Arthur Schnitzler, an Austrian author and playwright, is one of the founders of modern German literature. Being associated with the latest literary trends of his time, Schnitzler has been a pioneer in some fields. He has influenced several generations of artists in the west and the east up to now. Schnitzler is known to be a psychologist-psychoanalyst author. Literary critics have praised his rare intelligence in revealing motives hidden behind human actions. Schnitzler’s world of fiction has other remarkable aspects that this article is going to deal with. The most important one of them are implicit humanism and decadence that are expressed in his writings. This article also examines main features of fictional writing of Schnitzler as an author who has never been presented in Iran adequately and never received the attention he deserves. The study acquaints readers with thoughts of Schnitzler and certain technical characteristics of his art too.

This article is the result of a study on fictional-traditional European novel as a literary category, its nature and included subjects, the history of its development, its social and cultural background and its written and narrative style. After discussing the literal meaning of fictional and the way it got into the literature world, we have talked about the roots and the history of appearance of this literary style in late eighteen century and its dehiscence in early nineteen century, and remarkable writers in this area have been briefly introduced.After reviewing the domain and subjects of fictional novels, some examples of its usage in literary works and the reason of its difference with other kinds of extraordinary types have been considered.In continue, with discuss the writing style, the narration form and general classification of the subject.In each section, according to its subject, remarkable writers and their works have been reviewed. Finally, the diversion and ending of this style in twentieth century is reviewed.

The fictional character may be completely imaginary and the author is the creator. The author is also able to use the characteristics of himself, others and even historical and literary figures. In this case, his story will have a real background. This type of character is called a fictional character with a background, and in this article, the creation of its species is examined. Sometimes, to build a scientific and real character, the author uses the analysis of psychologists to identify various fictional characters in his work. Some of the characters created by the author become role models so that the author can use their characters in other stories as well. Some social figures express the ideas and ideals that society likes. Sometimes the author uses these characters in the story. But people hate some characters. The author may refuse to use them. In reconstructing the character, the author sometimes uses various factors such as the tone of the people in the story.

Studying Persian heroic epic verses affected by narrative tradition and Shahname is one of the areas that can be analyzed from different perspectives. Samname which is considered as the last national epic in Persian Literature and apparently is written in late 7th century and early 8th century – if we accept to be written by Khajooye Kermani- is among these works which is similar to Shahname for it is influenced by epic tradition and existence of a romance element on the one hand and a hero who escapes using his own ways to reach his beloved on the other hand and these features make this work a heroic romance. The present study deals with recognition and analysis of fictional motifs of the work in order to compare it to other fictional and narrative works and therefore to determine better role for Samnameh in evolution of different literary genres in Persian literature. In this study, supernatural motifs including heroic- crafty, romantic and dignity motifs are among most famous motifs applied in this literary genre. Main characteristic of choosing and investigating the motifs in this work is existence of two factors i.e. repetition and motivation which are suitable criteria for offering frequency chart to be compared to other Persian epic or romantic verses.

The necessities and requirements of the standard logic of phenomenology create some problems in the analysis of fictional propositions which are replete with imaginary identities and lack signifiers. However, the logical conditions of these propositions as the constituent parts of language, is very significant and it cannot be denied or ignored that in the ordinary language, fictional identities are referred to and their relevant propositions are both accepted and rejected. In this paper, the auther has attempted to employ the definite framework of the possible worlds, to find explanations for the manner of referring to these propositions and the value of their truth. A few logic-related issues of fictional texts are also treated in this study; the author, also presents a system for the logic of fictional propositions.

Siavash's story is one of the Shahnameh's stories which Ferdowsi has enriched it with artistic elements of some of the story elements and storytelling techniques. Siavash grief involves the two stories of Forbidden Love and the story of Siavash deportation to Turan Land and his killing by Afrasiab, a combination of the epic and richness. This article investigates Shahnameh storytelling techniques with emphasis on fictional elements in Siavash's story and has been written using descriptiveanalytical research method. This article investigates techniques of Shahnameh's storytelling with emphasis on fictional elements in Siavash's story and has been written using descriptive-analytical research method. In mourn of Siavash the element of dialogue is used to represent the characters' thoughts, to develop the story and to advance the events, to express the characteristics of the persons, to introduce the relationships between the persons and their relationships, to illustrate, to determine the places, to specify the time, and to make space. The results show that in this story, Ferdowsi uses elements such as characterization, conflict, and plot in addition to the dialogue, and uses techniques such as suspense, arousal, rhythm, flash back, and combining epic with lyric.

Maghame is one of the types of ancient stories that with artificial prose mixed with poetry, are about a hero who appears anonymously in anecdotes and creates events with the intention of begging, and as soon as his character is known, it disappears until appear again in another awe in the next Maghame. Hamidi's Maghamat is one of the most important books in Arabic and Persian. Hamidi, by choosing the format of the story and using the principles of storytelling, as well as selecting the events of these stories from the realities of life and choosing fictional characters from the people who live among them, along with their individual and social characteristics, brought the writing style close to realist writers. The effervescence of life through the events of Maghamat, together with the action of the real characters in its scenes and the influence of the spiritual, moral, social, material, scientific and literary atmosphere on the characters, realizes the truthfulness as the stories. In this research, it has been tried to investigate the most important story in Hamidi and Hariri's Maghamat by a descriptive-analytical method.

Rumi's Masnavi is one of the most thought-provoking mystical-fiction poems in Persian in terms of form and content, which, despite belonging to the seventh century AH, is still very attractive among thinkers and writers. In this system in which Islamic mysticism has been analyzed and explained using short and long and sometimes nested anecdotes and allegories, a variety of satires have been used extensively to the extent that this system has been analyzed due to analysis. One by one, the stories and the full use of all kinds of fictional and situational satires can be considered as one of the unrivaled books in the field of literature and mysticism. Rumi's tendency to these two types of satire, and to a lesser extent to linguistic and literary satire, is not done with the intention of satire, like other poets. Believing in the goodness of the system of creation and the wisdom of the creation of all the phenomena of existence, he depicts the biological and social realities with a kind of natural behavior, far from any intention, and following this behavior, Humor, which is part of the daily actions of human beings in everyday life, also enters his narratives. In other words, Rumi in Masnavi because of his realistic view of man and society and avoiding the myths of jinn and magic and choosing relatively ordinary stories from the world of humans with which humor is also mixed with Sufi teachings And theoretical mysticism gives as much practical and believable aspect as possible and also proves that the nature of life is always intertwined with a set of natural satires that language and literature have little role in their creation.

Fictional objects like “ Hamlet” or “ Rostam” pose many problems for Logicians and thinkers theorizing about perception. The problem lies in the fact that, on the one hand, we think and speak about these objects and, on the other hand, we can’ t find them in our world. Two groups are theorizing this issue. Proponents of the first group think that there are not any fictional object; they are just words. The others find these objects indispensable and they work on the ontology of them. The latter thinkers offer different views on the ‘ mode of being’ of fictional objects. But these two groups have faced some problems. However, Roman Ingarden sees the main problem in ignoring one of the possible modes of being. He shows that fictional objects are “ purely intentional objects” depending first and foremost on conscious acts and also on some physical or ideal object. In this paper, we offer the ideas of the abovementioned groups and then propose Ingarden’ s views.

Risalat al-ghufran is one of the oldest samples of the Arabic fictional heritage which injured its Arab critics for a very long time and was forgotten until the beginning of the twenty century. Because they had accused Abulala Al-moarri of atheism and disparaging the Islamic beliefs so that led to ignorance of Risalat al-ghufran for near nine centuries. The Arab scholars paid attention to it since the European critics paid attention to it and compared it with Divine comedy by Dante. The purpose of this article is studying the fictional characteristics of the Risalat al-ghufran in spite the fact that this work is not a story like modern stories, but we want to show that it has fictional aspects. Therefore we have studied it via fictional and ideological structures.