Nowadays, the fundamental role of having a purpose for life in physical and mental health has been confirmed. According to victor frankl, presence of a purpose in life gives life a meaning and increases resilience against pains and traumas. The importance of the purpose in life construct reveals the need for a reliable and valid tool to measure it. Crumbaugh and Maholick's purpose in life questionnaire is the first and one of the most applied tools for the assessment of life's purposefulness. The aim of this research is to determine the factor structure of purpose in life questionnaire. The questionnaire was administered on 206 students who were selected through random stratified sampling at Ferdowsi University of Mashhad. Exploratory factor analysis showed that there are two factors "comprehension" and "purpose" and this finding were confirmed by confirmatory factor analysis. Altogether results of this research showed factor validity of the purpose in life questionnaire with a two factor pattern

Iranian lallayi part of folk songs and ancient Iranian and lasting roots in the distant past is.Warbler on our first lallayi unknown.But simply language and applied them being among people of different courses one of the secrets of staying in this beautiful verses. lallayi addition to the Melody of sedation for sleep child have their way of expressing pain and suffering of mothers also has. and this link between women's literature and children's literature established has.sympathetic child's mother and his knowledge of his told he has spoken with. these words audible, although simple, are expressed in but its structure that this article from the perspective of sociological study is narrative. research We first expressed in poetry s lallayi and then explain quiddity And at the end of its narrative structure and narrative structure to review the lallayi discussed -'ve. in Iranian lallayi as it is in the text, like a story narrative structure with sections such as time, place, narrator, returning to the past, to the peak of action, or node Fkny crisis and relief and... be seen.

Among successful studies expounding the mechanism of narratives, one could mention Todorov’s method and analysis in studying folktales. First on the basis of logical relationship of structural units, he differentiates between two kinds of narrations: mythological narration and ideological narration. By describing the features of mythological narration, he attends to this narratology from different aspects. Todorov, by discovering the structure of this kind of narration, has put forward his universal grammar theory. This article along with analyzing and studying Haft-Peikar, studies the narratology structure of this work in two aspects: adjectives and verbs. It is evident that discovering the structure of this work will guide us in discovering the structure of similar works and understanding the universal grammar theory.

Plato did not allow many artists and poets into his Utopia Republic because of their bad and misleading influence on the young. But it seems that he learned storytelling and narrating from them and concealed what he learned beneath his philosophy. Thus, Plato's dialogues became more effective and gained aesthetic and artistic qualities. Theaetetus, one of the best known dialogues of Plato, is a conversation and discussion about episteme. Due to using classical dramatic structure, this dialogue is the most important dialogue with regard to dramatization of philosophical thoughts. The goal of this article is to study the dramatic structure of Plato's dialogues and show its potentials for interaction with narrative theories. It could be said that Plato's dialogues have many resemblances to the Greek drama and, today, we can call Plato a playwright. Thus, it is important and necessary to reread and reevaluate Plato's works via narratological view.

Pathological research on different forms of written texts in Iranian Television shows reveals that creators of TV programs increasingly break the basic principles of writing and, intentionally or unintentionally degrade the quality of television programs and decrease the cultural and artistic impact of those programs. It seems that many of the creators of television programs do not believe the design and infrastructure of the text, or does, but do not know its rules or because of various pretexts (such as production speed, craving antennas, etc.) are forced to ignore the importance of writing in television production. All the rigors of life and all the relations live on TV and instead of being the mirror of life and its problems, in today's world, in many cases; this is life that mirrors the television. Accordingly, television texts, as much as revealing the truth, they are able to conceal them. In this regard, the present study tries, in an analytical - descriptive way, to review and analyze the structure of narrative text in TV drama genre. It has concluded that the existence and development of a drama program on television, on one hand and the eloquence of it depends on the regularities of the narrative text structure. The more organized and systematic the structure of TV texts, the more effective and organized will be the impact of program on TV audience.

Problem statement: Computer games are one of the latest achievements of communication technology that has a new approach in narration. Participation and the possibility of influencing the user by selecting two or more characters in the story narrative, not only has not removed this field from the traditional period and the linear course of narration in games, but has entered a new era with the introduction of its interactive narratives. Interactive narratives in computer games fall under the artistic trend, which, along with the importance of the aesthetic aspects of the narrative, tries to provide the fields of interaction with its story elements by providing an effective role in the formation of the story of computer games. Interactivity is one of the reasons for the penetration, attractiveness and high sales of computer games, and they believe that the interactivity factor separates video and computer games from other media. The role of the audience in forming the narrative is very broad. The narrative structure is also important in the formation of the audience's interactive relationship with the games. The present research, while explaining the role of interaction and the importance of interactive narratives in the structure of computer games, introduces its main elements.Research question: This research seeks the answer to the question of how to provide a model for interactive computer games to give users an interactive form.Research method: This descriptive-analytical research is based on the perspective of Roland Barthes in discovering the narrative structure and the three main levels of functions, actions and narration in interactive computer games are analyzed in order to identify a model for making computer games and to identify the audience as the action of the narration and its guide should participate through the helpers. In order to achieve the goals of the research, one of the first interactive computer games named Mortal Kombat is analyzed. This game contains a series of narratives with a fighting genre, created in a fictional world by ancient gods in eighteen realms. In the video game industry of the 90s, it not only influenced the formation of interactive media, but also contributed to the innovation and evolution of the fighting genre with its high-quality story and cinematic modes.The main plot is the fight in Mortal Kombat game, and in the form of branching, there are two sub-plots that are dependent on the main plot, making the core narrative of Mortal Kombat computer game. Based on Roland Barthes’ opinion, the core and catalyst functions, profile functions or actions, which are the prominent characters in each period of the game, and the informants, the effective place and time in the narrative flow of each successive period of the game, are specified in the above table. And users (players) before starting the game by selecting one of the characters of the story, start their performance and activities under the fight. The achievement of victory has the main function of freeing the territory, conquering or combining the territory and becoming a hero, and the achievement of defeat includes the main functions such as conquest and death. Catalyst functions, in some periods of the game, are formed around the main functions. The profiles refer to the active characters and informants to determine the time and place in the narrative of each game period.Research results: The proposed structure for interactive computer games is a combination of pearl narrative, branching narrative and narrative structure from the perspective of Roland Barthes, which includes progress, main, mediating, indexing and informative functions. Pearl narrative is a linear narrative and has its own limitations. The possibility of interaction for the user is limited and allowed to step-by-step choices. In the branching narrative, the progressive and progressive steps during the game require the definition of the main and intermediate functions as a roadmap for the user to expand the level of his involvement and choices and enter the desired path and the narrative in it. As seen in the structural analysis of the Mortal Kombat computer game, the narrative process from the beginning of the first period to the eleventh period and the add-on package ends with the final choice and freedom of the user in selecting the final fate and deciding on the victory of Shang Song or the God of Fire. The proposed structure of a combination of the structure of interactive computer games is described below: The proposed structure of the interactive narrative of computer games; A combination of narratives of pearls, branching and structuralism of Roland Barthes.               In this structure, the stages of the computer game take place sequentially (A, B, C, etc.), in each stage one or more progress (P) can be defined, each progress includes several core functions. (f1, f2, and...) and users play by selecting actions (i) and informants (e), and core functions and then by selecting the function (catalyst) (C) that has core functions (f, f2 and ...) and by obtaining the result of victory (R) it goes to the next stage. Reaching to the last stage is selecting the final fate and key characters and finishing the game by the users. The structure can be changed according to the narratives of the game and have more branches, the stages of the game, achievements, nuclear and intermediate functions or the number of profiles and informants can increase or decrease. In general, it seems that the narrative infrastructure in interactive games combined with interactive narratives may follow such a structure, thus by creating more paths in the narration flow, it exposes the users to more possible challenges. It makes the game more exciting and, more importantly, it creates more interaction between the game narrative and its actors and users. By proposing a structural model for the analysis and optimization of computer games, while helping users, designers, and critics in this field, it is possible to express part of the necessary fields for a correct understanding with interactive narratives.   

In this study, the story of Haft Khane Rostam has been analyzed from the perspective of structuralism. Methods of analysis used in this article belong to three structuralist thinkers: Propp, Greimas and Todorov. They discuss various aspects of story and narrative. In Propp, roles and areas of practice of characters are more important.Greimas proved that there are six roles in the stories. According to him, three axes can be identified in each narrative: administrative, contract, discharge.Todorov focuses on understanding the structure of syntax in narratives and reduces all stories into a theorem which includes a subject and a predicate. The subject has the role of an agent and is often equivalent to a proper noun whereas the predicate consists of an adjective or a verb.This story has beginning, middle and final stages and a number of roles that can be seen.The six facets or actants of Greimas are subject: Rustam + object: The salvation of Kaykavoos + sender: Zal + receiver: Kaykavoos + helper: Divinity, Raxsh and Owlad + opponent: forces of evil and Divs.According to Todorov, the story can be reduced to the following theorems: K is king, R is hero, D is forces of evil and Div, K is captured by D, R kills D, R frees K from the hand of D.

Introduction: Throughout history, "Narratives" have always been an integral part of culture and human life, playing a significant role in transmitting the values of human societies. The profound impact of the "narrative" in human life has led many linguists to consider it as an innate linguistic ability specific to humans. This is because our perception of the surrounding world is deeply tied to our understanding of its narratives, and we comprehend the phenomena through understanding their narratives. In fact, the realization that narrative serves as a crucial tool for understanding and conveying concepts has led to the continuous growth of narratology in various fields of study, which is also known as the "narrative turn". The narrative capabilities in urban landscape and urban planning have also become a focus of attention for many scholars and researchers in the past two decades. Indeed, the fact that cities and urban landscapes are like interpretable texts that narrate the memories, events, and citizens' perceptions of the city has underscored the significance of studying the nature and mechanisms of narrative in cities. Understanding the narrative capacities of urban landscapes can significantly affect the way we comprehend, intervene, and interact with cities. Despite the research carried out in the fields of narrative and urban landscape, there is still no precise conceptual framework for the relationship between narrativity and urban landscape as a narrative discourse. In fact, most of them have studied the ways of using landscape narratives in the design process. Therefore, the current research aims to explain the narrative structure in the urban landscape by examining the theoretical foundations in both the narrative and urban landscape domains. This research also tries to investigate the narrative tools and their mechanisms in the urban landscape.Methodology: The current study has been conducted based on a qualitative approach and a descriptive-analytical method. Data collection has been conducted through library research. The research type is basic, aiming to explain the concept of the urban landscape as a narrative text and identify the tools, methods of storytelling, and how to read the narratives of the urban landscape. To achieve the research objective in the theoretical foundations section, the phenomenon of narrative and related theories have been studied and analyzed and the constituent elements of the narrative and the relationships among them have been extracted. Then, the concept of the urban landscape and its relationship with humans and the city has been studied. Subsequently, by using theoretical foundations and logical reasoning, content analysis, the structure of narration in the urban landscape has been explained as a type of narrative discourse.Results: The findings obtained from the review of the theoretical basics demonstrate that every narrative includes three elements: story, narrative discourse, and audience. In this structure, the story is a mediating phenomenon, while narrative discourse acts as the connecting link between the story and the audience. On the other hand, the definitions of the urban landscape make it clear that the urban landscape as an objective-subjective phenomenon is the mediator between the city and humans. In fact, it is the urban landscape that provides us with the ability to read the semantic layers of the city (fig.1).Fig.1. Comparison of the Mediating Role of Landscape and Urban Landscape as a type of Narrative Discourse in place Narratives.Discussion: According to the literature review, we cannot directly engage with the story because the story doesn't have any manifestation on its own and is always read through the mediation of narrative discourse. Since in every narrative, mediators narrate the story, there must also be a mediator in urban narratives, which makes possible the connection between the stories of the city and people. In fact, "Urban landscape" is the very connecting link that causes people to perceive and read the stories of the city through its subjective-objective quality. As a result, by referencing the concept of the urban landscape, it can be concluded that citizens and the urban environment are known as two constituent factors of the urban landscape, and the urban landscape, as a narrative text, narrates the interaction between them at a certain time and place.Conclusion: "Narrative" is always considered a part of the nature of the landscape, not something separate from it, and the urban landscape is not exempted from this rule. The urban landscape, as an objective-subjective phenomenon that is the result of the interaction of citizens with the body of the city, serves as a medium of narrative discourse and narrates the story and semantic layers of the city. To explain, the urban landscape, through its narrative tools, namely 1) creating an interactive platform for engaging with the story and 2) objective and subjective signs (such as paths, edges, nodes, districts, and Landmarks), provides the possibility of reading and manifesting the story layers of the city through a sensory-perceptual process (fig.2).

The most eloquent and adequate means of expressing and conveying concepts and ideas in the holy books, particularly the Holy Qur' an, is narrating and depicting the events and incidents through "tales".This article attempts to explore the basic elements, attributes and components of the Holy Qur' an's tales by employing the basic concepts and principles used in narrating tales, stories and drama (e.g. character and characterization, dilemma, suspension etc.).The findings indicate that there are lots of commonalities in the principles of modern story-writing and the Holy Qur' an's tales in terms of the narration, methods, structure and in the mode of employing the literary and artistic delicacies and skills.However, these tales enjoy certain outstanding attributes which differentiate them from human-made stories. These tales include peculiarities, methods, skills, exquisite and peculiar structures that could provide different literary-artistic frames, particularly TV and cinema with certain potentialities for such stories to express the most sublime human-God themes.