Journal of Literary Criticism

Journal of Literary Criticism

Studying narrative types and their discursive functions in the poetic works of Lily and Majnoon Jami based on Jaap Lintvelt's theory.

Document Type : Original Article

Author
Associate Professor, Department of Persian Language and Literature, Faculty of Humanities, Kosar university of Bojnord, Bojnord, Iran
10.22034/jlc.2025.445128.1622
Abstract
In narrative typology, Jaap lintvelt classifies narrative texts based on their macro-structural features into three types: text-oriented (actoriel), actor-oriented (auctoriel), and neutral(nature). These narrative types differ from one another in terms of their perceptual-psychological basis (narrative perspective (point of view), depth of perspective, narrative mood, temporal basis, spatial and verbal basis) and influence the affective, cognitive, generalizing, and discursive dimensions of the text. The present study endeavors to analyze the frequency of text-oriented, actor-oriented, and neutral narrative types in Jami's Layla and Majnun, as well as their discursive applications, based on Jaap lintvelt theory of narrative typology. The results of this research indicate that this masnavi shares a similar narrative framing (the prologue and epilogue of the book) with other Persian masnavis, which is narrated as a homodiegetic fictional world. In this part of the narrative, the abstract author-narrator, in an actor-oriented manner, mentions the reasons and motivations for composing this masnavi. The beginning of the story occurs in a heterodiegetic fictional world, where the three narrative types—text-oriented, actor-oriented, and neutral—can be distinguished. The text-oriented narrative type in the heterodiegetic fictional world, characterized by its temporal and spatial basis outside the story, possesses features of self-awareness, god-like omniscience, and interpretation, with its discourse being cognitive in nature. The actor-oriented narrative type is manifested in the dialogues between the story's characters, who share the same temporal and spatial basis as the story, and the discursive function of the main characters in this narrative type is affective-cognitive, while the discursive function of the secondary characters is generalizing. The neutral narrative type is used to describe the atmosphere and setting, and to depict the states of the story's main characters, Layla and Majnun, which strengthens the affective dimension of the discourse
Keywords
Subjects

Abbasi, A. (2002). Imagination, narrative, and morphology in the works of Davoud Ghaffarzadegan. Research Journal of Children and Young Adult Literature, 30, 153-167. [in persian] Abbasi, A. (2014). Applied Narratology. Tehran: Shahid Beheshti University Press. [in persian] Fazeli, M. (2004). Discourse and critical discourse analysis. Humanities and Social Sciences Research Journal, 14, 81-107. [in persian] Horri, A. (2003). Narrative and narratology. Journal of Aesthetics, 8, 321-351. [in persian] Jami, N. (2003). Masnavi Haft Awrang (M. Modarres Gilani, Ed.). Tehran: Mahtab. [in persian] Jaworski, A., & Coupland, N. (Eds.). (1999). The Discourse Reader. Routledge. Kahnamoui Pour, J., Khattat, N., & Afkhami, A. (2002). A Descriptive Dictionary of Literary Criticism. Tehran: University of Tehran Press. [in persian] Khadivar, H., & Sharifi, F. (2011). Commonalities between Jami's Layla and Majnun, Nizami's Layla and Majnun, and Amir Khusrow Dehlavi's Majnun and Layla. Literary Thoughts, 7, 59-88. [in persian] Lintvelt, J. (2012). Essay in Narrative Typology: Point of View: Theory and Analysis. Translated by A. Abbasi & N. Hejazi.Tehran: Elmi va Farhangi. [in persian] Makaryk, I. R. (2006). Encyclopedia of Contemporary Literary Theory. Translated by M. Nabavi & M. Mohajer. Tehran: Agah. [in persian] Mohammadi Fesharaki, M., & Khodadadi, F. (2018). A Descriptive Dictionary of Narratological Terms. Tehran: Soure-ye Mehr. [in persian] Parsa, S. A., & Rahimi, M. (2017). Semiotic study of Jami’s Layla and Majnun story on the basis of discourse analysis. Literary Arts, 1, 1-18. [in persian] Parvini, Kh., & Nazemian, H. (2008). Vladimir Propp’s Structuralism Pattern and its Functions in Narratology. Journal of Research in Persian Language and Literature, 11, 183-203. [in persian] Prince, G. (2012). Narratology: The Form and Functioning of Narrative. Translated by M. Shahba, Tehran: Minoy-e Kherad. [in persian] Shairi, H.R. (2009). From structuralist semiotics to discursive semiotics. Literary Criticism, 8, 33-51. [in persian] Shairi, H.R. (2016). Analysis of Discourse Semiotics. Tehran: Samt. [in persian] Tolan, M. (2004). Narrative: A Critical Linguistic Introduction. Translated by F. Alavi & F. Nemati. Tehran: Samt. [in persian] Yousefi, H. (1994). An analytical and comparative study of Nizami's and Jami's Layla and Majnun. Adabestan Journal, 53, 85-87. [in persian] Zolfaghari, H. (2009). A comparison of four narrations of Layla and Majnun by Nizami, Amir Khusrow, Jami, and Maktabi. Textual Criticism of Persian Literatureو 1, 53-89.
Volume 10, Issue 19
April 2026
Pages 228-190

  • Receive Date 21 February 2024
  • Revise Date 30 December 2024
  • Accept Date 12 January 2025