Storytelling and methods of narration in the Holy Qur’an help readers to better understand the themes and concepts intended to be conveyed by God. Qur’anic stories have been narrated in different ways. The story of Prophet Musa (AS) has not only been narrated more often than the story of other prophets, but has been narrated for different reasons and in different narrative structures. The narrative of the story of Prophet Musa (AS) in Surah Ṭā Hā is one of the most different Qur’anic narratives. In fiction, there are different structures including classical, modern, postmodern, stream of consciousness, and so on. Modern narrative is one of the most important structures that became popular after the advent of modernity, especially in twentieth century fiction. Given that this method of narration is based on the philosophical and social principles of modern human society, it does not follow traditional and classical rules. Some of the most important elements of modern narrative are the presence of more than one narrator, multiple points of view, character-centeredness, and the ambiguity or relativity of time, place, and causality. The present study, done using a descriptive-analytical method and by studying library documents, tries to answer the question that what the narrative of the story of Prophet Musa (AS) in Surah Ṭā Hā is like. It seems that the narrative of the story of Musa (AS) in Surah Ṭā Hā is modernist. This research thus attempted to prove this hypothesis by analyzing the structure of the narrative in this story.

The present century is the age of dominant post-modernist thinking in the realm of philosophy and west theology. In modernism, the reality source was established in the self-contained wisdom of human-being by separation from metaphysical world; in a similar vein, the basis of the Christian postmodern thought and theology was established on negating any reality in the world and separation of socio-political life from the realm of theology and metaphysical world. The concept of “political theology” proposed by Schmitt, indicated the reconsideration of the role of religion in socio-political arena by western thinkers. Offering a new reading of the concept of reality, Erik Voegelin has investigated this realm. Voegelin can be considered as believing in a connection among theology, mysticism and politics. He established the concept of reality as the basis of his own philosophy. The question of this study concerns the new reading that Voegelin offers about the relationship between theology and political act? It seems that by criticizing modern and postmodern narratives, Voegelin establishes the basis of the political order on connection with reality based on revelation and reconnecting with metaphysical and mystical world.

The Iranian “New Wave” filmmakers started to pay attention to social changes during the Pahlavi regime. Imperial Pahlavi successfully suppressed his political oppositions in decade of 1332-1342 (Hijri Shamsi) and spread a social reform during the following decades in 40’s to 50’s. The Iranian cinematic movement that was called New Wave by some Persian film critics because of its similarly to the new wave cinema in France as well as its simultaneous happening, criticized government’s pseudo modernism of that era.The Iranian “New Wave” filmmakers started to pay attention to social changes during the Pahlavi regime. Imperial Pahlavi successfully suppressed his political oppositions in decade of 1332-1342 (Hijri Shamsi) and spread a social reform during the following decades in 40’s to 50’s. The Iranian cinematic movement that was called New Wave by some Persian film critics because of its similarly to the new wave cinema in France as well as its simultaneous happening, criticized government’s pseudo modernism of that era. These filmmakers made films that many of them were censored or even banned by the Pahlavi regime until the victory of the Islamic revolution. The Iranian New Wave movies were strong in their screenplay and artistic form and cinematic structure; and are well known for their mise- en-scène, shooting script, montage, costume design and make up. In other words, the Iranian New Wave films not only attracted the Persian audiences but also raised the level of expectations. Besides being influenced by main international movements like new realism in Italy, and new wave movement in France and auteur theory, Iranian New Wave filmmakers were affected by world’s literature and the contemporary critical sociology of Iranian intellectuals. In fact the movement originated the Persian new literatures, more specifically the modernist writers. Most of the filmmakers were accustomed to literature in a new way and this affection lead to evolution in narrative modes in cinematic works. The movement was much affected by the auteur theory in practice. Alike French new wave, Persian filmmakers had an affinity with literature but they preferred a new adaptation with cinematic creation. Considering adaptation, most Iranian filmmakers added their own interpretation to fictions. Some of these filmmakers in fact were active in writing short novels or plays. In that era, dominant cinema in Iran well-known filmfarsi (dragotory name given to a genere if Iranian films) imitated Hollywood and Indian films. Persian popular films, as the state apparatus propagated consumerism, promoted lustful living and happy lifestyles. Superstars of these films entertained their target movie audience mainly with song and dance. Two films, The Cow (1348) and Shazdeh Ehtedjab (1353) have chosen for case studies. These films were adaptatons from Persian modern literatures and received a number of international awards. Their directors, Dariush Mehrjui and Bahman Farmanara, tried to transfer Persian modern literature using the language of cinema. We have concluded that the development and spread of the new wave movement in Iranian cinema had direct relation to the Iranian society passing from tradition to modernity.

Verbal discourse of the modern prose is formed by interconnected structure from a conscious mind in a way that the play of the signs in the text along with the personal mentality and memory of the character can become so fluid and elusive that ambiguity becomes a particular component of modern narrative. But semiotic layers with a detailed and systematic reading deal with the interaction of the text layers in the story to investigate implicit and explicit implications of signs in a semantic process through multiple codes and according to the context of the texture. "Abolhol" is a short story by Fereshte Sari written in the eighties. Narrator's diegesis that as if it is the symbolic narrative of the visualization of his subconscious mind and body about the fate of women, shows such semantic capacity of the places such as caravanserai and darkroom so fertile with human and inhuman activists that the phenomenology of reading with a layered semiotic approach, in addition to the interference of the paratext elements in the implications, the layers of time, space, aesthetics, and actors in codes are considered to show their semantic capacity in the semantic process of the story. But in the "sequence" the semantic process of the modern subject is on the path of "becoming" which led to the narrator's transcendental "Stative subject "in addition to the obvious role of "effective verbs" the narrator's "disjunction" was also considered in "meaning manqué" to show the difference between the character of traditional and modern stories in search of objects.

Dividing every phenomenon into its constituent elements is scientifically important. "Character" is one of the most important elements of the narrative and how to interpret the characters of the story is one of the main components of the interpretation of the text. This research aims to study and analyze the postmodernist components in the characters of the psycho-literary novel "Cold Coffee of Mr. Author" by "Ruzbeh Moin". The research method is analytical-descriptive and the data collection method is library studies. The theoretical foundations and findings of this research are as follows: Postmodernism was a creative leap that continued with the criticism of modernism on its continuity. The theme of death, love and neurosis is one of the important topics in world literature that is addressed by the postmodernist narrative. The author's cold coffee is a narrative that depicts the world of neurotic characters with the patterns and characteristics of postmodern fiction literature in its narrative twists, and from every corner we hear the voice of the text, and in the heart of every story is a historical, political, artistic character, etc. It can be seen that the author puts his feelings, intentions and words in the text of the story with such arrangements. In this novel, a kind of comparison of personality in the course of modern narration; With famous personalities and attributing action and self-work, there are fictional characters that remind of those personalities and revive their great and emotional actions. By using the actions of characters and modern story writing techniques such as de-heroism, intertextuality, story within story, change of narrator and perspective, uncertainty, endless cycle, identity and unity of characters, loss of meaning, etc., he brings his novel closer to postmodern narratives. . The main characters are a type and prototype example of people who have psychosis and abnormalities of the world of postmodernism and absurdism, such as fascination, skepticism, loss of meaning, denial of truth and reality, and mental-behavioral symptoms, illusions and delusions of anti-social personalities; They depict problematic, sociopath, schizoid, paranoid. The similarities of actions and behaviors of the characters are influenced by the shadow or the hidden and dark aspects of their existence and a drawing of the confusion of the contemporary human mind and the world around them.

Due to the importance of advertising in the contemporary world and the fiercely competitive market that has made brands struggle to outdo each other in attracting the attention of the audience to their products and services, also putting the audience in a position to face new visual experiences and, as a result, making them surprised when facing all kinds of advertisements is one of the important concerns of advertising team designers, it has always been necessary for designers to choose appropriate solutions in creative ways. Research in the field of advertising and finding advertising solutions also considering the interdisciplinary nature of advertising, identifying the hidden aspects of some approaches, and using them for studying in this field is necessary and the results are useful for designers. One of the approaches that can be used to investigate advertisements is narratology. The current research was conducted to identify the hidden aspects of this approach for advertising analysis and, as a result, extract advertising solutions through the study of one of the types of narrative. Narratology originally started with Propp's research. According to him, the basis of every narrative is the change from one state to another, which is called an event (Abbasi, 2013: 57). Greimas also considers actors and action to play a fundamental role in the process of generating meaning. According to him, the actor is "someone or something that performs an action or the action happens to him", thus the act of narration is revealed in the action pattern of the actors (ibid.: 69).What has been conveyed is the basis of the definition of narrative in the Paris school of narratology from the point of view of Propp and Greimas, who consider the change in the process from the beginning to the end of the narrative and the action of the actors to be the principle. However, the narrative does not always have a linear process and is not accompanied by action. accordingly, in this research, we intend to deal with a type of narrative in advertising that does not follow the linear structure of classical narrative and change is not the basis of meaning production. Rather, the passion system replaces the action system, and meaning emerges after sense and perception (Greimas, 2018: 30). As a result of these two types of narratives, there are two types of classical and modern aesthetics in the narratives. In classical aesthetics, beauty is definite and time is eternal, perfection-oriented, and complete. In this type of aesthetics, beautiful is absolute and its audience is passive. But modern aesthetics are mixed with presence. Attending means facing a passion instead of being an actant. Presence is not something that can be acquired. Rather, it is formed in time (Greimas, 2018: 36). "Each presence is the creation of a moment that ceases to exist as soon as it is formed because every present immediately joins the past and leaves the aspect of being a flash to the time before it." In fact, these now shape the presence of a modern subject and create a new beauty system that can be called a poetics of infra-thinness. Therefore, in the current research, we will study the types of infra-thinness in narrative according to its characteristics, and to achieve the goals of the research, we will seek to answer the main question - How can the infra-thinness in narrative be observed in advertising discourses? - to the sub-questions. We answer below: 1. How is infra-thinness defined in the narrative? And how many types can it be divided into? 2. Are all types of infra-thinness observable in advertisements? 3. Is it possible to introduce various types of infra-thinness as advertising solutions and tricks?This research is fundamental in terms of its purpose and has been carried out in the descriptive method of content analysis. It is also qualitative in terms of data analysis. The method of data collection was purposeful and according to the types of infra-thinness in narrative and its characteristics, they have been selected from foreign advertisements. The reason for using external samples is easier access to categorized examples on websites such as Ads of The Word and similar sites. In fact, by searching and viewing the archives of the sites, examples of all kinds of infra-thinness in the narrative have been found in the examples of foreign brand advertisements. In this research, explanations were given first about narratology and its types, and then concerning infra-thinness. and then, according to the types of infra-thinness, its examples in advertisements were examined to evaluate the types of infra-thinness for introduction as an advertising strategy.The result of this research shows that there are five types of infra-thinness in a narrative, which are infra-thinness in process, enlargement of small elements, fragmentation of elements, metaphoric infra-thinness and Lepsos or Formal error can be divided. By explaining the types of infra-thinness in narration, we found that infra-thinness can be used in visual texts in addition to verbal texts. If we consider advertising design as a kind of visual narrative, then the modern narrative and, as a result, the infra-thinness in the modern aesthetic system can also happen in it and become a kind of advertising strategy to persuade the audience; As in the examined samples, these strategies were used well. When we pay attention to the infra-thinness features of the narrative process, we find that these features share common features with creative and effective advertising.In a good advertising plan, the speed of the event and the surprise of the subject are important, which is symmetrical with the features of the first type of infra-thinness (process). Also, the loss of cognitive and reasoning function in relation to a narrative that is explained by uncountable time and zero place is a feature that can be observed in the infra-thinness of advertising narratives; Because the audience does not find an answer with logical reasoning in front of this time that has become zero, which is significant in natural conditions and is accompanied by displacement during the process. As a result, the audience is disarmed and loses its power and management in front of the events that happen in the advertisements and surrenders. According to this, the goals of advertising designers to control the mind of the audience are achieved by using this type of visual narration.In relation to the second type of infra-thinness (enlargement of small elements), this type of narrative in advertising is one of the tricks of creative advertising; Because sometimes to advertise a product or service, it is necessary to magnify the elements that are not visible to the audience under normal conditions to activate the sensible–perceptive presence of the audience in the advertisement. According to the examination of samples of advertisements in which the second type of infra-thinness be seen, it can be concluded that the use of this solution is very helpful, especially when it is necessary to warn the audience of threats with multiple powers. Also, the third type of infra-thinness (fragmentation of elements) in advertising, can have an effective presence in cooperative advertising. In some examples, the fragmentation of advertising narratives sometimes leads to the fragmentation of the advertising media, and to realize the message of the advertisement, the audience is used to participate and remove the fragments. In addition, it can be understood that this solution has good capabilities for showing different parts of different narratives in one medium; Because some media, especially print media, are facing limitations for narration.In the fourth type of infra-thinness that uses metaphorical forms, with the help of extratextual references, the audience's understanding of the advertising message takes a shorter time, and metaphor also helps to make messages that carry abstract concepts more concrete. This solution is very suitable for displaying numerical information in advertisements. Finally, the use of lapsus or rhetorical errors in advertising first confronts the audience with a cognitive error and then gives the audience a deeper understanding of the message of the advertisement. Also, Lapsus can be used as a solution for advertisements in which replacing, substituting, and removing image forms as an advertisement message is intended by designers. In general, we can conclude that all kinds of infra-thinness in advertising narratives can be a kind of advertising strategy and trick. In addition, infra-thinness is a way to achieve new meanings by paying attention to details rather than portraying generalities.

Passing from classical structuralist narrative semiology with a text-centered view and deterministic meanings towards semiotics is a transition from action and programming towards interaction. In classical semiology, the current of meaning is exclusively shaped through action and predetermined program and toward gaining the value object. But in semiotics, meaning is formed by creating a sensory-perceptual relationship with the phenomena, and is perceived through interaction with another person or co-subject. Such a meaning cannot be investigated only with semantic regimes of classical semiology, i.e. action and manipulation. Therefore, Landowsky proposed two complementary regimes, i.e. adjustment and accident. The present research probes to find what actions by the characters in Zal-and-Rodabe show the adherence of actors to Landowsky's regimes of interaction. It was found that when faced with challenges, some characters first follow a specific regime of interaction, but later, become inclined to other regimes. Others continue to adhere to a single regime. Examining the interactions shows the transition from the classical narrative regime based on action and program to the modern narrative based on interaction, which ultimately results in the unification of the characters towards the realization of a forbidden love.

Since narration is included in all Persian literature stories، studying fictional works from their specific narrative method point of view would illustrate values and arts lying in these works better، and according to the findings one is able to assay the story teller’s abilities in forming narrative structure along with content. Mossibat-Nameh is the last of Attar’s triple narrative story mathnavies. Having specific narrative methods and deep structure originated from mysticism and mystical teachings، wayfarer’s process narrative in Mossibat-Nameh is capable of studying and analyzing the role of “narrator” and the way it is connected to mystical concepts. Narrator role in Mossibat-Nameh is studied in this paper by means of three point of views، narrator’s level of participation، visibility and reliability; along with determining narrator’s various forms of cognitive and ideological orientations. Then it is explained why and how these narrative features connect with mystical theme of the work، through which it is displayed Attar not only benefited from the characteristics of a modern narrative in his work unawares، but also applied narrator’s role and orientation purposefully in order to achieve his mystical goals. Attar’s applying of three narrators in two various levels of fiction، in order to convey a sense of distance and wondering which is the goal of wayfarer’s process to his audience، to emphasize on intuitive nature of spiritual knowledge، to represent the distance between truth and false، to put emphasis on importance of viewpoint، and to apply narrator’s simultaneity orientation in proportion to meaning of time in mysticism، are of most important achievements in present study.

This paper explores the possibility of change in the future by changing the mind - set of its creators. For this purpose, the effect of stories on the attitude of children as one of the most important channels of content transfer (as one of the main creators of the future) has been studied. On this basis, considering the role of myth and metaphors in the formation of current society approaches, it can change attitude and vision in the next generation to have an alternative future. In this paper, using casual layered analysis method, the testing of two research hypotheses, different film versions of film and animation were analyzed by Walt Disney’s “Sleeping Beauty ", which was built for 55 years by the Disney company. It seems that in the new narrative, key concepts or schemas requiring change, such as xenophobia, democracy, respect for nature, the concept of true love, absolutism, and ethnic, racial and gender attitudes, are presented in a different way from the original narrative for children. The results of the research were evaluated in the first step in the focal group and then by using a questionnaire.The results show that the key shortcomings have undergone a change in the more modern version. The change that is based on the casual layered analysis method can lead to a different future formation.

The International identity of the European Union has been characterized with different conceptual narratives such as civilian power, normative power and so on. The post-modern power Europe is an important narrative which signifies the transition of the European Union beyond modern politics. Robert Cooper, the British diplomat and Robert Kagan, the American political Analyst, have been representatives of this dominantnarrative in english world.The paper addresses one question in this regard: How post-modern narrative contributes to the definition of an European identity? The main argument of this paper is as follows: The post-modern Europe narrative plays a significant role in the identity construction of the European Union through othering, discursive representation and differentiation between Europe and its non-European others in world politics.