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Manُ s natural inclination towards rational detection of the surrounding realities, which has been manifested in the forms of oral and visual storytelling about his physical and intellectual experiences throughout history, was allegedly studied in a systematic way by Russian, in tandem with, Anglo- American formalists for the first time ever at the outset of the twentieth century. Then their intellectual legacies passed on to the francophone narratologists through the works of the Prague school structuralists and from the mid- twentiethe century on, were embodied under the rubric of Narratologie and fostered in a very broadr sense including modern literary narratives. However, reviewing certain binary, taxonomic, and typological concepts underlying the structural – narrotological outlook, in this article we have followed up the diverse genealogical lines of the "morphological narrative studies"- especially those based on the linguistically oriented theories- a little bit further beyond their very well acknowledged formalist ones, into the German tradition. We could not have started the venture, had we not drawn briefly on the most fundamental ideas put forward by such outstanding figures in the discipline as Barthes, Genette, Stanzel, Bremond, Ball, Chatman, Prince, Todorov, as well as many others. Finally, we have touched upon the recent developments brought about in the field of narrative studies, directly under the impact of cognitive linguistic pragmatics.

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Ph. D.student in Persian Language and Literature Of Tehran University   Structuralists consider literature to have a structure similar to language and try to compile special syntactic rules for it. In fiction, Structuralism mainly studies narration.Structuralist narratologists try to compile a single coherent narrative structure for the different domains of fiction. In this article, we have tried to analyze one of the most famous Persian novels,Shazdeh Ehtejab by Houshang Golshiri ,within the framework of the structuralist viewpoints of Genette, Greimas, Bramond, Todorov and Barthes. To do that, we have studied the structure of Shazdeh Ehtejab in three levels: in the first level which we call "narrator and point of view in Shazdeh Ehtejab" we study the point of view,method of narration and the narrator/ narrators who narrate Shazdeh Ehtejab.In the second level we study the narrative structure of Shazde Ehtejab and in the third level we structurally analyze Shazdeh Ehtejab

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In this essay parody will be discussed in the sphere of modern literary theories. In some of literary theories, parody is used as a literary genre to explain dominant processes and mechanisms in literary discourse, and some of them, such as deconstruction, operate as parody. According to Russian formalists, parody is a literary genre that, in the most effective way, represents evolution of literary genres and defamiliarization of literary texts. Mikhail Bakhtin places parody in his dialogism theory, too. According to structuralists too Parody is one of the complex and secondary literary genres that represents intertexuality.The relation between parody and deconstruction is connected to the way they act. Parody and deconstruction implicitly are the same, by breaching and inhabiting in former texts: they cause breaking and destruction of these texts.

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As the former of the structure of story, language is significantly important in the structural analysis. Based on this viewpoint, language structure and the way it is used, as well as the connection between the aesthetics and ultra-linguistics are specifying its type in relation with the general concept of the literary work. Also the epic language, as the basic foundation of these texts, prospers structural potentialities like word usability, syntactic of utterance, and useful intonation proper with the epical atmosphere and feelings in different levels such as vocal, semantical, etc.
In oral literature, along with having stories from a simple and pure language, presence of rhapsodists and elocutionists and their interference and distort together with new elements ingression in the form of “Scrolls” compilation have increased more and more the use of epical language capacities linked to the main context of scrolls. The “Haft Lashkar” (the Seven Corps) is also one of the Rhapsodists’ Comprehensive Scrolls (RCS) during the Qajarid era of which the time of writing goes back to the year 1292 (Lunar Hijri) (almost 1871 A.D.), and it is originally the name of one of the famous rhapsodic battle-narrations, which was applied to one of the RCSs due to its fame. 
Therefore, considering the general concept of the currently discussed work in this paper, its epical structure has been analyzed and checked from two levels:, vocal and Syntactic levels. Using bursting-obstructive phonemes and long Syllable structures along with high-frequency short vowels in the vocal level has made the epical atmosphere and feeling more tangible for the readers. In syntactical structure of the utterance, the priority of the verb and displacing the other elements of the sentence, associating the elements of the same function, as well as creating areas via the rhapsodist’s exploitation from the drama tune, the skills of discourse-movement and the oral techniques are all considered as the elements of forming an epical language. Moreover, the musical characteristics of the oral narration like the height of the sound, using long and loud vowels at the end of the questions and vocative sentences have led to the enhancement of the rising voice of the discourse and eventually, the epical language.
 
 

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Ghobadi. H. A. , PH.D.

Abstract:
 
This research tries to examine in details tales of two Iranian and Indian epics, namely Shanameh and Mahabaharat aimed at revealing their structures similarities and limitation in plan and extremes. Therefore, some parts of these tales having the subjects of "Killing Relatives" and "Offending Relatives" have been selected to be analyzed structurally.
The reason for such a selection is lack of such a research in the field of epic as most of the researches in this area are interpretive. Structural analysis is an introduction to interpretive one. It is why some structuralists (G.Genet, for example) have considered the issue more important than a mere structural analysis and refer attached importance to interpretation.
The reader of the paper will find out that these tales are similar in content in addition to their structures.
 
 

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One of the most important Turkish tribe in Iran is Qashqai. This tribe has had its own culture, literature and language. It seems that in the process of modernization and Homogenization in Iran, this culture especially its literature is vanishing. Then, it is necessary to do some researches to protect it from being destroyed. Qashqai tribe has rich oral literature and culture whose stories are a part of it. Since up to now, no study with structural approach has been performed on these stories; we have examined ten stories as case study. The Methodology of the study is based on morphological model of Vladimir Propp, Russian formalist researcher. For this purpose, at first, all stories are analyzed and then each story’s model is mentioned with combination of their motions. This study shows that Qashqai tribe’s stories has the ability of structural study and to great extent is compatible with Iranian stories.

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Abstract Saadi’s poetry is famous for its inimitable simplicity of adjectives and such features can be traced in many of Al-Mutanabbi’s poetry. This article attempts to explore these adjectives in some of Saadi’s lyrics embodying wisdom or mysticism and Al-Mutanabbi’s poetry of wisdom and concept. To achieve this aim structuralism and Philosophical hermeneutics representing two opposing perspectives are employed. Hence, examining how the two approaches are applied, the criteria of inimitable simplicity of adjectives are discussed. Through the structuralist approach, the aesthetics are removed in terms of partial and objective aspects and the analysis of the poems enter a dynamic mental space. However, with philosophical hermeneutics approach history, relevance, development, dynamism, meaningfulness of abstract time and metaphysics are seen in the considered poems. They have a dynamic presence in the lyrics. Literary elements such as rhythm, rhyme, imagery are not effective criteria to analyze the inimitable simplicity of adjectives in the poetry of Saadi and Mutabi. The findings signify the philosophical hermeneutics can be considered as the criteria for evaluating such adjectives in the poetry of the two mentioned poems.

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The never-ending magical discourse of Hāfiz of Shiraz has become an artistic puzzle and through the analysis of his words, many have provided with recurring themes. Particularly, the ghazals of Hooshang Ebtehāj (H. A. Sāyeh) bear the rich textual and extra-textual resemblances to the ghazals of Hāfiz and declare a historical and inmost dialogue with the Hāfizian art and thought. In this paper, I aim to present dialogism to put Mikhail Bakhtin's literary-social theory of the text in practical use by application of a Persian poetical tradition, "Javāb-Gooyee" and Sāyeh's approaching to Hāfiz. By this we can also criticize some remarks on the decadence and imitational style of his poetry. In general, the Sāyeh’s dialogical Hāfiz-oriented ghazals will be studied intertextually and discursively on the basis of some views of structuralists as Roland Barthes and Julia Kristeva. I should conclude briefly that Sāyeh's dialogism haunts between the text and the community. On one hand, his intertextual references are often restricted to the syntagmatic axis, especially to reproduction of lingual codes, rhetorical devices, and prosody of Hāfiz and on the other hand, his historical discourse, especially on three characteristics namely society, human, and love take a polemical stand against discourse of Hāfiz.

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 Claude Levi-Strauss (1908-2009) French ethnologist and anthropologist and theorist of Anthropology, is known in the world as the "father of modern anthropology". He has gained a reputation in the field of anthropology among anthropologists and scholars, because of his structuralist theory as well as their own method of proving this theory. He is considered as the greatest theoretician of structuralism. His studies include a review of the "basic structure of kinship" and "the structure of myths". In this article, we will see how Claude Levi-Strauss split the constituent units of "myths" and "kinship ties" to show a new aspect of them. This article intends to give his definition of structuralism, mythic structure, elementary structures of family, work and pay their relationship with linguistics and point her separation with other theorists, linguiststs and anthropologist like Saussure, Jakobson, Freud, etc. In this article we see how his studies in the field of "structure" help us understand new insights on human being.

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M.Khurasani, PH.D.
 
Abstract
The main aim of this research is to analyze and the exact understanding of scientific work that has been identified as dahnameh (Ten Letters) in the history of Persian literature. From the beginning, we have encountered with two fundamental questions: First, what is dahnameh? Second, what is the source of its origin? To identify and explain dahnameh or to access to the fact that whether or not it has possibility of classification like a literature, we preferred axial method of critical structuralism. And, etymological study of this type was followed with the study of axial history of Persian composition i.e. a kind of comparative study simultaneously and in given time.
Dahnameh, according the proposed research, is an independent and justifiable composition that structurally has been blended in two forms of mathnavi (couplet poems) and ghazal (ode). Hero or in other words lover writes amorous letters to his beloved and gets reply from other side. These letters are delivered by a courier. Hence, it begins the narrative of love entanglement of hero and with backbiting of middle actions it leads to the end (lover’s attainment).
From the real dimension and desire of the actual study, it can be said that Oshshaq Nameh of Iraqi is the beginning of a kind of constant Dahnameh composition but their origin must be seen in the compositions of Vais, Ramin, Vergheh and Golshah. Other than Iraqi, Hamam, Ohadi, Ibn Nasuh, Obaid Zakani, Rukn Sayen Semnani, Shah Shuja’a, Ibn Emad and Hariri are other composers of Dahnameh.
 
 

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It is traditionally maintained in structural linguistics that by cutting verbal signs off each other paradigmatically, and enchaining some of them against the others syntagmatically, language system makes a body of text signify a certain meaning which is sustainable through contextual fluctuations. In line with this Saussurian assumption, and in an attempt to ascertain the authorial intention in literary works, many literary scholars have been mistaken rhetorics for criticism, albeit under the rubrics of structural poetics. This article, however, dismisses the futile attempt to pull certain meanings out of literary masterpiecesfor the purpose of investigating the origins of textuality in any work—let it not be shelved as great literature or literary at all. It aims to demonstrate why such mechanical procedures, prevalent in rhetorical studies, cannot account for textuality beyond the question of the thematic unity of a work; wherein textuality and plurality of text are suppressed in favor of the integrity and entirety required for works of verbal art. To account for the extensive significance of text and the abundance of its possible readings, a seemingly heterogeneous body of texts (including a piece of a poem, an extract from an article, and a vignette) has been analyzed within a reader-oriented framework. Drawing on Roland Barthes (1981), Asgari Pashaei (1995) and Christian Metz (1982), I have tried to move away from rhetorics toward a more proper notion of literary criticism.     

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Javad Dehghanian,PH.D.
 
Abstract
   
This paper tries to review the most important story of Kalileh and Demneh i.e. lion and cow in order to achieve a new reading from the anecdote based on symbols of inner text. With this perspective, in the process of review and analysis, audience encounters to this basic question as: whether this text can be trusted and that can be read and accepted based on the desire of the author?” The trend that was prevalent in literary researches so far has emphasized exactly in the author’s reading. Author believes that there is abundance of symbols/signs in this story that make the audience unfaithful towards the text.
This story has four main characters whose share in the advancement of the story is not the same. Most fictional dialogue and interaction occur between lion and Kalileh and Demneh.  Shenzbeh plays the role les than others and is almost a passive character. It seems that a different interpretation of text can be achieved through a careful insight on the dialogues between the characters and their actions.
In this new reading, new and diverse images emerge from the characters and utmost from the narrative. This could be a model from cardiac function and various instances in traditional system as well as help review other texts.
 

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Dogmatic approaches interpret literary texts in definitive ways. However, literary texts do lose their supposed absolute and final meanings when approached from a poststructuralist perspective. Consequently, it is possible to have multiple readings of a text from different perspectives. Drawing on Derridean deconstruction of binary oppositions, this paper studies a miniature painting by Sultan Mohammad Naqqash based on Hafez’s poetry. Hafez’s divan is always open to various interpretations between spiritual and worldly approaches. Contrary to the classical interpretations in which a definitive meaning is sought after, “Heavenly and Earthly Inebriation” painting by Sultan Mohammad deconstructs this opposition and presents a new reading of the poem. Based on an analytic-historical method, we argue that this painting creates a new hermeneutic world by geometric composition, colors, and characterization. The painting, we conclude, maintains the poetic ambiguity of Hafez’s poetry. Accordingly, we can say that there is no final meaning in this painting because the spectators simultaneously experience both poles of this opposition and, as a result, for them there is no absolute interpretation.  

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In this project, the statement of bulk poetry has been studies based on structural, goal-oriented, and cognitive aspects.
In regard to structural aspect, this statement, via blending two literary and referential roles of language, has become further apart from the ultimate goal behind the presentation of the statement.
Role-wise, this statement has neglected one of the two main elements shaping the text; being its coherence, obstructing the conveyance of meaning to readers’ mindset.
Cognitive-wise, the said statement has violated the gestalt principles, which shape conceptual metaphors, obstructing the formation of logic, as the basis of criticism.
Ultimately, the article’s authors discussed and studied the considered text in the presence of literary and ordinary metaphors and/or absence of metaphors

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Louis Hjelmslev is a prominent figure in the history of Linguistics. As a linguist, his works and theory (usually referred to under the name of “Glossematics”) have largely contributed to the demand for a "theory of language". However, his studies have in fact extremely surpassed the boundaries of ordinary linguistics: by embarking on language, he has proposed an innovated immanent semiotic epistemology that, on the one hand, could lead to a holistic and general formal science, and on the other hand, could provide a gnoseology capable to be introduced as an alternative for other philosophical versions. His doctrine in linguistics did not receive an appropriate acceptance beyond the Circle of Copenhagen and many linguists abandoned his theory, considering it too sophisticated and too mathematical. But beyond linguistics, his ideas have been partially followed in a new scientific discipline called “semiotics” (especially in France). On the whole, Hjelmslev occupies an ambivalent position in the history of linguistic theories: he is an abandoned founder. How can we explain this situation? What are the sources of Hjelmslev’s approach? How can we describe its basic characteristics in relation to other linguistic approaches? What are his legacies? To what extent can we contribute to his doctrine today? What are the recent works on Hjelmslev’s theory? These are some basic questions we seek to answer in our dialogue with Christian Puech, historian of linguistic theories and retired professor at the University of Sorbonne-Nouvelle, and Semir Badir, specialist in the Hjelmslevian theory and professor of semantics, semiotics and epistemology of language at the University of Liege. In this dialogue, we realize that Hjelmslev’s approach to Saussure, unlike that of the Linguistic School of Prague, was not to dismiss master’s ideas but to deepen and radicalize them. Hjelmslev’s theoretical skeleton is relied on two conceptual pairs: form/substance and expression/content. Hjelmslev’s main question is not metaphysical, but epistemological: "what are the conditions for constructing knowledge about language?" In his theory, he seeks to build a calculus system, and in this respect he has an absolutely formalistic approach. Hjelmslev’s theory has three special features: its very unique power of abstraction, its reliance on immanent logic, and its simultaneous realism and irrealism. Contrary to popular belief, many structuralist theories, as well as French semiotics, are based on the views of Hjelmslev. In fact, his theory is both the theoretical basis of the semiotic project and the guarantee of its identity. Today, when semiotic theory needs to be revised, it is the re-reading of Hjelmslev that feeds on the newly proposed concepts of semiotics. However, we have very scattered and limited knowledge about this theory. Much work still remains to be done. In recent years, some researchers have seriously examined Hjelmslev's theory of language that we should wait to see how this return will affect our knowledge of language.
 

 

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In the cultural history of Iran, some didactic books have been written to rulers. These books not only have so many linguistic and historical values, but also reveal theoretical topics in the area of politics as well as the practical ways of using them. In addition, one can recognize the political and social moralities of rulers, by these books. Narrating was the most common way of expressing the meanings which the writers of these books wanted to share. Seyar al-molook (Siyasat-nameh), created by Khaje Nizam al-Molk, is one of the most important Adab al-molook (royal more)s in Persian, has been written in the 5^th century. This book chiefly includes the numerous tales which the writer expresses some policy and ethical recommendations among them, for Saljuqian rulers. In this article, it has been studied on the tales of 39 chapters of the book, according to some parts of the Criticism of Structuralism. First, it is indicated some parts of the Structuralism Criticism which are used in this article. Second, the tales was separated with numbers. third, it is discussed about the time, mood, voice, the structure of actors and plot, according to Structuralism theory. Forth, the writer has written the conclusions.

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Manzar Soltani,PH.D.
Sayyed Ali Banifatemi.
Abstract
 
This article is on the roles of verb in narration. Initially, the significance of verb in the view of experts in narration are presented and upon research of the fundamental concepts of this topic of importance, classifications in the study of verbs have been presented based on the study of narrations.
The features of verb and its double role in the fields of grammar and narrations, have been thrown under the spotlight.
Upon application of theories on narration, this study intends to find out the role of verb in concepts such as action, description, display, and grammatical changes in a clear and transparent manner. Ultimately, the impact of verbs in creation of classifications of story in addition to study of the writing style of novels are covered.
Psychological wise, a number of tests have been presented manifesting the importance of verb in reading, memorizing, and understanding narrations. In the grammatical structure, different types of verb are introduced. Moreover, a definition of the verbs in narrations can also be rendered, within the framework of which the researcher tries to display the delicacies and capacities of verb in creation of prominent literary texts.
 

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Ghodrat Ghasemipur, PH.D.
Abstract
 
This article has studied and assessed the structural poetics of poetry via adoption of a trans-critical approach. This article initially enumerates the structural narrative scope and its enriched and multiple outcomes, which have occurred due to the success of structural poetics in analysis and study of the grammar of narration. In the second part, the article analyzes the poem and concludes that these analyses are based on a formalist approach or have modified the achievements of present day critics. Hence, the structural poetics has not outpaced structural narrative studies.