https://www.narratologyjournal.ir/ Journal of Literary Criticism en daily 1 Thu, 23 Oct 2025 00:00:00 +0330 Thu, 23 Oct 2025 00:00:00 +0330 https://www.narratologyjournal.ir/article_211481.html T Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   The present study analyzes narrative, aspect, and narrative in Henrik Ibsen’s play “Ghosts” and uses Paul Simpson’s aspect-narrative perspective. The main challenge of the article is how Ibsen depicts social and moral issues through narrative structures and perspective contrasts, and how these effects affect the audience’s understanding of the text. The main issue is what narrative techniques have helped Ibsen to deeply examine the characters and social realities of his time? The aim of the article is to present a comprehensive analysis of the relationship between narrative structure and human themes in a descriptive-analytical manner in “Ghosts”. The innovation lies in combining Paul Simpson’s theory with the analysis of the text of this play, which helps to better understand the complexities of narrative and aspect in literature. The results show that Ibsen, by using multifaceted structures and creating internal tensions, has been able to present an influential and profound narrative that not only reflects the social issues of his time, but also encourages the audience to think about the realities of life and social norms. This research helps to clarify the relationship between Simpson's theory and the text of Ibsen's play Ghosts and adds to the richness of literary criticism approaches in the field of narratology.   https://www.narratologyjournal.ir/article_211473.html Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   In the research, the narratological and rhetorical place of prayer in the narrative structure of Kei Khosrow's story and the various functions, manifestations and methods of these prayers are represented and explained. The purpose of examining the prayers from a narrative and rhetorical point of view is to achieve the structural and rhetorical pattern of the Shahnameh prayers. The main question of the research is, in which time, place, emotional, action and tension situations do the Pahlavi prayers of Shahnameh appear and with what functions and which rhetorical aspects? Prayers in this story occur in a context of individual to collective actions. Also, they are the result of the ontological aspect of the person's thought. Prayers are realized in a range from absence to address, slow to fast beats, and fear and hope to intimate relationship. Sometimes the prayers appear in the suspense of the story. Sometimes the prayers are traced from the starting point of the tension and while reflecting the inner chaos of the personality, the tension is resolved. Sometimes prayers are a personal experience that is accompanied by petitions and complaints to God. Then they get the answer by prompting and demanding. Sometimes prayers are answered through unseen inspiration and in the form of revelation, and the ending of the story is also the result of prayer. Sometimes the narration is drawn from the horizon of prayer to the horizon of revelation and sometimes from the horizon of revelation to the horizon of response.   https://www.narratologyjournal.ir/article_196343.html Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   Tellability is a concept in the field of narratology, referring to the point and value of narrative in a general sense. The theorists of this field, such as William Labov and Marie-Lou Ryan, have formulated principles for it based on conventional narratives. Surrealist narratives are part of the wider realm of unnatural narratives, in which the world-building of the story is beyond the realist conventions. Therefore, the issue that is raised is, what are the mechanisms of tellability in these narratives? How is the purpose and point of the narrative out of reach in the surrealist narrative. The two approaches of cognitive poetics and unnatural narratology, each with their own concepts and methodology, have pointed to the issue of reduction and lack of tellability in these narratives. This article uses a descriptive analytical method while examining the theoretical background of tellability; by combining and expanding the two approaches, it provides a model to explain tellability in surrealist and unnatural narrative. Three short stories with a surrealist style by Sadegh Hedayat, Bijan Najdi, and Abbas Maroufi have been selected for practical criticism. This study shows that the narratives reduce tellability by transgressing realistic conventions, through unnatural sequences, unnatural world-building, challenges in coherence and third-order informativity. Readers use natural reading strategies and downgraing to bring the text to an acceptable tellability level. Reducing transmissibility is one of the important functions of surrealist narratives, and part of the power of these narratives depends on reducing this component and the experience of uncertainty.   https://www.narratologyjournal.ir/article_204086.html Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   With the emergence of modernist approaches and their entry into contemporary fiction literature, writers have addressed their new ontological narrative of fiction and have gradually distanced themselves from the classical and linear narrative of previous decades. In the rhizomatic approach, the non-linear context, fluid and multiple experience replaces the ideas oriented towards the unified, single-rooted and focused whole. The ruling thought of the novel "When a Man Thinks" by Khowla Al-Qazvini is of a rhizome type that organizes a network of mutual affairs by breaking the spaces and lines of tree thinking. The tireless and spontaneous spirit of the first character of the novel (Mohammed) can be proved by rhizomatic reading. This article tries to analyze the applicability of the rhizomatic approach to the mentioned novel with descriptive analytical method. Since the rhizomatic approach provides an opportunity to analyze postmodernist novels and is very effective on the reader's understanding of the novel, the necessity of conducting this research becomes important. Deleuze's rhizomatic approach with its related components such as deauthorization of the subject, becoming, deterritorialization and territorialization has the ability to adapt to the mentioned novel. One of the most important findings of the current research is that the novel does not follow a hierarchical structure and that it has the characteristics of a postmodern novel, such as the lack of internal stability of the story, irregular structure, and rule avoidance. Khowla presents Muhammad as a nomadic and always "becoming" person who hates to stay in one place.   https://www.narratologyjournal.ir/article_211472.html Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   After reviewing the history of manga and anime in Japan, this article examines the anime movies that made this medium popular in the world and caused its impact on contemporary live-action cinema. This research is a historical case study that was achieved with a qualitative method with documentary data, and its main purpose is to review the impact of the Japanese aesthetic language on contemporary cinema. Anime is a medium whose foundations are long before the beginning of cinema and which coincides with the development of the Japanese aesthetic view of the world. Convergence is a cultural phenomenon that connects old and new mediums. This transferring content across multiple platforms shapes transmedia storytelling. The best example of this convergence is the Matrix series, which reveals the transition of the Japanese visual language from manga to anime and then to live-action movies, digital gaming, and other media products. But sometimes the reconstructed Movies are not successful in this way, because they only repeat the original story of the manga in new forms. This influence of the anime industry on contemporary cinema is important because it established a new visual language that moves against the previous ideals of Hollywood; That is, instead of aiming to create realistic animation to the point of extreme reality, it follows the key elements of anime.   https://www.narratologyjournal.ir/article_211471.html The concept of love in the various propositions of Bidel’s poetry has been allocated diverse speech acts, powers, and purposes. To obtain the speech acts of romantic propositions, according to Chrisy Morgan’s table, 339 sonnet have been randomly and systematically selected as the statistical population. The research model of this study is based on one hand on Searle’s five-fold speech acts and, and the other hand, on the secondary purposes of propositions (based on the science of meanings), focusing on propositions that express the concept of love. According to Searle’s speech act theory, the syntactic structure of news, question, and command in sentences was determined, and by aligning it with the function of propositions, which Searle believes are respectively description, question, and command, an attempt was made to determine the goals of the acts, the direction of text compliance, and the conditions of truth for each. The results of this research indicate that the romantic propositions of Bidel’s sonnet in the news structures, with emotional speech acts, have been used for purposes such as boasting, sorrow and regret, reproach, praise, astonishment, and expressing affection. Assertive speech acts have been used for purposes such as exaggeration and magnification, encouragement and motivation, negation and denial, attracting the attention of the audience, and impact and regret. The imperative structure often has a non-imperative function and has been used with imperative acts and purposes such as: sanctifying, honoring and respecting, warning and cautioning. Finally, the interrogative structure indirectly emphasizes intentional objectives such as denial, regret, reproach, and praise.   https://www.narratologyjournal.ir/article_211476.html Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   The semiotics of discourse method emerges from constructivist semiotics and semantic narrative studies. This approach examines the interaction between action and determinism versus non ـ action and non ـ determinism within literary forms. It connects the layers of action and confusion by linking meaning production with sensory ـ perceptual conditions. Additionally, it proposes an ontology for linguistic outputs. The present study aims to explore the interplay and tension between active and inactive, as well as deterministic and non ـ deterministic meanings in the narrative of "Cherry Orchard." This research employs a descriptive ـ analytical method of discourse semiotics, relying on library studies for information gathering. Findings indicate that contradictions and interactions between deterministic and non ـ deterministic processes contribute to meaning production, establishing core meanings within the narrative, such as concepts of "seal and hatred," "love and hate," and "poverty and wealth." Meaning ـ making in the story reflects a dynamic dialogue between the aristocracy and the middle class, characterized by controversy and struggle. The middle and working classes eventually usurp the aristocracy through shifts in their economic and social status. Furthermore, the study reveals that the dynamic world can engage in dialogue with the inactive world, leading to processes of overcoming, correcting, and negating established norms. https://www.narratologyjournal.ir/article_204081.html Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   The Holy Quran is a foundational religious text, replete with linguistic signs. A key feature that distinguishes it from other texts is its strategic use of signs as a means to access its deeper layers of meaning. Among these signs are the numerous characters mentioned in it. The character of Adam (AS), as the progenitor of humanity, holds a particularly significant position and has attracted the attention of various religions, including Islam. Employing a semiotic approach based on Philippe Hamon’s model, this study examines the character of Prophet Adam (AS) in terms of the signifier (through onomastics, syntactic, and rhetorical analysis), the signified (verbal and behavioral actions, quantitative and qualitative criteria), and the levels of character description (biological, psychological, social, and symbolic). By analyzing the types of characters in the narrative of Adam and investigating his signifiers, signified, and attributes, this research explores the multifaceted dimensions of his character in the Quranic narrative from Hamon’s semiotic perspective. It demonstrates that the name and attributes of Adam are in perfect alignment with his role within the narrative. As this research analyzes the character of Adam in the Holy Quran based on Hamon’s semiotic theory of character, and given the intrinsic link between semiotics and Quranic exegesis, it can be asserted that by revealing the hidden dimensions of Adam’s character and elucidating its nature, this study contributes to a deeper understanding and appreciation of the Quran’s subtleties and nuances.   https://www.narratologyjournal.ir/article_191238.html This article analyzes the deployment of multiple genres (poly-genric) capacity and particularly the narrative games as a rhetorical device and figure of poetic language in Lima Afshid’s poetry so that it illustrates the ways in which the narrative operates as literary subterfuge within her verse. It highlights how narrative creates suspension and anachrony within the poem. The narrative is an important device that esthetically creates the possible world into the poetic language of Lima Afshid. Narrative poetry is one of the oldest literary art forms in world literature that represents and mimics epic, theosophy, and love to put the plot to poesy, combining the art of storytelling with the techniques of poetic language. The main purpose of narrative in classical Persian poems was storytelling, since in the modern era and especially in this poem, the narrative is used as a rhetorical device in regard to esthetic purposes. A poem that contains both, the figures of poetic language and the technique of narration stands as a poly-genric form that is in constant dialogue with the esthetic possibilities and rhetorical devices of other genres. The outcome of such an analysis is a deeper understanding of the narrative structure, signification, and the usage of narrative techniques are the significant elements of beauty and fascination in this poem. https://www.narratologyjournal.ir/article_211474.html We believe that folk songs are an important part of the oral literature of any country due to their preservation of cultural-national identity and transmission of feelings and beliefs of the past, and they play an important role in cultural studies and dialectology. In fact, folk literature is a reliable source for understanding the customs and beliefs of the people of a region, including: legends, beliefs, proverbs, couplets, lullabies, stories, songs, etc. The aim of the present study is to examine the structures and processes of creating meaning in folk couplets of Taibad, and the author aims to show, in addition to the structural classification of these couplets, how meaning is created and the relationship of the verses in emphasizing a specific theme. The results of the present study show that six general structures: exclamatory, threatening, allusive, conditional, emphatic, and action are evident in the folk couplets of Taybad, and each structure includes numerous sub-sets that are formed through the creation of meaning, content, and cultural and climatic beliefs.   https://www.narratologyjournal.ir/article_211469.html Cognitive linguistics is one of the branches of contemporary linguistics that offers new methods for analyzing various texts, including religious texts, with a particular focus on the Quran. One of these methods is the use of theories of conceptual metaphors proposed by Lakoff and Johnson (1980). The present research aims to identify the conceptual metaphors of time in selected narratives from the Holy Quran, relying on eight surahs (Dhahr, Yusuf, Juma, Falaq, Zuhi, Lail, Fajr, Asr), which primarily focus on the concept of time in various ways. Research method is decriptive, analytical and all data have been extracted from Jami al –Tafasir Nour .The representation of these metaphors makes you understand the resurrection better, because according to the theory of conceptual metaphors, man thinks metaphorically.After examining the verses of the surahs mentioned in the Quran in terms of the use of conceptual metaphors of time from the cognitive semantics theoretical framework, the researchers successfully extracted conceptual metaphors of time. The results indicate that the most frequent metaphors used in these narratives are ontological metaphors that refer to the Day of Resurrection.   https://www.narratologyjournal.ir/article_211480.html C Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   Discourse conversation analysis as an interdisciplinary tendency, in examining texts, goes beyond the level of sentences and words and pays attention to the situational context formed in the text. In this research, we seek to find a way through which the conversations of the narrative song "Shah Maghsoud", composed by Hossein Safa, can be analyzed. This song has been written with the theme of sustainability literature and according to the approaches taken from linguistics, its conversation analysis has been studied at three levels: 1. Language structure: in terms of word usage, grammatical constructions, sentence construction and Discourses; 2. Interpersonal communication in terms of speech interactions, implicit conversations, adjacent sequences and pairs, and taking turns; 3. Examining the conversation in relation to social action, like frame and genre and everything that is at the level of discourse. This song has a real conversation as a discourse text; The results of this study show how the relationship between discourse actions and social action with the help of background knowledge and awareness of ideas and social expectations accepted by members of society leads to the emergence of different levels of discourse.   https://www.narratologyjournal.ir/article_204082.html Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   One of the most important topics of classical narratology theory is the concept of the narrator. The "pan-narrator" theory, which arose from this era, believes that every narration necessarily has a narrator who, if he is not distinguished from a character in the world of the story or has a clear presence in the text or not, is definitely separate from the author of the work like a first-person narrator. But against this view, there is the "optional-narrator" theory, which the researchers of this field have tried to call the existence of the narrator optional by reviving the author in the text analysis process; Their opinion was that in texts that do not have a clear reference to this concept, its existence can be ignored and the responsibility should be shifted to the historical author. These two theories each rely on the narrator, but they differ only in the choice of that speaker. Therefore, the problem is that if the author is the creator of the whole text, why should not both himself and his technique, which is the creation of narrators, be considered together in the analysis of the work? whether it displays these narrators openly or deliberately hides them. Now, the present research is trying to investigate the novel "My Name is Red" as a study sample by using library sources in the historical-analytical and also the "intentional" approaches to show that the narrator does not have a predetermined identity. Rather, it is the only tool in the field of author's technique and creativity that exists uniquely in every text by the historical author with a conscious intention. As a result, a way can be opened between the two theories of Pan-narrator and Optional-narrator, so that the interpretation of the text can be divided between these two theories in a peaceful way, and the author's intention is not only outside the work but can also be followed inside the text and his storytelling method.   https://www.narratologyjournal.ir/article_196344.html Critical Discourse Analysis (CDA) views language as a form of social practice and focuses on how social and political power relations are reproduced through discourse. Based on Fairclough’s critical model, this study analyzes socio-political ideologies in Ghazaleh Alizadeh’s novel The House of Edrisis, emphasizing the meaning-making role of archetypes. The main research questions are: How do archetypal images of nature reinforce the implicit meanings of the novel? Which archetypes are employed in the narrative? The findings reveal that Alizadeh uses archetypal figures, natural imagery, colors, and animals to express her critical ideas and to strengthen the underlying discourses of the novel. https://www.narratologyjournal.ir/article_211477.html Understanding subjects and their identities is linked to examining their communications and interactions. Identity formation initially relies on differences and the sense of "self" or "us" versus "other." From the standpoint of social semiotics, these differences, stemming from adherence or non-adherence to certain norms and the type of signs individuals or groups emit, are examinable. Moreover, the behavior of social groups towards individuals who possess different signifiers can also vary. In fact, central reference groups may adopt different behavioral strategies towards individuals who are perceived as "others" due to possessing different signifiers. Correspondingly, the "other" and the behavior and lifestyle it adopts are categorizable and subject to examination. https://www.narratologyjournal.ir/article_222953.html Copyright: © 2025 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY -NC) license https://creativecommons.org/licenses/by/4.0/).   Tuhfatul-A'azam-e Alam Ara is a historical epic that describes the bravery and battles of one of the emirs of the Qohestan region, written by a poet with the pen name "Asi". What distinguishes this poem from the local historiographies and religious epics of its time is the use of a type of parallel narrative in the structure of the story and the use of "Goriz", a trick specific to Ta'ziyyah or Shabih-Xani , to connect these two narratives. This unique feature is examined in the present article. Therefore, the present research is organized under the following major questions: How and for what purpose did the poet use the narrative method of parallel narratives? How did he use Goriz to connect these parallel narratives? In response to these two questions, the following results were obtained: In this poem, the poet establishes two parallel narratives in the mind of his audience: 1. The main narrative (the battles and epics of Amir Alam Khan III); 2. The parallel narrative (the events of Karbala). To strengthen this parallel structure, numerous parallels are created in the mind of the audience by using the trick of Goriz to connect and relate the events of Karbala with the main narrative. The points of connection are selected based on parallels or similar elements and through factors such as analogy and parallelism, inspiration and unseen voice, the two parallel narratives are connected. Using these connections, Asi is constantly moving between the main and secondary narratives. The most common way of moving from the main narrative to the parallel narrative and creating escape is the creative use of "association". https://www.narratologyjournal.ir/article_204083.html This article is conducted using a discursive semiotics approach based on corporeal research methodology. The main issue of this research is to investigate how the Existential Crisis of Presence is created within the narrative system of Jean-Paul Sartre's story "The Wall," and how meaning is produced in the narrative context of this story. The discursive system of this story is neither linear nor action-based; rather, it relies on turbulence, as the axis of the existential discursive system is turbulence and presence. The study demonstrates how an "event" creates a discontinuity in the subject's daily life, and how this discontinuity, through the existential process, affects the existential Subject, leading to a Deficiency of Meaning. Ultimately, this Deficiency of Meaning results in the negation of the former Dasein and a transcendent movement.  https://www.narratologyjournal.ir/article_204084.html The research focuses on the mystical experiences of Ibrahim Adham as described in Attar's narrative, analyzing how these experiences transformed his life. A semiotic-semantic approach is used to understand the meaning created in this discourse, and it is found that the existential and being systems play a significant role. Many of these spiritual experiences are brief in nature, but the process leading up to them and their occurrence are part of a system of events, often influenced by God's care. These experiences are unpredictable and expressed using momentary discourse expressions. The narrative reveals how the mystic changed his life path after a mystical experience, dedicating himself to austerity and worship and abandoning his position as a king even in the most challenging circumstances. This transformation is narrated through the discourse in the existential system, as the protagonist strives to establish a permanent spiritual place by renouncing all worldly ties and embracing a broader and simpler world that aligns with an enhanced sense of self and a newfound identity after the mystical experience. https://www.narratologyjournal.ir/article_211478.html Sociological criticism is one of the new approaches that have emerged in the field of literature and aims to examine the relationship between literary structure and society. Lucien Goldman based this theory on the interaction between the literary text and the social infrastructure governing the society. In the current research, an attempt has been made to analyze and critique the novel "Halima" by Mohammad Al-Arousi al-Matowi, a contemporary Tunisian writer, in a descriptive-analytical way with a sociological criticism approach and based on Goldman's (1913-1970) developmental constructivism theory. take In this context, an attempt was made to analyze this novel in two stages of reception and analysis in areas such as content, character and political-social contexts. Based on this, according to the mentioned theory, Halimah's novel was analyzed in two stages of reception and analysis. The non-transformation of the characters of the novel during the story, the transformation of the current consciousness of some characters into a possible consciousness, the adaptation of the social political background of the novel to the events of the independence period of Tunisia and the writing of the novel based on social realism are some of the most important results obtained from the present research. Based on this, we witness the reflection of the meaningful structures of the novel in the context of Tunisian society. In the end, this leads to the formation of the protest of the Tunisian people to the existing situation and the attempt for a revolution to change the situation, https://www.narratologyjournal.ir/article_211479.html This study examines the text through the lens of semantic signs to explore how meaning is generated and how pure mystical experiences are attained. It investigates Rabi'a's internal and external transformations within discursive spaces to achieve these experiences. At times, Rabi'a is portrayed as a victim of violence or as an activist facing setbacks. She begins her journey with austerities, prayers, and worldly pursuits, ultimately experiencing profound moments during her conversations in the unseen realm. Her failures lead to emotional tension, submission, and a quest for humility, where truth manifests and creates a transformative melting experience. This tension propels her towards existence and transcending boundaries. The speaker's feelings and perceptions—shaped by both external events and inner confrontations—give rise to meaning. Analyzing Rabi'a's mystical experiences reveals that divine care, satisfaction, and surrender are crucial for meaning creation. A key aspect of her being is the sensory dimension linked to physicality; many of Rabi'a's experiences linger in anticipation until death fulfills the promise of union with truth. The research employs a descriptive-analytical method. https://www.narratologyjournal.ir/article_211482.html Neuronarratology is one of the new branches of narratology that was formed based on neuroscience. Neuronarratology is largely related to cognitive narratology and establishes a theory in which human language, cognition, and perception are linked with the embodied experience of movement and spatial orientation. The embodied experience of space, movement, and nervous excitation are important topics in the field of neuronarratology and through them, literary texts can be analyzed. In this research, the elements of neuronarratology have been presented and explained, as well as the analysis of the play Blue Orange by Joe Penhal from the perspective of neuronarratolog. The research method in this paper is descriptive-analytical. The data in this research is analyzed using the content analysis approach and library and document analysis tools and according to domestic and foreign books, articles, and theses. From the results obtained in this research, we can mention the analysis of mental and perceptual structures, mental visualizations, the reaction of different parts of the brain from the impact of narratives, and the relationship between the body and mind in the Blue Orange play. This research shows how narratives affect memory, nerves, and perception. Also, by examining the neurological basis of narrative comprehension, it was found that both the creation and reception of narratives are deeply rooted in the structure and function of the brain, and the mechanisms of these processes have been investigated in this research. https://www.narratologyjournal.ir/article_211483.html Narrative is one of the basic elements in literary theory, whose analysis based on new theories helps us in understanding literary texts. Many theorists have examined the structure of the narrative. French structuralist Gerard Genet is one of the most prominent structuralist theorists, who consider his theory to be one of the most complete and effective theories of narratology. He considers factors such as time, lateness, focalization, etc. to be important for analyzing the structure of literary texts. The upcoming research is based on descriptive-analytical method based on library studies. In this essay, the researchers try to clarify the connection between meaning and structure and the author's use of Pay these elements. The obtained data and findings show that all these factors - including the narrator, time (being past or future), disconnection and discourse connection - each emphasize semantic aspects and coherently and in relation to each other, to have been used and have somehow increased the artistic appeal of the novel. This trait is also one of the ideas of the Paris school. In such a way, its purpose is to show the narrative function of discourse and to introduce the logic and grammar of any kind of discourse. In some topics, such as lateness of time, there are differences between Genet's ideas and those of the Paris school. which is discussed in this research. https://www.narratologyjournal.ir/article_211484.html Due to the important element of "time" and the types of time lapses, dreams are included in fictional narratives, and examining their function in these texts is considered a way to enter the minds of characters and interpret literary texts. The aim of the current research is to examine dreams from the theoretical perspective of Jung's "rebirth" archetype, the transformation of Zari's personality, and the function of the element of "timelessness" in the narration of the story. Descriptive-analytical method has been used in these analyses. In order to achieve this purpose, Sushon's novel was chosen due to its various narrative techniques, and among them, Zari's dreams were examined. The findings showed that dreams with the interpretation of Yusuf's death have a prophetic function; But from the fifth to the seventh dream - after Yusuf's death - dreams have a compensatory function and guide the dreamers in returning to themselves as a result of inner transformation. Also, in the narration of these dreams, the author has used the method of time-lapse of a futuristic type in order to involve the reader in predicting the fate of the main character of the story - Youssef - and by creating a sense of suspense, the audience has contributed to the enjoyment of the narration. https://www.narratologyjournal.ir/article_211485.html Semiotics analysis clarifies meanings by recognizing narrative in both written and visual media. The traditional tombstones in a region with varying climates serve as the visual texts for this study. The primary factor influencing the variations in gravestone materials is climate. The potential or impossibility of inscriptions on tombstones depends on the material used. Carcass stone offers a comparatively bigger area than brick, and rubble does not give the flat surface needed to create an inscription. Research problem of the current study is to determine how meaning is created in the various tombstone kinds found in the area based on their physical and content structures, context, and surrounding circumstances. Therefore, the goal of the research is to determine the various and varied semantic purposes that tombstones had during the Qajar and Pahlavi eras, the period under study. According to the findings of research and analyses, the tombstones have undergone changes in structure from one phenomenon to an emergent, and during two narratives processes, they present the audience with new meanings. While phenomenological narrative process, with its entanglement of materials, departs from the regular physical structure and employs narrative prostheses, transports the audience into space and time, the action narrative process of tombstones, with its relatively regular physical structure and specific content structure, informs the loss and death of an individual. https://www.narratologyjournal.ir/article_213219.html In his narrative typology, Lintvelt has classified narrative texts into three types: textual, action-oriented, and neutral, based on their narrative macrostructure. These narrative types differ in terms of their perceptual-psychological basis (narrative perspective, perspective depth, narrative aspect, temporal basis, spatial basis, and verbal basis) and affect the text's emotional, cognitive, and discursive generalization dimensions. The study based on the narrative typology theory of Lintvelt, attempts to analyze the frequency of textual, action-oriented, and neutral narrative types in the Poetry of Lily and Majnoon Jami and its discursive applications. The study shows that this poem has a similar narrative framing (preface and conclusion) to other Persian poems, which are narrated in a similar fictional world. . The beginning of the story occurs in a heterogeneous story world, which can be divided into three types of narrative: textual, action-oriented, and neutral. The textual narrative type in a heterogeneous story world, based on having a time and place base outside the story, has the characteristics of self-awareness, god-likeness, and interpretation, and its discourse is of a cognitive type. The action-oriented narrative type is manifested in the conversation between the characters of the story, who have the same time and place base as the story, and the discursive function of the main characters in this type of narrative is emotional-cognitive, the discursive function of the secondary characters is generalized. The neutral narrative type is also used to describe the space and situation and to describe the states of the main characters of the story, https://www.narratologyjournal.ir/article_213220.html The present article is a sociological analysis of three novels of the war imposed in the 1980s: scorched earth by Ahmad Mahmoud , Winter 62 by Ismail Fasih , and In the Flames of Water by Morteza Mardiha. The fundamental concept in this article is "totality"."Totality" is a central concept in the Lukacsian tradition; Because one of the main problems of the sociology of the novel in the 20th century is to understand how to represent the social construction and its ideological forms in the "concrete totality" of the novel. Based on this, in this article, we have shown that the three mentioned novels are almost realistic novels that aim to represent "the totality of war". We have found out how the forms and social forces in the great event of "imposed war" have become "narrative representation" in the concrete totality of these novels and how the dialectic of "detail based on the misfortune of war/totality based on the transcendence of the necessity of defending the homeland" was in them. The form of these novels has been a synthesis for the essentialism of two idea-oriented and detail-oriented groups: the unfortunate and catastrophic components of war, although they are not denied and are represented in the most naked way possible, but remain at the level of their "detail"; And from their combination and connection and relationship with the "transcendental pillar", a whole emerges that is beyond the parts and does not conflict with war for the purpose of self-defense. https://www.narratologyjournal.ir/article_213221.html Semantic sign is a precise tool in the service of studying the mechanism of formation and production of meaning. Two important types, cognitive and emotional, cause the production of meaning in the flow of literary discourse. The poem "Cookie Doll" by Forough Farrokhzad is one of his relatively short poems in the form of new poetry with his own stylistic features in the collection of "Rebellion" and is one of his most prominent feminist poems. Since the discourse that governs this poem is built on the basis of extensive and pressing communication, this article tries to investigate the tension-emotional system in this poem and the mechanisms of formation, production, and continuity of emotional meaning and interaction using the analytical-descriptive method. Explain it with other meanings and also explain how signs-meanings share in the production of meaning, and also by examining the sensory-perceptual characteristics of the poem, show how the emotional and tense relationship of the elements involved in the mechanisms of producing emotional discourse has worked to stabilize the intended meaning of the speaker (poet). The findings of the research show that "discursive position", "discursive connection and disconnection", "verb effect", "perspective creation", "rhythm" and "tension" have created new places and times in the heart of the discourse and made the range of poetry wider. The relationships between the signs of the poem show that the poet has established various strategies and tactics for the act of "sitting passively", the most important of which is the emotionalization of the discourse space. https://www.narratologyjournal.ir/article_213222.html Aporia represents a dead end, a situation from which there is no escape. In drama, it can lead to various interpretations and develop the theme of uncertainty. This research aims to analyze the role aporia plays in the structure of drama, drawing on Jacques Derrida’s concepts of deconstruction and undecidability. The findings reveal that the cyclical or circular structure embodies aporia, with absurd drama serving as a clear illustration. Absurd drama is aporetic because there is no resolution; characters repeat their actions and consistently arrive at the same outcomes, as if trapped in an inescapable loop. They encounter undecidability in nearly every choice they face. This cyclical or circular structure, where the beginning and end converge, creates an aporetic point that exemplifies a double bind. This type of aporia is evident in Waiting for Godot and Endgame by Samuel Beckett, as well as in Abbas Nalbandian’s A Deep, Comprehensive, and New Research on the Fossils of the 25th Geological Period or the 14th, 20th, etc., It Doesn't Matter. In these works, aporia reaches its peak, rendering the entire plot aporetic and making efforts to uncover a definitive meaning futile. Through an aporetic perspective on absurd drama, a new interpretation of undecidability emerges—one in which aporetic undecidabilities do not culminate in a sense of "nothingness." Instead, they are understood as a faint glimmer of hope. This hope, though delayed in its realization, is never entirely denied, as actions are perpetually renewed, returning to the starting point again and again. https://www.narratologyjournal.ir/article_213223.html With the emergence of Landofsky, as the most important post-Gramsian figure, semiotics-semantics has made a significant leap towards discourse systems, especially the action system. In a narrative process, everything starts from a void, and with direction and persuasion and continued risk-taking, adaptation and meaningful action, the subject is configured in an action system and the story is formed. Based on the semiotics-semantic approach, the present study studies the novel Al-Farashat Valghilan by Ezzeddin Jalawji, an Algerian storyteller, and examines the action system of this narrative discourse and how the subject proves herself in the said novel. The obtained results show that the aforementioned novel started with a tense atmosphere. In a random and unexpected incident, the Serbian forces surrounded the city of Sarajevo and massacred the people. Muhammad, the main character of the story, is a repressed subject, through whom the author narrates the pain and suffering of children and their forgotten dreams in war and conflict. In the continuation of the narrative, with children and minors as the future builders of the land occupied by the Serbian forces, the transformation of the subject from a subjective position to an objective position of value is done, and Sheikh and Pir Dana with planning and persuasion The people suggest immigrating to the land of Albania; But it faces challenges in its planning process, and in the end, with the emergence of a sense, https://www.narratologyjournal.ir/article_213224.html The present article examines the concept of human existence as Being-towards-death in Heidegger's philosophy and Tolstoy's novella, The Death of Ivan Ilyich. Death is one of those intersections where philosophy and literature meet. Milan Kundera suggests that many of the themes Heidegger articulates about human existence appeared centuries earlier in the works of great novelists.The central question of this study is: to what extent can Heidegger’s ontological understanding of death be applied to Tolstoy’s portrayal of death in The Death of Ivan Ilyich? Both Heidegger and Tolstoy approach human existence as Being-in-the-world and Being-with-others. This Heideggerian starting point, like that of novelists who focus on human beings in situ, contrasts sharply with the metaphysical tradition that begins with a transcendental, detached subject.Heidegger and Tolstoy argue that humanity's immersion in the world and others leads to an inauthentic self. Confrontation with death is the possibility that nullifies all the possibilities of inauthentic life. Death reveals to the individual that all the everyday norms and conventions of Das Man (the "They") abandon them in the experience of dying. While everyday communal life feigns that everything can be mediated or represented, the encounter with death discloses the irreducibly unmediated aspects of human existence.The relationship with death constitutes a “self-to-self” connection that cannot be reduced to a “self-to-others” relationship. Despite the similarities between Heidegger’s and Tolstoy’s views on death, there are significant points of divergence between the two, which this article explores in detail. https://www.narratologyjournal.ir/article_221821.html The Persian epic, Shahnameh, portrays Afrasiyab as an antagonist figure: an opportunist, an enemy of the Iranians, and a demonic warrior-sorcerer. This stands in stark contrast to heroic figures like Manuchehr, Kay-Kavus, Kay-Khosrow, Siavash, Zal, Rostam, and others. Afrasiyab is the great-grandson of Fereydoun (of Iranian origin) and a character with more negative actions. Afrasiyab is consistently portrayed as seeking victory and dominion over Iran, leading to numerous wars and bloodshed. However, in later Turkish sources, he is reinterpreted as "Alp Er Tunga," a prominent and powerful hero of the Turkish nation and their first Hakan (Khan). This portrayal emphasizes his role in unifying the Turks and positions him as a symbol of courage and martial prowess. Notably, some scholars argue for a possible historical basis for this figure. Some later Turkish sources claim that the Persian poet Ferdowsi misrepresented the figure of Alp Er Tunga, portraying him as the villainous Afrasiyab. This research employs a comparative approach to examine and analyze the character of Afrasiyab/Alp Er Tunga. Persian sources, particularly the Shahnameh, are compared to Turkish sources, including the Dīwān Lughāt al-Turk and Kutadgu Bilig (representing established sources) and Hakan of Turan, Alp Er Tunga (as an example of later sources). The analysis focuses on the full spectrum of this character's behavior patterns and the degree to which the mythical Afrasiyab has been adapted into the figure of Alp Er Tunga. The research findings reveal two distinct representations of the figure: a mythological one and a possibly historical one. https://www.narratologyjournal.ir/article_221822.html Narrative typology studies and classifies different types of narratives and their specific characteristics, serving as one of the key topics in narratology that analyzes the relationships among the narrator, the actant, and the audience. In this context, Jaap Lintvelt introduces narrative types based on the functional opposition between the narrator and the actant and defines it as discourse typology. The novel Dar Keshvar-e Digar by Spojmai Zariab is a notable example of Afghanistan’s intercultural literature, which, through diverse narrative techniques, represents lived experiences in two distinct societies. By creating an emotional and psychological atmosphere, the novel portrays the connections between characters and the socio-cultural context with a humanistic and impactful approach, reflecting the cultural differences between East and West. This study, using a descriptive-analytical method and based on Jaap Lintvelt’s theory, examines and analyzes the narrative types and functional types of authorial discourse in this novel. The findings indicate that this literary work is written using the homogenous authorial narrative type. The application of the character-narrator perspective, along with communicative, interpretive metanarrative, explanatory, evaluative, and emotional discourses, enhances the understanding of the characters and highlights cultural, social, and identity-based contrasts between East and West, fostering a deeper sense of empathy in the reader toward the narrated situations. https://www.narratologyjournal.ir/article_221823.html The first-person perspective is not limited to the first-person singular form; the first-person plural is another variant of this narrative point of view. To enhance realism in this perspective, the author sometimes depicts the narrator as singular in certain parts of the story. Such narratives can be termed “technical we-narratives.” This study aims to identify the subcategories within the broader framework of technical we-narratives, emphasizing the importance of offering a more precise classification of first-person plural perspectives. The central question this research seeks to address is: What is the most effective criterion for categorizing technical we-narratives? The hypothesis suggests that the role of the first-person singular or “I” within the narrative can serve as an appropriate marker for distinguishing between different subtypes. Accordingly, this research examines selected works from contemporary Iranian fiction and, using a descriptive-analytical approach, explores the influence of the first-person singular in relation to the group. By focusing on three key factors—the relationship between “I” and other group members, the level of awareness of “I,” and the significance of the individual role of “I” within the collective—this study elucidates the diverse forms of technical we-narratives. https://www.narratologyjournal.ir/article_221824.html Surrealist narratives transcend structural and classical narrative systems and present phenomenal, unconscious, and miraculous perceptions in a dialectical relationship between dream and reality. One of the important functions of these narratives is the ecstatic function. Ecstasy refers to a state in which literary discourse transcends the structural, action-oriented, program-oriented, and goal-oriented system and enters a sensory-perceptual, abstract, and dream-oriented state. The issue that arises is how the transition from hard narratology to soft narratology takes place. What techniques and factors in this transition cause the production of meaning and ecstasy in the surrealist narrative? This article, using a descriptive-analytical method and a discursive semiotics approach, while examining the grounds for the transition from hard narratology in narrative semiotics to soft narratology, examines the characteristics of surrealist ecstasy in two surrealist short stories, "Nightmares" and "Traces of the Amber Man" by Abu Torab Khosravi. The results show that narratives move from purely action systems, material values, referential aspects, subject-object distance, and rigid and frozen situations to soft, fluid, emotional, and phenomenal discourse systems, internal values, non-referential forms, etc. Syntactically determined structures collapse, and grammatical and rigid subjects and bodies transform into perceptual, eventual, and mythological subjects and bodies. These arrangements create the illusion of surrealist images in the narrator, surrealist shock and jolt, loss of meaning, and the preservation of defamiliarization. https://www.narratologyjournal.ir/article_221825.html Contrary to the conventional perception that the interaction between cataphora (forward reference) and anaphora (backward reference) acts as a reductive, monophonic interpretation of the causal coherence of a narrative, the issue addressed in this article is that this does not necessarily have to be the case. That is, the closure of an open mentality and voluntary thinking in film narrative, and the reliance on limited causal options, is not the only inevitable context, even with the justification of the audience’s understanding of the film and the strong need for narrative closure. This discussion draws on the views of experts in the field of cognitive film analysis, such as David Bordwell and Nitzan Ben-Shaul. The research method is descriptive-analytical, with data collection and sample analysis conducted through a library approach and direct examination of texts. Evidence suggests that, although in narrative films (such as The Sixth Sense and Ghost Writer), the interaction between cataphora and anaphora is often used to cultivate a closed mentality, aiming to limit the range of institutionalized options and create the sense that the chain of events is predetermined and could never have followed a different path, the research findings in a case like Rashomon show that this strategy can also lead to narrative twists. This occurs when ambiguous or random initial cataphoric cues are retrospectively and explicitly called back in an anaphoric manner and causally reinterpreted, serving as a manifestation of an open mentality. https://www.narratologyjournal.ir/article_221826.html In recent decades, the study of fictional texts has been linked with discourse analysis, and critics have tried to use this approach to analyze the power relations and ideologies hidden in the text. Discourse analysis as a new trend has played an important role in text analysis. In this method, we deal with the elements of the cultural and social context. In the current research, one of the dominant discourses in the seventy-one Bakhtiari fairy tales in Persian language, the identity of women, is analyzed and investigated using descriptive-analytical method. In this research, by using the theory of discourse analysis, the different aspects of women's identity in Parian Bakhtiari's fairy tales are investigated; Then, according to Propp's theory, the classification of women's personality and different roles is discussed in order to find out their identity. The findings of the research show that issues related to women (polygamy, lack of decision-making in marriage, their worthlessness, men's coercion and rule over women, animal-son-in-law, etc.) are central elements in the discourses of Bakhtiari's stories. These storieomen, and hence can help to gain a deeper understanding of ethnic culture. tep towards promoting gendto social issuer equality and strengthening women's rights. In general, it can be said that the simultaneous evaluation of narrative structure and social content in this research can lead to a more comprehensive understanding of the literature of the Bakhtiari ethnic group and its cultural and social impacts on women's identity. https://www.narratologyjournal.ir/article_221827.html Narration is the expression of human experiences in order to make meaning. Narrative mode has a very important role in absorbing addressees. This essay studies linguistically the narrative mode of Lady Azadeh and Her Author by Reza Baraheni in order to show how postmodern components are represented in this work. Studying this novel according to Simpson’s narrative analysis model 2004 shows that non-Persian sentences of this novel represent social and cultural situation of the main character. Material and relational processes have been used more than the other processes. Most parts of this work have been narrated in third-person reflector and from the viewpoint of different characters. Negative shading is dominant in this narration and free direct speech is found more than the other types of speech and thought presentation. This novel includes a lot of intertextual relations in different fields. But nonlinear textual structure of this narration is not analyzable through Simpson’s model. Additionally, incoherence and uncertainty in this postmodern novel are represented through non-Persian parts, different narrators with various narrations, negative shading, words of estrangement, quoting characters’ speech in free direct form without reporting clause, anachronisms and numerous intertextualities. https://www.narratologyjournal.ir/article_221828.html Narratology provides a theoretical and practical framework and model for analyzing various types of narratives, including factual, historical, and narrative stories. The main part of the narrative description and narrative structure of the Ta’ziyyah ritual performance is a collection of educational and mystical narratives that have been transmitted through literary techniques, especially storytelling and narrative techniques, and the so-called narrative fiction literature. To analyze the narrative structure of the Ta’ziyyah ritual performance, it is necessary to use narratology theories and their theories such as narrative levels, plot, story, narrative text, narrative style of stories, This article is written in a descriptive-analytical manner using library and internet resources, and the research community is the Ta’ziyyah of Hazrat Ali Akbar performed in 1403 in the village of Quchan, Khansar. This article seeks to answer the question of how, based on narratological theories, we can analyze the narrative levels and “design” governing the Ta’ziyyah of Hazrat Ali Akbar and understand their form, structure, and constituent patterns. Conclusion: The narrative design of Hazrat Ali Akbar’s Ta’ziyyah is composed of an arrangement of 22 main motifs. The arrangement of these main motifs can be analyzed from the formal and semantic unity of the narrative design of the Ta’ziyyah. Accordingly, the narrative design of Hazrat Ali Akbar’s Ta’ziyyah is notable from the perspective of the methods of successive formation of multiple narrative levels; the blending and interweaving of these levels with each other; the successive failures of the narrative line, and narratological indicators. https://www.narratologyjournal.ir/article_222951.html Laughter, despite its appearance, is a profound philosophical concept in which the types of truth, the universe, history, and humanity manifest themselves more deeply than seriousness. Laughter is a dialogue that can bring up serious matters without cost, using inverted language. One of the most eminent linguists utilizes the trick of madcap laughter against opposing and rebellious forces is Mikhail Bakhtin. Majnun, from his point of view, is not only an ordinary human being, but also with an obscure and inverted language is in conflict over the flow of political and theological power. This article, using a descriptive-analytical approach, aims to examine Attar's Mad Wise Men in accordance with the carnivalesque laughter technique with grotesque signs. In this research, by examining three works, Mosibat-Nameh, The Conference of the Birds and Elahi-Nameh, 106 narratives of Mad Wise Men were enumerated. As a result, 35 carnivalesque laughs and 17 grotesque،It was categorized and narratively explained. https://www.narratologyjournal.ir/article_222952.html Focalization is one of the fundamental elements of narrative that meaningfully orients the audience’s perception in various arts such as literature, painting, and cinema. In the process of adapting artistic works, shifts in focalization can lead to significant changes in the structure and meaning of the adapted piece. Abbas Kiarostami’s film Shirin, in its adaptation of Nezami’s narrative poem Khosrow and Shirin, undergoes a transformation in focalization. The central question of this study is how the shift in focalization in Shirin, compared to Nezami’s original poem, alters the narrative structure and content, and how these changes influence the transformation of the original’s literary genre. This research employs a descriptive-analytical method within the theoretical framework of Boris Uspensky’s model of focalization. The findings reveal that in Shirin, focalization expands across four levels: the “camera-as-focalizer,” the “actress-as-focalizer,” “Shirin-as-present-focalizer,” and “Shirin-as-past-focalizer.” This expansion is accompanied by changes in narrative discourse, the elimination or transformation of certain characters and storylines, and a shift in literary genre from lyrical to romantic. By focusing on the role of focalization in cinematic adaptation, this study opens new perspectives for narrative analysis in intermedial studies and, considering the centrality of focalization in Shirin, offers a novel approach for scholars and enthusiasts in this field. https://www.narratologyjournal.ir/article_222954.html Persian narrative literature, with its complex structures and profound concepts, provides a rich platform for narratological analyses. Among these, Marzbannameh, as a prominent work, creates extensive semantic connections through multilayered tales and diverse characters. This research, using David Herman's Narrative Network Theory, examines the relationships between characters, events, times, and places in the first chapter of this work. Herman's theory is based on the principle that narratives are not only composed of independent elements, but these elements are connected through a network of semantic relationships, and these connections play a significant role in understanding the messages of the story.In this study, two tales, "Hanbuy with Zahhak" and "Kharreh-Namah and Bahram Gur," have been analyzed as prominent examples. The results show that in the tale of "Hanbuy with Zahhak," the moral choice of the main character to save his brother forms a network of emotional, familial, and power relationships that also affect the behavior of the character Zahhak. In the tale of "Kharreh-Namah and Bahram Gur," the interaction between the king and the peasant represents the impact of individual behavior on society and the role of justice in governance. Also, the study of temporal and spatial relationships showed that the nonlinear structure of the narrative, by embedding sub-narratives within the main narrative, creates a network of multilayered meanings. https://www.narratologyjournal.ir/article_222955.html The aesthetic event determines the immersion of presence and, in the form of the sensory and direct co-presence of subjects and existence, forms the system of adaptation. In this work by Nader Ebrahimi, this process can be traced well. In this model, as the subject, experiences an adaptive interaction with Helia as the audience, which is transferred to the present through reminiscence. But this process does not lead to the perceptual-sensory ability and co-presence of the subjects, and as a result, love is presented as a threshold experience that does not lead to permanent union and, as a result, is accompanied by absence. In this research, the process of meaning-making in this novel is examined and analyzed in the form of introducing the aesthetic event pattern, and how the transition from the action system to the tensional and then the adaptive system, from place-based to spatial, from programmatic to event-based, and the formation of the event system are explained.The question of the research is also what narrative, symbolic, and textual mechanisms the signifying process of the experience of love is based on, and what discursive systems it forms the aim of the research is to show the different aspects of the signification and representation of love and how the pattern of aesthetic event is formed based on the semantic mechanisms of this work. https://www.narratologyjournal.ir/article_222956.html This research examines "ways of cooperation the audience with the text" in the short stories of Zoya Pirzad from the perspective of rhetoric. The social transformations of the contemporary world have brought about significant changes in all aspects of social sciences, arts, and literature, and the aesthetics of literary works are no exception. As a result, different theories have emerged regarding the rhetoric of new texts. If rhetoric used to be about speaking to the present audience, today we deal with a sophisticated audience that is cooperated with the text rather than the author. One important issue in studying contemporary Persian texts is examining their rhetorical features based on the requirements of text creation in the modern world. It seems that traditional rhetorical devices are no longer sufficient for analyzing forms such as novels and short stories, and elements of literary aesthetics in these texts need to be independently and separately examined—a task that has received less attention so far. It appears that in the analyzed texts (a collection of three short story books), to cooperate the audience with the text has played a significant role in creating empathy between readers and narrative storytelling. The findings of this research indicate that cooperation with the text is evident through certain rhetorical devices in these texts, including omission, interrogative cooperation, gaps, creating doubt, delay, etc. It seems that these rhetorical devices can also be examined in many other modern narrative texts. https://www.narratologyjournal.ir/article_222957.html AbstractThe narrative of Sohrab and Gardafrid is one of the attractive parts of Ferdowsi's Shahnameh, which beautifully processes the boastful dialogue between Sohrab and Gardafrid, and confirms the belief that wise action can overcome the strength and masculine arm of a warrior like Sohrab and prevent tension leading to defeat. As a discursive prosthesis, boasting is a suitable platform for developing a space for self-defense against the enemy without entering into action, through counteraction. From the perspective of a semantic sign, a prosthesis is anything that can cause the removal of a defect or repair, the expansion of the space of action, and the protection or protection from danger. This study attempts to examine the role of rational discourse and its contrast with the discourse of pride in the mutual dialogue between these two warriors, and to address the effect of Gard Afrid's rationality against Sohrab's belligerent action, and to show that Gard Afrid's cleverness and intelligence can create a discursive prosthetic in pride that both warns him of the potential harm of his opponent's action and leads to his victory in this boasting and discursive conflict, and helps advance his goals.Keywords:Sohrab and Gard Afrid, boasting, discourse of rationality and pride, action, prosthetic https://www.narratologyjournal.ir/article_225665.html The narrative technique of mise-en-abyme, characterized by its creation of a frame-within-a-frame, provides a unique space for the interplay and integration of narrative levels. Exploring the dynamics between mise-en-abyme and metalepsis can unveil new dimensions of their functioning, laying the groundwork for future scholarly investigations. Given the limited scholarly attention on short films, this study aims to investigate the interaction between practical and innovative narrative techniques within this format. This research focuses on examining the manifestation of metalepsis within short fiction films through the mise-en-abyme structure. The study aims to explore the benefits of employing mise-en-abyme in short films, particularly in compressing narrative timelines and introducing boundary-breaking techniques. Utilizing a qualitative approach with a narratological lens, this study combines models proposed by Lucien Dällenbach and William Nelles to develop a dual pattern capable of covering common dimensions between mise-en-abyme and metalepsis. To elucidate the mechanism of interaction between these phenomena, three short fiction films, namely "Reflection," "The Changing Room," and "Room 8," have been selected as case studies. This research introduces five different types of metalepsis that occur in three reflective types: simple, infinite, and paradoxical, as well as in two directions, internal and external. In conclusion, the examination of mise-en-abyme alongside metalepsis within short film narratives not only reveals their complex interplay but also underscores their profound implications for narrative construction and audience engagement. https://www.narratologyjournal.ir/article_225666.html Discursive semiotics is a process that examines how meaning functions, is produced, and is received in discourse systems. Our discourse analysis method is based on the discourse semiotics approach, which studies the flow of meaning within the contexts of a discourse system to determine how meaning in language is transformed from a static state to a dynamic state. For this purpose, we chose two novels, The Stranger by Albert Camus and The Blind Owl by Sadegh Hedayat, because the main characters of the novels (Meursault and the narrator) are constantly in contact with sensory spaces that challenge their perception, based on the proposed perspective.The original meaning of the stranger is strange and distant, but in Albert Camus's The Stranger, the stranger means someone who is in conflict with the social system, and in The Blind Owl, the meaning that is taken from the dictionary is different from the meaning hidden in the story. In this study, we aim to understand how the discourse system in the two novels The Stranger and The Blind Owl produces an identity that is in conflict with the majority of society. This research is qualitative, based on library sources and an interpretive method, and has been conducted using a descriptive-analytical method. By analyzing the aforementioned novels, we found that the impact of the main characters' relationships with other characters in the story is that their perception is constantly changing with different sensory spaces. https://www.narratologyjournal.ir/article_225667.html This article examines the role of Mohammad Qassaa, a translator and researcher in literature, in the expansion of science fiction and children's literature in Iran. By analyzing the narrative of the story Leap of Memories the Next Day, it provides an opportunity to introduce this genre to Iranian audiences and young writers. Qassaa's story, utilizing specific techniques, guides the reader into the world of memories and the challenges faced by its characters. The article also emphasizes the importance of narrative time and explores the duality between story time and narrative time. Qassaa enhances the appeal and suspense of the story by employing techniques of multiple timelines and using flashbacks and flash-forwards. The main conflict of the story relates to a unique spaceship in orbit around Earth, which is trapped in an energy field under the supervision of "Johnson." This story includes three parallel narratives that, through the technique of retrospection, uncover the truth about the spaceship and depict 170 years of history in less than 50 pages. This rapid pace of narration enables the reader to connect with various times of the story and become familiar with technological advancements and social transformations. Ultimately, the technique of condensation and other narrative methods contribute to a captivating presentation of the story, providing a foundation for reflection on science, power, and its consequences. https://www.narratologyjournal.ir/article_225668.html Graphic novels, as a modern form of multimodal narratives, create a complex intersemiotic structure by simultaneously employing two sign systems: verbal and visual. In this narrative form, the interaction between image and text not only possesses aesthetic dimensions but also establishes specific signification mechanisms. This study utilizes Peircean semiotics framework and qualitative content analysis to examine the interaction mechanisms of textual and visual sign systems in Ashkan Rahgozar's graphic novels. The research corpus comprises six volumes of Rahgozar's works: "Arshia" (Volumes 1 & 2), "Tolu'-e Jamshid" (Volumes 1 & 2), and "Ghurub-e Jamshid" (Volumes 1 & 2). Peirce's focus on semiosis and the interaction between signifier and signified through three types of signs provides the analytical framework for this study. Findings indicate that textual and visual codes in Rahgozar's works interact complementarily, creating an integrated structure with multilayered narration. Iconic elements in illustrations, indexical narrative cues in actions, and cultural symbols in text all contribute to creating a coherent visual-narrative experience. https://www.narratologyjournal.ir/article_227890.html Focalization is one of the fundamental structures of the narrative, and by analyzing it, it is possible to revise the form and content of the narrative. The problem of the research is that the similarities and dissimilarities of focalization in novels that have a meaningful connection or discontinuity, what difference does it show in the narrative discourse? Novels written by women in the 1970s and 1980s, and specifically, Jazire Sargardani, written by Simin Daneshvar, and Cheragh-ha ra man khamush mikonam, written by Zoya Pirzad, were chosen as a case study in order to investigate the role of gender identity in the focalization method on the one hand. And on the other hand, to analyze the influence between the centralization and the dissimilarity of the social context of the writing of the novel.The theoretical framework of the research is the focalization of the narrative with emphasis on the types of focalization and aspects of focalization. The research method is descriptive-analytical and the results of the research show that the form of focalization is proportional to the focalized content. https://www.narratologyjournal.ir/article_232092.html The second-person narrative in Engar Gofte Boodi Leili is a sophisticated mechanism for portraying identity crises, the interplay between personal and collective memory. This study, based on Monika Fludernik’s Natural Narratology and utilizing a mixed-method approach (qualitative and quantitative), examines the function of second-person narration in structuring the narrative and shaping the reader’s experience. The findings indicate that this narrative mode, through shifts in narrative address, variations in rhythm, and the interplay between past and present, creates an intense cognitive and emotional engagement for the reader. Statistical and qualitative analysis reveals that second-person narration plays a crucial role in representing the protagonist’s fragmented consciousness, social constraints, and lived experiences. The repetitive second-person address, sometimes directed at the protagonist herself and sometimes at an absent figure (her deceased husband), constructs identity and memory within a nonlinear and disjointed framework. The results suggest that this narrative technique suspends the protagonist between past and present, compelling both the character and the reader to engage in a process of self-recognition and redefinition. https://www.narratologyjournal.ir/article_232093.html The poem "Hakayt" by Ahmad Shamlou, as a modern narrative, is a platform for rereading the transformation of values. The present research by using the descriptive-analytical method and adapting of semiotics tools and passing from the "program-orientation" system to the "adaptation" system of Eric Landofsky shows how the value system is transformed in the context of the discourse in the studied poem.The findings of the research indicates that the change in the sensory-perceptual approach of the hunter activist and his co-presence with the deer leads to the transformation of values. Trough appearance of the emotional component of "kindness" the profit-seeking attitude of the hunter, who seeks to kill the deer with a program-oriented discourse system loses its importance and the deer is elevated to the level of transcendental meta value.The analysis of confrontation reveals the semantic square, the axis of substitution/coexistence and the axis of tension that the moment of encounter between the subject and the other creates a vivid and unique experience in which the boundaries of me/other collapse. This co-presence not only replaces the meta-value of life with the profit value, but it also transforms the meaning from the abstract level to the emotional-sensual level together the ethics of presence at the phenomenological level.The transformation process clearly shows that Shamlou`s poetry goes beyond the classic hunting narrative to represent a discourse of freedom, transformation of values and empathy. https://www.narratologyjournal.ir/article_232094.html The purpose of this study is to investigate the application of the renown Twelve Principles of Animation in the process of animating the characters of three selected video-games that are produced based on a cut-out animation production pipeline. In order to adhere to a solid theoretical framework, the study is mainly based on two invaluable pieces of literature The Illusion of Life (1981) and The Animator’s Survival Kit (2001) as a basis. One of the main aspects of this research is to investigate the Five Fundamentals of Video-Game Animation, as established and defined in the book GAME ANIM: Video Game Animation Explained, that aims to revisit the Twelve Principles of traditional animation in order to apply the in the production of video game; A medium that is, in contrary to the animated films, is an interactive medium that requires to respond to the commands and inputs received from a player. The outcome of this very research, indicates that, in order to benefit from the Twelve Principles of Animation in the process of giving life to video game characters, considering the interactive nature of the medium, some subtle changes and tweaks are needed to be made so that the game characters can respond to the player’s action throughout believable, readable and yet, fluid and disrupted animations. Such adjustments are addressed in the book GAME ANIM, , which includes some recommended techniques that may help video game animators to maintain the fluid feel of the characters movements in the game world. https://www.narratologyjournal.ir/article_232095.html This paper presents a comparative analysis of Cormac McCarthy’s novel The Road and its film adaptation directed by John Hillcoat. Drawing on Linda Hutcheon’s A Theory of Adaptation, the study regards the cinematic adaptation not as a mechanical transfer or mere rewriting of the source text, but as a creative and independent reimagining of the literary work. The analysis is conducted on three levels: narrative structure, character development, and audiovisual elements, examining the fundamental differences between the two media in terms of storytelling and meaning-making. The findings reveal that the film, through the use of mise-en-scène, lighting, music, sound, and actors’ performances, offers a distinct visual and sensory experience of the story; whereas the novel, with its minimalist style, economical language, and nonlinear structure, delves more deeply into the psychological, emotional, and philosophical layers of the narrative. The study concludes that despite structural and thematic alterations, the film adaptation of The Road succeeds in creating a fresh, autonomous, yet complementary interpretation of the post-apocalyptic world portrayed in the original work. https://www.narratologyjournal.ir/article_232096.html AbstractThis study adopts a narratological perspective to examine the structure and narrative techniques in The Spilled Wine, a novel by Robert Desnos, written within the framework oftwentieth-century surrealist literature. The work is marked by its innovative approach to storytelling. The central objective of this research is to analyze the integration of temporal, spatial, and intertextual elements within a nonlinear, multilayered narrative that deliberately dissolves the boundaries between reality and imagination. The article aims to reveal the semantic and narrative architecture of the novel and to elucidate their function in shaping a surrealist reading experience. Drawing on Gérard Genette’s theories of time, focalization, and narrative voice, as well as Julia Kristeva’s concept of intertextuality, the study explores how Desnosemploys techniques such as narrative focalization shifts, anachrony, and intertextual references to construct a complex, subjective narrative universe. The findings indicate that The Spilled Wine is innovative not only in its content but also in its narrative form, effectively representing the inner experiences of its characters. This analysis contributes to adeeper understanding of the role of narrative in surrealist literature and highlights Desnos’s significant role in its development https://www.narratologyjournal.ir/article_232097.html Unnatural narratives—those that subvert conventional narrative norms—have gained prominence across various media forms, yet remain analytically elusive within classical narratological frameworks. This study proposes and tests an integrated model titled the Possible Worlds–Umwelt Model, which systematically analyzes three interwoven levels of narrative: (1) narrative structure through the lens of possible worlds theory, (2) character subjectivity via five Umwelt-based dimensions (time, space, identity, causality, and sensory perception), and (3) the cognitive agency of the audience in reconstructing unstable narratives. Employing thematic analysis and semiotic coding, the study examines four representative works across media and cultural boundaries: Inception, Fight Club, Mahi va Gorbeh (Fish & Cat), and the interactive game Stanley Parable. Results indicate that the proposed model not only effectively captures non-linear and layered narrative structures, but also allows for measurable analysis of mental states and audience engagement across diverse narrative environments. By combining narratology, cognitive theory, biosemiotics, and cultural semiotics, the model offers a replicable and transferable framework applicable to film, literature, and interactive media. Moreover, it enables culturally responsive narrative analysis beyond Eurocentric paradigms, positioning itself as a viable tool for interdisciplinary and cross-cultural narrative research. https://www.narratologyjournal.ir/article_234305.html Plot, as a chain of organized and causally related events, plays a key role in understanding a story. Among the classifications proposed by narratologists, Norman Friedman's model—which categorizes plot into three main types (plot of fortune, plot of character, and plot of thought) along with their subgenres—stands as one of the most comprehensive approaches. Adopting a descriptive-analytical method, this study aims to analyze the role and function of plot in Najib Mahfouz's narrative style, using his short story collection "Duniya Allah" as a case study. The central hypothesis posits that applying Friedman's tripartite model to non-Western texts, including Arabic fiction, can contribute to the development of intercultural narratological frameworks and reveal new dimensions of the model's flexibility. Data analysis indicates that Friedman's model is effectively capable of explaining the narrative complexities and thematic diversity within this collection. All three types of plot presented in Friedman's model are employed with comparable frequency in this story collection, demonstrating a significant causal relationship between Friedman's plot classification and Mahfouz's recurring themes, such as the conflict between tradition and modernity and social determinism. This correlation stems from Mahfouz's orientation towards psychological analysis of characters and his use of plot as a tool for critically reflecting upon the issues of Egyptian society. https://www.narratologyjournal.ir/article_234306.html Contemporary Iranian storytelling and playwriting, influenced by the Modernist and Postmodernist literary movements, have witnessed the creation of such works. The present study analyzes the manifestations and interactions of postmodern discourse in one of these contemporary Persian plays, called Arameshaishgah written by Bahman Forsi ( 1933-), Persian contemporary playwright. In this article, the discursive components of postmodernism are analyzed based on Brian McHale's theory. The primary objective of this research is to analyze and explore how a text can challenge established rules of representation. The research employs a descriptive-analytical method, focusing on the entirety of the text.The play Arameshaishgah is written in a postmodern style, and its dramatic narrative reflects a chaotic global situation where any structural coherence and semantic integrity are met with doubt. The results indicate that the author skillfully employs polyphony, narrative uncertainty, spatiotemporal disruption, and paranoia —key elements of postmodern discourse —to highlight ontological elements. https://www.narratologyjournal.ir/article_234307.html The three-volume novel The Past of the Elderly by Mahmoud Dowlatabadi is an unconventional and complex narrative, the understanding of its structure and content depends on the knowledge and of the narrator and the narratee. The reasons for choosing multiple narrators, along with the overt and covert Narratee, the type of relationship between the Narratee and the narrators, and the reason for this relationship, constitute the focus of the discussion of this article. The article, in a descriptive-analytical manner and mainly based on the views of Gerard Genette and Gerald Prince, explains the position of the narrator and the Narratee in order to understand the knots of the text and open the different layers of the novel. A general understanding of the agency of this complementary narrative pair in the novel makes it clear that the third-person narrator of the novel is the first person who narrates with the third-person narrative and has projected his awareness and interpretation into the narrative of different narrators. The final result shows that the narrative in each of the three volumes of the novel is three different narrative forms of a single autobiography; The unity of the narrator, the Narratee, and the main character of the novel shows that a single narrative of the life of the main character and three generations of a family, in three different narrative forms, in three time periods, has structured the novel, and a new form of confessional autobiographical novel has been created in the native style. https://www.narratologyjournal.ir/article_235123.html The relationship between narrative time and the story time is an important part of Genette's theory of narrative discourse. Based on the aforementioned theory, this study seeks to understand the configuration of the language of visual narrative in the illustrated edition of "Varka and Golshah". The goal is to show how the visual elements in the illustrations represent concepts such as order, linear time, and anachrony. By analyzing the illustrations and matching them with the concepts of temporal return, temporal advance, range, and extent, it will become clear that the visual narrative of this work has a complex and multilayered temporal structure. Although the narrative order in these illustrations is often aligned with the linear narrative of the literary text, in some cases it is accompanied by a return or anachrony to deepen the visual narrative. In the illustrations of this edition, we often encounter internal anachrony and co-narrative; in the sense that the retrospective and prospective parts of the narrative are placed within the temporal framework of the main narrative. By using visual suggestive signs such as the orientation of characters, the composition of scenes, and the elements of the placeholder, the illustrator has been able to portray the concept of time and its passage in a narrative and understandable way for the audience. In summary, the article emphasizes that visual narrative, despite media differences, can have a high capacity to represent temporal complexities, like written narrative, and has its own tools to reflect the temporal games of narrative. https://www.narratologyjournal.ir/article_235124.html The tomb of Pir Palandooz in Mashhad, as one of the historical and religious monuments of the Safavid period, is not only important in terms of architecture and art, but also has semantic narrative layers due to its religious, cultural, and mystical status. This article, using a semiotics of place approach and a descriptive-analytical method, examines how the sense of place is formed and given meaning to this tomb and represents some of its narrative layers. The research aims to examine the role of cultural and social signs in the formation of a narrative place and giving identity to this historical tomb. The main question of the present research is: How have the cultural and semantic elements of the tomb of Pir Palandooz turned it into a meaningful and narrative place? The research findings show that this tomb's external and artistic signs and visual beauty carry deep mystical, religious, and cultural meanings. Also, the name and mystical background of Pir Palandooz, the geographical location of the tomb in the vicinity of the shrine of Imam Reza, and its social function play a significant role in strengthening the creation of a spatial narrative, its sanctity, and its meaningful identity. This tomb has found a special place in the collective memory and cultural identity of the city of Mashhad and its people, not only as a historical monument, but also as a symbol of the connection between folk mysticism and Shiism. https://www.narratologyjournal.ir/article_235125.html The present study examines the relationship and overlap between narrative structure and implicit meaning in Bakhtiari folktales. Employing an integrative approach that combines the theories of Vladimir Propp and Algirdas Greimas, and based on a descriptive-analytical narrative method, this research seeks to merge Propp’s functional model for analyzing narrative functions with Greimas’s semiotic–semantic system at the level of meaning and cultural signification. The findings indicate that the actantial structure of Bakhtiari tales, while preserving certain functional patterns of Propp, is more deeply linked to a network of semantic relations and Greimasian actantial roles. Characters act beyond mere narrative functions, and their behaviors and decisions can be analyzed within the semiotic structure of meaning. The study demonstrates that the transition from the actantial system to the semiotic (shushi) system occurs both at the level of character functions and semantic implications. The results suggest that in Bakhtiari tales, the actantial structure and the semantic system of the narrative interact in a complex manner, such that the sequence of functions and the hero’s actions align with the processes of meaning-making and character transformation, enabling the representation of cultural values and moral teachings. This overlap between form and meaning ensures narrative coherence and the effective transmission of ethical and social messages in Bakhtiari folktales. https://www.narratologyjournal.ir/article_235126.html Judo, as an eastern sport that emphasizes individual moral values, also encompasses social dimensions and merits significant scholarly attention. This research seeks to explore the profound cultural aspects of Judo through an ethnographic examination employing an emic approach. The nature of this study is primarily quantitative. The research sample consist of professional judokas, coaches, and referees from Iran. Participants include both male and female judokas in the adult age group, as well as coaches and referees who are national, Asian and world certificates. The adequacy of the sample size was determined using table formula of Krejcie and Morgan, thereby ensuring the validity and reliability of the study. The cultural elements examined in judo include: Rei (the tradition of bowing) two cases, personal cleanliness such as attire and nails as well as tradition of hygiene (two cases), competition and its social regulations (one case), and Judo-specific rules and practices (one case). The findings indicate that Judo is not merely a sport but also a semantic system, in which its symbols embody a distinctive moral and social philosophy that transcends time and place. https://www.narratologyjournal.ir/article_235127.html Time is one of the most fundamental categories in narratology, linking the structure of narrative events to the experience of human existence. Traditional narratological approaches – most notably Gerard Genette’s triadic model of order, duration, and frequency – tend to conceptualize time as a measurable and quantitative entity. However, this study argues that in Victor Hugo’s Les Misérables, time operates on two distinct yet interrelated levels: the quantitative (Chronos) and the qualitative (Kairos).Using a descriptive – analytical method and drawing upon both Genette’s structural theory and the semiotic theory of “body and soul”, this article explores how Hugo constructs a dual temporality that reflects both external historical continuity and internal existential transformation. The Chronos of the novel corresponds to the social and historical timeline – from the fall of Napoleon to the June Rebellion – while Kairos manifests as the lived, affective time of the protagonist’s moral and spiritual evolution. Through an analysis of Jean Valjean’s transformation, the study demonstrates that Hugo transcends linear temporality and creates a narrative of salvation where time becomes the medium of inner growth and self-realization. By juxtaposing measurable and experiential dimensions of time, Les Misérables reveals a shift from narrative chronology to existential temporality, transforming the novel from a historical account into a meditation on the human condition. https://www.narratologyjournal.ir/article_235414.html Texts to attain greater analytical depth.The linkage between knowledge and power within legitimacy discourses has consistently played a pivotal role in political structures. This study employs critical discourse analysis (CDA) and Theo van Leeuwen's theoretical framework to examine the discursive mechanisms that legitimize astrologers in three key Safavid-era texts: Rawda al-Anwar Abbasi (educational-political), Risala Sana'iyya (philosophical-scientific), and Tarikh Abbasi (historical). The central research question is: How do Safavid texts portray astrologers as an integral part of political power through linguistic and ideological strategies? The methodology involves CDA coding: an initial reading to identify themes of power and knowledge, open coding for key vocabulary (e.g., "authority" or "tradition"), axial coding to categorize based on van Leeuwen's four strategies (authorization, moral evaluation, rationalization, mythopoesis), and selective coding to link findings with the Shiite-political context of the Safavids. Findings reveal that astrologers' legitimacy is reproduced primarily through authorization (references to Islamic tradition), moral evaluation (emphasis on piety and secrecy), rationalization (utility of predictions in decision-making), and mythopoesis (heroic historical narratives). This research not only enhances understanding of the interactions between astronomical knowledge and power in the Safavid era but also lays a foundation for interdisciplinary studies in art history, culture, and discourse analysis. It suggests further examination of lesser-known texts to achieve greater depth. https://www.narratologyjournal.ir/article_240000.html Counterdiscourses are generally supporting fragments of discourse that appear alongside the core of discourse in the narrative and create a supportive semantic halo, thus strengthening and supporting the core of discourse in the ups and downs of the narrative. A skilled orator tries to increase the influence of his speech on the audience with the help of various tools. The presence of supporting and supporting discourses in the reading of systematic discourses, such as Nahj al-Balagha, is one of the tools that will be very helpful. These discourse halos or counterdiscourses, with their specific semantic functions, such as repair, modification, confirmation, justification, greater impact on the audience, or even instilling a special feeling in the audience, play an important role in shaping the process of meaning-making. The letter of Imam Ali (AS) to his agent, Uthman ibn Hanif, is one of the discourses that beautifully demonstrates the positive and negative effects of using counterdiscourse in stabilizing and integrating meaning. This research attempts to answer the main question with a descriptive-analytical method: What components have formed the use of antithesis of meaning-making elements in the words of Imam Ali (AS)? The findings of the research show that this letter carries some semantic features of antithesis, such as metaphorical, simile, ironic, nested, referential antithesis, and the appropriate and worthy use of adaptive antithesis, witnessing, swearing, etc., which shows the strength and power of the speaker and his miracle in speech. https://www.narratologyjournal.ir/article_240001.html Considering the fundamental importance of ritual and narrative in the formation and development of drama, the present research, centered on Mircea Eliade's theory and Gerard Genette's narratological perspective, comparatively examines the ritual language and temporal structure in Bahram Beyzaie's Afra and Wajdi Mouawad’s Tous des Oiseaux [All the Birds]. The main issue of the research is how Beyzaie and Mouawad have used the transformation of the narrative temporal system and the evolution of ritual language and structure to continue and recreate the myth. Efforts have been made to comparatively examine the linguistic layers and narrative-ritual structure in the selected plays using a descriptive-analytical approach and accurate textual reading. The innovation of the research lies in integrating these two theoretical frameworks for contemporary dramatic texts with different cultural origins. The findings show that despite the diminishing role of text in contemporary theater, ritual still has a living presence in the narrative and linguistic structure of these works, and as a narrative structure, it provides a possibility for the contemporizing of myth and understanding of ritual language in contemporary theater. This research ultimately helps to better understand how myth continues in modern drama. https://www.narratologyjournal.ir/article_240173.html This study investigates the psychological processes and the degree of psychological coherence of characters in the novella Probably Lost by Sara Salar, drawing on Donald Meichenbaum’s theoretical framework within the field of psycho-narratology. Adopting a descriptive–analytical method and relying on qualitative textual analysis, the research examines inner dialogues and mental processes as the primary data for interpretation. The findings indicate that the protagonist’s internal narrative evolves from a state of emotional disruption and fragmentation toward emotional reconstruction and the attainment of psychological coherence. Throughout this process, cognitive self-talk plays a central role in emotion regulation, memory recognition, and the reconstruction of personal identity. Moreover, the study demonstrates that analyzing characters’ inner narratives and mental dialogues enables a more precise understanding of individuation processes and emotional experience. The results underscore the significance of psycho-narratological analysis in elucidating the complex psychological and emotional interactions of characters in contemporary literature and highlight cognitive self-talk as a key mechanism in the formation of identity and psychological coherence. https://www.narratologyjournal.ir/article_240174.html This study seeks to explore the possibility of deconstructing myths through a qualitative analysis of Haft Javidan, a novel by Marjan Fouladvand. The primary function of myth has historically been to instill certainty and belief in human beings; however, deconstruction—a strategy associated with the thought of Jacques Derrida—aims to question every form of certainty and stability. By dismantling established structures, it creates the conditions for the emergence of new systems of meaning—systems that themselves remain perpetually subject to collapse. In this novel, Fouladvand revisits the myths of Nowruz’s origins and, by drawing on their marginal signs, constructs a national epic for Nowruz that may be regarded as a deconstructive parody of earlier narratives. Through a critical reading of mythological beliefs, the novel attempts to decenter hierarchies of power and binary oppositions such as good/evil, right/wrong, and beautiful/ugly, while redefining concepts like race, lineage, heroism, and love in novel ways. Nevertheless, the findings indicate that, at a deeper level, the work reproduces the very hierarchical systems it appears to dismantle. This paradox is most evident in the representation of the Iran/Aniran opposition (i.e., Iran vs. Non-Iran) divide, where the attribution of identity privilege covertly opens the way for a return to authoritarian discourses. The study underscores that deconstruction is always at risk of turning into its own opposite and therefore requires constant revision. In this sense, deconstruction, in remaining faithful to itself, is compelled to deconstruct its own practice. https://www.narratologyjournal.ir/article_240928.html This paper examines the fundamental confrontation between human "lived experience" and the nature of artificial intelligence through the lens of Merleau-Ponty's embodied phenomenology and Heidegger's temporal ontology. Focusing on the narrative structures of three stories from Ted Chiang's collection "Exhalation"—"The Lifecycle of Software Objects," "The Truth of Fact, The Truth of Feeling," and "Anxiety is the Dizziness of Freedom"—this study employs a mixed-methods approach of quantitative and qualitative content analysis and narratology to demonstrate that human lived experience is grounded in three fundamental pillars: embodiment, temporality, and Being-in-the-World. An analysis of 3,650 semantic units revealed that 87% of dialogues concerning "digients" emphasize embodiment, 94% of human interactions are disrupted under conditions of absolute certainty, and 78% of users of the Prism device suffer from analysis paralysis. Statistical findings indicate a strong positive correlation (r=0.89) between the lack of embodiment and the inability to comprehend qualitative experiences, and a strong negative correlation (r=-0.92) between absolute certainty and the depth of human relationships. These results clearly demonstrate that artificial intelligence, due to its lack of the ontological foundations of lived experience, is fundamentally incapable of understanding or replicating the depth of human experience. By adopting a systematic interdisciplinary approach, this study tests abstract philosophical concepts within literary narratives, ultimately arguing that "Exhalation" stands as a literary bulwark against technological reductionism, preserving the complexity, ambiguity, and profundity of human existence. https://www.narratologyjournal.ir/article_242180.html From the perspective of semiotics-discursive semantics, characters in classical narratives become subjects when they try to produce or repair and establish the meaning of "having". Therefore, each of these subjects has a narrative that usually follows a comprehensive pattern called the "mother rhythm pattern" in terms of narrative syntactic structure, which has a tripartite structure with various variables. The mother rhythm pattern is a flexible pattern that can be adapted to the syntactic structure of various classical narratives. The narrative of Sheikh Sanan is an allegorical-mystical story in which characters such as Sheikh Sanan, Sheikh Sanan's disciples, and Tersa's daughter are present, each of whom initiates an action process in pursuit of achieving something in the outside world. Therefore, each of these subjects can have narratives with their own syntactic structure in the narrative of Sheikh Sanan's story. In this study, which is based on the analytical-comparative method and the discourse semiotic-semantic approach, an attempt was made to analyze the syntactic structure of the narratives within the story of Sheikh Sanan - from Attar's book Mantiq al-Tayr - based on the mother rhythm pattern, and to clarify how the meaning of "having" appears in these narratives. The findings of this study showed that the narratives within this story have different syntactic structures based on the mother rhythm pattern, and the meaning of having is destroyed and died in the story of Sheikh Sanan, and is produced, repaired, and established in the stories of the Terrible Girl and the Disciples, respectively. https://www.narratologyjournal.ir/article_242181.html This study investigates the application of framing techniques (ecliptic antithesis, interpretive, and persuasive) in Mowlavi's prose works as rhetorical tools for the gradual conveyance of his mystical-educational ideology and persuasion of diverse audiences. The primary research issue is how Mowlavi employs these techniques to capture audience attention, concretize abstract mystical concepts, and foster inner transformation within the speech-oriented and interactive context of his texts. Given the narrative-rhetorical nature of Mowlavi's prose, this investigation focuses on the role of framing in transmitting spiritual experiences and bridging surface-level and profound layers of meaning. The research method is descriptive-analytical. Findings reveal that in Fih Ma fih, ecliptic antithesis framing predominates for initial engagement, while interpretive framing excels in concretization; in Maktubat, persuasive framing stands out in formal letters through Sharia-political arguments, and ecliptic antithesis framing in friendly letters aimed at strengthening relationships, conveying emotions, and exchanging ideas; and in Majalis-i Sab'a, interpretive framing via parables and persuasive framing via Quranic verses and hadiths are employed for varied audiences (from commoners to elites). These techniques facilitate inner transformation in the audience and alignment with Rumi's mystical perspectives.