سمیه الفت فصیح

Every writer uses a special method, plan, and manner of narration to express his thoughts and concepts. Bahram Sadeghi is one of the relatively few authors of the contemporary era who left few works but had a lasting impact on Persian fiction writing. The short story ‘Trench and Empty Thermoses’ was published in the collection of stories of the same name, in which the author has used the style of metafiction for narration. In this study, our hypothesis is that there is a close relationship between this narrative style and the content of the story. Repetition and monotony are the dominant deep structures of this story, which the author spreads throughout the story with the help of intratextual symbols and signs and with the use of humor. The names and actions of the characters are also in the same direction and serve the narrative structure of the story. In the present study, based on structural narratology, we have analyzed the link between the plot, depth of the structure, and Sadeghi's narrative style in the story ‘Trench and Empty Thermoses’. How the author uses this special form of narration with the help of other elements and signs within the text has led to the formation of a modern structure. Keywords: Narration, Structuralism, Deep Structure, Bahram Sadeghi, Trench and Empty Thermoses. IntroductionNarrative theory or narratology has been an active branch of literary theory, and literary study relies on theories of narrative structure, plot concepts, different types of narrators, and narrative techniques. Narrative science as a modern theory is mainly related to European structuralism. Constructivist thinking entered the literature based on Saussure's ideas in linguistics and became the basis of structuralists. Structuralism is one of the most extensive theories that is the basis of the work of various researchers. Structuralism is a detailed study of a work and the discovery of its constituent elements and an understanding of the governing relationships between those elements. In this sense, the narration is a kind of worldview. The narrative world is completely in the hands of the narrator. The narrator creates his desired world by creating characters and their functions. On the other hand, the logical form of language and the non-random sequence of events in it provide the basis for the formation of a worldview in humans.Bahram Sadeghi (1315-1363) is one of the prominent contemporary writers and one of the representatives of contemporary modern literature who, in addition to the collection Trench and Empty Thermoses, has a short novel called Malkut. Although these works are small, they have left a lasting impact on Persian fiction writing. In order to express his thoughts and concepts, in addition to choosing the topic, he uses special methods of narration. This story is a symbolic and multifaceted story that has a special connection between the narration style and its content. The purpose of the present study is to explain the connection between the deep structure and the author's narrative style in this story.The book Blue Blood on a Sad Land by Hassan Mahmoudi (1998) is one of the first sources that examines the life and works of Bahram Sadeghi. Bahram Sadeghi's interviews and letters, as well as articles written by various authors about his life and works, are included in this book. In addition, Olfat Fasih (2013) examines the subject of narration in all of Bahram Sadeghi's short stories in the collection of Trench and Empty Thermoses. Based on this, the position of the author and the narrator has been discussed in the story and the relationship between these two, as well as how they relate to the characters of the story and communicate with the reader through the narrative text. Materials and MethodsThe above-mentioned characteristics of the narrative show that there is a close relationship between this element and the way of thinking. In this study, we try to examine the structural narratology and by specifying the type of narrator, the extent of his intervention or non-intervention in telling the events of this story, find structural signs and elements within the text, and the connection between the deep structure of the story. Research FindingsThe results of the study show that the method used by Bahram Sadeghi in the structure of the narrative signifies the emphasis on the importance and priority of the technique. He starts his story with a central theme, and his goal during the story is to expand this theme and instill depth in the story. In this regard, he gives importance to signs and symbols. The title of the story (Trench and Empty Thermoses) is the first sign that tries to choose it according to the theme of the story and deciphers it at the end. The structure of the story of Trench and Empty Thermoses is the result of repetitions and proportions that the author establishes between words and concepts and uses all the elements in such a way as to convey his desired theme. The repetition of words and phrases serves to shape the structure of the story, and the use of words makes the language a special feature and presents it in a new way. The ironic speech of the characters, which has a different meaning beyond their appearance and the symbolic nature of the characters are obvious ways to convey the depth of the story. The rhythm of the sentences and the syntax of the author's words help to convey what he wants to say. The sentences are sometimes orderly and sometimes chaotic and confused, sometimes vague and sometimes clear, and they affect the form of story narration. Discussion of Results and ConclusionThe method used by Bahram Sadeghi to narrate the story of Trench and empty Thermoses is innovative. As an author, he tries to reduce the distance between himself and the audience and becomes the narrator in the text in order to minimize the channels of communication between the author and the reader. With this attitude, humor finds a special place in Sadeghi's stories because in his story-writing style, the narrator openly shows his presence in his story. In addition to bringing humor to the field of narration, Sadeghi uses this tool to reveal the bitter realities of the characters' outer world and their inner world. For this purpose, he gives signs in the structure of his story and forces the reader to reflect on discovering these signs and understanding the deep structure of the story.The deep structure of the story is based on the repetitive and monotonous life of the characters in the story and is shown in the narrative structure by using signs within the text. This cycle of repetition continues and leads to frequent distance from which it is unthinkable for them to withdraw. The narrator also uses symbols to expand this deep structure. Trench and Thermoses are among the symbols that are mentioned at the beginning of the story, and at the end, they are deciphered by the link they create with the title of the story. Mr. Kambojie (a character in the story) considers the bastion (trench) as the bastion of life, where he has been living for years, and runs away to the corner with a few flasks empty of hope. His long stay in the bastion of life has made his existence duplicate and he tries to escape from this duplicate existence.

Among the Persian literary texts, there are seven prose romances that relate to different historical periods. The time difference in the narrative of each romance, the large volume and the geographic extent of these texts, has diversified their structure; this diversity and difference in the way the narratives of the romance have been closely related to the intellectual and cultural developments in the Iranian society; Nevertheless, a fixed pattern is preserved in the mythical structure of the romance. In this article, based on the model of Levi Strauss structuralism, we extracted the minima of the narrative of Persian prose romances and studied their structure. The findings of the research show that the main structure of these texts is based on the initiation ceremony or recognition of the heroism.  The hero with a motive, which is generally sought after by a beloved, goes away from home and runs a long journey with enduring hardship; difficult tests and ultimately return home with victory over enemies and obtaining desires.  By comparative study of stories, it is possible to rebuild their deep structure, a desire for immortality and perfection.

Among the literary texts of Persian, there are ten poems called Vis and Ramin by Fakhruddin Ass'ad Gurgani; Khosrow and Shirin, Haft paykar, Sharafnameh and Eghbalnameh by Nezami Ganjavi; Gol and Nowrooz, Homay and Homayoun Khwaju Kermani; Jamshid and Khorshid by Salman Savoji; Bahram and Golandam by Amin al-Din Safi and Homayname which has features of the literary type of romance. In this paper, based on the model of Claude Lévi-Strauss structuralism, we extracted the minima of the narrative of Persian verse romances and studied their structure.
In the narrative structure of Persian verse romances, the common minima have always been repeated. The first step for understanding deep-structure the stories is to explain the structure of their narrative. Based on the existence of dual oppositions in the structure of these romances, the main elements of the structure of stories can be extracted. These elements are Mytheme that stories structure based on them. From the stroke of the stories mentioned above, six narrative minima can be extracted: 1) The hero sees science and martial arts. 2) The hero, loves a beautiful girl. 3) The hero travels to gain the demands. 4) The hero for gaining demands, tests or quests. 5) The hero receives a reward. 6) The hero returns to his homeland. As Strauss extracted the Mythemes on a sentence scale, these elements are also in the form of a sentence, which can generally be summarized in single words; the elements of "education, love, travel, test, reward, return."
According to the aforementioned minerals, the main structure of the Persian verse romances is based on the initiation or the achievement of the championship. Initiation and traditions of encouragement and passing on a series of ceremonies and rituals and oral education, the purpose of which is to create a fundamental and decisive transformation in the religious and social status of a person who is mysterious, overlooked or strangled. In Persian verse romances, the hero with a motive that is generally sought after by a beloved goes away from home and takes a long journey with all kinds of hardships; Tests are difficult to survive and eventually return home with victory over enemies and obtaining desires. These propositions are the structural elements that illuminate the original structure of the romances based on the pattern of pagan rituals. In this template, the hero goes away from the community, while at the same time differs from his previous state of affairs, in order to achieve perfection and change his religious and social status. The findings of this research show that the use of an initiation structure in the narration of Persian verse romances is due to the importance of extra-family marriages in deep-structure these stories.

Hakim Ferdowsi's Shahnameh has been always the focus of attention by Kurdish-speakers. This issue has encouraged Kurdish poets to compose epopees in Kurdish due to the style of Ferdowsi's Shahnameh. The epopees named Kurdish Shahnameh available in Kurdish Goorani dialect are not totally abstracted from Ferdowsi's Shahnameh, but they have some famous stories, characteristics and poetic formats and even epic and heroic nature in common with Ferdowsi original work. Studies have revealed that the narrated stories in Kurdish Shahnameh are in accordance with the stories narrated in narrative cliques and the content of narrator's scroll. Narrating epic stories in narrative and story-telling cliques have directly influenced on the Kurdish poets. It also has made Kurdish Shahnameh like narrator's narration, influenced by the oeuvre's contemporary needs, mixed with Islamic themes being careless about word superficial features.