پژوهشنامه فرهنگستان هنر
پیاپی 23 (بهار 1403)

Time and narrative are intricately intertwined, so one cannot consider one without the other. Time takes on various forms within a narrative. For this reason, narrative scholars regard time, alongside mood and tone, as fundamental elements in the formation of a narrative.Time influences narrative construction in at least three ways: order, duration, and frequency. Unfortunately, due to the limited recognition of the importance and methodologies of times impact in Iranian narrative arts; fewer opportunities are taken advantage of in storytelling.This paper aims to examine the types and methods by which time influences narrative and provide a comprehensive perspective on this subject.

This article aims to present an analysis of the plot elements and narrative levels in the film "Shiar 143," directed by Narges Abyar, using a scholarly approach from the field of narrative theory (Paris School: Greimas,Courtés, Fontanelle, etc.). We believe that one of the principles that can disrupt or enhance the semantic and formal coherence of a literary work is the creation of disharmony between narrative elements and plot elements within the deep structure of any narrative. The artistic beauty of a work is dependent on a well-articulated plot, suggesting a direct relationship between thought and structure, and structure and beauty. This study aims to explore these relationships within the film "Shiar 143," examining how meaning is produced and analyzing the narrative order of the film's structure to provide a narrative analysis of the screenplay.

Analyzing the narrative structure of texts greatly aids in understanding the various layers of the text. The two key elements of the narrator and the listener in the novel can enhance the comprehension of the characters and the truthfulness of narrative propositions. Authors of war novels and stories strive to depict the events of war in a manner that is more comprehensible for the audience.Consequently, examining the narrator and their tone, along with the focalization of the narrative, provides a clearer depiction of the combatants and other characters, and can lead to an understanding of the author's perspective on this issue. This article investigates the concepts of tone and mood in The Pol-e Mo’allaq Novel (The Suspension Bridge).From the narrator's perspective, "The Suspended Bridge" features an omniscient narrator who, with knowledge of all times and places, recounts the story and its characters, being the sole entity through which the narrative's knots are resolved. The narrator in this novel aims to convey what aligns with the author's views. Given the nature of the narrative, we encounter a monophonic text that solely reflects the viewpoints of the author/narrator, with no presence of diverse thoughts within the text. From an ideological standpoint, at the end of the story, we witness a shift in the main character's mindset from death to life. This transformation is prompted by love, a theme that resonates throughout the novel and does not contribute to the creation of a polyphonic texture in the text.

The heterogeneity of The Songs of Maldoror is such that any attempt to classify this text within a specific literary genre will inevitably fail. Although many critics place this seemingly prose text from the latter half of the 19th century within poetic literature, there is no doubt that beyond the apparent incoherence and formal transgression of this innovative work, the existence of an authoritative narrator, possibly the sole unifying element, ensures the coherence and internal unity of the six chants. The narrative domination extends so far that, parallel to the prevalence of discourse on the narrative, the narrator never allows the reader of Lautréamont’s text to identify with the story and, by succumbing to the referential illusion, to deviate from the ideal reader to become a poor reader. The constant reference of the text to the act of narration, interrupting the flow of the story, the address to the narratee, especially at key points in the text, and the interpretation of the statements and the story, all attest to the strong presence of the narrator and narration in The Songs of Maldoror. The presence of such a self-reflective and narcissistic narration, from the very first lines of the text, challenges the expectations of the 19th-century reader and demands a fully conscious reading, an active reading that plunges the reader into an endless quest for meaning and constantly confronts them with fundamental questions about the nature and functions of key concepts such as writing, reading, narration, the author, and literature

Contemporary postmodern painters often create new works by referencing previous literary and artistic texts, appropriating and deconstructing them. These hypertexts, created within various discourses, can closely resemble or differ from their source texts, serving as references to a title or element of the source while conveying new meanings. One significant source of inspiration and adaptation for contemporary Iranian painters is miniature. When referring to these works, contemporary artists sometimes deconstruct and critique the art of the past.These references establish a textual interconnection between the past and present, conveying artistic and cultural themes and traditions. This article will use a descriptive-analytical method, gathering data from documentary and visual sources, to examine the diachronic reproduction of the image of Behzād’s The Khawarnaq Castle in contemporary painting. It will analyze the study and experiences of artists in this adaptation and address questions such as: What mechanisms underlie these adaptations, what formal and figurative changes have occurred, and how have these changes produced new meanings? To this end, the analysis will utilize Gérard Genette's typology of Hypertextuality, ultimately demonstrating that artists, when confronted with and adapting a singular figure, through changes in its quality and quantity, as well as attention to contemporaneity and temporal displacement of the image reflect their concerns, issues, and worldview in a new visual system.

In codicological literature, the headers function as paratexts. It previews the reader’s first encounter with the literary work. A work’s header significantly affects how the audience understands its meaning and concept. In Manichaean manuscript fragments, it is important to consider the role of the header in conveying the concept and setting of the general framework of the work. In particular, headers embellish Manichaean fragments with visual criteria and aesthetic effects. The significance of these embellished headers, characterized by calligraphy, depends on how the elements and visual qualities are recognized. Together, they form the visual alphabet and are fundamental factors in creating Manichaean manuscripts. This article examines and compares the visual elements of the illuminated header on the recto and verso of the fragment MIK III 4970 c. It focuses on specific elements, such as point, line, and color. The outcomes of this research reveal that the header, acting as a Paratext, creates an unbreakable connection with the text, transcending the Manichaean artist’s demonstration of workmanship. The primary visual component of the element builder is the point. Considering this, the Manichaean manuscript header, which emphasizes linguistic, aesthetic, and content elements, can be seen as a coherent structure in the codicology of Manichaean manuscript fragments.