جستجوی مقالات مرتبط با کلیدواژه « ساختار روایی » در نشریات گروه « ادبیات و زبان ها »

Scholars of mystical poetry believe that a great number of Persian mystical Mathnavīs, especially the three wonderful works of Persian literature, namely Sanai’s Ḥadīqah al-Ḥaqīqah, ʿAttar’s Manṭiq al-Ṭayr and Mowlana’s Mathnavī Maʿnavī, have a common narrative structure based on their main plot and design. However, the Ilāhī Nāmah, Manṭiq al-Ṭayr and Muṣībat Nāmah of ʿAttar, which are considered as spiritual travelogues, in addition to having a main plot, benefit from different micro-narrative structures. In the present research, adopting a descriptive-analytical method and narratological approach, the goal of which is to discover a comprehensive model of narration, attempt has been made to decipher the anecdotes-allegories and their main function by exploring the narrative structures of the three Mathnavīs mentioned above. We came to the conclusion that ʿAttar, in addition to the unity-plurality structure based on the main design of these Mathnavīs, has also deployed the narrative structure of travelogues, the Arabian Nights and the Holy Scriptures. The main secret of his anecdotes-allegories is that he measures the history of his time with the narrative pattern of the history of prophets and does not refer to the historical events of his time.

Folk tales are one of the literary genres that is derived from an ancient tradition in storytelling in which the storyteller uses various categories in order to entertain, character, spirits and aspirations of the Iranian people. And also depict their social history. The two popular and readable folk tales of Darabnameh, Tartousi and Bakhtiarnameh of Daghayeghi Marvzi, are this kind. Whereas long folk tales have a high research capacity; The present study is dedicated to examining and comparing the narrative and content structure of these two stories. In this research, which has been done analytically-descriptively and using library studies, after reviewing and analyzing the validity and content of the two works, it has been obtained that the narrative structure of Darabnameh is more robust and attractive than that of Bakhtiarnameh. Enjoys. Also, in terms of content, Darabnameh is the presence of the golden and ancient culture of Iran, but in Bakhtiarnameh, we are mostly dealing with Islamic culture.

The element of a significant place of residence. Elements of The element of place is one of the most important elements of the narrative, which has various forms. This element has a dialectic in some narrations, including the narration of the Palestinian captives, and its effect on other narrative structures is obvious. One of these narratives is the narration of Al-Shattat by Rafat Hamdoneh, a contemporary Palestinian writer who cries out about the plight of prisoners in Israeli prisons and their dire social conditions. What makes this narrative unique is the character of Rafat Hamdoneh, who was himself a prisoner, understood prison and was able to portray it in a desirable way. In narration, there is a kind of dialectic between place and self that affects the structural elements of the narrative and plays an important role in shaping the structure of the narrative. Therefore, in this research, an attempt has been made to study the dialectic of place and self, and its effect on the narrative structures of "Al-Shattat" by Hamdoneh, by descriptive-analytical method. The findings of the research indicate that the description of the place in the narration of "Al-Shattat" is the expression of experience, sufferings, problems of the narrator and the characters who lived in the forced place (prison) and in open places (war).This dialectic runs from the beginning of time to the end of the narrative and has created a kind of retrospective and futuristic timelessness and has influenced the personalities of the narrative.

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.

In Persian literature, for every work there is an ecstasy of body and texture, especially in fiction and poems, whether lyrical or epic or didactic and mystical, the poets of the poems have quoted the story, equal to that body and structure. The external and internal aspects of the poems, which can be named as the structure and texture of the story, are different according to the artistic taste of the poet, especially in the texture of the poems, which regulates the relations of the components, The Art of the Poet. Of course, the literary type of the work also has an effect on the internal structure of the work, which we called it "texture". For example, the context of Ferdowsi's Shahnameh or Nezami’s Khosrow and Shirin, or Attar’s Manteq al-Tair, differs from one another, although it may be somewhat the same as the construction of the preface or the ending, or the beginning or the end compose. In this discourse, the authors try to examine the exterior and the inner texture of the love story of "Nell and Daman of Feizi Dakani" with a (descriptive-analytical) method.

Each narrative structure includes some actions. These actions use many valuable links. Now, how in persian & Arabic Risalat Al-Teyrs, these actions can create value. It seems that in Risalat Al-Teyrs, different values are created under the influence of different actions & are compatible with the narrative structure. Investigations using descriptive-analytical, libertarian tool & constructivism approaches (the theory of syntactic representation by Todorov) & semiotic (the system of value) show that actors makes contract before entering the unbalanced position. Then the actors enters the potency 1 & obtains the virtual values. In the next step, action happens. After action, actors enters potency 2 & obtains potential values. Then the actors enters a place that has emotional tension & can be the force to create new balanced position & leads to new ethic value. In the next step, actors enter a new position of balanced position & obtain new ethic value.  Finally,  birds reach the object or separate from it in the following way: connection with object, eternal destruction & disunion from the object, conditional connection with the object, unknow union or disunion & turning subject in to the object. According to this, basic structure in Risalat Al-Teyrs is as follows: Journey_negotiation/ sermon/ preach_ searching for information & union.

Resistance literature has a history as long as human settlement on Earth, and resistance to the rebellious soul in the first Persian poems, which has appeared in the form of educational literature, is a form of resistance literature. The ancient literature of resistance, which is manifested in the form of educational literature, depicts the stability of man against the soul (internal enemy) and has its own narrative grammar (poetic structure), but the concept of resistance over time and based on the situation of human beings and their resistance against the invading foreign enemies is manifested in another genre called resistance literature with a different structure, so that elements such as temporal position, audience position, type of genre, etc. have been involved in the formation of these two structures. The present study has been done in a descriptive-analytical manner, using library resources to examine the effective narrative elements in the evolution of the structure of resistance literature in both educational and resistance genres. The results of the present study has shown that although the concept of resistance literature in both perspectives -old and new- means endurance, but elements such as: 'position of the narrator', 'type of enemy', 'concept of message', 'position of time', 'different themes' and 'type of genre' have created differences in the formation and separation of the structure of resistance literature in the two genres.

Following Prop, structuralists attempted to present an overall model in creating different narrative in the 20th century. In this field, A. J. Greimas—the most popular narrative theorist—went beyond the limited studies of Prop, and presented his action model and his narrative chains. By doing so, he attempted to reach to the general principles of the narratives language and to analyze each narrative based on a specific narrative structure. He created his action model in a way that it can be adaptable which other narratives. Therefore, the aim of the present research is to study the narrative structure of Sandali dome story, as a sample of the amatory and lyrical poems based on Greimas theoryso This is the sixth story of the week and its narrator is the Lady of China in the sixth climate. we can analyze the structure of the original Plot using changes in statuses according to two-fold reciprocities, the narrative chains, and the action model of narratives.after analyzing the context, we concluded that Greimas's action model in analyzing the narrative of lyric poems of It is the change of situations based on the dual confrontation and the change of the process of action from one character to another, in which the story goes from an initial balanced state (beginning of the journey) to an unbalanced state by asking for Keir water from Shar. ) This situation changes until the Kurdish girl helps the shepherd and the shepherd completes his ascent towards the final balance (marrying a Kurdish girl, marrying a king and a minister, and sitting on the throne of Keir).

Nizami’s narration of Khosrow and Shirin is noteworthy for several points including the way these two characters meet each other, their tragic destinies despite the joyfulness of Persian romances, and the active role of Shirin. Therefore, to study the formation of the story and the tragic destinies of its characters, the article analyzes the structure of its narrative. The narration of Khosrow and Shirin begins with a complete sequence. This sequence forms two other major sequences, which are Khosrow’s efforts to gain the four desirables (Shirin, Royal throne, Shabdiz, and Barbad) and Shirin’s efforts to gain Khosrow. The sequences of the narrative are cycles of the change of situation from the stable to the unstable; actions and reactions of the auxiliary and opposing forces have a vital role in changing the situation. Each sequence begins with a change from a balanced state to an unbalanced one and ends with the possibility of transformation and, ultimately, the materialization of transformation. At the end of the narrative, because of the narrator’s belief that worldly blessings are unstable, these desirable transformations are lost and there is no sign of permanent achievement whatsoever.

Sa'di's Golestan is one of the most important works of Persian prose that there is no single coherent view of its typology but most scholars have spoken about the impact of Maqameh on its style and this has contributed to the research Golestan. This article is an attempt to know the typology of Sa'di's Golestan common error correction which counts Golestan as an imitation of Arabic Maqameh writing style. For this purpose first comes the exact definition of Maqameh and its features in three levels of narrative structure, subject and theme and checks composition Maqameh Saadi's Golestan narratives of these aspects. The results show that Sa'di's Golestan has at all three levels obvious and fundamental differencesy, with Maqameh and for this reason, it can not be called Maqameh or spoke of the impact of Maqameh style in Sa'di's Golestan following the discussion, while expressing moral anecdotes, features show that Sa'di's Golestan is a collection of moral tales which is different from the traditional prototype of this type of story.

In a general definition, Intertextuality is a term that has refered to the relationship between texts. Not only, in the era of postmodern the intertextuality doesn't simply mean the interplay of each other texts, But also it has an unbreakable bond with the other features of postmodern texts such as uncertainty, relativism, disordered time, paranoia, and criticism of the past and so. The article, whit the goal of the representation of intertextuality impact in the narrative of postmodern works, has analyzed its relationship to other features of postmodern texts in the novle of Suge moghan by Mohammad ali Aolumi. The present study shows That the conscious and unconscious stream of Narrator's mind in the historical, mythical and oral intertextuality, has created a postmodern narrative of the terrifying world in which has lived it. Therefore Intertextuality in the novel, has led to break and crumble of grand narratives such as the Shahnameh, polyphony, lack of knowledge of the universe, lack of representation of reality, etc.

In storytelling, the events of the story are driven by a cause and effect relationship, and go to a certain point. By studying the narrative structure of a work, its concepts and deep-structure can be identified. William Labov and Joshua Waletzky, theorists of narrative structure, believe that oral narratives have their own principles and criteria; they propose a structure for oral narratives. According to the Labov, a narrative consists of six principal parts: an abstract, an orientation, the complicating action, the result or resolution of the action, a final coda to close the story, the evaluation. The present article tries to examine the story of Pire Changi (the Harpist) in Masnavi of Manavi based on the narrative model of Labov and Waletzky. The results of the research show that Masnavi, despite being an old book, can be adapted to modern theories (including theory of Labov and Waletzky), and the evaluation, as the most important part of this theory, exists in free (independent) narrative clauses.

Sa’di, famous poet of 7th century AH, was known not only for his valuable books: Boostan and Golestan, but also mostly for very beautiful and lovely Lyrics. Content of his poems were rich and full of public culture. One of the most important and outstanding point in his poem is his verbal artistic usage. (Shamshirgarha, 2009:123). Simplicity and fluency of language, being both simple and impossible simultaneously, also his beautiful contents of lyrics has made him famous for general and specific audience.(Khalili Jahantigh et al, 2010:81). Sa’di in Golestan and Boostan shows his proficiency in narration, and describing Pleasant and lovely content in Lyrics. Also there are signs of narrative elements. A narrative poem is the oldest one and narrate a historical event or story (Da’d, 1996: 185). Usually, Masnavi style is used for narrating stories and events but narration in other poem styles such as lyric can be seen.
At the beginning, narrative lyric started in Roodaki’s poems. In other words he , as father of Persian poem, was the origin of narrative lyrics. More developed type of narrative lyrics in each structures (description, narration and dialogue) was observed in poems of Sa’di, Attar, Molavi and Hafez which any of these poets improve it in context and style (lovely, mystical, lovely-mystical) to its top level. (Roohani and Mansouri, 2007:33). Totally, one can say that a narrative lyric is a lyrics follow a specific form and geometry which define as introduction, body and conclusion and poet describe a short event through these part (Heidari, 2007: 33) In fact, poet like a novel writer represent an event or narrate an accident. He sometimes describes himself, sometimes his beloved and her beauties for audience and sometimes talks with other beloved or person and narrates at the same time. Since in Sa’di’s Lyrics, both self-describing and describing beloved characteristics can be seen, this research tries to answer questions such as : which narrative elements are observed in Sa’di’s Lyrics and what patterns does he follows?
Research The research method is based on descriptive-analytical one with a narratology attitude. Data gathering was in library form which was analyzed via Content analysis method. Ghazaliat was the research domain and after separating lyric-stories, narration patterns and structures were studied.
The inclusion of all the narrations of Sa’di’s lyrics in a collaborative model is very difficult and somewhat impossible. But several narratives - which are more similar to each other - can be put together in a single category and show a common structure. Each narrative has three parts: one is the initial state, which is usually descriptive, in which it introduces individuals or the narrative environment. This section can be appreciated and not referred to. The second part of the incident or the main events is based on the basis of the narration of the ghazal. The third part is the result of story and narration (Gravel, 2009: 91), which is also the basis for the study of ghazals. Accordingly, there are three common patterns or structures in most of Sa’di’s lyrics.
The first pattern: Anecdote
In this template, the poet speaks an adventure or defines an anecdote. Since the format of the ghazal is confined to the limitations of the verses, sometimes the poet refers to the events he uses, such as the ghazall 156, which refers to love stories in the first to fourth episodes, and then the story of his love.
Pattern two: Descriptive
In this model, the focus of the events is on description or description. In fact, the description of the circumstances, characteristics, and status of a person are expressed or described by the states and merits of the beloved. The poet may also describe something other than himself and his beloved; the description may be either living or inanimate, but in any case the poet describes his condition, condition and condition. Like the lyric 80, which is the name of the beloved.
Pattern Three: Addressed
Many of Sadi's lyrics are based on the message. In this pattern, the narrator addresses a person and speaks to him. Of course, in Sadi's poem, usually a two-way conversation is not formed, and only a short word can be exchanged. The narrative ghosts in which the poet explicitly places his lover from the beginning to the end of the lyrics, falls into this category. In these kinds of ghosts, a lover's response may not be given to the beloved, but these ghazals make the reader more audiences than other narrating ghosts. The lyrics 573 are an example of the lyrics Sadi addresses at the beginning of the claim of love, and then he speaks with the beloved. Beloved at the end of the lyrics has a short answer for him.
This research, which was carried out with the aim of investigating the narrative structure of Sa’di’s lyrics, shows that the narrations are lacidly placed in Sa’di’s lyrics, and Sadi's goal in the narrative ghazal has not been specifically understood, but because he is fully familiar with the narrative structure, Sometimes it also uses this ability in its lyrics.
As for the use of narrative elements in Sa’di’s narrating narratives, it can be said that the script is not impressive in Sa’di’s poetry, but the description of the time and place of the event is confined to a narrow and limited extent, for example by expressing words such as the shower, the Dawn, today and the morning to time, and with The use of words such as home, market, desert, meadow, and golzar refers to the place of events, which are often public places. The angle of sight in Sadi's lyrics is more pronounced in the form of an externality, and sometimes also variable, and we encounter a rotational angle of view, for example, with a third person's narration and in the middle of the first person. Most importantly, there are a variety of personalities in the hands of Sa’di’s lyrics. The characters of Sa’di’s narratives are more loved and beloved, but sometimes there are characters like rival, enemy, jealous, and so on. Sadi's narrative narrative, like his other lyrics, is more romantic, and the beloved - who is usually the complementary character of his lyrics - is the liveliest of the earth.
totally, it is possible to show three patterns among Sadi's narrators: addressing, narratives and descriptions. In many of his ghosts, he addresses his beloved or himself. The conversation in Sa’di’s lyrics is usually short and does not exceed a few bits. In some of Sadi's narrative lyrics, there is an accident or story that is sometimes accompanied by Talmih. Describing a meeting with a beloved and describing his or her beauty, his own self, or beloved, and the description of the grief of seperation are among the other patterns that are evident among Sadi's lyrics. Of course, it must be emphasized that Sa’di’s tendency toward romantic themes and the expression of feelings and emotions that he had overcome at the moment led him more towards expressing his own narrative, as well as the narrative of beloved qualities and circumstances.

In some cases, mystical poets have taken advantage of epic concepts, motifs, and sometimes symbols in order to express their inner states and revelations to their audiences. Sometimes, this barrowing is evident enough to make the audience believe that the poet had an epic text in mind, as in Mantegh-al-Tair, Attar had some works of epic literature, like Shahnameh, in mind. These similarities, on the one hand, and the recognition of a rather new subgenre of epic literature, i.e., mystical epic, on the other hand, as well as the theme of the hero’s journeys and their almost similar stages motivated a comparative study of similarities, as in the narrative structure, and common motifs in Attar’s Mantegh-al-Tair and Homer’s Odyssey. Comparing the two works, the following results were given: a) There are considerable similarities in their narrative structures. b) They have numerous common motifs in them. c) The hero’s journey archetype, as considered by Joseph Campbell, and its three main phases are evident in them.

In this paper about the story, novel, multidimensional, and its polyphonic, point of view, narratee, the narrator, the author implied, characterization, and narrative structure of the novel and its theorists such as Bakhtin, Robert Scholes, Christophe balayi, Raman Selden Peter Vydvsvn've and Pirro Zima learned. In a review of text and discourse analysis in the formation of narrative character, status changes, dialogue, setting, and other components of story and narrative ideas, Tezotan Todorov, Michael Tulane also have benefited. The story of "pire Changi" Jalaluddin Rumi on the basis of narrative structure, reviewing, criticism and interpreted. Rumi plan and plot of the story, the story implied narrative (based on Islamic documents) used and try to rebuild their symbolic thoughts and ideas, thought and mysticism situation that he was in the world, has outlined. "The old bard fighting" form the core of the story. System reliability in this novel, the narrative tension and instability in the text there is on the old bard and poet forms the core of the theory and idea.
The main purpose of research, review, cash and text interpretation "pire Changi" is based on narratology and structure of the novel. Like "Pire Changi" is a novel and narrative structure.