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This paper examines the Quranic stories in a narratological approach.First the problem of the research is explained and the hypothesis is raised that there is no relationship between the Quranic stories and narratology.The paper then reviews the literary on the litrary approaches to the Quran and the Holy Book.Then the genealogy of the words related to Quranic stories is given.In the next part,the components of narratology i.e. story and text levels are described and then some Quranic stories are studied in a narratological approach,using these components.Finally,more than 10 findings are proposed as the results and the paper concludes that there is a positive relationship between the Quranic stories and narratology.

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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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The purpose of present article is to introduce the basic constituents of the story blueprint, and principles governing them. By the story blueprint I intend the reader's inference about some relatively short sequences of narrative events. The local rules operative on these sequences help the reader discriminate story characters' goal-directed actions from unintentional events and states, before mentally modeling an overall structure of interlinked larger sequences within a storyworld. Action, event, and state are among the concepts inextricably connected with the notion of story and reiterated through the history of narrative analysis. The concepts at issue, and with them the nature and scope of narrative itself, have been further illuminated by recent insights offered mainly by linguists, philosophers, and cognitive scientists. Most of these developments occurred long before the establishment of cognitive sciences, and even before the heyday of structuralist narratology. But despite their availability at the time, they have been brought within the compass of classical theories of narrative since only a couple of decades ago. Narrative theorists argue that to tell and comprehend stories is to operate within a system of rules in which events are preferentially viewed as structural sequences of intentionally-oriented actions. In recent works on the semantics of verbs, however, language theorists have made finer-grained classifications of expressible events, with actions as a mere subcategory. This article is thus meant to explore some of the implications of verb semantics for narrative theory, especially as concerns typology of narratives under various genres.

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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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The narratological approach in studying the fictional narrations structure provides an organized ground and a systematic pattern for analyzing the main elements of the narrative text, i.e. story and text. In the present research, the Do Donya (Two Worlds) is analyzed in a narratological approach and the first hypothesis of the research about the possibility of applying the structural of narratology for the modern fictional narration of Do Donya is tested. The reason for choosing the Do Donya fiction in the matters of deep structure, time, place and focusing is the conflicts and discrepancies which exist between death and life. The results indicate that the narratological approach with its componenets (including story level elements, such as time elements consisting of order, continuation and frequency; place elements consisting of fiction place and text place; characterization covering direct and indirect characterizations (action, speech, visual figure, environment and names deductions); focalization (internal and external); aspects of focalization conceptive, psychological and ideological)); narrating (the narrative levels (metafictional and subfictional), the narrative layers (internal and external)); representation of speech and thought (narration, crucibles (scenario, merely briefed scenario, indirect repetition of content, free indirect speech)) can present a structural analysis of all aspects of the narration of Do Donya story.

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  Khorasani,M. 
                                 
Vladimir Propp, the Russian folklore expert, suggested that natural sciences study styles should be used in ordinary stories. He believed that classification of stories is the result of many researches at the end of studies but, most of the scholars traditionally classify the subjects and include the working materials in the form of such imposed classification.
            Propp himself studied the morphology of one hundred of the Russian tales collected by Afanasyof. He discovered that all the available works in tales are limited to 31 functions. He thought that type of the tale, which should be discovered, is covered under the disordered appearance of the standards ruling on the tales. It is regarded as the first founding of narratives. He determined a symbol for each of these functions and by putting them together, finalized them and reached the wonder tales.  
            Use of modern methodology criticism in classic literature always faces difficulties. This research is an attempt to examine this model in comparative literature. The material used for this study includes a tales of the ” Arabian Nights ” covering the main story and also three other ones. In analyzing this anecdote not only the Propp’s methodological symbols are used but, other symbols have been used as required and finally morphology model of the story are presented. Applying this method which is regarded as a test for morphology, can separate the annexed tales from the main ones based on the reached structural model.  
 
 

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This paper examines the correlation among different aspects of speech and thought representation with a focus on free indirect discourse. The paper first examines Genette’s views regarding speech and thought representation and then focuses on the analysis of various types of speech and thought ranging from the most mimetic to the most autodiegetic. I will then focus on the free indirect discourse and try to shed light on it by resorting to the theories of Bally, Toolan and Machill. Our analysis demonstrates the fact that the linguistic features of FID can represent the thoughts and ideas of characters and narrators of story in a special way while they also bring about a kind of discourse replete with irony and ambiguity.

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This study is an analysis of the narrative prose of Aviny in his narrative Ravāyate Moharram1with regard to the features of narrative intelligence and the narratological features of his prose based on Randall’s (1999) framework for the Narrative Intelligence Theory. Although many claims have been made about the unique qualities of Aviny’s narratives, none of his works have been academically analyzed to show the narratological features in his prose. The researchers believe that scientific analysis of Aviny’s works based on reliable narratological theories can substantially contribute to a better understanding of the special qualities of his style, and using them in new forms and contexts. In the present study, narrative intelligence promoting mechanisms and their realization in Ravāyate Moharram are quantitatively and qualitatively analyzed using Labov’s (2001) narratological model as a structural instrument. The linguistic manifestation of some narratological features of Aviny’s prose are discussed from a stylistic perspective.

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This study is a stylistic narratological analysis of Ravāyat-e Moharram (The Narrative of Moharram) by Seyyed Morteza Aviny based on a framework adopted from Randall’s (1999) Narrative Intelligence Theory. Although many claims have been made about the unique qualities of Aviny’s narratives, none of his works have been academically analyzed to confirm the narratological features of his works. The researchers believe that scientific analysis of Aviny’s works based on reliable theories of narratology can substantially contribute to a better understanding of special qualities of his style, and using them in new forms and contexts. In the present study, mechanisms contributing to the promotion of narrative intelligence and their realization in Ravāyate Moharram are quantitatively and qualitatively analyzed using Labov’s (2001) narratological model as a structural instrument. The linguistic manifestation of some narratological features of Aviny’s prose are discussed from a stylistic perspective.

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Narratee is one of the major roles in each narration and its analysis can reveal the features of the narrative text. This study is an analysis of the influence of the narratee’s predilections and responses on Masnavi’s plot. Moreover, we tend to examine the other functions of narratees in Masnavi. Being addressed directly, the narratee is highly overt in Masnavi and plays a significant role in the course of the narration. The narratee’s questions and acts can determine or even shift the course of the plot. This paper examines four major functions of Masnavi’s narratee.

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S.E.Qafele Bashi PH.D
S.Z. Behrooz
 
Abstract
The morphological analysis of about 200 mystical narratives from the valuable Persian books – Kashf-ol-Mahjoob and Tazkerat-ol-Ouliya – revealed that within the particular field of mystical narratives, generosity possesses a prominent position in the climax of the story; while it is also more faithful to the meaning compared to other genres. At the same time though these unique roles face more limitation, they enjoy more variety as well. The only factor for similarity is due to the position of their functions; like the position of codes in an allocated space considering the turning point of the tale. Therefore Propp’s theory fits in the semiotic domain. Through this research three actions were realized; though the number of functions reached eleven. Some of these are similar to those functions in folktales, while some of the others are new as in the mystical tales.
 
 

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  Metalepsis is divided into two types: first, the movements from extradiegetic to diegetic levels; and second, the movement from diegetic to extradiegetic levels. This article analyzes the various modes of the first type of metalepsis in Mathnavi. Mathnavi can be considered as the most prominent example of narrative text in Persian literature with instances of transgression of levels.

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In this essay the blending of story and discourse in postmodern Persian fictions is analyzed. According to structuralist narratologists' definition, story is the sequence of actions upon to chronological order that characters or existents undergo them; Discourse or narrative discourse is the medium that is selected for narrating the story. In some postmodern fictions, we see some narratives that in their stories or deep-structures, there is not a rich story, and the author don’t want to just narrate, represent or mimic a story. In these narratives, surface-structure and deep-structure (or discourse and story) is blending and spinning so that we cannot summaries that story, or transmit that story to another medium. In the other hand, story existence is depended to narrative discourse. Such narrative technique is evident in some postmodern Persian fictions. In this essay, in addition to discussing the blending of story and discourse, Persian fictions that had this trait are analyzed.

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Narrative, like Language, is a concept abstracted from various representations of a semiotic system in the name of “narrative poetics”, i.e. a kind of grammar which maintains structural cohesion within a narrative text and provides such a text with the features necessary for its narrativehood. For the concept of narrativehood to be defined more clearly in this article, the bi-stratal mechanism of narrative system is investigated, after structural narratology, just at the story level. Focusing on narrative structure at this level, the article holds that the mere chronological sequence of events in a discourse is quite sufficient for it to be judged as narrative - whether logically consistent or not. Also, comparing narrative with linguistic semiosis and analyzing it within the frameworks of structural linguistics, the article points up the indispensability of poetics and its key concepts (including narrativehood) from narrative studies, however outmoded they may appear long after the scientific credibility of poetics was deluded by traditional narratologists. These objectives are achieved through a structuralist analysis of Pagard (Shahsavari, 2005), seeking the novel for the major constituents of narrative and the hierarchical relations among them. In spite of structuralists, thus, narrativehood is defined both as a function of one specific superstructure, and an attribute common to all narrative texts.

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With the promotion of the structuralism theories, narration was assumed as the structure and each individual theorist tried to explore the constituting elements of the narrative structure, offering a basic pattern for it. One of these theorists is Tzvetan Todorov.
The narratology of "Maghamat Hamidi" based on the model suggested by Todorov shows that the element known in here as "Maghame" (status) follow one unique narrative structure. The narrative structure of each of these status elements relies on three minor parts (known as "Peiraft" in here) which stand in a certain order one after another. In addition to the three minor parts, in 60% of the major elements (Maghame), two other minor elements are present due to reasons such as foreword for future discussions; expressing the reason of occurrence or as the reciprocal pair of the major element (in this case the Peiraft). These minor elements regularly make a chain and in one case are internalized. Regarding the fact that the narrator goes to a trip in all the major elements (Maghame), this is situated in a lecture or advice-like atmosphere and finally learns some points; in other words the basic grammatical elements of Maghame is travel, debate, lecture and learning which has roots in a Prophet's saying.
 
 

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The present study is a comparative study of Jean-Paul Sartre’s The Age of Reason and Iris Murdoch’s The Bell. The main focus is on “unreliable narrator” which is a popular concept at the present time when humanity enjoys manipulating each other and suffers himself from misunderstandings. Wayne C. Booth was the earliest theorist who provided a practical definition of “unreliable narrator” and his theory is considered as the framework. Previously, the studies only focused on homodiegetic narrators but, here, other narrative techniques are analyzed. In other words, the point of view and the presence of multiple perspectives and voices are crucial in the analysis of unreliable narratives. These narrative techniques and unreliable narrators are scrutinized at the social and political contexts of the novels. Accordingly, New Historicism, specifically Stephen Greenblatt’s theory, is used as another approach to reveal the presence and function of the unreliable narrators in the selected literary works.
 

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The present study aims at investigating narratology of the short story "Elegy for Jaleh and her murderer" by Abou Torab Khosravi based on Greimas' Actantial and Sensible /Stative Models. It also seeks to investigate narrative structures considered by Greimas in order to explain the gradual evolution of sequences and formation of the story to compare the Sensible /Stative models, and to examine the way of passing through the actantial system into the Sensible /Stative model in this story. The actantial model turns around Lieutenant Kavous actions where in a pre-programmed and prescriptive manner, he wants to affect the object of value with a special order in contractual / executive and disjunctive sequences. Action helpers and anti-actants in turn, facilitate or make difficult the hero's action. However, in the Sensible /Stative Model, we can find how actants and object of value turn into object of value and sensible or stative subject in the cycle of discourse. As well, it is easy to observe that sensible or stative subject without any pre-planned program, finds himself in a new situation by dealing with the object of value after passing through emotional-perceptual processes and other aspects of discourse that can be called "moving toward the beloved". Thus, it can be concluded that in this discursive transmutation, the relationship between actants can be redefined with a gradual transformation in five sequences, and the established actantial discourse reaches doubt and changes into sensible /stative discourse.
 

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Regarding exegesis as a fundamental specificity of the mystical language, this paper introduces one narrative pattern in the mystical anecdotes. As in most of the didactic forms, this structure is constituted by a mistake and a punishment; but in this case, the mistake takes the form of a norm. A new mistake and its punishment are then introduced and the first overt mistake is not followed by the expected punishment. The emphasis on the second mistake is the result of a hermeneutical process. This pattern, as a result, proposes a narrative description of the act of exegesis in the mystical texts. From this point of view, highlighting some mistakes and overlooking the others can show the function of mystical conventions in the mystical narration. Although this interpretation is based on the structural and narrative aspects of mystical texts, it pays attention to the linguistic and conceptual aspects of these texts as well. 

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The “unreliable narrator” is of high significance among the modern narrative issues, that is a person due to the restricted knowledge and having no enough information, memory and Alzheimer disorders, psychosis, no attention to the grammatical signs in narrating events, speech and behavior contradiction, fear and doubt, as well as prejudice narrate those events which are incredible. Through the descriptive-analytical approach, the proposed research compares novels “Quabis Beirut” written by Ghadat-al-Saman, the Syrian author, and “Prince Ehtejab” written by Houshang Golshiri, the Iranian author, based on the components of unreliable narrator. The results indicate that the narrators of both novels are psychotic and disturbed, and this psychosis is more evident in the novel “Quabis Beirut” and the nightmare title of this novel is a clear reason itself for undesired mental state of its narrator. Both narrators have less information about the events; therefore, they regularly use the word "maybe" in their speech, and even when using the word "for sure", the sentences’ context implies their uncertainty. Both narrators are permanently in fear and hesitation states and transmit it to their reader. Memory disorder, uncalled-for repetitions, as well as speech and behavior contradiction have invalidated their narration, of course, the narrator’ non-reliability in Prince Ehtejab was prominent more with another factor called his prejudice against the Qajar dynasty, which prevented some reports being impartially presented.

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Today, narrative is one of the most common concepts, not only in literature, but also in non-literary fields such as psychology, social sciences and philosophy, uo tp the point that the concept of " narrative turn" has emerged. This paper is amied at studying the most important approaches addressing narrative, because it is not only important for literary and narrative studies, but at the same time can reveal the deep connections between literature and other disciplines. Obviously, to do this, only only literary references should be consulted, but also other important ideas, especially in philosophy and psychology, should be taken into consideration. In this manner, narrative can be used as a basis for interdisciplinary studies. For this purpose, desk study method has been used study two major approaches towards narrative, i.e. definition-centered and descriptive approacheds. For definition-centered appraoch, the major components and consistuents of narrative have been inferred by comparing such definitions and their contradictions have been brought into surface. In the next section, using a descriptive approach, the nature of narrative and its relationship with culture (social dimension) and understanding and life (individual dimension) will be examined. This will be done by reviewing the ideas of both narratologists and philosophers. The results of theis study indicate that narrative is a widespread phenomenon that is not only important in the field of literature, but also plays a very important role in the culture, understanding, identity and ethics.