JOURNAL OF NARRATIVE STUDIES
Year:2018 | Volume:1 | Issue:3 |Papers Count:7

The poem “ Tanhā Sedā st Ke Mimā nad” by Forough Farrokhzā d in her book: “ Imā n Biā varim Be Aghā ze Fasle Sard” could be regarded as an open text. One of the most important reasons of this feature is the using of parataxis stanzas from the very beginning of the poem to the end. Parataxis stanzas, as a rhetorical arrangement, direct denotations to connotations by preparing the basis for rising implicit questions, and therefore change the interpretational closure to a disclosure-based situation by partnership of the reader. In this research, by analyzing independent statements in their union with structure and form of the poem, the focus was on showing how parataxis stanzas which seem independent from each other, join during the process of interpretation and so, make the basis for a bound play that based on that, meanings of the text emerge out of the union of horizons of expectations of author, text and reader and find a temporary coherence; meanings that change with alteration of subject’ s situation as the reader.

For Genet, continuity, as a quality of time, is the second among his three desired sections. In continuity, some of the devices used for increasing or decreasing the narrative in length are manifested. Narration pace, which controls the length of an incident and the amount of pages dedicated to it, is one of the main factors to be analyzed when discussing continuity. To do so, one has to one has to divide the time interval has to be divided by the text size and the result shows the positive and negative momentum as well as the narrative criteria. In the study at hand two more methods for gauging the narration pace were proposed according to which the narration pace for Leili and Majnoon Collection, which is Nezami's third work and was written after Khosro and Shirin, was measured.

Deixes are language components which define the speaker’ s time, place and perspective. By default people assume themselves to be at the deictic centre of the world; but they can also assume other people’ s deictic fields or in other worlds they can shift their deictic centre. In this study we’ re going to introduce a new method for criticism of dramatic texts, pinpoint the mental processes of readers when reading a literary text and find out how they shift between deictic fields. For this purpose we study quantity and diversity of deictic shifts in two plays of Chista Yasrebi (Iranian playwright) with McIntyre’ s (2006) approach. The results conclude 33 shifts in one of the plays and 26 in the other one, most of them along the framing and embedded fictional worlds and also between possible worlds. In simpler words there are 33 and 26 shifts from narration of the narrator(s) to roll play of the character(s), vice versa. These numbers define the process of the readers mind. Also they represent that besides narratives, we can study deictic shift in dramatic texts.

Hossien Payandeh one of the Iran prominent literature researcher in his valuable work short story in Iran (postmodern fictions) studied some of Iran contemporary stories that he considered it as postmodern fiction. His policy in this research is an anthropological one. In this essay this policy has been criticized, and by considering the bases of postmodern anthropological philosophy reveals that using the postmodern fiction writing policy will not necessarily ended to creating a postmodern work. A postmodern fiction before its constructing based on the policy should use the characters that reflected the condition of human thinking in the postmodern situation. Paying attention to the role and the difference of I, own, subject, the other, … is very important in constructing the postmodernist of human situation or being outside the confines in this research. In his essay the story in question by matching to postmodern philosophy is considered as the postmodern works or considered outside the confines.

In the series of narratological studies, Marie-Laure Ryan has presented a more comprehensive categorization. She described four categories of narrative space, the spatial extension of the text, the space that serves as container for the text and the spatial form of the text for the study of space in narrative. Applying Ryan’ s terminology, the present paper has adopted a descriptive-analytical approach to study Ryan’ s categorization of space in Radi’ s plays. The study of spatial frames and their relations to setting and story space in the selected corpus of Radi’ s works indicates a particular type of continuity between the spatial frame and the off-frame space in such a way that his spatial frame does not separate the stage from its surrounding world; quite the contrary, it frames a part of the narrative universe. The characters, objects, dialogues, voices, and visual signs constantly put the visible spatial frame in interaction or in contrast with invisible narrative world. The frame of the stage that often acts as a fence against its surrounding world breaks down by the end of the play to let the chaos of the narrative world penetrate into the stage frame.

The plays of William Shakespeare were translated into Persian in the proceeding years of Iranian Constitutional Revolution. But Ali Asghar Hekmat in his Five Stories by William Shakespeare introduced a quite different translation. The play form, in the process of translation was substituted with the story form. Although of the principle aims of translation at that era was to build strong relations with the cultural horizons of the Europe, the new form of drama found storytelling form as its classical correspondence in Iran. The conventions of classical Iranian storytelling have dominated in Hekmat's translation. Such domination of old form to the new one can be deemed to be rooted in the despotic cultural context of lterary history of Iran at that time, since all the dialogic components of the plays are substituted with indirect quotations of the omniscient narrative voice. Devoid of dialogic verbal interaction of characters, the narratives of Hekmat are highly dominated with the omniscient monologic voice. The present paper is to study the components of storytelling in Hekmat's translation and investigate the discursive cultural and political context which manipulates a mimetic dramatic text into diegetic text of storytelling.