پژوهشنامه ادبیات داستانی
سال دهم شماره 3 (پاییز 1400)

This paper seeks to represent and analyze the hope/despair dichotomy in the novel Her Eyes by the French philosopher's ideas, Gabriel Honoré Marcel. For this purpose, first, Marcel's theoretical foundations and views are pointed out. The representation of the hope/despair dichotomy in the novel is addressed via a descriptive-analytical research method. In his most crucial philosophical achievement, i.e., “the hope”, studies the ontology of this concept, making some divisions. He examines phenomena such as apprehension, fear, and anxiety with an existentialist view of man, associated with despair. In Marcel's view, hope is born from the bed of suffering, and it is in the presence of despair that hope is possible. So hope and despair are in confrontation and dialectic with each other. The research findings show that hope and despair in the novel Her Eyes are always in conflict, and the existing suffering and despair eventually turn to hope. Despite the novel's desperate atmosphere, the motif “hope” is represented as the dominant element, with themes such as love, protest and transformation.

The power of style in the literature is derived from the complex grammatical, aesthetic, and syntactic potential elements of words. The written language is considered an important point as a literary style. A.Bozeman, a German theorist, has done many researches about literary style versus non-literary style; finally, he introduced the statistical equivalent in his own name. Bozeman equation; describes the amount of descriptive and literary versus non-literary vocabulary and the type of writing for women and men, and it emphasizes the literary nature of the text. Heyffaa Bitar's story "Amr'a Man Tabaqin" is one of the novels in which the author deals with women's legal issues and their rights violated by men. The present research tries to examine the female style in the story of "Amra'a min Tabaqin" according to the theoretical views of women's writing and the degree of literature and feminism of Heyffa Bitar with the help of statistical evaluation of the role of statistical theory of the German scientist; A. Bozeman analyzes and in this regard, a descriptive-analytical method is used which shows, that the feminine language is observed in many components of the writing of the story, to the extent that the most used categories are: pronouns "I" and "you", absolute and restricted words, and short questions. Bozeman's statistical style indicates a high rate of verbs with 6609 compared to adjectives with a rate of 2734, which is about 2.41 percent, and this rate weakens the story in terms of literature and the type of female language of the story.

Fantasy is the most imaginative genre of story. In the imaginative stories, the writers create a secondary world with new rules by passing beyond real world and breaching the cumbersome rules and frameworks. These worlds include amazing events and fantastic creatures. Samad Behrangi is one of the writers of child and adolescent literature that he connects the adulthood world to childhood world by using fantasy. By emphasis on this style, he expresses the social, cultural and ideological issues for novice readers in tangible way. In this regard, cognitive metaphors play an important role in better perception of some complicated and abstract concepts by children. This article has tried to examine fantasy and cognitive metaphors used in fantastic stories of Samad Behranghi in order to depict how this author, thoughtful and interested in the children and adolescent training, has analyzed the bio-social experiences for less experienced child and adolescent readers using cognitive metaphors. This descriptive and deductive content analytical research showed that the conceptual metaphors in Behranghi's stories imply collectivism and appropriation with socialism beliefs and conditions. Concerning the contextual metaphors, three volumetric, motor and power schemas were mentioned and power schema is related to thinking and eliminating obstacles by Behranghi in the considered goals in the story. The structural metaphors are in the first rank in his stories. The frequency of directional metaphors is the same in the fantasy and real stories

Plot is the most distinctive element in the structure of a story. Unlike the character and the theme, whereas plot doesn’t have any evident and independent identity, it is necessarily to present throughout the story as an element which unifies the fragmented parts into an integrated entity. This research aims at comparing the plot in the authored and translated stories for B and C age levels from the viewpoint of Maria Nikolajeva to evaluate the success of these stories in attracting the audience, and finally to discuss the effective literary factors in this achievement. To this end, we collected the data through reading and eliciting the features of plots in 50 best-seller children Persian stories published during the years 1385-95. After obtaining the numerical values of the variables in the plots, the qualitative content analysis was fulfilled. The results revealed that the translated story books have been more successful in attracting the audience due to their relevance to the taste and needs of children and consequently containing more fascinating elements for them.

Narratology is a set of general rules about narrative genres, systems governing narrative (storytelling), and plot structure.The attention to the structure and finding a common and similar structure are the consequences of the emerging formalism and linguistic theories of Ferdinand de Saussure in this type of literature. Propp, obtained a structural model of fairy tales by studying the morphology of this type of story. But Todorov introduced the term narratology as the science of studying the variety of the story, according to which he examined the structure of Decameron's stories. The ancient and contemporary Persian stories can also be researched based on the narrative structure of Todorov. One of these stories is “the Purple Bath” by Mohtadi, which was tried to review based on the narrative model of Todorov in this study. The results of this study showed that this story has a pattern similar to that of Todorov was raised. The seven characteristics of Todorov model have examples in the text of the story. In the linguistic structure, the story has formed on the basis of verbs, especially the actions of the protagonist. From a syntactic point of view, he has a main sequence in which other sequences are located in it. How to use pirouettes is also in the form of internalization. But the third to ninth sequences are in a chain within the main sequence. Also in this story, the informative aspect is more frequent and the time of occurrence of verbs is the past tense.

One of the fields of war literature is the study of the formation of its modern components. There are not enough studies in this field. Attempts have been made in this paper to identify and concentrate on the modern components in order to reread the “Scorpion on the Stairs of Andimeshk Railway” story. At first, “an introduction to the modern writing” will be given; then, in the next step, theaforementioned story will be analyzed based on the modern components; and, finally, the findings will be given, which is in fact an answer to the question of this research: The new and innovative components of this story encounter us with a modernist story which is different from other stories of war genre regarding its content, form, and structure. As a result, it offers us a modern world regarding its construction and figures of speech. The main modernistic components of this innovative novel are: Deconstruction of the familiar forms of war novels; defamiliarization in the field of personification; new and subjective plot; incorporation of unconsciousness into the text and highlighting its connotations; concentration on connotative metaphors; creation of a poetical environment; lingual games; multi-narrativity of the story; nonlinearity of the elements of time and space, brevity in the text; metaphoric plots; individualism, symbolizing and symbolization; and efforts for the creation of secondary connotations of imagination and illusion.
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The analysis of "symbolic interactionism" based on Blumer's methodology arises from human consciousness of oneself in the experimental world of society. The construction of the 'self' is constructed based on the controversial relationship between (I) and (Me) in a social process. Therefore, in a dynamic and unpredictable way, it explores the characters and shows their individual and collective action. How does 'self' find itself in the novel world? What is the mode of action of the novel is 'self' in the face of social and political construction? His novel depicts a picture of Pahlavi history in which the "collective self" is a mixture of the traditionalist and the modern. The novel "Cheshmhayash" depicts a picture of Pahlavi history in which the "collective self" is a mixture of traditionalist and modernist self. Collective interests are more than individual interests are. Activists are struggling against the authoritarian political system for freedom of thought and freedom of thought. The intellectual is a modern and demanding individual. "Del-e-koor" novel narrates the first and second Pahlavi periods. The self in this novel is the passive, conservative and violent self. In the novel world, individual interests are preferred over collective interests, and in the structure of society, the intellectual acts because of kindness, friendship, and peacemaking.