Today, utilizing up-to-date knowledge is an important way to analyze religious texts. The linguistic structure of the Qur'an is such that it uses the best ways to convey the message. "Semiotics" studies with different approaches are among the most up-to-date knowledge in the contemporary world. The structure of the stress pattern is one of the semiotic patterns related to the post-Greek period. In this approach, signs are linked together with concepts and meanings and become fluid and dynamic categories. The present study aims to use a descriptive-analytical approach to investigate the formation of the discourse process in Surah Al-Waqi'ah using a tension model. Surah Al-Waqi'ah is considered in terms of its special context. In this surah, the narrator, in repetitive contexts, structurally draws the narrator to his discourse space. This means that the contexts of the surah have a repetitive pattern. In all of them, it seems that the speech starts with high emotional pressure and moves towards the expansion of the world of utterances and cognitive horizons, following a downward pattern.

Narratology is one of the branches of literary criticism that examines narratives. Vladimir Propp and after him GRIMAS have made studies in this field. GRIMAS believed that every story follows one of these narrative structures. 1- Contract (prohibition) - Violation - Punishment 2 - Lack of contract (irregularity) -Existence of contract (order). According to his theory, there are six roles or actors in all narratives, which are the subject, the target, the sender, the receiver, the helper, and the preventer. According to GRIMAS's theory, narrative propositions (descriptive, modal, transitive) and narrative chains (executive, contractual, disjunctive) can be seen in every story. Based on this, the current research tries to evaluate and criticize the novel Ajam written by the Iraqi writer "Senan Anton" based on the theory of GRIMAS with a qualitative approach and descriptive-analytical method. In this novel, one of the structures of GRIMAS's narrative, i.e., contract-violation-punishment, is observed, and the overall course of the story is from positive to negative. Also, in Ajam's novel, six roles or actors, narrative propositions and narrative chains of GRIMAS theory are clearly defined.

The story of Pir-e Changi is one of the interesting stories of Molavi in the first book of Mathnavi, from which different readings have been made, and in each reading, somehow one of the semantic dimensions and hidden aspects has been reviewed. In this study, we analyze the narrative structure of this story based on the narrative pattern of GRIMAS, whose main goal is to draw the narrative plan of the story and while answering the following questions in specific ways: What is the main function of this story that forms the basis of its narrative design? What are the accessory/implicit stories that have been included in this story? Do the components of the whole narrative system reinforce problems as the main function of this story? It is assumed that among all the functions included in the story of Pir-e Changi, two functions can be considered as the main functions in it that produce two themes, ‘seeking wealth’ that Pir Changi demands from God by playing the harp and superficial judgment, and ‘lack of awareness from the truth’. From among these two important functions, drawing the plan of the story and appropriate meanings of the implicit stories with the help of the Greimas narrative model, one of the functions can be considered the main core of all functions. The results of the study show that based on the deep structure of narrative and actants, Pir-e Changi’s outgoing from a closed place to the desert is the main function of the story that forms the fundamental theme that is ‘lack of awareness of the truth’, because both deep narrative structure and implicit stories make a system to form this function and theme.  IntroductionAlgirdas Julien Greimas (1917-1992) a Lithuanian-French expert on narratology is one of the most significant figures of structuralism and post-structuralism theories. Some of the narrative experts have divided Greimas’s academic life into three parts: 1) Greimas as a structural narratology scholar, 2) a narratological semiotics scholar, and 3) a discursive semiotics scholar (as cited in Shairi, 2019, p. 13).The story of Pir-e Changi is one of the most attractive stories in Mathnawi that scholars have presented various interpretations and have unfolded some of the secrets and hidden angles of the story. The story would have two basic functions for the readers, the functions that lead to two possible themes. The first theme is Pir-e Changi’s going to the desert from home and playing the harp. The exterior layer of the story vehemently amplifies this theme and function of the story, because the first verses of the story speak about Pir-e-Changi’s poverty and destitution. He tries to solve this problem and eventually found 700 dinars. The story ended at this point. The issue that we think is important in this story is the importance of margins over the main text. These margins are the accessory/implicit stories that are more valuable to recognize the main function and deep layer of the story.The narrative structure of this story tells us that there are two possible themes, the invoking of commodity and superficial judgment of the main fact, and lack of awareness of the truth. According to the actantial function of the narrative, among the two themes, the latest one is going to be the correct function of the story.    Review of the LiteratureThere are many studies conducted on Pir-e Change, since this story is one of the interesting stories in Mathnawi and, on the other hand, it is important according to both narrative structure and mysticism.Mirbaqerifard et al.’s the sin of repentance; the analysis of the repentance stage from evil to innocuous in Pir-e-Changi’s story (2011), interpreted the repentance types in this story. Farhad Doroodgarian’s analysis of the Pir-e-eChangi’s rebirth in Rumi’s Mathnawi based on Carl Jung’s Theory (2014) explained this story in an archetypical base. One of the most significant studies written in the Persian language based on this theory is the Analysis of the story Kachal Mom Seia in the second chapter of the book New Semiotics: Basics by Reza Shairi (2019). He has explained in this part of his book the narrative sequences of the story with its contrast by narrative, discourse, and narrative actants. He analyzed this story based on the veridictory square and eventually concluded that events are the generator aspects of the meaning in the narrative of this story.Dezfooladian et al.’s the study of actantial model and narrative sequences in the story of Rostam Death (2019) argued that the narrative sequences and binary oppositions are the main elements of the narrative structure in this story and concluded that the narrative structure of the story has a good correspondence with the actantial model of Greimas. Meanwhile, Yaqubi Junbe Sorayi and Mohammadi in a writing titled: ‘the Structuralism model and Postmodern Narratives; assimilation or heterogeny’ (2015) write that the structural models as the actantial model of Greimas in divergence narratives stand versus itself. Roohani and Shobkolai (2012) have also studied the Shaikh Sanan story of Attar based on the actantial model of Greimas. This writing is titled ‘the study of Shaikh Sanan Attar based on the Actantian model of Greimas. They concluded that according to the narrative structure, there is nothing without functioning in this story and all the parts of the story play role in the movement of the narrative. They also emphasize the role of the reader as the final receiver of the meaning.Many other stories have been studied based on this theory and the narrative structures of the stories have been explored, but the story of Pir-e Changi has not been the subject of study based on this theory. On the other hand, most of these studies have only applied the theory to a story and they do not have any new findings. We have tried in this essay to find the main function and the main actant of the story through the explanation of the narrative deep structures. MethodologyThe theoretical framework of the present study is the Actantial Narrative model of Algirdas Julien Greimas, but the outcomes of the study are completely the reflections of our own idea. We used this theory to substantiate our new finding regarding the main function of the story of Mathnawi that we think no one has found before.  ResultsNarratology is looking to find how the meaning of a story derives from the deepest structure (langue) of the narrative, not from the independent and solitary subject or content of every single story. The study of Pir-e Changi story of Mathnawi based on the actantial model of Greimas and the explanation of the narrative structure shows that the deep structure (langue) of the narrative verifies the second function and, on the other hand, the content of the accessory/implicit stories also certifies our claim that the main function of the story is the superficial judgment of the main fact. Therefore, the main functions of the stories depend on analyzing and unfolding the narrative structure of the stories.The narrative structure and plot of this story, besides the actantial model of Greimas, is one of the exact ways to study and portray the actants and the accessory stories’ roles in recognizing the main function of the Pir-e Changi story of Mathnawi. Readers may consider both of these functions in their minds without knowing which one would be the exact and correct function, but in order to be sure which function is the best option regarding the narrative structures, we need to study this story according to the Actantial model of Greimas and realize the main function through analyzing deep layers of the plot and narrative.The present study definitely answered the mentioned questions of the research based on the actantial model of Greimas and concluded that the main function of this story is the superficial judgment of the real fact, yet it can function as a return to God and commodity evoke.The main reasons for the results are as follows:The study of the narrative structure based on Greimas’ actantial model shows that all the actants with the function we mean have an active presence and can be portrayed in the deepest structure of the narrative while the first possible function of the actants is omitted from the deepest structure;On the other hand, all of the accessory stories as parts of an organism strongly support our assumption. Finally, the main meaning and function of this story is the superficial judgment of the main fact and lack of awareness of the truth.

Each story consists of a strong link between the two elements of appearance and structure. In fact, the value of every story lies in its hidden beauty and the correct structure of a story can add to its beauty. Therefore, knowing the narrative structure and describing the characters of the story is one of the most important points in literary studies, and researchers also try to explain the relationship between the characters of the story through the use of semantics. One of the new methods of explaining the relationship between characters is the “, GRIMAS’,narrative theory "Based on the results of this study, which was carried out using a descriptive-analytical method and using library sources, it was determined that in the story of "Layla and Majnun”, , Majnun is one of the most prominent characters who has a narrative role, or in the words of GRIMAS, the narrator is recovered in this story, and sender/receiver/subject/target/helper/inhibitor are among the actions recovered in this story and sender/receiver/subject/target/helper and inhibitor are among the restored actions in this story. Based on the results of this study, which was carried out using a descriptive-analytical method and library sources, it was determined that in the story of "Layla and Majnun", the sender is love, the receivers are Layla and Majnun, the subject is Majnoon, the goal is having a date, the helpers are Majnun's father and his relatives and Layla’, s father and Ibn Salam are the inhibitors. More than anyone and anything, Majnun has a prominent and active role. Majnoon is in love, he is not afraid of his life and is so fascinated by his beloved that he goes to the desert and becomes the companion of the wilds. Majnoon is the subject with a key role and his actions throughout the story show his active presence. In this study, an attempt has been made to briefly describe the relationship between Layla and Majnun as well as the character of Majnun.

Following Prop, structuralists attempted to present an overall model in creating different narrative in the 20 th century. In this field, A. J. Greimas—, the most popular narrative theorist—, went beyond the limited studies of Prop, and presented his action model and his narrative chains. By doing so, he attempted to reach to the general principles of the narratives language and to analyze each narrative based on a specific narrative structure. He created his action model in a way that it can be adaptable which other narratives. Therefore, the aim of the present research is to study the narrative structure of Sandali dome story, as a sample of the amatory and lyrical poems based on Greimas theoryso This is the sixth story of the week and its narrator is the Lady of China in the sixth climate. we can analyze the structure of the original Plot using changes in statuses according to two-fold reciprocities, the narrative chains, and the action model of narratives. after analyzing the context, we concluded that Greimas's action model in analyzing the narrative of lyric poems of It is the change of situations based on the dual confrontation and the change of the process of action from one character to another, in which the story goes from an initial balanced state (beginning of the journey) to an unbalanced state by asking for Keir water from Shar. ) This situation changes until the Kurdish girl helps the shepherd and the shepherd completes his ascent towards the final balance (marrying a Kurdish girl, marrying a king and a minister, and sitting on the throne of Keir).

Attention to the narrative structure of stories from the twentieth century followed the science of linguistics and then semiotics as a branch of science. The narration of Sheikh Sanan is the most famous and longest story of Attar, which has been analyzed many times in terms of literature, narration and artistic since its creation. In the field of narration, GRIMAS proposed a comprehensive rule for analyzing the spiritual foundations of the text by recognizing its linguistic structures, and based on this, he proposed the study of characters and their actions based on the three verbs of wanting, knowing and being able. Also, the use of active-passive, transmitter-receiver and inhibitor-helper interaction actors and And highlighting by contrasts are items that can be seen in addition to the story in the images and drawings created from it and provide an artistic area of the story. This research has been done in a descriptive-analytical manner with the aim of recognizing, analyzing and adapting the characters of the story and drawing based on GRIMAS’,action model and has analyzed two drawings of Sheikh Sanan’, s story and matching it with the story. The research questions are: What are the personality patterns of the actor used in the story and drawings of Sheikh Sanan? How verbal and conceptual contrasts are used in stories and drawings? The results show that all the models of active, passive, transmitter, receiver, inhibitor, helper are used in the story and paintings. The difference is that in the paintings of Mantiq al-Tair, the pattern of deterrent action is very weak and there is no supporting actor. Painters have used other elements such as nature, architecture, color, viewing angle, etc. to compensate for verbal. The research is done with a comparative approach and using library studies.

In 1960s, the structural reviewing flourished in order to use the Method sand Saussure' understandings in the field of literature. This new technique of reviewing created a new literary field called narration. In narration, character is considered as a part of the overall structure of the story that his/her easiest role is the role of activism.Based on these actions of the story characters, GRIMAShas designed a model in reviewing the personality. This model contains three dual models: sender - receiver, subject - object, helper - opponent. He believes that this pattern is applicable to all the narratives. Based on analytical and descriptive methods, the researchers of the present study tried to investigate the all characters of the novel "Beirut 75" written by GhadaAlsamman through using GRIMAS' action theory in order to evaluate the efficacy and capability of the aforementioned theory for all narrations. The findings of this study has provided a support for the efficacy of this model in analyzing the characters o: f' Beirut 75". Actioners in this 5-plot story are: Farah, Yasaminah, Abuomstafa, Abulmala, and Taan and the goalis wealth, freedom, and reputation. In the second pair, helper and opponent are the people and positive and negative traits help them to reach their goals or block them. However, in the third pair of the story, the senders are the actioners and there is no receiver in reality.

One of the successful areas of structuralism is narratology, which studies the nature, form, and functions of narratives. Greimas, a prominent structuralist narratologist, proposed a theory to establish an overall structure of narratives and was able to derive the grammatical structure of narratives by analyzing the meaning of sentence construction. Thus, his action model is applicable to the structure of all narratives. This research aims to conduct a descriptive-analytical study using library resources and narrative analysis methods to explore the narratology of stories and folk tales from the people of Isfahan, based on Greimas's action model. The results indicate the presence of agent actors, object actors, or inhibitors in all narratives; the existence of recipient, sender, and helper actors in most narratives; the similarity of agent and recipient factors in most tales; and highlight the importance of agents and objects as the two primary fundamental actors in the narratives. Therefore, this scholarly endeavor demonstrates that the tales and folk narratives of the people of Isfahan, in addition to having structure and narrative coherence, possess the scientific validity and applicability necessary for analysis using Greimas's actantial model.Introduction:One important topic in the field of structural criticism of literature and fictional texts is narratology, also known as narrative theory. This relatively new science aims to determine the narrative structure of a work or to discover a comprehensive narrative pattern that encompasses all possible methods of storytelling. Its roots trace back to the linguistic theories of Saussure and Chomsky, as well as to structuralist and formalist literary theories. Narratology, or literary structuralism, flourished in the 1960s, drawing influence from Plato and Aristotle. By applying the methods and insights of Ferdinand de Saussure, the founder of modern structural linguistics, to literature, the field began to focus on how narratives are expressed within literary criticism. One of the most influential figures in this area was Vladimir Propp, whose study of fairy tales significantly impacted narrative studies.Algirdas Julien GRIMAS (1917-1992), the inventor of structural semantics, is known for his reflection on the principles and his refinement of them, as well as for being influenced by the ideas of Saussure and Jakobson. Innovations such as the introduction of the actantial model have significantly contributed to the analysis and understanding of narratives. In his book "Semantic Structures", Greimas provided a more scientific interpretation of Propp's framework, summarizing his work through the concept of the actor. By examining the semantics of sentence construction, he aimed to develop a universal grammar for narration. According to him, the six actors play the roles of characters in each narrative. Sometimes all six groups appear in a story, while other times only a few are mentioned. Among these actors, the subject and object actors are more fundamental than the others, whereas the inhibitory and auxiliary actors may not be present in every narrative. Therefore, the Grimace action model, in addition to being well-suited for folktales and fairy tales, can also be effectively applied to a wide range of texts.Considering the importance and analysis of Iranian stories, choosing the narratological method for analyzing fictional texts is one of the most prominent methods that has received much attention in the contemporary period by literary critics as a method for structuralist analysis of stories, legends, or folklore narratives .Isfahan province, as one of the ancient cultural centers of Iran, has many folk narratives, and no research has been conducted on them so far; therefore, this research aims to examine the narrative structure of folk tales and legends of the people of Isfahan based on the GRIMAS action model, in order to, in addition to recognizing and introducing GRIMAS theory, examine similar patterns obtained from six semantic units And also analyze the extent of adaptation and how GRIMAS's action theory is structured.Methodology:Fictional texts are analyzed by writers or literary critics in various ways in the fields of literary criticism. This field of criticism, which is considered one of the newest fields in the contemporary period, includes the analysis of narrative structure. To analyze the narratology of the folk tales and legends of the people of Isfahan, ten stories from library sources were selected and summarized on the basis of the criteria of the authenticity of the sources, their completeness, and their lack of manipulation. Then, they were evaluated and examined in a descriptive-analytical manner and using the narrative analysis method based on GRIMAS's action theory in order to recognize and introduce GRIMAS's action theory and address this theory with the aim of examining similar patterns of this theory in these legends. This research is written around the six narrative actors of GRIMAS: the subject or hero, the object (target), the sender, the receiver, the helper, and the hinderer. It is hoped that researchers, students, and those interested in the field of narratology will benefit from it.Results and Discussion:Narratology is a relatively new discipline within the field of literature that examines various aspects of narrative. Greimas, one of the key theorists in narratology, introduced the term actor or six participants, drawing from the linguistic term "narrative". One of Greimas's significant contributions to structuralism and literary studies can be considered his action model, which has a great deal of correspondence with fictional narratives and can be analyzed and evaluated in a scientific and valuable way.The research findings indicate that the subject, object, and inhibitory agents are present in all narratives. However, the significance of the two agents—the subject and the object (target)—is greater than that of the other agents, and their presence is essential in every narrative. Since all six agents may not be present in a narrative, this does not diminish the value of the research, because Greimas himself was aware of the existence of such a feature and the absence of one or more agents and their integration into each other. According to Greimas's view, the subject sometimes has a role as a receiver and sometimes not. This meant, if one person is responsible for two actions, such as in the fable of the "Fish" or two hindering and helping actors, they do not necessarily have to be human, but can be anything that hinders or helps the subject in achieving his goal. In this research, there are also narratives such as "The Parrot and the Merchant" based on this theory. Therefore, the presence of Greimas' narrative elements in most of the stories or legends in the study indicates its adaptability to this theory and can be generalized to other narratives as well.Conclusion:Greimas' theory has a special place in modern literature and literary criticism, and his action model is adaptable and effective in folk tales, fairy tales, etc. By analyzing the ten stories and legends of the research based on Greimas's theory, we can gain some insights about the action or characters in relation to their similar patterns and the presence or absence of Greimas's six actors. The subject, object, and inhibitory agents exist in all narratives, and even in two fables called "The Fox in Dog's Clothing" and "A Man from Isfahan with Two Heads!” We have encountered two subjects, in each of which, one of the subjects overcomes the other who had won in the first situation of the story. Also, the recipient, sender, and helper agents can be observed in most narratives. And the two agents, subject and recipient, are the same in most fables.In general, with the structural analysis of the stories and legends of the people of Isfahan based on Greimas' theory of action, the ability and application of this theory to investigate all narratives has been revealed and the importance of two actors, the subject and the object, has been shown as the two main and fundamental actors of the narratives. Therefore, this scientific research shows that the stories and legends of the people of Isfahan, in addition to having a narrative structure and coherence, have the ability and application of investigation with the action theory of Greimas.

GRIMAS is considered the pioneer of the Paris Semiotic School and one of its most famous theorists who built the most important narrative theory, through which he was able to transcend the traditional concept of personality. GRIMAS touched on the concept of the factor in his theory, which was called the factorial model, which is a model for analyzing narratives and is linked to narrative texts and works to embody the path of characters and control functions and actions. The factor means everything that has an impact on the growth and development of events, whether it is a human figure, an inanimate object, an animal, an idea, or something that has a moving and influential force within the world of the narrative text. The factorial model is also based on six factors: the subject, the subject, the sender, the addressee, the helper, and the opponent. These factors come in three relationships: desire, communication, and conflict. The focus of this study on a narrative text is the anecdotal collection Grapes of Thirst by the Lebanese writer Ali Hijazi, which sheds light, according to the descriptive analytical method, on the culture of resistance in Arab society. The Israelis, however, remained a steadfast people that did not fear the enemy and did not surrender to it. This study aims to show the success and efficiency of the factorial model in its applicability to group stories. One of the most important results we have reached is that the factor can consist of several actors, as in the story of Al-Hujair and the university student lecturing as a martyr about the culture of life. There are material objects that played different global roles, such as the camera, the plane, the disappearance of the resistance fighters, and Abu Shakib's car. The factorial model is a narrative technique for studying the actors that drive events and their development and includes three relationships: desire, communication, and conflict.