The present arttic1e studies the styles of NARRATION and the point of view according to the advanced scientific methods in literature (method of jep Lintvelt) and their application in the works of the Iranian and French authors (Bahram Sadeghi, Mohammad Hadi Mohammadi, Samad Behrangi, Houshang Moradi Kermani, and Albert Camus). The last part of the article is a free translation of the book Esaie de Typologie Narrative, Le “point de vue” which is not of course a line to line translation; and in order to help the better understanding of the method of Lintvelt some episodes from the book "Stranger" by Albert Camus have been added.

Strangers' knowledge of eastern culture has an ancient history, specially in Islamic culture. We can also relate its first steps to earlier centuries and further stages reach after crusades. One of orientalists, study areas is NARRATION which always involved doubt and objection. Goldizahar has the most effectiveness on NARRATION studies, so that it is evident in further orientalists' works.Nowadays, in the information age, the Muslim researchers' neglect has prejudicial effects on muslims' beliefs and weakens religious bases. Here, we discuss the word "Orientation" and the reason of naming orientalists such as Goldizhar. Later, the formation of orientalists' studies in NARRATION is argued and finally four theories about NARRATION and biography of Goldizhar are being studied. Original references are used to analyze his viewpoints and some orientalists disagreements delivered.

The way architects think about different issues from developing plans, perspectives, and views to cross-sections and structure of a building is a common and general one. Regardless of its merits and efficiency, this way of thinking indicates a degradation in architectural thinking. Indeed, architectures today are caught in a specific architecture language where the boundaries of language create boundaries in the architecture’ s world. To step beyond the normal language in architecture, the NARRATION techniques of meta-story text can be used to break the elements of architecture and rebuilt them along new axes. The study is an attempt to change the normal language in architecture design and achieve a new way of facing architectural issues based on the concepts of meta-story. The architecture that we try to achieve is the one that motivates users to explore, move, interact, think, or play. A sort of architecture the spatial NARRATION of which is completed by and whose wider NARRATION is formed by the users. Moreover, each user may have his own interpretation. The study was carried out as a content analysis study based on a comparative and innovative study where a combination of deduction and induction was used. The researcher tried to survey the concepts of meta-story and the relationship between story and the spatial NARRATION of architecture. Throughout the study, different types of structure of NARRATION using the similarities between the two, fields were examined and a new structure for architecture design was achieved. The surveys uncovered a mutual bond between architecture and NARRATION. The structure of post-modern stories featured with parallel and interactive NARRATIONs was compared with the structure of designing method in architecture. Through this, the techniques and structure of NARRATION in meta-story text can be used to achieve creativity in designing method.

Shahnameh and the History if Bal'ami are great and important literary works in Iranian culture. These two works have many similarities and embody the history of Iran from its beginning up to the authors' time. The researches show that the sources and references that Ferdowsi and Bal'ami consulted were different. Ferdowsi consulted the prose Shalmameh of Abou Mansouri and the oral narratives; while Bal'ami consulted the History if Tabmi and prose Shahnameh of Abolmo'ayed-e-Balkhi. In spite of the difference of the sources, the research shows that the similarities between these two texts are much more than the DIFFERENCES. The reason for the similarity of the texts is the honesty of the authors in narrating the stories and the reasons for the DIFFERENCES can be the followings: a-DIFFERENCES in the sources consulted, b- Ferdowsi as a poet, c- DIFFERENCES in methods, d- Ferdowsi's religious and Islamic believes, e- The authors different opinions in NARRATION.

In narrating a tale, the following questions such as who the author is, whether he differs from the narrator, what the angle of vision is, the author’s viewpoint and other issues like these are of prime importance for the technical success of the story, its understanding and its perpetual connection to the overall meaning of the story. Stendhal is one of the greatest writers of the 19th century in the French literature whose fame is for his specific manner of NARRATION in writing successful novels. The purpose of this article is to provide reasons for the popularity of his stories, to discuss and analyze different perspectives in narrating a story, to compare his works with those of Balzac, another genius in writing novels and finally to study and distinguish Stendhal as a writer of the story and as a narrator inside his narrative using the new science of narratology.

This study is an attempt to analyze the role of anecdote in formation, evolution and spreading the mystic viewpoints from the 5th to 7th century. The analysis of this subject started with Kashfolmajoob, one of the oldest mystic texts, in which the Persian mystic anecdote is observed; it was also followed in Asraroltohid, TabaqatolSofiaya, KashfolAsrar, TazakorolOliya. Based on the findings of this study, narrativization in the growth and nurturing of the mystic viewpoints first leads to linguistic ontology of intuitive perception, concept formation, and categorizing of concepts, and then it becomes an instrument in transferring the viewpoints, attracting homogeneous views, spreading knowledge, creating changes, disciplining the views, and finally it becomes the guardian of the mystic viewpoints in the form of anecdote.

Statement of the Problem: Narratology and its various approaches in the past few decades and the expansion of this new knowledge to the theatrical and visual arts necessitates the addressing of Western scholars` views in this field and a search for the traditions of the narratives in the Iranian works and literature. Comparing these two categories from the anthropological and ontological point of view in the Iranian and Western Weltanschauung is necessary as the basis of these two types of NARRATIONs. Therefore, considering the importance and scope of this category in the visual narratives, especially the Iranian cinema, this article has focused on this subject and its causes and reasons. In order to have a rooted and original cinema, it is better to first consider the category of Iranian NARRATION with its ancient and rich history. Purpose: Considering whatever is displayed as a fictional narratives in the Iranian cinema, does it represent the Iranian philosophy and ontology in the narratives? Are the NARRATIONs of Iranian cinema an imitation of the Western NARRATIONs and the cinematographic patterns? Proposing these basic questions, the anthropological and ontological challenges of these two types of narratives have been addressed. Through implicit comparison of two types of Iranian and Western narratives, it was tried to find DIFFERENCES and oppositions. Moreover in the next stage, it has been tried to propose definitions regarding Iranian narratives and determine its position in the narratology. This was considered as an introduction to the Iranian narratology. Research methodology: This article has been written with a descriptive analytical approach through theoretical documentations. Conclusion: It seems that what is observed in Iranian cinema in the form of visual narratives is often an imitation of the western literary and visual narratives. Except for a few movie makers, most of the Iranian filmmakers have lost sight of the traditions, patterns, and styles of Iranian narratives being based on the spirit and philosophy of the Iranian narratives. In order to have a cinema with its own identity and NARRATION of the human being and the world, the literary and narratives traditions should be recognized, so that a cinema based on the Iranian ontology that has been originated from the ancient Iranian Islamic philosophy, is resulted.

There are many traditionists who have related the NARRATION of "yaum al-Dar..." (The day of house...). In this article, in addition to a list of the narrators, this tradition is provided in the collections of 12 traditionists; and in every case the chain of the companions and narrators are mentioned.In evaluation of the documents of this tradition, we observe that many Shia and Sunni scholars of tradition have confirmed the accuracy, frequency and excessive appearance of this tradition in the collections of the traditions, and their views are deliberately discussed in the article.

In all oral traditions, so far a tale is not written down and is carried down through generations by heart, its primary structure would most likely be changed or distorted. The more the time passes, these changes accumulate more until the tale may be completely different from the real and original one. Main character’s identity and the reality of events may also be distorted during this alteration time. Since oral tales are of great importance to Sufism, there are many examples of these changes in this culture. Sometimes written tales move to the realm of oral tradition and then back again into the written form with changes in some aspects.

In some of the NARRATIONs narrated by Imams (peace be upon them), attributes have been attributed to some of the Islamic sects. Sheikh Tusi has narrated a NARRATION from Imam Jafar Sadiq (peace be upon him) in Taheeb Al-Ahkam and Kashi Dar-Rijal, in which the Zaidis are considered to be the same as the Nasibis. What is examined in this article is the text and the document of this NARRATION, and after that, historical studies about the Zaidis are done. The importance of this research lies in the fact that it can introduce us to one of the hadiths that have not been much thought about and point to the conflicts between sects. The method of this research is historical and hermeneutic. The brief conclusion reached by the article is that this NARRATION is either forged by forgers who attempted to falsify this NARRATION in sectarian disputes, or it wants to express a new meaning of being Nasbi. It may be possible to falsify this hadith according to the historical data