جستجوی مقالات مرتبط با کلیدواژه « vladimir propp » در نشریات گروه « ادبیات و زبان ها »

This study aims to reveal the function of the main fictional character according to the method of Vladimir Prov, and to analyze her fictional role in the two novels (The Tanki) by Alia Mamdouh and (The casual Vacancy) by J.K. The novel expresses the main idea intended by the writer in his literary work. Then we compare all this to reveal the similarities and differences between the functions of the characters in both novels, based on a descriptive, analytical and comparative approach. The study seeks to identify the points of similarity and difference in a novel that sheds light on the social reality of Iraq, and another English novel that sheds light on the reality of British society. Despite the geographical distance between the Iraqi and British societies, and the environmental, cultural, linguistic, religious and historical differences, the human nature and feelings remain the same, but they differ in the way of thinking and the way of dealing; therefore, it is necessary to know all of this by analyzing the functions of the fictional characters. These similarities and differences depended on the nature of the social conditions resulting from the environment of both novelists, who employed them according to the nature of their reality and depending on the nature of the scenes they intended, under the mold of the nature of their specialization, which paved the way for them to enable them to diversify the characters and accurately chart their behavior.

Formalism is one of the schools of literary criticism that pays attention to the form of the literary work and played a major role in the creation of the theory of structuralism. The best field for formalist theories and structuralism is folk, folkloric and indigenous stories. According to the formalist point of view, all of these stories, while having variable characters, have specific and specific functions and actions. Weiss and Ramin's poem is also a romantic genre with variable characters and specific actions. In this article, an attempt is made to examine the motifs of Weiss and Ramin's story, based on Vladimir Propp's structural model, in order to understand the similarity of the actions of the characters of romantic stories in different forms of the story.

The research method in this article is descriptive-analytical and gathering information through studying, scanning and sampling library documents and databases.

Weiss and Ramin's system has ten suspensions, three climaxes and seventeen functions. The characters are divided into main and secondary categories, where Weiss and Ramin are among the main characters and Mobed, Shiro, Daye, Viro, Zard and Gol are among the secondary characters. From the perspective of prop division, there are seven roles in this system, which are divided into two groups of active and passive characters. Weiss and Ramin are among active actors, and Mobed and Gol are among passive, victim and productive actors.

Based on Vladimir Propp's model of structuralism, it can be concluded that in lyrical stories, even with the existence of different forms and multiplicity of characters, self-work, function and actions are limited and specific.

In his innovative theory, Russian folklorist Vladimir Propp examined the morphology of Russian folktales. Unlike former classifications of these stories which were mostly based on content and theme, Propp’s classification is based on the stories’ form and structure. He realized the first step in rectifying his hypothesis was recognizing and determining the fixed and variable elements of the stories. This article examines and analyzes the morphology of Sheikh Bahai’s Cat and Mouse which consists of several frame narratives and multilayered stories within stories so that this story is composed of a total of thirty-four sub-stories. This article is based on library research and adopts a descriptive hermeneutic content analysis approach and attempts to probe the functions, determine their frequencies, and study them comparatively based on Propp’s morphology. The findings indicate that there are strong intertextual relationships among these stories. Of the thirty-five tales in this work, in addition to Propp’s thirty-one functions, for the first time, seven more functions are discussed in this article which include "escape", "gossip", "commitment", "menace", "hiding", "wager", and "abandonment".

Amir Arslan Namdar is one of the most popular Iranian folk tales, which has a special place among literary friends in Iran and among Persian speakers around the world. This story created by the creative mind of Naqib al-Mamalek, Naqal Naseruddin Shah, was not only liked by the Shah, but also liked by scholars and polite friends with its narrative elements. The main goal in this collection is to examine the structure and morphology of the most influential characters of this story, based on Propp's theory. found in most Iranian legends. In this collection, influential characters were investigated and according to Propp's theory, these characters were classified into three groups, which include: helpful people, people who have two roles of helping and villain in the story. And the last category are people who only appeared in the role of villains.

"Nazer and Manzoor" written by Vashvih Bafghi is one of the most eloquent and attractive verses of lyrical literature, which was written to welcome Nezami's "Khosro and Shirin" and despite its eloquent expression and story charm, it has been less noticed in the name of this poet in the verses of the 10th century. He is one of the most capable poets in the school of Vasukht because her poet is associated with an easy and restrained language full of honesty, and from the point of view of structuralism, it is similar to some fairy tales. By designing and explaining the narrative structure of fairy tales, Propp has shown that the stories, despite their diversity, have unity in terms of the types of heroes and their functions, so this article tries to examine the narrative structure of the story of the “Nazer and Manzoor”  based on Propp's morphological point of view, in order to evaluate the effectiveness of Propp's model. In the structure of the mentioned system, in the parts of self-work, it tries to show their characters and traits, movements and motivation with a comparative-analytical approach. The result of the investigation shows that the structure of the story consists of twenty-seven actions, five movements and five characters; therefore, the system of “Nazer and Manzoor” collection,  has the specific process of  the story, the characters and actions, and actions that mentioned above are under the morphological model of Propp.

Some great thinkers worked in the field of narratology including Vladimir Propp. Studying a large number of Russian fairy tales, Propp could define a consistent pattern for these tales; So, he identified 31-function pattern. Once the theories of formalism and constructivism were formed and popularized, Propp developed This type of format and structural analysis of stories. According to the mythical story plot it seems that we can find Vladimir Propp's claimed characters in Babr-e Bayān poem, whose author is unknown, and try to follow the functions. We investigate three stories in this poem: Rostam's battle with an aquatic animal called Babr-e Bayān, making Babr-e Bayān cloth from the skin of the aquatic animal for Rostam, and Faramarz conception; the stories include many fictional propositions which can be examined through the morphological components of the story.  

This is an analytical-descriptive article which attempts to investigate the structure of the epic poem of Babr-e Bayān, from an unknown author, based on the theory of Vladimir Propp. The background of the study includes the books of morphology of fairy tales and the historical roots of the fairy tales by Vladimir Propp; also, people such as Todorov, Bremond and Greimas present some ideas about structural analysis of narrative based on Propp's theories. In this regard, there are some articles such as: Criticism of Sequences of Hero's Functions in Propp's Theory of Morphology (Based on the morphology of three stories in Shahnameh) by Khavar Qorbani and Keyvan Gourk, Morphology of Mazandaran war story based on Propp Theory by Bahram Jalalipoor, and Analysis and comparison of the narrative structure of Nezami’s tales, black & sandal domes from Haft Paykar based on Vladimir Propps’ morphological patterns of fairy tales by Fereshteh Naseri, Abdulhossein Farzad, Amir Hossein Mahoozi. However, according to my investigations there are no independent research about the morphilogy of Babr-e Bayān poem based on Propp's theory. This is a library research method article which is done by analytical description of the text.

Functions pattern in Babr-e Bayān poem According to the 31 functions in Babr-e Bayān poem and the narrative process stages, and based on the 6 stages of planning for the events, complication, transfer, encountering, return, and recognition, which is the stage for functions appearance, narrative structural pattern can be as follows:β ƴ δ ζ εη ϴ AaBC ↑DEF GHJIK ↓ PrRsOL MQEXTUW All of the Propp’s functions can be find in the 6 stages of planning in this epic poem. All the functions can be observed in a symbol:β ƴ δ ζ εη ϴAaBC↑DEFGHJIK↓ PrRsOLMQEXTUW these functions indicate that this epic story is consist of a general movement and some internal movements. 31 functions can be find in the general movement. Another issue is that the story is made of the Propp’s general confrontational movements:M_________W The movements contributed directly to the balance of the stories and any problem will cause the loss of this balance, so by reaching to some kind of final function they return to the story again. A story can consist of one or more movements. The movements can also have different movements. However, it can be also a single story. Meanwhile, these movements excite the story and determine the main structure and theme of the story. The movements of Babr-e Bayān are as follow:β____________ δ However, it is necessary to consider two inner movements that occur inside the main movement, since they upset the balance of the narrative. Inside the main movement of the Babr-e Bayān, removing the two movements of “Alborz and Zal confrontation and blackmail on him” and “Galimine Goosh confrontation and submitting to Rostam” also should be considered however, However, they have not caused complexity and disrupted the norm of the story. The general movement of Babr-e Bayān is as follows:Babr-e Bayān crisis which leads to the people complain and the India opinion against him (crisis 1) Killing Babr-e Bayān by Rostam (balance) In this poem, the M__W can be find in a general movement. Motivational elements (Babr-e Bayān should be killed because he injures the Indians) and violence (Babr-e Bayān damages the property of the Indians and set fire to everywhere) affect the functions. Prop also suggested another movement organization based on content of the story:- extension through function of H-I (war and conflict) - extension through function of M-N (hard work) - extension through two functions of H-I and M-N (conflict and hard work) - extension with no function

The investigation showed 7 characters among the poem all characters. However, some characters played integrated roles; such as Galimine Goosh who has shown not only as the bad man but also found the role of a collaborator through some events. 31 functions of Propp could be find in the morphological representation but not sequentially. Extension of functions was found in the form of conflict-victory which seems that many epic stories follow this extension pattern due to their structure. It seems that Babr-e Bayān is a case which can remove an ambiguity in Shahnameh; despite some opinions who know Babr-e Bayān as a kind of tiger, it, Patyāre, is an aquatic animal that is killed by Rostam and then making cloth from its skin.

The morphology of Russian structuralist theorist, Vladimir Propp, has for decades been a template for structural and morphological analyses. Propp’s model breaks down the structure of folktales into thirty-one functions and seven ‘spheres of action’. Each tale’s components are devised in accordance with each character’s function and their sphere of action. The present article investigates the element of movement in Sheikh Bahai’s frame narrative Cat and Mouse. Based on library research, this study adopts a descriptive hermeneutic data analysis approach. After scrutinizing a selection of Cat and Mouse stories and the structural data and diagrams on the element of movement in the tales, the findings demonstrate that these tales have one to seven movements and their frequencies are roughly fifty, with two-movement and one-movement tales having the highest frequencies respectively; the reason for this is that these tales are frame narratives and this fact leads to the formation of a multiplicity and diversity of movements.

One of the main areas of interest for researchers regarding folktales has been the structure of these stories. Knowing that the Aarne-Tampson classification system could not be fully applied to fairytales,Vladimir Propp sought a more accurate model.For this reason,after analyzing one hundred Russian folktales,he came to the conclusion that despite their apparent diversity,fairytales are in fact identical in terms of heroes and delivered messages:the number of delivered messages is limited to thirty-one and their sequence is similar to one another.Continuing the researchers' efforts to determine the structure of fairytales,French semiologist Claude Bremond argued that each story begins with a balanced state; yet, an event changes that initial stability,resulting in an unbalanced situation.Eventually,after the protagonist reaches his/her goal or fails to achieve it,a balanced state is formed again.In this article,four stories by Samad Behrangi and four stories by Charles Perrault,a seventeenth-century French writer,have been studied using Propp and Bremond’s theories.Results indicate that Propp’s model,unlike the model presented by Bremond,cannot fully be applied to analyze the structure of the studied stories.

Morphology is a new and structuralist approach to the study of literature, and the Russian anthropologist Vladimir Propp should be considered the initiator of this scientific method. The use of allegory as a rhetorical industry and method of reasoning is a fundamental method in Iranian mystical literature. This practice, which has been common in Iranian literature for a long time, has started from Sanai poems. Examining mystical allegories from a "morphological" point of view allows for a comprehensive literary, social, and mystical analysis of them and provides an opportunity to examine the application of allegory in mystical literature in a purely scientific manner. In the present study, while expressing and examining the types of allegory, we try to analyze its constituent elements according to Propp's model in order to explain Sanai's allegorical expression based on the self-works that Propp introduces for fictional elements.

The study of narrative and its elements has been reported by lots of researchers of narratology scope so far as they proceeded to the investigation of different types of literary works with a narrative-criticism approach. With the expansion of narrating works the literary-critics theories have been developed including the famous Russian theorist' approach, Vladimir Propp, that proposed a regular method with a reliance on "character". He studied the Russian folklore stories and concluded that each of these tales had a constant structure with constant functions and just characters changed. In over past decades works related to childish literature has a special place and take into account by lots of critics including childish poem, among other types of contemporary literacy, is a "toddler" in the Arabic and even world literature. Among authors and poets interested in childish literature, Suleiman Al-Isa is a Syrian one. In the present research, the elegy "I narrate my childhood for you, children" was selected and discussed using analytic-descriptive method focusing on Vladimir Propp method in the "Morphology of the folk tales" book. After mentioning theoretical discussion, the elegy was studied and concluded that Al-Isa applied important features of narrating elements like character and its function and characterizations that is a base of Vladimir Propp while the context and narrator was stated simply, childishly and easily understandable in order to be understandable and tangible for his addressees, children. In addition to characterizations special for the processing of hero characteristic, the exchange technique was applied as one of the main narrative elements.

Structuralism is one of the most important areas of the modern literary theory, which has contributed to the creation of new subjects, the evaluation of similarities and differences, and the possibility of the analysis of the Persian literary texts based on standard universal models. Recently, Western literary theories have been increasingly used in the analysis of many literary research studies in Iran, aiming to shed some light into the hidden aspect of literary works and provide new insights. And few studies have ever not used structural and morphological approaches in their literary analysis. Based on a review of the Persian literary morphological studies conducted in different decades, the present study aimed to analyze the growth of them qualitatively and quantitatively and also to analyze their literary genres. Further, it investigated the degree to which Propp’s morphology theory has been used in a standard scientific way in these texts. Finally it was concluded that the inappropriate and mechanistic applications of Propp’s morphology theory in the Persian literary texts have led to inappropriate theory selection, simplification story elements, disregarding the goal and context of the theory, repetition of the method, poor introduction, and unrelated conclusion.

The aim of this paper is to demonstrate the morphology of the lines in Mam û Zîn, then to compare these morphological features with those of the Kurdish Myths. The conclusion illustrates that the theoretical framework of Vladimir Propp is highly applicable in term of this collection however; “Requiem,” “Pray,” and “Oath” are also observable in Mam û Zîn, which due to the significance of these elements in narration, they can be considered as “Function.” Among the thirty-one functions introduced by Propp, twenty-three of them can be treated in Mam û Zîn. Mam û Zîn consists of two moves. The main characters of the first move are Mam the hero, Zîn the princess, Bekir and Mirzeynodddin the villains, and Bangineh, Gharatajdin and Khatoon Asti the helpers. In the second move, Bangineh is a hero and he would become a king at the end. The comparison between Mam û Zîn and Kurdish myths shows that despite the fact that there are many differences in structural and deep-structural features, there are still many equalities between them. The main difference is the failure of the hero. The component and surface-structural features also have been compared and differences and similarities had been detected. This comparison also shows that despite some similarities, there are still a number of differences; for example, the main part is much different from myths however the beginning and the last part share similarities with myths. In this attempt, we face the true history of people to the point that we can claim that Mam û Zîn is a true reflection of Kurdistan society that is influenced by fabulous stories.

The topic of this study is "The Morphology of Fairy Tales in Kurdish Language". The purposes of the present study are to determine the structure of these tales and the scale of differences and commons comparison with Vladimir Propp's study and to know better about other Iranian languages. The way in which this study has been carried out is descriptive, the data has been gathered in library method and analysed based on Propp's pattern in morphology of fairy tales. After surveying the structure of 155 tales, there were determined thirty-one functions, seven domains of operations, nine types of prime situations and eighteen types of movement combinations. The result shows that Propp's patterns are the same as patterns in Kurdish language fairy tales and that their final structures are restricted to the same thirty-one functions offered by Propp. What differenciates fairy tales in Kurdish language from similar samples surveying by Propp is the different methods of forming some some of the functions, and certainly these differences do not supply new and different structures.

The structural investigation of ancient anecdotes of Persian literature is an approach which can examine the literary narrative from an overall view. A structural analysis of anecdote can show how narrative has changed in Persian literature. This overall view provides the possibility of comparison and analysis of various narrative structures. This paper aims at investigating the plot of Marzban-Namah’s anecdotes based on Vladimir Propp’s approach and the principles of formalism and structuralism. All the anecdotes of the book are divided into two general structures. Also, this paper is an attempt to investigate the “functions” of the two general structure. The functions of the first type of structure functions are test (problem), helping, success (or not success). Moreover, the functions of the second type are pretension, test (problem), helping, proof (or not proof). It seems that in the plot of these stories, in addition to the element of casuality, there is another element which is called belief.

In the morphological studies, a series of stories is analyzed based on scientific and structural methods and finally the stories are categorized through comparing them with each other. In this paper, we have tried to analyze a specific type of Marzbân Namèh's stories which is called a fable. The research method is based on Propp's model of fairy tales morphology; function stories have been extracted and compared together. The study seeks to answer these questions: Is the sequence of functions identical in fables of Marzban Nameh? Does the building files belonging to a particular type? And finally, how is the final structure and fables of Marzban Nameh? The necessity for doing this study is that there is no research that examines a series of stories focused on a particular type. The findings show that the continuation of function in Marzbân Namèh's fables is identical. Therefore, their structure can belong to a specific type. The structure of fables is simple and one directional. “The Japery” is the most fundamental elements of Marzbân Namèh's fables causes the Logical expansion of them.

Through a deep study of the literary texts of recent decades, and considering narratology as the most noteworthy outcome of structuralism, one can notice that the structure and motifs of narrative texts based on the functions and relations of the characters have been focused on. That is why each one of the narratologists has pointed to the recurrent models in literary texts. Russian folklorist, Vladimir Propp, brought about major developments by introducing a comprehensive model for structural analysis of narrative texts. Regarding the vast and wide range of narrative fiction which provides a good ground for discovering the narrative structure and analysis, the researcher has tried to analyze the structure of Nizami’s Leyli O Majnun</em> as a work of lyrical fiction. Then, after an introductory account of formalism, structuralism and morphology, the researcher has embarked on analyzing this story based on Propp’s morphology model in order to find out what techniques Nizami has used to narrate his story.

The pivotal role of ethics in structural analyses of the book Faraj ba’d az Shedat has led to neglecting its lyrical tales. This paper aims to analyze such tales based on Propp’s model. In accordance to Propp’s theory, the beginning phase of tales starts with stability situation. Then, the first function in the story is the appearance of the hero or villain or defection. The villain in the form of poorness is common in one fourth of the tales and it is the second factor of movement in them. In almost half of the tales the anti-hero is the minister or caliphate of the court who easily becomes the helper or donor via his moral virtues and this in turn decreases the excitement and dynamicity in lyrical tales of this work. The lack of animal, supernatural characters as well as fairies and marvelous elements has contributed to the verisimilitude of tales. The moralistic orientation of this work has confused the function of various elements such as anti-hero, helper and donor. The dilemma of some tales is solved without much effort which is the result of the simple mind of the author and his contemporaries.

The componential analysis of a story is one of the most modern approaches to literary studies which have drawn the attention of many literary scholars. The emergence of formalistic approach to literary criticism that resulted in the introduction of structuralism influenced the studies of literary researchers. Structuralists believe that each story could be broken down into its narrative structures. The most important researcher of formalism was Vladimir Propp. Propp analyzed one hundred fairy tales and divided each fairy tale into its smallest structural units and then tried to relate them to the whole story. Given the fact that has fairy tales are of a narrative and folklore nature, Propp could discern a final narrative structure for them. One of the best approaches to the analysis of the stories of Shahnameh is morphological approach. This study attempts to show the relationship between structuralism, narratology and morphology and then embark on the morphological analysis of the story of Zahak in Shahnameh according to Propp’s theory. The analysis of the story of Zahak which is a single story resulted in the identification of thirty one primary and secondary structural units which are of conflict-victory diagrammatic type. The four moves derived from these diagrammatic types conform to the first and second moves in Propp’s theory which shows the conformity of this story to Propp’s theory.

Showing the possible connections between Quranic texts and new scientific approaches in the today world is amongst the most important missions of Muslim scholars. This paper follows the same mission and the author studies the tale of Houd (PBUH) in the translation of Tabari’s commentary based on morphological theory of Vladimir Propp. The number of characters and their functions as well as the plot resulted from the sequence of functions in this story have close relationship with Propp’s theory. Regarding fictional movements, a new movement is seen in this story which is absent in Propp’s models and has fundamental differences with them. The theory of Propp originates from the study of Russian folk tales and its application for investigating religious tales is not without problems but since this theory pays attention to the structures not instances, it is very useful for studying religious tales. Finally, the author suggests that Iranian scholars should provide morphological analysis of other Quranic tales till the final structure of Quranic texts is obtained via comparing such analyses.

"Rouh-Al-Arvah Fi Sharhe Asmae-Al-Maleko-Al-Fattah" is the oldest independent Persian oeuvre about describing the names of Allah which is writing by Shahaboddin Abolghasem Ahmadebne Abi Mozaffar Mansour Sam'ani. since Tallying has been one the important methods of authors for writing of theosophy books, Sam'ani also has used this method for interpreting the sacred names in Rouh-Al-Arvah.In this research, tales of mentioned book has been studied and since one practical methods of studding stories is structuring analysis of them, and Vladimir Propp, Russian researcher, is one of the first persons who has considered this kind of folktale analysis; Rouh-Al-Arvah tales have been studied in basis of the Morphology theory of Propp. By studding 100 stories of Russian fairies, he showed that the stories of fairies, unlike the seeming differences, have some kind of similarities in terms of different types of their characters and operations. He also found that the number of these operations are limited and have similar sequence. In this research by studding the ten theosophy tales of Rouh-Al-Arvah in basis of Propp Morphology model, capability of adaptation for this model studied about tales of this book and the result indicates that the structure of theosophy tales do not completely correspond with the Propp model; but by elimination of some functions like absence, pursuit, release, identify, disgrace, wedding And by adding the function of assistance will help and failure of hero to the Propp model, the theosophy tales of this book could be studied in basis of Propp Morphology theory and also extend it to other theosophy tales.