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The experience of time, like anything else in the world, can manifest itself in the text. Time is regarded as a structural element of the text. One characteristic of narrative is that time is considered as the main element of representation tool and the represented object. Therefore, time is described in the light of the chronological relationship between story and the representing text. By analyzing the time of the story and the time of the representing text, it can be concluded that in all the four plays of Naghmeh Samininarrative has two kinds of temporalities: the cyclic and the linear. The linear temporality gives a dramatic characteristic to the text, while the cyclic temporality gives an epic characteristic to the text. The cyclic temporality is always connected to a particular place and somehow reveals the feminine subjectivity governing the text. This study aims to show that when the linear temporality is dominant, the text is dramatic, and when the cyclic temporality is dominant, the text becomes narrative, while both temporalities exist in these four plays simultaneously.

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Proverbs are particular types of discourse that function similar to phrases and despite of polylexicality, they possess certain rigidity where the concept, semantically, is stable and has been restructured. However, the most remarkable and considerable aspect is that how proverbs produce the time of experience once addressee listen or read them? And how proverbs create different temporal conditions? Since the process of statement is dynamic and dynamism inevitably has a temporal dimension, how addressee of proverbs, in this interaction, arrives at a new situation? To respond to the above research questions, the current paper has used the semiotic-semantic approach that was propounded by semioticians of the Paris School as "Temporality in Discourses". Relying on this approach as well as using philosophical phenomenology, the temporal system in proverbs would be analyzed.   The research intends to show as how addressee of proverbs could transform from the existing stage of suspension to the stage of connection that is an agent of the experience and similarly reaches to the consciousness level so that he could understand the moment. Finally, how the grammatical time where speeches are in "present form" intervenes this process.

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After the World War II, the notion of spatiotemporality plays an important role instead of space and time independence from each other. This emphasizes time category and all its strata and dimensions. Based on the theoretical framework of geo-criticism and according to Bertrand Westphal's point of view, the present study attempts to investigate spatiotemporality from textual space, relying on La Modification novel by Michel Butor in order to create a new study of this novel on elements of geo criticism. Space evolution during time is described in textual space by Michel Butor's novel. Research questions are: what is the role of time in space evolution? How the spatiotemporality evolution in Butor novel is described? Therefore, results of this paper demonstrated that space cannot be analyzed without considering the temporal strata and intervals; space and time have created a spatio-temporal continuum. Space and time are inseparable elements in geo-criticism. If time is dynamic and variable, the space is also variable and dynamic. Therefore, the only way to represent transformed and stratified space is paying attention to textual space. This paper aims to scrutinize the represented space and its changes in literary discourse, so that the reader can imagine this space and represent it in his/her mind.
 

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Karbala has been a multiple and dynamic space and so the writers’ perspective on it was multiple and dynamic as well. Geocriticism is one of the new interdisciplinary approaches that focuses on space in postmodern era. Geocriticism investigates the relation between subject and space and studies the geographical space and the imaginary space of literary texts. The current study was aimed at investigating the effect of space stratification on readers in a selected number of poems. Such stratification was influenced by time as well, creating different layers of texts in space. The researchers tried to unfold the space-time layers in these poems that shaped the space of Karbala, based on the spatiotemporality principle of Westphal theory. The results indicated that poets would identify themselves with these layers of space, as they unveil the dialectic between the self and the other. Moreover, in this study the viewpoint of the Christian poet (exogenous) was studied against the Muslim poet (endogenous), by applying multifocalization principle of Westphalian theory. The principle focuses on different points of views being endogenous, exogenous and allogenous. The study reveals the convergence of selected poets’ perspectives

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• Abstract
  The formation of Khayr al-Nisa’s narrative language is based on a unique feature of Persian language called narrative essence. It creates the logic of events in this linguistic context through its combinational property and combinability as well as the interactions of components. Therefore, based on the aforementioned information and concerning the question of how the language of Khayr al-Nisa is formed regarding its narrative logic, this study seeks not only to realize the interactions of the components forming the narrative language, but also its importance and position in the contemporary literature and culture. In this journey, with respect to the heuristic essence of the story, the components constituting its language have been considered as the theoretical framework and then their mechanism in the formation of narrative language has been studied. This research which is qualitative and is conducted through a descriptive-analytical method addresses the fourfold aspects of combinational property, temporality, locality and character in the story’s language and examines some parts of each. The result suggests that paying attention to the principle of combinability in Persian language and its power to materializing and making the story tangible are the main reasons for the existence of a narrative language in Khayr al-Nisa, which made the narration believable and facilitated the process of logical reasoning. In addition, the realization of the story in this context requires establishing logical relations between successive events through the components of time, place and the character of Khayr al-Nisa in a harmonious and coherent way, which has been done in the story of Khayr al-Nisa with regard to the nature of heuristics and the tradition of Iranian fiction. Besides, the language of the narrative reveals the Iranian culture and shows the written contemporary narrative being rooted in its tradition and therefore causes an intuitive unity among its inhabitants.
  
  Extended Abstract
  Introduction
  Ghasem Hasheminezhad is a well-known writer, critic and translator who has a record of research in mystical texts. Khayr al-Nisa is a long documented mystical story which was published in 1993 for the first time and is rooted in its long-time literary context. The language of narration in Khayr al-Nisa is based on the combinational property of Persian language and the logic of mystical texts in Persian literature which constitute the theoretical framework of this study. Therefore, this research is written based on the question that how the language of Khayr al-Nisa is formed regarding its narrative logic to not only realize the interactions of the components forming the narrative language, but also its importance and position in the contemporary literature and culture.
  Theoretical Framework
  The narrative logic in Khayr al-Nisa is rooted in a unique feature of Persian language called narrative essence. In this context, the components of time, place and character through their harmonic function and based on the history of fiction writing in Iran, create the narrative language through defining a cause and effect relationship. The time of current life and the spoken language of the period are the primary bases of the creation of narrative language. Furthermore, time should be studied chronologically with regard to the rule of presentiment in the tradition of fiction writing in Iran. Moreover, duration and frequency in Genette’s theory about the narrative time are other important components in creating language which are studied in this research by considering the mystical essence of Khayr al-Nisa. In addition to temporality, locality can also disclose the importance of creating situations which can visualize the space of story and make the relation in it more logical and believable. Finally, it is the character of Khayr al-Nisa, which is the basic aspect of forming a narrative language based on the role of famous characters in Persian literature.
   Conclusion
  1. Applying the combinational property and combinability of Persian language in Khayr al-Nisa leads to a believable story which has a heuristic essence because of objectifying and materializing the mystical events through the combinational verbs and words of the spoken language. Therefore this is the basic context which facilitate the interrelations of the components in narrative logic of Khayr al-Nisa.
  2. The component of temporality consistently coordinates with the combinational property in the narrative language. The language reveals a period of time in the past and not only tells the individual story of Khayr al-Nisa as well as the ineffable events in her life that constitutes the basis of the narration, it has also addressed its socio-cultural and historical context. Accordingly, the narration has a kind of certainty for the readers that they can follow the logic of events without hesitation which improves the acceptance of the cause and effect of each event. Furthermore, the order of events based on the principle of presentiment and not creating a sense of ignorance and surprise in the readers in the tradition of fiction writing in Iran, is conducted in such a way that each of them is the effect of the initial event and at the same time has a causal relationship with the other on the basis of an invisible affair. On the other hand, because of heuristic essence of the story, duration and frequency are considered in a way that the mysterious and sacred aspects of the story are not reduced through the expression.
  3. Locality in narration is a part of the logical structure because it objectifies the situations in such a way that can complete the causes and effects. In Khayr al-Nisa, from the beginning, through language embodiment which shows accessibility and entrance, the variety of spaces, the quality of boundaries and openings and the symbolic things, Khayr al-Nisa’s identity and situation are explained. By elucidating more details such as measure of space, materials and the form of plan, Khayr al-Nisa’s financial ability, mood and desires, aesthetic emotion and worldview alongside cultural issues like limits and territories in her dwelling place are shown.
  4. Khayr al-Nisa is not just a character in a plot; rather, she is a real person who is the grandmother of the narrator/writer, well-known, respected and dear in her life. In the first aspect, the narrative language has such an intimate and honest quality that facilitates the making cause-effect relationship of events logical and more believable. In the second aspect, characterizing famous personalities in narration increases validity and acceptance of the story which is a common basis in Persian literature. Therefore, with regard to this component, the character of Khayr al-Nisa is the primary aspect of forming its narrative language.
  5. All the components have harmoniously created a narration with concrete language that represents some aspects of the Iranian’s life and culture during a period of time. Therefore, Khayr al-Nisa has a significant role in contemporary literature as it causes an intuitive unity among Persian speakers.

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Time and perception are two major concerns of Woolf in many of her novels and short stories. Woolf as a modernist writer often tries in her fiction to find an epistemological solution to the problems of mortality and immortality, appearance and reality and diversity and unity and she succeeds, I think, by taking on a kind of perception that is intuitive and temporal. For her, true perception is time-bound, but like Bergson she divides time into mechanical and organic one. In her writing, she often associates symbolically the former with death and aridity and the latter with life and fertility, presenting them in the images, to name but a few of keyboard of a piano or alphabetical letters and tree or green shawl and dress, respectively. Evidently, in her views and the solution, she finds to the problems of time and perception Woolf is influenced by Bergson whose theory of time has also influenced so many other modernists. This paper elaborates on the relationship between time and perception in the works of Woolf, especially in her two major novels To the Lighthouse (1927) and Mrs Dalloway (1924) and her short story “An Unwritten Novel” (1921).