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The present study aimed to examine the use of different levels of syntactic architecture in written personal and fictional narratives in both Persian and English across three discourse communities, namely Persian native speakers, English native speakers, and Iranian EFL learners. To this end, the participants of the study were selected based on convenience sampling and were asked to write one of their happiest memories. Also, an English fable from Aseop's fables and a Persian story, chosen based on comparative literature and having the similar plot, were given to them to read and write whatever they remembered; there was no limit on the number of words and paragraphs. To analyze the data, the Berman and Nir-Sagiv's (2009) model was followed. The findings showed that in fictional narratives written by both Persian and English native speakers, isotaxis, asymmetric parataxis, complement (CMP), and parataxis levels were frequently employed; however, personal narratives in Persian were dominantly isotactic, paratactic, and asymmetric paratactic, CMP, while isotactic, hypotactic, and paratactic levels were frequent in English written personal narratives. Also, after receiving explicit instruction on different types of English sentences, the use of adverbial and relative clauses (hypotaxis level) increased in Iranian EFL learners' written narratives. It can be concluded that explicit teaching of syntactic levels enabled EFL learners to arrange their sentences correctly to express their intended meaning. Teachers can benefit from the results to gain a more comprehensive understanding of narrative connectivity and help EFL learners elaborate clause linkage in their written narrative tasks.
 

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As the Masnavi is a preaching-mystical work by Molavi, he made his efforts to express his advices and recommendations in forms of stories, tales and fictions and also his ethical and mystical thoughts are expressed there. Hence, all these are of various and miscellaneous types. The best sample of entering Masnavi Tales into the third book is shown in the story titled “the people of Saba and looting their godsends”. This story commences with the couplet 282 but, left later on and then referred to in the couplet 364. The story is left again here and then referred to in the couplet 3600, following some long couplets to be finished.
Mentioning the various points in tales has resulted in different usages of the characters in Masnavi. This is because of the foundations of any story are made by its characters who are themselves the factors or causes of the events.
Personification by Molavi in Masnavi for the characters is of three following methods:
A) Direct method in which he explicitly expresses his ideas upon the persons.
B) Indirect method in which he not only expresses the characters’ behaviors and briefs the readers on the role played by the characters but also the readers understand their real essence.
C) Mixed method which is an integration of the two previous ones.
The tools for personification by Molana, the characters’ features in Masnavi and classification of the persons’ names in the Masnavi stories are scattered through the study.
 

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One of the problems which prevent a correct or common comprehension of a fiction and its precise analysis is the diversity which exists in understanding and using the common terms in fiction domain. Although most of these terms have been listed in dictionaries and used by researchers, there is no unanimity about their usage. Due to this matter, distinction of fiction's elements and the analysis of narratives confront some difficulties. In this paper we intend to revise one of the most common terms in narratology i.e. motive, focusing on dependent motive and independent motive. Hence it is necessary to criticize the most important definitions in dictionaries for motive, to show their credibility and the degree of their expressiveness and to present our definitions. Also, all types of motives in traditional Persian fictions will be categorized and their four functions in narration will be explained. In our point of view, motive is a structural – semantic term that is related more to structural elements of a story than to its semantic aspects.

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 Comparative literature uses the method of comparison to study the literature of different languages ​​and their complex relationship at different times and in various areas of subjects, schools of thought, literary theories, literary types, etc. Payment. In the Kurdish language, there are some poetic lyrical stories influenced by Khosrow and Shirin, but so far no significant research has been done in the field of their application. The Kurdish poem Shirin and Farhad, narrated by Mirza Shafi Pavehi, is one of the poems written following Khosrow and Shirin Nezami. In simple and fluent language, this work tells a different story about the story of Shirin and Farhad with a mythical structure. In the Kurdish system, apart from the names of the characters, the main course of events and the general framework of the story differ from the military narrative. In this research, which has been done in a descriptive-analytical and library method, the author intends to analyze the building blocks of the story in two poems "Khosrow and Shirin" and "Shirin and Farhad" by Mirza Shafi, strengths and Identify their weaknesses and gain more knowledge about them. In this study, the differences between these two stories in the field of story design (conflict, knotting, untying, accident), characterization and staging were examined. Studies in this field show that Mirza Shafichr('39')i did not do well in imitating the military system and the elements of the story in his work are poorly represented, which makes the plot of Shafichr('39')s story weaker than the military.

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A popular media in the past, folktales were used for entertainment purposes. They also played an essential role in education. Education is the basis of awareness and change, and some of these stories are intended to change the intellectual structure and the practical behavior of fictional characters. In other words, such stories have had a therapeutic function. Sindbad-Nameh is one of those surviving stories from the distant past in which narrative possibilities are used to change the existing conditions. This article reads Sindbad-Nameh descriptively, using content analysis method to answer the fundamental question of how the inner stories of Sindbad-Nameh change the protagonist of the story in the process of meaning-making; and why are some narratives unsuccessful in this attempt? The whole body of the narrative tools in Sindbad-Nameh show the progressive process of changing the character's action. They guide the king's mind to self-awareness and self-control and prevent him from making hasty decisions. The structured group of the in-house narratives told by the seven viziers allows the process of changing their target's mind and action, i.e. the king, because they enjoy meaningful suspensions. Like the links of a chain, the viziers’ stories support each other and have a unity of content and structure. The reason may be the long-term goal and the written plan that the viziers are pursuing. On the other hand, the tales of the maiden cannot save the king due to their structural and conceptual disruption, and the lack of intellectual cohesion. These thematic ruptures can also be attributed to the maiden's distress and anxiety. In folktales, a recurring element is women's deception and betrayal, one that is also highlighted in Sindbad-Nameh due to the nature of the story's subject matter

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The current research aims to analyze and classify the semio-discursive components of Narrative “doubt” in the discursive system of “As you had told Leyli” – the novel by Sepideh shamloo- one of the writers of Persian fourth generation fictional generation. Research methodology is descriptive –analytical. In fact, the authors seeks to explain for the first time the underlying semio-discursive components of “doubt “in literary discourse by relying on the theoretical framework of post –Gremassian semiotics in order to show how the notion of “doubt “ emerges in the literary discourse and affects the process of meaning production and perception. To this end, the main objective of the present research is to answer the following questions: 1. what are the main semio-discursive components of “doubt” in literary discourse? 2. What are the major narrative and semio-discursive functions of “doubt” in the whole discursive system of the novel? It can conclude that in semiotic analysis of “As you had told Leyli” two main actants of the novel (Mastaneh –Sharareh) enter in competition with each other for the concept of love. This competition results in the interplay of negation and affirmation at the heart of semio-discursive system of the novel. As seen throughout the current research, by highlighting the Leyli’s scheme, the writer tries to challenge the narrators / enunciators affective states throughout the history of the novel. The main thematic of this story which is doubt is the central and main narrative program of the novel. Neither Mastaneh nor Sharareh can approach to Leyli’s scheme. In fact, in this work discursive tension sometimes leads to discursive action (here Mastaneh’s suicide) and sometimes to negate it. It is worth mentioning that the marginalized narrative action casts doubt on Leyli’s scheme and in this step Sharareh loses her modal competence and is concerned with modal verbs turbulence. The enunciator who has the virtual semiotic presence till the end of narrative. Undoubtedly, this novel presents a semio-discursive paradigm whose main feature is “doubt”. In this novel, discursive action has the secondary function and is based on thymic (the interaction, multiplication and turbulence of modal constituents), tensive and existential components of discourse which are highly under the influence of negative functions. Consequently, none of the enunciators/ narrators can never retrieve their actual presence. The results showed that narrative doubt is as a result of tensive and existential components of discourse which marginalizes in its own turn the narrative action and has the close relationship with all the styles of semiotic presence whose meaning is based on negation and fall and affects the process of meaning production and perception.
 

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Moral criticism is an approach to the literature presently discussed with a new view. Many contemporary behavioralists and authors didn't yet believe in the former dogmas (moralism and autonamism) but in the way of using art and ethics from each other.  In the past, ethics is defined not based on the emotions and sensations but the speech capability. In this view, literature served the ethics. Moral topics presentation methods in past advising texts were usually directly by relying on the news or compositionsentences or referring to the words of authors. T By appearing the sentimental approaches and paying attention to the role of imagination in sympathy, relation of literature and ethics changed. Nowadays, ethics is not only a collection of composition sentences reflected in the literature, and the purpose of literature is not the promotion of ethics. Literature, narrative and fictional texts promote our recognition and awareness more than others by partial recognition and direct expression of human experiences and emotions and search in the human being, being possible through our simulation with others by the imagination. This research analyzes the moral presentation methods in 20 Persian short stories. Consideration of the different forms of moral conflicts, presentation and description of details, use of objective and subjective point of view, use of metaphor, symbol or simile and ironic situations are the most important techniques of story writing in inspiring the moral message to the audience.
 

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The theory of possible worlds presents a model for narrative semantics. This essay focuses on the use of possible worlds’ theory in narrative semantics with interdisciplinary approach. Conception of narration based on possible worlds’ perspective is the main purpose of this paper. Based on this perspective, plot is not only textual actual worlds which some events occur in it, but also include possible worlds which without regarding them, narrative semantics will remain incomplete. Such perspective is derived of semantics of modal logic; therefore, for explanation of this perspective attention to modal logic is necessary. Contemporary
semantic theories have three main branches: philosophical, formal and linguistic semantics. Linguistic semantics uses formal semantics as a semantic logic in order to make clear how the study of meaning is. In this essay it will be illustrated that logical semantics can be applied in narrative semantics. Consequently, if the readers include private worlds of characters or fictional minds’ worlds and various possible worlds in their reading, they will get more complete and more profound conception in reading narrative text, because a fiction is considered as a complete modal system and the mental representations of characters is equal with the PWs of a modal system. Some of accomplishments got, through foreshadowing to meaning of narrative text on the basis of this model, are the redefinition of plot and conflict notion. In order to apply this model in a narrative text, the binary Wandering Island and Wandering Cameleer novels by Simin Daneshvar has been chosen.

1. Introduction
The theory of possible worlds presents a model for narrative semantics. This essay focuses on the use of possible worlds’ theory in narrative semantics with interdisciplinary approach. Concept of narration based on possible worlds’ perspective is the main purpose of this paper. Based on this perspective, plot is not only textual actual worlds which some events occur in it, but also include possible worlds which without considering them, narrative semantics will remain incomplete. Such perspective is derived from semantics of modal logic; therefore, for explanation of this perspective attention to modal logic is necessary. Contemporary semantic theories have three main branches: philosophical, formal and linguistic semantics. Linguistic semantics uses formal semantics as a semantic logic in order to make clear how the study of meaning is. In this essay it will be illustrated that formal semantics can be applied in narrative semantics. By making interdisciplinary connections between semantic method in formal logic and its use in narrative semantics, a helpful correspondence was made between this method and how to explain meaning in narration. Before that narratologists use formal semantics in studying narrative semantics, linguistics had the benefit of this method to study meaning in language. Linguistics in linguistic semantics branch used the conception of possible world in semantics of modal logic and formal semantics to understand and explain the meaning. In this essay, it has been represented how narratologists have used this method to clear the ways for construction of the meaning of narration. The main question of this research is to determine what is the process of construction of the meaning in narration in the light of possible worlds’ prospective? And based on this, how the classical definitions of some narrative elements are redefined? And why? The importance of this subject lies in the significant place of concept of possible worlds in literary theory and illuminate the meaning of narrative from a new aspect. This concept is used in four area of literary theory: 1) theory and semantic of fictionality 2) theory of typology of fictional worlds 3) narrative semantics and 4) postmodernism poetics. Contemplation and research in every of these aspects needs a distinct research but now this essay is about the use of concept of possible worlds in narrative semantic domain because of its special use in understanding the meaning of narrative. This essay clears out that the concept of narrative on the basis of possible worlds’ perspective has effect on understanding the meaning of narrative more completely and thoroughly. Among narratologists, one of the preeminent figure who worked in this area and tried for conception of the fiction in form of a complete modal system was Mari Lure Ryan. Therefore, this essay focuses on Ryan’s collection of works from the methodological point of view. If we look at the meaning of narrative in terms of concept of possible worlds, in order to understand the logic of acts of fiction correctly, in narrative semantics we must consider potential events in characters’ mind that they think about alongside factual events which happen in story world. From this point of view, characters’ mental representations are understood as possible worlds of a modal system. Accordingly, textual actual world is the center of our “system of reality” and non-actual possible worlds also exist in this modal system of realism. Analysis of concept of a narrative is done in terms of its fundamental components and private worlds of characters is one the most important components of the meaning of a narrative. Therefore, how to understand the meaning of a fiction is directly related to whether include the fictional possible worlds or not. This attitude provides a special understanding of the dynamics of narrative acts. By considering fictional possible worlds (which include: wish world, obligations world, goals and plans world and fantasies world) in meaning of plot of narrative. In this new attitude, the plot of a fiction is the movement of different and various worlds in textual universe and in fact, it’s the complex and intricate connections among these textual actual and non-actual worlds that keep the engine of narrative machine on and add to its dynamism. In the same way, conflict as another important narrative factor, also is no longer traditionally defined as the problem or contrast between good or evil forces. For practical explanation of issues, two novels by Simin Daneshvar have been chosen: Wandering Island and Wandering Cameleer. Actually in these two fictional worlds only occurs one plotline (ATW) but many other plots (possible worlds or other  alternative situations) parallel to actual fictional world are moving in story world which in no way without them the meaning of fiction can be understood. There are possible or suppressed plots in these two stories that a shadow of their tracks is shown in narrative but they remain unfinished and incomplete. Understanding the more complete meaning of these plot stories depends on considering this suppressed plotline. Possible worlds that “Hasti” could make them real but it did not happen. Conflict is also evident in possible worlds of characters in Wandering Island and Wandering Cameleer. In plot of this story the character who has least success in resolving his conflicts by aligning all his private possible worlds with textual actual world is "Salim". Consequently, if the readers include private worlds of characters or fictional minds’ worlds and various possible worlds, they will get more complete and more profound conception in reading narrative text, because a fiction is considered as a complete modal system and the mental representations of characters are equal with the PWs of a modal system. Some of accomplishments got, through foreshadowing to meaning of narrative text on the basis of this model, are the redefinition of plot and conflict notion. Understanding the story from the perspective of possible worlds’ theory sheds new light on the conception of the meaning of narrative, story conflict, personality psychology, fictionallity of events, genre studies and so on.

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  The results of this study show that, fictional scenario has simple language. Unlike shot by shot scenarios which are based on camera movement, these types of scenarios demonstrate narrative elements. This literary genre has tenfold difference with novel, documentaries and animations. This genre benefits from four distinct systems: 1. the system of action (character’s action / action of plot –space / time and action of displacement / the link between two spaces) 2. The system of non-verbal behaviors of characters.3. Phonetic system 4. The system of music. To investigate and analyze these systems, among three compiled children scenarios of 1360^s, fictional scenario entitled “small wishes “has been selected.

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The term ‘SciArt’ refers to bilateral relations between art and science, including artistically-inclined science, science-minded art, and intertwined SciArt activities. In this definition, different disciplines from metaphysics to physics are reckoned as science, as different types of art- from literature to music are counted as art. The SciArt approach, in the fields of philosophical inquiry, can be accounted for by Farabi’s works. As Farabi holds, rational well-being and rational truths just might be brought to mind of people via imagery and analogy. In Islamic philosophy, two representatives of the field are Ibn Tufail and Suhrawardi. I will compare and contrast the main characters of these two major figures in chronological order. Plus a few more philosophical and mystical issues Ibn Tufail developed in scientific matters like anatomy, autopsy, and vivisection in the non-allegorical style. Contrary to Ibn Tufail, Suhrawardi explains mystical vs. philosophical problems in his fictions, using the allegorical style. He represents the world of spheres and the sublunary realm by a variety of imageries like nine shells, eleven layers of a basin, and eleven mountains. Both Ibn Tufail and Suhrawardi use fictional manner to explain mystical as well as philosophical themes.

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A novel is an art of narrating incident or story that is considered to be one of the best and beautiful kinds of verse. The text's sociology attempts to make the reading in a profound and fundamental way and is not complete or cannot fulfill its existence until it is read. Sociological criticism is one of the new and effective methods in analyzing literary texts especially novels. Accordingly, this article seeks to use the descriptive-analytical method to read the text of “Al-Audah ela al-Manfa" (Return to the Exile), a novel by Abu al-Maati Abu al-Naja, and shows the social and ideological issues the Egyptian community lived in it. The purpose of selecting this novel was its importance in drawing the Egyptian society and expressing their suffering during the presence of foreigners in the country. The results indicate that the narrator knows middle Egyptian classes well because he spent his life there and describes a certain ideology that can be expressed through the structural unification of the novel. Therefore, there is a strong relationship between the elements of place and time as well as social groups and personality with the issues and problems posed in the novel.