رقیه وهابی دریاکناری

This article deals with Gerard Genette’s ideas about narrative components: “command time”, “mood”, and “voice” in three narratives of “Pir Changi” story. The story of Pir changi was narrated for the first time in “Asrar Altohid” and after that “Attar Neishabouri” and “Mulana” also narrated the story with some changes. This study tries to investigate the differences between these three narrations. Even though this story is now well known with Mulana’s name, but the style of narrations and its type in “Asrar Altohid” is different. He used the mechanisms of narration in another level that can be considered higher than the other two.
The differences between Asrar Altohid and the other two narrations are: 1- The narration is not linear. The author, with some flashbacks, narrates his story, exactly unlike the other two which have linear narrations.
2- “Distance” is the result of the presence of the narrator in the narration. In this narration, the distance is very obvious. We have less distance in the other two stories.
3- “Perspective” in this narration in internally-focalized. But the other two stories are non-focalized.
4- The narrator in this narration has a part in the story. He is one of the minor characters means homodiegetic. But the narrator of “Attar” and “Mulana” are both out of their narrations.

There are some primary models in real life of each author, which on some levels motivate his mind to create an artwork. Through using these primary models and his imaginative mind, the author creates characters. In this study, the prototypes of two novels, i.e. ‘Zemestan62’by Ahmad Mahmoud and ‘Zamin Soukhte’ by Ismael Fasih, will be specified in a descriptive-analytical method. Firstly, the main and minor characters will be identified and structurally analyzed. Then the type of prototypes will be specified and compared with each other. Results show that Ismael Fasih created his characters in ‘Zemestan62’by using ‘classified’ and ‘private life’ prototypes. Ahmad Mahmoud, on the other hand, in creating his characters in ‘Zamin Soukhte’ used ‘classified’ and ‘historical’ prototype. Both authors in creating story characters used ‘leveled prototyped’ with the difference that they have chosen different social groups of people. ‘Fasih’ in his ‘Zemestan62’used ‘intellectual’ and ‘educated’ social class people. On the other hand, Mahmoud illustrated ‘vulnerable groups of the society’ during war time. They have tried to illustrate social, political, economic, and mental qualities of these classes in their characters.

Several examples of the “awareness and oblivion” myth can be found among different nations, tribes, and civilizations. This authentic theme is seen in the foundation of contemporary novels and short stories, like a repetitive motif.The aim of this study id to analyze an example of the “awareness and oblivion” myth in one of the stories of Iranian contemporary authors. The story of “Derakht-e-Golabi” by “Goli Taraghi” is the story of the narrator’s forgetfulness, who regains his individuality with the help of the story of the pear tree and the memory of the good old days. Goli Taraghi has implemented one of the most special and less known symbols of “pear” to bring back fertility and sweetness to the protagonist of her story. This return, however, comes with the recalling of the past memories. When the narrator should have valued love, he had attented to the matters of the outer world and politics instead. This has led to the “oblivion” of the narrator’s identity and has emptied his mind. The author recalls the memories of the garden and through this, he returns to his true self.

Narratology is a new knowledge and it is at the result of structuralism revolution in the realm of fiction. In analyzing the structuralist “narrative”, internal mechanisms of literary texts will be discussed, till the internal units are discovered. This study is an analysis of the structure of “narrative” on three long poems of “Akhavan”: “Sangestan City tale”; “Dragon, ominous sorceress”, “Eighth step” .this article deal with “Gerard Genette” Ideas about narrative component: “command Time”, “mode”, “voice”, and tries to study on one of the aspects of evolution of Contemporary narrative poems. The result of this study shows that: “Akhavan” in his narrative poems has used the narrative capacities in a high standard. He hasn’t been expressed his stories in linear and comental order. Most of the time, he uses flash backs. In the three examples of his narrative poems, uses positive and fixed acceleration. The dominant frequence in these three poems, is “Singulative frequency”; even though the “Rrepeatitive frequency” is seen many times. The difference between his two poems, are significant, because their narrators are in their narration.

There is an impressive variation in the subjects and the themes of Bahram Beyzai's works. To create his literary works he uses different literal techniques that are going to be explained in present study besides reviewing, analyzing and categorizing his fictional topics. 24 Beyzai's literary works including 13 screenplays, 8 plays and 3 barkhanies (loud verbal narrating) have been reviewed in present study through an analytic-descriptive method, in a way that the topics have been used by Beyzai are determined, initially, and then each of them are analyzed presenting some specific instances. Beyzai's favorite topics generally include national, social, historic and religious subjects and protesting cinema. He has displayed different spaces in his works, although he has paid more attention to social and national issues and has created numerous works in these fields. To bring these social themes up he benefits several artistic techniques such as “adaptation from ancient texts”, “allegory” and “utilization of public literary abilities”.

Studying and analyzing the ways of rewriting and recreating in Bahram Beyzai’s literary works is the main goal of this paper. He is a norm-breaker author who destroys the reader’s mental and language structures and defaults. The plays, scripts and narrations which are analyzed in this article are Azhdehaak, Arash, Ahu, Salandar, Talhak va Digaran, Pardeye neiy, Siavash Khani, Shabe hezar-o Yekom and Majlese Ghorbaniye Sennemar. At first, in this research, Beyzai’s descriptive-analytical ways are introduced, and then these ways are analyzed in Beyzai’s works. The ways are generally as follows: 1. recreating an old work on two levels: “changing the plot” and “changing the dutifulness of characters,” and 2. rewriting an old work in some ways by “adding dialogue between characters”, “suggesting cause and effect relation” and “changing the ways of narration.”

Bahram Beizaie has a special attention to Iran’s honorable old ages. He chooses one feature of the golden age “matriarchy” period and shows that in some of his plays. The purpose of this research is to talk about the dependence of heroines and Iranian goddess, and to analyze this dependence in some of Beyzaeis’ works. Plays and screenplays that are considered in this study include: “Saljuk istgah”, “Parde nei”, “Parde khane”, Shabe 1001(1)”, Shabe 1001(3)” and “Fath name kalat”. The research is descriptive - analytical, so that at first, Beyzaeis models in merging heroines and goddess would be specified and then his works would be analyzed based on this idea. Conclusions show that beyzaei uses the goddess of “kindness”, “birth”, “love”, “courage” and the most important one the goddess of “wisdom” to create his heroines. According to these analyzed works, wise goddess that one of the instances is goddess “Chista” has the most presence in Beizaeis works even more than “Anahita”.

here are some primary models in real life of each author, which in some levels motivates her or his mind to create an artwork. By using these primary models and his imaginative mind, the author creates its special story characters. This project, tries to compare Zoya Pirzad’s “I will turn off the lights” and Alba Deces Peds’s “Forbidden Notebook”. In representing atmosphere, narration, personi fication and subject selection, Pirzad is in fluenced by ‘Alba Deces Pedes’ and this was the reason of selecting “Gérard Genette” for this study. Moreover, it seems that Pirzad’s Prototype in creating Celarice in “I will turn off the lights” is ‘Valeria’ in DecesPedes story. To compare these two stories the ‘Literary prototype’ theory is selected.

The "alien - enemy" archetype in cultural history of Iran often emerge in different forms and examples of hostility and alienation such as Tatar and Mongol. Mongol savagery and brutality on Iranians, was so severe that after a hard attack and murder and plunder, for centuries, they were an example for each type of attack. Gradually Mongol's attacks changed from historical form and remain in a mythical way in our literature and culture. This article describes, how the myth of Mongol formed in our cultural history and signifies in particular, in the works of "Bahram Beyzai". The main feature of his fctional narratives is an active participation of women in the context of the narration. The purpose of this study, is analyzing the struggle of "champion- trickster" women, against the myth of the Mongols, in the "Bahram Beyzai" narrations. Plays and screenplays that are considered in this study include: ” Fathnameye kalat”,”mire kafanpush tales”, “ayyare tanha”,”ayyarname” and “tarajname”. The research is descriptive- analytical, so that at first we will express the way that Beyzai uses to describe myth of the Mongols, then five works that in particular, are about women's struggle with Mongol in the narrations, would be analyzed.