewhat unique and special style, which was not found in the works of almost any writer with this scope before him. and distinction is not found; Although limited experiences of this type of approach to the text can be seen in the works of Hoshang Golshiri, Bahram Sadeghi, Nader Ebrahimi, etc. Najdi's ability to revive and dynamize traditional and dead words in a way that has a different effect on the reader's mind and language distinguishes him from others. A skill that Viktor Shklovsky, a Russian formalist, called "resurrection of words" in defining poetry.

In the book One Thousand and One Nights, the will and the exercise of power do not flow downwards like a linear and axial pattern, but are implemented in the discourse container of the story. Regardless of the foundations of Foucault's thought about power, the king in this book is a symbol of authority; But with more precision, we find out that it is Shahrzad who dominates him with the use of soft power (telling stories). In fact, the author of the book One Thousand and One Nights, Willingly or Unwillingly - shows how a collection of anecdotes and stories, expressive and linguistic concepts and qualities as well as strategies, a powerful discourse; But at the same time, they create soft.

The research method in this article is a library, analysis and qualitative study, which, with highlighting on the discourse of Foucault's power, will be a qualitative critique and analysis of the stories in the book "One Thousand and One Nights". The premise is that the "One Thousand and One Nights" anecdotes, by emphasizing their function and social role in their context, represent the dominant discourse of "soft power." "Anecdote", as well as other members of the literary system so dominates the world of "discourse of power" with the transfer. In this article the critical analysis of the book A Thousand Nights with the approach of "discourse of power" Foucault will be explains.

The areas of power in One Thousand and One Nights are: soft power, power of narration and audience attraction, physical power and gender, activism and reactivity of language in One Thousand and One Nights, which are examined separately.soft powerBasic and raw attitudes towards power divide it into two types, soft and hard. According to this general division, it can be said that the peak of power is the place where soft power beats hard power, and this issue depends on the level of subtlety and techniques used in the components of soft power. Foucault states in the book Will to Know. In One Thousand and One Nights, the type of power is generally of the same type. The process of "soft power" is persuasion, response, and reasoning, while in hard power, it is duty, coercion, and coercion. The power of narration and audience attractionThe author of the book One Thousand and One Nights, using special and modern narrative techniques such as: suspense, description, response and the like, admits to the special reader that he thought about the discourse of power and its application, as if he thought like Foucault; Because during the story, it shows that the power is not a simple concept communicated and ordered from the top (the king) to the bottom (the subject), but sometimes the foundations of this traditional assumption are broken and the case is completely reversed. Just as in Foucault's theory, each person plays a role in the process of power by relying on his unique ability and knowledge, so are all the characters of One Thousand and One Nights.Physical strength and sexualityFoucault believes: there has always been resistance to the imposition of power on sexual desire. In other words, power and resistance in connection with gender have always been together. In the book One Thousand and One Nights, the body and its manifestations in general are considered as a medium for exercising and expressing power. In most of the stories in the book, the body and its manifestations are the medium through which power is exercised and people establish their control and dominance and then impose their thought system on the target person.Activism and reactivity of language in One Thousand and One NightsThe language of one thousand and one nights is no exception to this rule. The first prominent feature of the language of this work is its democratic character; Although this democracy eventually ends in dictatorship, which is the king and his absolute power; But the dictator himself provides the prerequisites for the emergence of this democracy.

In the works of Michel Foucault, the issue of power is one of the key discourses that is current everywhere and has a great role and importance in the organizations and relationships between institutions and social structures. The discourse of power considered by Foucault also exists in the institution of art, and since literature is one of the many types of art, it can be considered as a center for the formation of verbal and lexical power, and participates in power relations. Soft power in One Thousand and One Nights, an intangible and hidden thing; But it is discursive, comprehensive and structural. It means that the structure and context of the book is based on its foundations. This discourse of power is not an illusion or an illusion, and in this research some parts of it were shown. Getting involved and following that, receiving the text of the book depends on understanding and thinking about how power works in it; Of course, for special readers and critics. This book shows that literature in general and anecdotes and storytelling in particular can be used as a center of soft power to play a cultural and constructive role in society while pushing back and mastering hard power and violence. Until the end of the book One Thousand and One Nights, the "soft power" discourse resists the king's hard power and with its special techniques, the most prominent of which are narration and suspense, becomes a dominant and victorious discourse. Also, the structure of power revolves around the story, which is in the hands of various characters. This structure is always dynamic and fluid and contains layers of soft power under the influence of the ability of narrators and especially the main narrator, Shahrzad. The description of women's beauty, attractiveness and fitness along with gender at the beginning of the stories is considered to be one of the areas that play a major role in the power relations in the book One Thousand and One Nights. A power that softens hard power and softens violence. Expressive and literary tools and artistic techniques, as well as narrative verbal intelligence and emphasis on the relationships between the parts of speech in order to use descriptive, exclamation, and emotional emphases and pauses, have all caused a network of soft power to form, which in Finally, it calms the king and prevents him from using violence and applying hard power.

Undoubtedly, the dynamism of literature, like any other work of art, is dependent on the use of creative and innovative techniques, and if there is no innovation in its various branches, it will lose its appeal and effectiveness with the passage of time, and in the long run is marginalized; But this invention and innovation never means a suddenly transformation and annihilation of the past. The dialectic of this relationship is such that in the next stage, defamiliarization should take place again and this newer form should be rejected and replaced by another form. Viktor Shklovsky, the Russian formalist critic, considers this continuous cycle as the only way to keep literature alive, and in his article "Art as Preparation" he chooses the term alienation or defamiliarization for it. In his opinion, the reader when Facing the same works that he has seen several times, he feels tired and bored, and after a while, he completely abandons them; Therefore, the artist must challenge the literary works of his time by using new and innovative methods, common and conventional forms, especially at the aesthetic level, and create a new plan. But what is important is that these innovations and strangenesses sometimes help the dynamism, continuity and as a result the silence of literature, which causes its elevation, in the sense that the artist with The use of new methods and techniques will provide artistic and aesthetic taste for a wider range of readers and increase their relationship with literature, rather than simply rebelling against older genres and works. Despite the passing of a century of formalism, the achievements of this school in the investigations related to fiction literature, especially the short story genre, have not been explained as it should and perhaps the few researches that have been carried out are mostly devoted to the investigation of the novel, while the short story is due to Its small area is a suitable platform for the presentation of artistic achievements and novel and familiarizing techniques. By using these techniques, the author can, while creating a modern work, advance it in line with the poem and give it a poetic aspect. In this regard, the current research tries to analyze the different levels of coloring according to the formalists at the thematic level of the short stories of the contemporary Palestinian writer Samira Azzam, the different manifestations of creativity and composition. Analyze and explain his new researches in paying this basic element.Although many books and articles have been written in recent decades with the content of criticism and review of the principles and basics of fiction; But the Impressive artistic and technical progress of contemporary writers in creating their stories requires a penetrating and repeated look at these works, especially from the renaissance and aesthetic aspect, that their correct and worthy explanation is not only a step towards discovering beauty hidden in this ancient literary genre; Rather, it provides the ground for familiarizing young writers with the pure techniques of story writing and its exploitation. The present research, by examining and analyzing the technical and artistic aspects of the story from the perspective of formalism as one of the literary aesthetic movements, which with the aim of promoting linguistics, reviving the literary text and the centrality of the literary text, entered the field of literature. It deals with the comparative-descriptive analysis of these aspects in the works of the contemporary Palestinian writer "Samireh Azzam" and hopes that by referring to theaesthetic approaches of this school, a small step in the direction of discovering new and innovative methods, common and conventional forms, to Especially at the aesthetic level, to challenge the literary works of his time and create a new plan.The theme, as the only heritage and relic of the content of the story, in order to remain in the mind of the audience, needs a surprising and innovative treatment, and this is not only through the channel of artistic games and defamiliarization techniques of the author, which with the help of these tricks, make the story stand out and It is not possible to distinguish that literary genre from existing material. Undoubtedly, various environmental, social, economic, cultural, etc. variables have a significant effect on the human mind and thought and cause different moods and attitudes in human beings. Undoubtedly, various environmental, social, economic, cultural, etc. variables have a significant effect on the human mind and thought and cause different moods and attitudes in human beings. In the meantime, the changing role of gender in the formation of many of these moods and even his reactions to the surrounding events and the manner of expressing them is undeniable, and these reactions and the different manner of expression have caused some literature researchers in His literary reviews put forward the theory of "feminine style". And since fictional literature is the best literary genre to express social realities and build a world similar to the real world, it has provided this field for women to shape their special world in this format. In this regard, Samira Azzam, by combining this style and defamiliarization techniques in her short stories, has left valuable examples that will be worth examining and analyzing.Although in many of her short stories, Samira Azzam expresses people's problems by selecting general and comprehensive topics, and the nature of these topics requires simplicity of expression in order to be truthful and believable; But this does not mean that he does not pay attention to the aspects of regeneration, imagination and artistic expression of the story; Rather, she has used all her efforts in the direction of novel and innovative themes in her stories, so that in addition to fulfilling her public mission, she can create pieces of art and give the true taste of art to fiction lovers. In this regard, she used artistic elements and puzzles such as the element of surprise, slowing down the rhythm and tempo of the story, using a combination of abandoned and familiar ways of seeing, metafictional tricks, creating mysterious characters, including one or more stories in the story. She has used dreamlike associations and in fact, with these tricks, while slowing down the process of understanding the theme or content of the story, she tastes it to the audience and keeps her mind engaged until the end of the story. she makes her own art. Also, with the combination of feminine feeling and emotion, such as the use of sensory-emotional time in the processing of character, scene, incident, etc. the use of beautiful descriptive statements, exaggerated description and feminist thoughts with some male topics and concepts, it has been able to break the idea that "characteristics of women's storytelling should be sought in the content and not in the form"; To provide a valuable tool for morphological investigations in women's literature.

Since early decades of the 20th century, Persian novelists have made considerable efforts to provide native versions of various non-native narrative genres into their fiction. Since the introduction of the novel in Iran, writers such as Mohammad-Ali Jamalzadeh, Sadegh Hedayat, Bozorg Alavi, Bahram Sadeghi, Houshang Golshiri and many others have represented specific styles of narration and techniques to distinguish their works from their Western predecessors. Ismail Fassih, who is more famous for his crime fiction, has done something different in his novel, The Story of Javid, by creating a Gothic fiction, a genre that rarely appears in Persian fiction. In Gothic fiction, elements such as setting, character, and theme are used to create a certain effect in the reader. This article attempts to explore these elements in The Story of Javid by emphasizing the native aspects of this novel through a discussion of Fassih’s individual style of writing and the way his work connects to the social backgrounds of the mid-20th century Iran.Gothic fiction appeared in the mid-18th century, but evolved in the subsequent centuries and still has its own audience. The genre has European origins and there have been various outstanding works of Gothic fiction since its introduction. This literary genre has not been practiced widely in Iran. Esmail Fassih is one the limited number of writers who have provided Gothic fiction. This article provides a brief history of the genre and defines some of its main elements as practiced by the major writers of the mode. Then, a close reading of The Story of Javid will be provided using the elements of the Gothic. In the meantime, a discussion of socio-political aspects of Fassih’s novel and the way they connect to the Gothic will be provided.Death is a key feature of Gothic fiction, which, in The Story of Javid, is intertwined with the setting and the themes of the story to create a sad atmosphere of stillness and decay. In most Gothic stories, death and fear appear simultaneously. In The Story of Javid, plot structure uses suspense, and the key events of the story are connected to death throughout the novel. The combination of fear and death in Gothic fiction serves to create a deeper effect in the audience. Horror accompanies death in the novel to create an atmosphere that is reminiscent of the unconscious states of the mind. In Gothic fiction, characterization moves along the axis of black and white and the result is that characters are flat and less developed. In The Story of Javid, the reader encounters flat characters who simply embody the good or the evil. The purity and innocence of characters such as Javid and Sorayya Khanum, and the mischief and hypocrisy of characters such as Malekara and Leila highlights the duality of black and white in the novel.Esmail Fassih creates a gothic narrative in The Story of Javid, which is not common in contemporary Persian fiction. The story takes place in the remote past and is part of a history that no longer exists. The novel depicts a large mansion which contains spooky spaces such as underground corridors and water storage. The atmosphere of the story contains death and scary events, and the flat characters display clear duality between good and evil. The duality of good and evil is the most obvious feature of the story that moves the characters forward. Fassih depicts an Iranian version of the Gothic. What separates his Gothic fiction from many Western examples is the social aspect of the story, which deals with the open oppression of the government agents to the defenseless people, especially to the Zoroastrian minority. Therefore, Fassih does not simply imitate the Gothic, but provides a Persian model that is reminiscent of characteristics of the genre, while its social context -which is rooted in a historical reality-remains native.

The structural analysis of literary works plays a pivotal role in understanding the intrinsic elements of a text and discerning the patterns of their interconnections. This approach not only contributes to a more nuanced understanding of literary characters but also aids in the evolution of literary patterns by offering insights for the creation of new works. Critics in the realm of structuralism have scrutinized narrative forms and delved into the study of story elements and their compositional principles. Noteworthy among these literary theorists is Tzutan Tudorov (1939), who has proposed a scheme based on the relationships between the smallest units, introducing systems grounded in the visualization of narrative figurines.This descriptive-analytic study aims to identify the characteristics of contemporary Persian fictional novels, employing the methods of description and analysis. The focus is on the social novel "Gypsy by the Fire" by Moniro Ravanipour (1333 AD), utilizing Tzutan Tudorov's theoretical framework. The investigation is structured around four key components: narief, proposition, episode, and narrative aspects.The research findings indicate that the presence of chain edifices within the narrative establishes a coherent and integrated relationship between the text and the story's structure. The essential and desirable aspects identified in this study form the foundation of the narrative configuration, emphasizing the certainty of relationships among the characters. The predictive aspect emerges as a significant influence on the story's formation, with predictions aligning consistently with the logic of truth and frequently materializing as anticipated.In conclusion, the structural analysis of "Gypsy by the Fire" through Tzutan Tudorov's framework reveals the intricate connections between narrative elements, showcasing the importance of chain edifices in constructing a cohesive story. The study highlights the essential and desirable aspects as foundational to narrative configuration, solidifying relationships among characters. The predictive aspect emerges as a powerful force shaping the narrative, consistently aligning with truth and contributing to the story's coherence and impact.