Genres are the best method to evaluate literary texts. This classification is a principle for the continuation of literary studies due to breadth of literature. The present study tried to examine the importance of different Genres and the evolution of the concepts of epic in novels. Epic, which is the story of heroism and the civilization, is defined based on the subject, its features and functions and it was addressed in a variety of thematic categories; by examining the similarities and differences of epic with other Genres of literature (myths, fables, romances, novels), it was concluded that this genre didn’t belong to special group or special period, and classification of literature cannot limit a genre which can have the characteristics of other literary texts.

"Bakhtin begins by noting that human activity is inextricably related to the use of language, thenature and forms of this use being just as diverse as are the areas of human activity. Bakhtin's point is that each sphere in which language is used develops its own relatively stable utterance types, which he terms them speech Genres. Bakhtin distinguishes between primary and secondary speech Genres; the latter includes novels, poetry, drama, scientific treatises, etc. In the process of their formation, they absorb and digest various primary Genres. According to Bakhtin it is impossible to speak or write outside of such Genres. We acquire them in the process ofacquiring our native language, mastering them before we master the elements of grammar. The forms of language and the typical forms of utterances-speech Genres-enter our experience and our consciousness together. The speaker's evaluative attitude towards his subject determines his lexical, grammatical, and compositional choices. This expressiveness is not a property of the linguistic units themselves but is imparted to them by the person using them through the use of a particular speech genre. Bakhtin stresses that one of the essential characteristics of the utterance is its addressivity, or its quality of being directed to someone."

The purpose of present article is to introduce the basic constituents of the story blueprint, and principles governing them. By the story blueprint I intend the reader's inference about some relatively short sequences of narrative events. The local rules operative on these sequences help the reader discriminate story characters' goal-directed actions from unintentional events and states, before mentally modeling an overall structure of interlinked larger sequences within a storyworld. Action, event, and state are among the concepts inextricably connected with the notion of story and reiterated through the history of narrative analysis. The concepts at issue, and with them the nature and scope of narrative itself, have been further illuminated by recent insights offered mainly by linguists, philosophers, and cognitive scientists. Most of these developments occurred long before the establishment of cognitive sciences, and even before the heyday of structuralist narratology. But despite their availability at the time, they have been brought within the compass of classical theories of narrative since only a couple of decades ago. Narrative theorists argue that to tell and comprehend stories is to operate within a system of rules in which events are preferentially viewed as structural sequences of intentionally-oriented actions. In recent works on the semantics of verbs, however, language theorists have made finer-grained classifications of expressible events, with actions as a mere subcategory. This article is thus meant to explore some of the implications of verb semantics for narrative theory, especially as concerns typology of narratives under various Genres.

Criticism of books and authors’ works is aimed at creating dynamics in the academic, literary, and academic circles and can, if neutral and constructive, lead to progress, dialogue between experts, and improved efficiency. In the field of academic books, this can also lead to deficiencies and complete writing of works. The Book of French Poetry by the Honorable Shahnaz Shahin and Mahvash Ghavimi, published by the University Academic Press, has been published in 2000 and has been reviewed and edited in 2004. Designed with an academic audience to teach undergraduate and postgraduate courses in French literature, the book has some drawbacks, despite its clear writing. The purpose of this paper is to examine the writing and presentation of this book’ s material and to address some of the shortcomings, mainly in the form of the arrangement of contents within the book’ s chapters, the citation system, and the examples presented from a formal point of view. The content commentary refers to the overemphasis on French poetic form and the lack of a comprehensive introduction of French poets and their influential works.

Iranian Fiction is very extensive and productive; various types of narration can be seen in it, and pleasure and satisfaction can be found in each; a large portion of these is the traditional ones which, in spite of great extensiveness and varirety. no serious measures have been taken for their classification yet. The work done in this connection, which has been touched upon in this article, is still in its infancy. Here, the classification of teaditional stories has been discussed as a suggestion paying special attention to the work done so far.

Iranian national epics – especially Shahnameh- are up and down of Iran history in Iranian attitudes in the way they do exist; or else, in the way Iranians want or suppose them to be. Such masterpieces could be studied from different perspectives. One of these perspectives is contextual study of these works on the basis of literary Genres. Although epic is independent, because of its broad subjects, there could be some other Genres in it. Through an exact study of ten national epics of Iran (Shahnameh, Garshaspnameh, Borzoonameh, Faramarznameh, Banoogoshaspnameh, Shahreyarnameh, Bahmannameh, kooshnameh, kok e koohzad and Jahangirnameh), there seems to be up to 46 Genres overlapping with each other.