saghar maneshi

Classical narratology was mostly based on a biased reading of Plato’s The Republic and Aristotle’s Poetics, which considered mimesis as mimics and gestures in dramatic literature and diegesis as narration in novels and fiction. Through this perspective, the act of narrating and the presence of a narrator became the necessities for the texts being analyzed narratologically. However, the two terms mimesis and diegesis are much more complicated and the division is not that strict. In addition, although since the beginning, drama in Iran and Turkey has always been dependent on diegetic ways of narrating, after becoming familiar with the western drama by translating and adaptation, the writers in these two countries, started to adopt mimetic approaches. The first examples of this new journey are the Collected Dramatic Works of Mirza Fath-Ali Akhundzadeh by Iranian playwright Akhundzadeh written between 1850-1857 and The Wedding of the Poet by Ibrahim Sinasi in 1859, Turkey. This comparative study aims to analyze the narrative of the plays The Miser, a play from the collection, and The Wedding of the Poet through the framework of mimetic and diegetic narratology. Accordingly, these two plays both show relations to their ancestors and the diegetic characteristics are apparent in the plot, characterization and also, spatial-temporal aspects of these plays.

A great amount of the verses in the Holy Qoran deal with communicative correspondences, and are therefore good cases to be analyzed in terms of dramatic discourse. This article aims to study the different types of dialogue in general, and then studies dialogue as an important mode of discourse. Then, on the basis of the current theories in discourse analysis, it studies the story of the presence of the angles in Abraham's house, which takes place according to the verses 69-73 in Hud chapter, 51-58 in Hijr chapter, 31-32 in Ankabut chapter, and 24-34 in Zariyat chapter. The present article studies the turns of the dialogues, and their dramatic potentials to proceed the story. The article concludes that the interactions available in this story and its likes may be set well in the framework of dialogue analysis, and this approach can pave the way for better dramatic adaptations of the Holy Qoran.