نشریه روایت شناسی
سال هشتم شماره 1 (پیاپی 15، بهار و تابستان 1403)

Masculine Domination is a product of the male-centered social world, which has immortalized itself in the bodies of men and women in the form of "habitus". This series is one of the methods of applying symbolic violence that is applied in different social, cultural, economic, and economic contexts in the gender situation and opposite-similar dual relations (male and female). The upcoming research aims to answer this question: How is masculine domination formed and reproduced in the social space of Glimbaf's novel (a novel that is also a characteristic example of the reflection of the atmosphere of traditional Afghan society)? And what factors play an essential role in this process? The main purpose of this research is to analyze the process of production and reproduction of masculine domination in the space of the mentioned novel, which leads to acts of symbolic violence. The method of data collection is the library method and data analysis is an analytical-descriptive method. The findings of the research show that three generations of characters in this novel have fallen victim to the reproduction of masculine domination. The biggest factors of production and reproduction of domination in this novel are objectification, not being seen, considering the nature and work of women as inferior to men, continuing the symbolic exchange of women (as goods) to accumulate the capital of "honor" and "jealousy" of men through the exchange method of "SARALISH" (marital marriage). This reproduces masculine domination and symbolic violence.

Iranian writers have written works in the horror genre, although not comparable to the quantity of foreign works. The purpose of this research is to investigating and analysis the components of the horror genre in Iranian adolescent horror novel. In order to achieve this purpose, first of all, 9 important and main components of the horror genre were extracted from among scattered and numerous sources, which include. In the next step, one of the most prominent iranian adolescent horror novel, the vertical cemetery, was selected. The investigating of these components showed that the vertical cemetery has been acceptable in the use of genre components. Of course, one of the weaknesses of this work is the characterization of the monster and the victim. This weakness has left the creation of horror to the description of places and space creation. Vertical Cemetery has worked well in the field of dehumanization, with the help of horror techniques, especially metaphorical expression. Therefore, the most important achievement of this research was the classification and introduction of the components of the horror genre and the complete investigate and analysis of these components in a native book of this genre, which can show the innovations and weaknesses of these fictions and help Iranian writers in the global competition.

One of the meaning-making phenomena in the perspective of discourse semiotics is tension. The tension takes the narrative flow out of its logical path and prompts the main actors to react in order to resolve this tension and get out of the crisis and challenge. But sometimes, the tension arouses the feelings and emotions of the main actors and thus recovers the meaning, which is decomposing due to the tension. This paper calls this phenomenon as Emotion-Making Tension and analyzes the story of “Zal and Roudabe” from Ferdowsi’s Shahnameh in order to explore such tensions. The main goal of the present research is to detect different emotion-making tensions and their impact on the procession of the narration and meaning retrieval. Having established the emotion-making tensions in the narrative, we tried to trace the emotional impact of these tensions on the performance of the characters. The analysis revealed that the story begins with a tension, namely the birth of an abnormal child, which pushes the main actor (Sam) toward a reaction and the subsequent incidents are also the result of this very initial action by Sam in abandoning his child. The most important tension from the middle to the end of the story is the engagement of Zal in the forbidden love of Roudabeh. We tried to identify the tension relations which are either external, cognitive and quantitative or internal, affective and qualitative. The cooperation of these relations in the formation of meaning and semantic value was investigated in the narrative.

Instability plays a significant role in postmodern clothing design and is done with a deconstructive look. The narrative of fashion influenced by the spirit of the post-structuralist era always has an indeterminate semantic system and creates an active and dynamic dialectic by reproducing artistic pre-texts. The purpose of this research is to investigate the narrative meaning system hidden in the existential values ​​of contemporary fashion discourse, and this research is done in order to discover the nature, what and why of the interaction and adaptation of the subject with the space of instability within the discourse of clothing. In this research, the element of instability through The presence of contradiction, contrast and visual ambiguity in the size, shape, color, arrangement and visual movement has been investigated and by analyzing the narrative process of contemporary fashion in the works of prominent world fashion design artists such as Valentino, Ossie Clark and Issey Miyake, it has been studied the process of production, transfer and reception. And sensory perception of meaning has been discussed. The obtained results state that due to the creation of ambiguity and visual deception, tension has been formed from the coexistence of divergent levels of discourse, and it has caused the interaction of the cognitive and qualitative dimensions within the narrative. Clothing has become an active pseudo-subject, which, in the discontinuity of its determined function, steps into the indeterminate world of meaning and tries to redefine the identity of the adapted subject as a phenomenal text.

The series of novels A Song of Ice and Fire is known as one of the most popular novels of the century. Time magazine George R. R. Martin is called the American Tolkien. This fantasy novel was adapted into the TV series Game of Thrones in 2011. The Game of Thrones series is one of the most watched series in the world. In this article, an attempt has been made to analyze the narrative differences of this adaptation with a descriptive-analytical method, focusing on focalization. In this research, relying on the theories of Gérard Genet, the focalization of focalizers in the novel A Song of Ice and Fire and then how it changes in the Game of Thrones series is examined. Also, in this research, the focus is on the main focal points of the Game of Thrones novel and series and the events that happen from the perspective of their focalization, in order to determine which focal points are focal points in the epic fantasy novel and series and what events are narrated from their point of view. The results of this research show that for the television adaptation of the novel, internal focus has become external focus. Also, other narrative changes such as simplifying the complexity of some sub-stories, removing some characters or using their stories for existing characters, adding some romantic narratives, dramatizing some events and changing focal points in the series and novel can be mentioned.

It’s been about four decades that migration literature of Afghanistan has been formed. Migrants have produced many literary works in the host countries over the years. In the meantime, the theme of "immigration" is highlighted in some of the writings of immigrant writers, with whom immigrants and hosts are unfamiliar. Therefore, research is important for identifying this literature and its ups and downs to immigrants and hosts.Using a descriptive and analytical method, this article deals with the case study of Payan-e Ruz (tr: end of day) novel by Muhammad Hussein Muhammadi as a cultural text based on semiotic theory.The essential question of this study is, how afghan migration as the Cultural Other-according to significant cultural and historical ties- is represented, understood and defined in cultural sphere of Iran; culture, non-culture or counter-culture. Based on Cultural Semiotics approach, the text shows that afghan migration as the Cultural Other, is represented as non-culture or counter-culture in cultural sphere of Iran. Furthermore, the present study addresses another important approach of cultural semiotics, namely the approach of nature and culture, and shows that in this novel, Mazar-e-Sharif is the representative of nature and Tehran is the representative of culture.