This article is mainly focused on one of the elements of the narrative, focalization that is at work along with narration to produce desired literary effects. Focalization is basically a cognitively- minded narratological concept that deals with perceptual, psychological and ideological stances adapted in the narrative by either narrator(s) or character(s). In focalization studies we focus on the question of how the reader responds to the narrative drawing on the textual devices provided by the above stances. These assumed viewing positions attribute certain taint and color to narrative and help the reader to infer how the existents of the two levels of story and discourse perceive the fictional world and how they are related.

The ‘diachronic approach to narrative studies’ may take different directions, one of them being a typological research on narrative texts, and the other, a genealogical enquiry into the modern ways of storytelling as to see how they have historically originated from a certain group of folktales. Assuming, in the same vein, that some relics of Persian formulaic oral narration should have survived—through functional modification, or even obliteration—into the Iranian literary fiction, this article introduces just one instance of these Persian-folktale-specific formulae, drawn out from a bulk of more than 270 texts whose inscription dates back at least to 70 years ago. Then the question is whether the formula has completely vanished away, or simply alternated between a numbers of functions.

The subject of this research is to explore the potentials of cultural criticism in narrative fiction. Its objective is to help narrative fiction find larger readership for the purposes of cultural criticism. Cultural criticism and cultural studies have several targets. One of their targets is that they want to be a project for the productive use of narrative fiction in modern society, because modern society is no longer much interested in narrative and seemingly takes little responsibility towards it. This is a real cultural challenge in the modern society with which the researchers in narratology and cultural studies are concerned hoping to provide practical solutions for it. In this climate of cultural lag, if narrative is to find enough readership, it should have certain qualities. Some qualities of narrative fiction are: its language is symbolic, it is representational, and it takes outstanding semiotic functions. However, these generic and productive features bring about many other potentials in narrative that make it a suitable space for cultural criticism. Crystallization of cultural criticism, cultural role of the symbol, documentary illustration of the society, elucidation of subjectivity, and concept of form are among the potentials of narrative fiction that the present research is intending to examine, rendering narrative into a productive field of cultural criticism. All of these potentials add to the critical values of narrative discourse, and via the rendition of narrative fiction into a space of critical innovation, strengthen the narrative potentials in the production and criticism of culture. Therefore, the significance of this research is that it analyzes the potentials of narrative fiction in cultural criticism, and via helping it find larger readership, adds to the possibilities of cultural criticism and cultural studies.

Narratives -especially the fictional narratives- of any kind which are narrated through any medium often introduce the assumptions about the world and the ways it is perceived. Since the conceptualization is considered as one of the fundamental objectives as well as functions of the narratives, the study, taking the conceptual approach, analyzes the origins of the cinematic mythical narrative. To this end, arguing the concept of Origin (Arche) and its relation to Religion and Myth through analyzing the pattern of the Hero’s Journey of the mythical narratives, we show the mentioned archetype as a form of an anagogical process and essentially the process of the spiritual evolution and return to the original values in the religious thought. From mythological perspective, Hero Myth is considered as one of the most prevalent and familiar myths in the contemporary world. So, due to the hero character’s mythical as well as structural functions at forming the dramatic pattern, the hero myth can be taken as an effective pattern in the dramatic structures. One of the most appropriate approaches to read, perceive and criticize a text either in the realm of fictional narrative or other narrative media such as film is Mythological Criticism. Recognizing the concept of Origin in the mythological studies through the visual and narrative analysis of the first and last shots of The Searches as the case study, the study shows that the pattern of the hero’s journey in the fiction film originates from the primordial and eternal concepts and in particular the beginning as well as the end of the Creation. The perception refers to that authentic eternal story, the original myth of the Creation and Return of Man. This journey is considered as the fundamental or basic pattern of Man life. The pattern of Man’s Creation ends with an ontological turn, getting him to the starting point. Hence, it can be claimed that the archetype of hero’s journey roots in the prominent archetype of Creation. Therefore, the authentic samples of the narrative arts refer to and are enforced by the pattern of the hero’s journey and in other words the mythical narratives’ structure, the narratives organized in the form of the authentic mythical patterns and emanated from the depth of unconscious psyche; although, it does not mean that one fictional structure is applied or repeated in all the fictional narratives or in other words, all the fictional narratives follow the same fictional or dramatic structure. In fact, the myths not only narrate a story, but also create the patterns for the representation of the principle concepts or themes of the human mind. The study’s theoretical framework include Carl Gustavo Jung’s Archetype and Collective Unconscious theories in the realm of the analytical psychology, Joseph Campbell’s Monomyth theory in the realm of mythological studies, and Mircea Eliade’s Origin Myth in the realm of religious and mythological Studies.

This paper studies the conjoining of story and narrative discourse in postmodern Persian fiction. According to narratologists’ definition, story is the sequence of actions on a chronological order that characters or existents undergo; narrative discourse is the medium for narrating the story. Some postmodern fictions rely on narratives with no rich story in their deep-structures. In these narratives, surface structure and deep-structure are combined in a way that we cannot summarize the story, or adapt it to another medium. On the other hand, the existence of the story is dependent on the narrative discourse. This narrative technique is evident in some postmodern Persian fictions. The paper concludes by looking at some of the examples of such works of fiction.

Postmodernism is one of the most important and influential movements of the last few decades in many disciplines and fields of study, including art, architecture, music, film, literature, sociology, communication sciences, fashion and technology. After the Islamic revolution, due to the changes that took place in the social, cultural and political fields, many stories were written based on postmodernism that one of their main characteristics is the non-linear and disjointed narrative. While doubting the patterns of the past decades, contemporary writers sought to find new ways of writing their works. Reza Ghasemi is also one of the prominent writers after the revolution in the field of fiction writing, and the most important feature of his works is the use of a special type of narration that has had a great impact on other elements of his stories. The purpose of this research, which was written based on a descriptive and analytical method, is to investigate the characteristics of narration in postmodernist stories and the effect of the narrator's narration on the process of events in Ghasemi's stories. Also, an attempt was made to reveal and decipher some ambiguities by analyzing the ambiguous elements of the novel. This research shows that it is difficult and impossible to understand these stories without knowing the characteristics of the narrator.

Narrative semio-semantics is based on two principles: action and change. In this system, all actors often move logical and planned until achieve the favorite and permanent sense. It seems that in the texture of myth and epic fictions, dominant discourse is logical and narrative. In this research, we study the fiction of Rostam and Esfandyar of Ferdowsi’s Shahname based on semio-semantics theory in order to show that discursive components likewise narrative signs, have also effect to assign meaning to the fiction; because the enter of Simourgh to the fiction transforms normal narration and causes this study to go beyond narrative semio-semantics and get closer to discursive semio-semantics.The result of this study showed that in ideological discourse of Shahnameh, Rostam, as unconquerable Iranian hero, is located in the central thought. Events never occur in a way that damage authority of Rostam in the context of Shahnameh. Thus all signs lead to victory of Rostam in all championships in the fiction according to the narrator.

The narrator in a text (fiction or non-fiction) may narrative of events, the characters are presented and narratee, more or less away. Although this is the kind of narrative fiction Maaz expect the following type (narrative event after origination), but focus on the narrative structure of stories based on the theory of narrative distance Shlvmys staff Raymond suggests that all these not. In the novel "Great Expectations" by Charles Dickens, the narrator at the beginning very civet distance events, while at the end of the story is precisely at the heart of events, as well as Balzac's novel "Babagvrof events, as well as Balzory has already happened? Why narrator says Ms.Vakvr now that narratee reading the text, is still in Paris Pensions? Analytical and research methodology utilizes a library based on the theory of narrative distance Shlvmys staff Raymond seeks to examine the structures of narrative fiction narrator' s distance and saw limited examples (but smarter) and based on scientific principles distance between the narrator and narrative structures discovered.