جستجوی مقالات مرتبط با کلیدواژه « جریان سیال ذهن » در نشریات گروه « ادبیات و زبان ها »

Stream of consciousness is a modern stunt in narration. Rather than recounting the events of a story, the narrator records the thoughts and feelings of a character exactly at the same moment they occur to him or her. The reader can, thus, share the mental experiences of the characters and take part in the creation of the story. This study aims at the parameters involved in the stream of consciousness with a focus on the novel Al-Khaefoun (Cowards) by Dima Wannous. It seeks to show how this phenomenon contributes to associations in the mind of the modern man, how various the narrative techniques are in the novel, and which of those techniques is the most functional. The results show that the characters of the novel speak their minds out through soliloquy, and internal soliloquy is the most commonly used. found that the events of the story are narrated in no logical order, and the overuse of poetic features has given the text a poetic rather than a prose entity. Furthermore, there are considerable references to associations, which serve to link the soliloquies. The novel is beset with ambiguities all through. This is exacerbated by the lack of logical order, dreams, and the quasi-poetic nature of the text. The author has benefited from different techniques of stream of consciousness, especially association and soliloquy, to depict the events before and after the Syrian civil war, sectarianism, the panic that has seized the people and the lack of order in the Syrian society.

In the 19th century, realism became the recommended and popular style of writers due to the seemingly accurate visions of the advancing capitalist life. Balzac's revolutionary views on narrative detail did not last long, and writers changed the conventional boundaries of his "primitive realism" in the modern era to combat the repetitive and dull aspects of description. With the theory of habituation and defamiliarization for innovation, they took a big step in the description technique in writing (Fowler, 2015, p. 85). In the field of using narrative elements in the works written in a realistic style, the author created a non-linear way by twisting time and emphasizing serious facts through the fluid flow of the mind. In this way, a suitable platform was provided for the reader to actively participate in creating the image of the story. In most of the non-linear narratives, the author tries to break the parallel lines of the narrative and take the reader's curious mind to the hidden corners of the causal logic of the images in order to provide a multifaceted space to discover the margins and contexts of the events and actions of the characters. In addition to that, new elements in the story routine and the text routine called anachronies emerged through flash forward and flash back, the intertwining of imagination and reality and other innovations in the narrative of the story, so that the scope of transformation to expand the species of Realism. The story "I don't love Afsaneh " written by Maryam Moeini has three intertwined narratives. In the first narration, Muhammad Ali and his family go to his aunt's house to propose to her and hear a negative answer. The second story is related to Farvardin 1367 and the fall of Faw. This city was conquered by the Iranian forces in 1364, Mohammad Ali was one of the forces that came from Faw to the coast of Arvandroud during the retreat of the Iranian forces in 1367, but he was injured and took shelter in the middle of a swamp with piles of reeds for 45 days. . In the city, they hold a ceremony for him as a missing body. Muhammad Ali resists by eating palm leaves and flowers. Finally, he decides to bring himself to Iran with a depreciated float. The third part of the story begins with entering his front and how the commanders faced him with hesitation. After the opacity and doubts that arose, people's acceptance of him adds to the suspense of the story, but still the legend and then people avoid him by calling Muhammad Ali crazy.

Non-linear realism, unlike realism, seeks the knowledge of the world within the human being, so the narrative world and its actions become more visible in the novel by intertwining time and emphasizing facts through the fluid flow of the mind. In this research, the long story "I don't love Afsaneh " written by Maryam Moeini has been analyzed in terms of the application of the components of non-linear realism. The plot of this long story is located in the historical background, but the author creates a multifaceted space and provides the conditions to discover non-realistic margins and contexts. In the continuation of the research, the most important methods of non-linear realism such as: creating nested layers through the fluid flow of the mind Polyphony, sidelining of history in favor of story, change of descriptive pause, creation of suspenseful semantic layers and open ending have been investigated.

The school of realism in literature has presented many types of narration. The dominant feature of this school's tools in reflecting reality and "reaching life experiences" is the honest expression of issues, the linear sequence of events, and the expression of an impersonal and objective view of the characters of the lower class of society. The realist writer tries to convey real experiences to the reader and for this purpose describes the details of people and behaviors (Daad, 2008, p. 257). The maximum presence to understand the relationships of the world and human problems was the main concern of the school of realism. "In realist novels, the most important condition of realism for the subject is that it is not trivial, that is, it is among vital issues. The realist writer always deals with issues that affect the public. So-called, it is considered the role of time" (Parham, 1974, p. 47). Of course, apart from understanding the problem, expressing or narrating the findings also plays an essential role in the permanence of the vision or strategy of each school. Some of the most important techniques used in realist works are: nested layers in the narrative, avoiding long writing, trying to break the macro narrative and creating tension and relativity in the narrative, time breaks, engineered arrangement of time and creating suspenseful layers of meaning. The introduction of these methods - gradually - in realist works has helped pay attention to the rhythm of the narrative in the later periods. Some writers paid attention to these methods and created other parts in the quality of realist narratives. Gathering all or part of these methods in one work can be the basis for a transformation in the boundaries of knowledge in the field of realist narratives.

Non-linear realism is one of the new styles of story-writing, which by introducing modern and post-modern techniques, presents a realistic picture of human life today. The story "I don't love Afsaneh " is one of the long stories in the field of sacred defense, which, while emphasizing the narrative components of realism, has highlighted the non-linear narrative techniques with the break of the linear narrative. In this story, according to the historical background, the author has shown the inner relationships and mental actions in other layers of time and place. The character of the story is stuck in a threshold situation between Iranian and Iraqi forces for 45 days, but he goes forward and after the event with mental jumps. The combination of three narrative times has given the author the possibility to shape the discontinuity of time and narrative through the introduction of the second-person narrator with the meaningful arrangement of story layers. This method made the above-mentioned story, unlike post-modern stories, show a kind of narrative continuity and meaning within the framework of three diverse and different themes of love, war and exile. The tricks used in the story are narrated in such an internal and intrinsic way that while drawing the character's world, it also emphasizes the suspenseful and enigmatic side of the narrative, his feelings and emotions. At the end of the story, the superficial plot of the story is completed in a structural way, but the human plot remains open so that the reader can be placed in the text of the story and along its emotional lines with his own perception.

In each of his works, Abbas Maroufi has considered the social, political, and historical conditions of the society by considering one of the social classes, and through this, he has challenged the situation of the society with a critical point of view combined with humor and elaboration. The "intellectual" class, women "victims and surrender" and "exiles" are among the groups that play the main characters in the three novels "Symphony of the Dead", "Year of the Riot" and "Totally Special". "Man" and "His Concerns" are the main focus of famous novels, and his main way of processing his fictional characters is to "look back" and "childhood" of the characters in order to examine the problems, internal conflicts, and pay attention to their disorders. The novel "Symphony of the Dead" can be considered a new interpretation of the story of Abel and Cain with a surrealist atmosphere that examines the social, political, and historical conditions of Iranian intellectuals at that historical period. The novel "Year of Rebellion" is a narrative of violence and coercion that has been noticed by women throughout history, and Nosha, as a character who represents women in society, is a "victim and surrender" character who does not give up to save herself and surrenders to forced marriage. The novel "Totally Special" is also a story about the life of Abbas Irani, an exiled journalist who is forced to emigrate from Iran to Germany. In this work, the author has included various aspects of his biological experiences. This research tries in a descriptive-analytical way to answer the question that what are the most important components of modernism in Abbas Maroufi's "human-centered" novels? The findings indicate that "tendency to the world within the characters", "fluid flow of the mind", "internal conflict", "rejection of the narrative method in the novel" and "different way of characterization" are the most important components. The manifestations of modernism are in the novels in question.

“The Year of the Riot” is a novel based on the Stream of Consciousness that does not have a Regular Chronological Order, and a Reader Needs to Gather the Information that is Scattered in the Story in Order to Complete the events. In the Present study, Using Gerard Genette's Theory, the Narrative time of the Novel and its Relationship with the Element of "Suspension" was Investigated. The Results Show that a Retrospective Quality is often Used to Describe Past events and their Causal Relationship, and Futurism and Futurism has also led to Suspense in the Story. Due to the Use of Multiple Sub-Stories and Descriptive delay, the Speed of the Story Comes to be Negative. Sub-Stories in the Novel Studied in this Research have Functions such as Allegory, Ambiguity in Time and Place, and the creation of a Stream of Consciousness. The Descriptions in the Text of the Story are Applied to Characterize and Describe a Specific Time and Place. In Regard to Frequency, it can be Said that the most Frequent is “the smell of soil” that the Narrator Mentions Throughout the Novel.

Modernism is one of the most important schools of contemporary fiction. The most important point of differentiation of modernism from previous schools, especially realism and naturalism, is crawling in the inner world. Instead of narrating external events, the author of modernism observes and displays the psychological developments of the main character of the story. Converts memories. In this article, the most important modernist techniques in the collection of stories "samte tarike kalemat" by Hossein Sanapour are examined and analyzed.

The research method in this article is descriptive-analytical and the data are collected as libraries and then analyzed using content analysis technique.

Modernism as a way of thinking and school, by changing the philosophy and content of literature, created a new perspective and worldview and introduced a new world to human beings. The relativism of reality, the originality of the individual, the change in moral principles, and the spread of absurdity were among the most prominent views of modernism that found their way into literature. In addition, the change in narrative elements and different narrative styles was another change in modern literature. Modernism, in turn, influenced Iranian writers and created works in this field. The flow of modern fiction in Iran was formed in the late sixties.

In the story series "samte tarike kalemat", the author is very interested in breaking the chronological order of the event and one-line narration is rarely seen in it. They have taken advantage of the break in the story. Narrative breaks are sometimes made through quotations or chapters, and sometimes the result of the narrator's mental illness or mental flow is associated with his meanings. The rupture in the narrations sometimes has a fast process using mental and delusional flow and sometimes its process is slow and calm based on the association of meanings. Ambiguity in this collection of stories is a delicate category; It has caused ambiguity in the stories.

The new novel is an important current in novel writing that goes beyond traditional novel writing and discards everything related to tradition and past from content and structure. Although it did not last more than three decades, it had lasting effects, and many of the novels that emerged after that were far removed from the classic novel. Fluid flow of the mind is one of the most important aspects of the novel, and it expresses the inner feelings, thoughts, and mentalities of the characters or characters of the story in the form of an unorganized and seemingly non-existent event. The purpose and the specific cause are intertwined, and sometimes by disrupting the logical order of the elements of the story, for example, by language or by breaking syntactic rules. In Iran, Bahram Sadeghi is the first person to write a new novel with "Kingdom" and use the fluid flow of the mind in it. After him, Houshang Golshiri wrote in this way and in the two novels "Prince of Ehtejab" and then "Mirrors of the Door" he used this method in the best way and perhaps it can be said that no one after him could write a new novel like him and the fluidity of mind He used it creatively and derived from the Iranian literary tradition and mixing it with the new Western style

Time, as one of the main elements of literary criticism and novels, can be examined from different perspectives. Georges Poulet (1902-1999) is one of the theorists who, by emphasizing the importance of the element of time, based on images and narrative space, deals with the author's understanding of time. With the help of the author's illustration in the story, the effective time dimensions in creating the character and advancing the narrative, he intends to make acquaint us with the dominant space of the story in order to achieve a different perception of the text through space analysis. Ahmad Mahmoud is one of the prominent contemporary writers whose works show the importance of the element of time and their related components in creating narrative, character and narrative atmosphere. The use of the stream of consciousness in Dastane yek shahr Novel, the narration of events in a bed of time and space, and the successive creation of space under the influence of associations and time discontinuities, made this novel descriptive-analytical and with emphasis on criticism. Let's examine the theme of Georges Poulet. The result of this study shows that the constant change of story time between present and past, long-term narration of the past through the lens of limited moments of the present, confrontation of mental time and objective time and representation of the inner layers of the narrator's mind, using association frequent shifts, intermittent shifts in time and space are all features of the stream of consciousness in this novel.

The stream of consciousness is a new and complicated writing method which makes comprehension difficult for the readers of both the source and the target text. The present study aimed to reveal problems related to comprehending and translating stream-of-consciousness texts by examining William Faulkner's The Sound and the Fury and its Persian translation entitled "خشم و هیاهو", by Saleh Hosseini. This entailed detecting difficulties in comprehending the source text, evaluating how the translator has overcome them, and finding the problems which target readers might face. The major issues are time discrepancy in the first chapter and comprehension issues in the second chapter of The Sound and the Fury. The narration flow in a classic story is linear: A happens then B, namely there is not much to challenge the readers’ mind. However, in Benjy’s chapter, the reader encounters lots of new things. Benjy narrates the first chapter by associations, which means while walking around, he sees objects and each object revives a lot of memories for him. The clever idea is that because he is an imbecile, he does not know that his memories are not part of here and now; and this makes the reader confused. The beauty of the story is that the reader feels incapacitated by what happens in the story. The unique sense of being an imbecile not by saying it but by feeling it happens in the steam of consciousness created through the great genius of a writer like Faulkner.

As the main element of the imagination, association plays an important role in creating a variety of poetic images. vaez Qazvini is a pictorial poet who, with the help of this element, takes a step in imagining pristine and imaginative creations. He tries to classify the fluid flow of the mind, which is the association of communication, beyond the seemingly scattered monologues and flow of the mind, and in the connection between images and thoughts, between the different layers of the mind. vaez, due to his careful and thoughtful thinking in composing poems, exposes the amount of associations that he has included in his poems through images, imagination, and figures of speech. He has also used a variety of industries to create new themes and concepts, according to the memories he has in mind. The present article seeks to express the free and dreamy association of the poet's mind. It also expresses the influence of innovation through proximity or similarity in the leading figures of speech in the Qazvin’s poems and how the poet benefits from it

The stream of consciousness is a kind of direct monologue in the novel, it includes many changes, fluctuations, flow and interaction between the past and the present. It means the continuous flow of ideas into the mind or the flow of thought internally and mentally. Therefore, the sentences of the awareness stream are often fragmented and the ideas of their characters are not connected. This is what we want to study in our current research. Our approach followed in this research is descriptive analytical approach, we write of narration, time, and poetic language in the novel “Falling in the Sun” as classified in the theory of the stream of consciousness. This novel is a social and romantic novel based on the philosophy of love, sacrifice and waiting. Here we conclude the summary with the most important results obtained: If we were to enter the novel, We will find the sources of women’s frustration, oppression and failure, When the novelist presented an important turning point in the issue of feminist narration and this is represented in the Direct internal dialogue, and he removes Shaalan from the novel, Besides the self-talk, assuming the other is constantly present, also we have the association of meanings and a departure from the linear logic of time and the sequence of events for access the montage language and the poetic language is also evident in the novel. This research is essential, because it examines new patterns in the Arabic novel.

In this article, we consider the most important trait stile in the Bastani Parizi word. Current history scientists and historians acknowledge that Dr. Bastani Parizi had a unique technique in writting history its result is the attractiveness and popularity of his books and promotion of the study of history among various classes of society. However, despite the fact that many worthwhile works have been made, it is almost unknown to the students of facultative literature, and because of his many books and articles he has been carrying a pioneer order, his style needs to be examined. The purpose of this article is the introduction of the late Bastani Parizi as a master of the style. For this purpose, while expressing some of his important style features, Examples are listed for them. The most important of them is satire, Allegory, Simile, Archaism, easy and impossible, humanism historiography, Fiction technique with stream of consciousness. The most important and the usable of these Technique is satire. The most important role is in the delight and charm of the word. Subsequently, the use of Shiism and knowledge has been addressed, which performs the role of representation, description, guidance and punishment together and sometimes with the humor.  Also, the easy and impossible way in narrative of history and selection of fictional forms, along with using the stream of consciousness, inspired his prose, and eventually, Using the archeological part, it stimulates the sense of nostalgia and renews the reader's memories.

The fundamental indices of stream of consciousness in Arabic literature stretch back to a long time ago and appear to have been originated from a number of classic texts including “Hayy ibn Yaqdhan” by Avicenna, “Hayy ibn Yaqdhan” by Ibn Tufail, “Resalat Al-Ghufran” by Al-Maʿarri, and “Tawaba’a o Zavaba’a” by Ibn Shuhaid Andelosi. They have continued to date in novels written by Taha Hussain, Taqfiq Hakim, and Najib Mahfouz as well as stories by Gibran Khalil Gibran, poems by the poets of the Tammuz School, and fictional poems by Adonis, particularly in his “Qasayad Kolliyah”.
The main purpose of the study was to examine inquiries and research on reading poetic manifestations of stream of consciousness in Arabic literature along with the lack of research-based papers on the subject. In fact, research on stream of consciousness in the Arabic literature did not seek to detect and retrieve the signs of the stream within the contexts of philosophy and psychology in most instances; these inquiries solely sufficed with contrasting a certain number of formal indices of the stream with texts of contemporary stories. Accordingly, it was considered necessary to conduct this study due to the absence of an academic or general inquiry on retrieving the signs of stream of consciousness in Arabic contemporary poetry, particularly Adonis’ “Qasidah Kolliyah”.

Theoretical Framework:

Initially, the present study attempts to explore origins and foundations of stream of consciousness in the West; to this end, first the history of the orientation towards mental reflection in the West’s fictional literature is represented. Then, the origins of the stream of consciousness method in the 20th century are provided in two dimensions including psychological and philosophical aspects, respectively. Next, the fundamental indices of stream of consciousness are presented in brief. As a conclusion, it is attempted to retrieve the theoretic emergence and the main constructs of stream of consciousness within the modern theory of contemporary Arabic poetry, i.e., Adonis’ “Qasidah Kolliyah”.

The present study attempts to recognize and uncover the clear signs of stream of consciousness in the most advanced and complex type of contemporary Arabic poetry, that is Adonis’ “Qasidah Kolliyah” based on description and analysis according to psychological criticism. Through retrieving the prominent constructs of stream of consciousness in Adonis’ “Qasidah Kolliyah”, this study seeks to provide answers to the following questions:
Given the emergence of stream of consciousness indices in contemporary Arabic fiction, from which type of Arabic modern poetry can the clear manifestation of the stream be retrieved?
What are the most prominent indices of stream of consciousness manifested in modern types of poetry?
The most prominent hypotheses posed as responses to the previous questions include: 1. within the world of poetry, the theoretical foundations of “stream of consciousness” can be retrieved in the area of poetry with respect to “the new theorization of Arabic poetry”, i.e. “Qasidah Kolliyah” which is in line with contemporary Arabic fiction as well. 2. the most prominent constructs and indices of stream of consciousness are clearly manifested in Adonis’ “Qasidah Kolliyah” including expression, text, plot, music, language as ambiguity and rhetorical devices, time and narrative.

According to the present study, “stream of consciousness” can be explained as a mental strip containing what is said and unsaid by the mind that are set free from the lawful, linear path of the real life; it passes through every barrier against the reckless storm of the unconscious mind. It also passes through the Aristotelian concept of time and his triple unities within the infinite river of time, sweeping over all types of calendars; similar to a flood that washes away everything in its path, consciousness is a narrative formed by moments, hours, days, months and seasons in the form of poetry and prose at a short, yet watchful moment using an ambiguous expression while employing a writing style linked to the unconscious. Accordingly, restricting such a mental stream when writing a “story” is a considerable disgrace towards figures such as Adonis who had stepped into this river where fresh waters pass through at every second.

Given the results, Adonis’ “Qasidah Kolliyah” is the first and purest example of the use of stream of consciousness in Arabic poetry, whether classic or contemporary; this was observed particularly in the third poetic section as a coherent whole and a conflicted diary in terms of new linguistic structures, integration of various types of soliloquy,  collocations and interference between time and place, mentioning the future and particularly the constant presence of the mental stream to observe and uncover within the dream world and the unconscious. This has also been proved by the style of writing as well as how punctuation marks are use across this work of poetry. Moreover, the footprints of James Joyce, Marcel Proust and Virginia Woolf’s beliefs regarding time and memories can clearly be observed in Adonis’ “Qasidah Kolliyah”.

At the beginning of the twentieth century, along with Freud and Jung's theories about human as well as World War, a new approach was formed about human and his mind, effect of which in literature can be considered as emergence of mind fluid flow. In this style - as a rebel in story writing - the author, unlike classical stories, tries to penetrate deep into their minds instead of addressing the appearance of characters, and narrate the story through the minds of characters. Ghassan Kanfani is one of the first pioneers of this genre in Arabic literature. Ghassan wrote the story Ela An Naoud "إلی ان نعود" in 1957, which penetrates deep into the unconscious during the course of self-awareness. The whole story is in progress in the minds of character and on the surface before word, and character mind is flowing between pleasant and unpleasant memories of past. This paper tries to investigate the fluid flow of mind in a descriptive-analytical way and show that Ghassan has selected the components of this genre, including internal dialogue, mental time, free thinking, cinematic techniques, and poetic language, etc., to reflect social realities.

One of the most successful works, in this respect, is Faulkner's Sound and Fury (1929) in which he follows the theory of relativity and ignores the linear conception of time. The major concern in this paper is to analyze the impact of Einstein's relativity on early twentieth novelist in general, and on Sound and Fury, in particular. This attitude found its way into literature and affected twentieth century novelists. Despite classical authors who viewed time from the outside and based on causal consequences, modern novelists distorted the time sequence and employed the stream of consciousness as a means of their narration. The Emergence of comparative literature bestowed to a great extent the democracy and justice to the world of doing research. One of its branches is interdisciplinary studies which deal with the mutual interactions among different sciences. Before the twentieth century, time was considered as one of the rigid criteria which was used to measure. By the advent of Einstein's theory of relativity, time was to be considered relatively.

“Shab-e Howl” is the only novel by Hormoz Shahdadi which employs stream of consciousness technique under the influence of intellectuals in post-Constitutional period. The author had previously published articles and short stories whose ideas and approaches can be traced in this novel. The naturalistic atmosphere of the novel is reflected in its dialogues, the characters’ behaviors and thoughts, and also the names of Western and contemporary Iranian writers mentioned in the work. In the meantime, the writer made use of stream of consciousness technique in the novel. Now the question is whether or not such a technique has anything to do with naturalistic thoughts. This paper initially addresses the roots of naturalism in the West and Iran, enumerating general naturalistic features of the novel. Then, it analyzes the impacts of stream of consciousness technique on the story’s development, pointing to opportunities and obstacles the writer faces following the employment of the technique along with textual evidence.

Stream of consciousness is a relatively new technique in writing fiction which was first used by writers such Dorothy Richardson, Virginia Woolf, and James Joycein their works. The main feature of this technique is presenting a stream of thoughts and subjective images, often without a certain structure and coherence.The plot of the fiction transcends the boundaries of a normal setting—time and place—and the reader can get a relative understanding of the text only through the words spoken by characters.This style of writing was welcomed in our country from the very beginning of modern story writingby writers such as Sadegh Hedayat, Sadegh Chubak and Hooshang Golshiri.In Mirrors with Cover Doors, Houshang Golshirihas employed stream of consciousness and specifically soliloquy—a literary device based on the free association of meanings—to depict the complexities of the characters’ personalities in the story and to penetrate deep into their thought.

Stream of consciousness is a way of dialogue that has become common since the Late Nineteenth and early Twentieth centuries in fiction and attracted the Attention of most literary figures to it. It is one of the ways of saying by which the narrator - Author - takes advantage of it to further his own stories and Adventures that are in the heroes’ mind, or the major hero is going to tell the Readers so that the content of the hero’s conscious or unconscious is thereby transferred to the reader.This article tries to study on a representation of colorful aspects of discourse in “Altanturya novel lasting effect Radwa Ashour” from the perspective of Stream of consciousness. It further explains how to use it and analyze the formation, and describes the world of characters and the surroundings that there are in his minds. It is concluded that the author has employed different methods for describing the thoughts and minds of the story character.. It is concerned with the highest level of awareness and the level of logical thinking. In this novel, stereotypes dominated the chaos and logical systems of events replaced time dispersion Radwa Ashour employs theatrical monologue in the narration of her story and at the end he realizes that the “Altanturya novel is not within the stream of consciousness, however, some think.

The stream of consciousness as a narrative mode is one of the most important specifications of modern novels. As an idea, this mode of storytelling has developed most effectively under the influence of Sigmund Freud and Karl Gustave Jung’s theories at the beginning of the last century. However, in literature, the stream of consciousness is, in fact, a narrative device which deals most of all with the subjective experi ences of characters. These experiences, in turn, consist of a mixture of perceptions, memories, fantasies, and associations in all sorts. As both a narrative mode and narrative device, the stream of consciousness has another device, namely the interior monologue, at its service, and does the practice of weaving an inconsis tent narrative with just a consistent end. In the meantime, what is expected from the reader is to put together all these scattered pieces to reconstruct the story for herself. Furthermore, it must be noted that time and how it represented and perceived, is a, if not simply the, key element in the stream of consciousness narra tive as a whole. So, the unique approach of the stream of consciousness toward time in its all manifestations is a pivotal element to understand it. Beyond its successful employment in modern literature, this narrative device also has been employing in ‘art films’ in varied forms. In modern Iran, the stream of consciousness appeared, firstly, in the literature but its effects on film can be traced back to movies as early as the 1960s. Thus, the intertwined nature of new wave of Iranian film and its association with the modern literature of Iran led those early filmmakers to experience with new narrative forms.