مجله مطالعات داستانی
پیاپی 3 (بهار 1392)

The present study is an interdisciplinary exploration which mainly probes the typology of fictional characters appearing in Sadegh Hedayat's stories with a focus on ‘Innea Gram’ dictum, namely perfectionist, benefactor, successful and actor, doleful romantic, intellectual and observer, loyal, sybarite, and moderator chief, each of whom has exclusive features. All 34 stories authored by Sadegh Hedayat have been investigated descriptively through library and documentary sources research. The results show 13 characters of 51 characters (26 %) are typically doleful romantic with home the author identify. Perfectionist, benefactor, loyal have made up 23.52%,21.56%, and 9.8% of the characters respectively.Two typical characters, sybarite and moderator, have not been depicted in Hedayat’s stories.

Traditionally, Buddha and Ibrahim Adham have been considered two effective characters in mystical thoughts of Iranians and Indians. Buddha was born in North India and selected a rule of life later called the Middle Way once he was finished with sheer austerity. Ibrahim is also attributed to the Bakr Ibn Vaael trible settling in Balkh. His heroic act of leaving worldly attachments and resorting to destitution and piety made him a popular and distinguished figure compared to other Sufis. Similarities in spiritual vicissitude and life style have made people subscribe to the view that Ibrahim is an Islamic Buddha. Thus, this paper is aimed to carry out a complete review of these two mystic’s life in addition to their similarities, differences and distinguishing features sited in reliable texts. Finally, we came to this conclusion that specific signs in their characters and life imply their differences not similarities.

Literature is an alive and growing Phenomenon. And adoption, combination, effect, impression and recreating in its progress route are inevitable. Text creation without relying on literary heritage and older texts intend is impossible. Therefore, no text is self-sufficient. This means that any text has intend and a defined purpose and comprehensive interaction with social and cultural environment in which it is formed so its context is clear. This context includes as follows: cultural traditions, languages, literary traditions and approaches and implications of semantic and… The main problem of this paper was to find and analyze the links and connections between Persian contemporary literature, especially short stories in Persian that is a new Genre, and the great heritage of Persian Literature. To do so, we selected a short story by Simin Daneshvar, named Mar o Mard in 'Be ki salam konam' and According to the theory of intertextuality, we analyzed it.

The major basics of fiction writing, Persian fictions criticism, discovery and representation of modern fiction techniques are issues which have not come under a close examination. The present article attempts to probe the ‘fictional technique’ in modern story writing, which is unlikely to be fulfilled unless the precise concept of technique is taken into account. Techniques such as suspending the meaning through allegory, detection of fiction discourse, setting an intertextual link to former texts, and …….having a critical tone of the text have been affected by results of criticism over the Anglo-Saxon critical movement evolved from criticism of formalism and poststructuralism. Once various aspects of the term technique and its role in literature and fiction- accompanied by a brief presentation of modern Persian story history - are discussed, the methodology of appreciation and investigation of fictional techniques is laconically phrased to provide the article dynamically and pragmatically read. This is finally followed by some samples of techniques applied to modern Persian story writing.

Surrealism is an artistic and literary school emerged in Europe over a period of first and second World War. In French it is equivalent to ‘beyond truth’, ‘behind truth’, and ‘superior truth’. This term owes its origin to France wherein it was first phrased in a play by Apollinaire Guillaume in 1903. Surrealists urged us to take another look to the definition of truth and subscribed to the concept of superior truth. In this study not withstanding a scarcity of resources on contemporary literary schools, it is first aimed to vividly define Surrealism and discuss its principles in brief to be consequently compared to lines of a narrative poem of Haft-Peikar by Nezami entitled”Wednesday”, preceding results analysis. The present study probes the versification competence of Hakim Ganjeh and the relation this awe-inspiring poet’ poems bear to the birth of literary schools in the twentieth century. It is also contended that newly emerged literary schools have originated from predecessors works and human’s thinking has constantly been on the verge of changes, causing us to claim that the obsessional notions of a French poet in twentieth century are the same as what NezamiGanjavi had in the sixth century.

The literary history of each nation enjoys innovative scholars lending a helping hand to literature to flourish. In the realm of modern fiction there are pioneers who have paved the way for Arabic literature, giving birth to a wide range of fictional frames affected by a host of intellectual schools. Realism was adopted in literary and story writing genres as it reflects social affairs. Naguib Mahouz, as one of the fictional literature figures, embraced a narrative medium to mirror social, political, and economic issues with different discourse through a realistic lens. One of the realistic fiction authored by Naguib Mahouz is called Zoqaq Almodegh which made a significant turning point in narrative fiction. It vividly depicts the poor economic status of Egypt stemming from ethical and social predicaments, inherently pursued by realism. This study has taken a descriptive-analytic stance to impart the story Zoqaq Almodegh and its basic realistic essence in reflecting social issues such as destitution, ethical corruption, and exploitation in Egypt.

Shahname authored by Ferdowsi is one of the significant epics in the history of literature. It is truly an epic which wherein a narrative style as a main feature of epic works deployed is to convey the intended meanings and purposes of the poet. The impact the story elements exerts on readers itself represents the cognizance of Ferdowsi to depict the story and its elements. The telling and firm narrative cohesion of story elements is the conspicuous feature of this unique literally masterpiece. Dialogue known as a core ingredient of contemporary literature has effectively been established in multiple stories of Shahname. Inner monologues, mutual utterances, lateral written dialogues, documentary-allegorical dialogues, interaction, and talk shape a wide range of dialogues uttered in Siavash. This diversity bears a close relation to other elements such as plot, complication, resolution, depiction, and more importantly, to conflicts and character presentation. This study explores the element of dialogue and its role in Siavash story.