Ahmed Mahmud is one of the most prominent Iranian writers in recent decades. He began his work with writing the short story entitled “Sob Mishe” and continued with” Mool”. He received a position among top rank writers with writing the novel Hamsayeha. Many critics have criticized and studied his works and often dealt with the content of his stories. The paper first addresses form and structure briefly and then looks at Ahmad Mahmud's works and his writing style. In the main part of the paper, morphology of Ahmad Mahmud's 23 short stories in the collection of “az Mosafer ta Tabkhal” is investigated and analyzed in plan and plot, viewing point of view, narrator, characterization, the beginning and the end to show how the author narrates fate of urban poor classes in his stories through applying descriptive language and structural components of story harmonically.

Dolatabadi is the most prolific author of the last two decades in Iran. Before writing novels and creating his great works such as Saluch's Absence and Kaleidar, Dolatabadi wrote long short stories, which shows his interest in writing novels. There have been only a few studies on his works and those available are mostly about the content of his stories and novels. This paper is a study of fourteen short stories by him with a particular attention to issues such as plot, point of view, characterization, and the type of beginnings and endings in them. A brief review of Dolatabadi's life and works before 1357 as well as some scholars' views of the narration and narratology in his works will precede the main discussion.

Humans vivify their world by expressing emotions. “Expressing Emotion” is regarded as a way to improve the life quality and establish effective human relations. Since Mahmoud Dowlatabadi's works are realistic, they are considered as suitable texts for analyzing human emotions and their emotional interactions among the contemporary fiction literature. This article mainly aimed to find answer for the following questions: “what emotions”, “why”, “how” and with “what consequences” are expressed in the characters? A descriptive-analytical method used to analyze the emotions of characters in Mahmoud Dowlatabadi's stories (Missing Soluch and his ten short stories) in a qualitative-quantitative manner. The results indicate that negative emotions, especially “anger and fear” mostly for reasons as economic problems, climate aggressiveness, cultural poverty, serfdom system, etc. are manifested in different ways as riots and collective fights, verbal and non-verbal violence (physical and mental harm, etc.) and they overcome positive emotions. Positive emotions as “joy and love” are relatively few and often appear in the non-verbal behaviors of the characters- sometimes manifest in some local and national traditions and often “indirectly”. Effects of emotions, sometimes the cause of the emergence or transformation of other emotions, appear in the biological-cultural-social aspects of their personalities in different ways. Extended abstract 1. Introduction Persian literature is an integral part of the culture and history of the Iranian people. In the meantime, fiction is a source to know human moods and relationships in societies, which describes “the quality of a person's life” among different classes of society. From one point of view, literary works are the result of thoughts, beliefs, emotions and experiences of writers and poets, and from another point of view; it reflects people's thoughts, emotions and common discourses.“Emotions” has a great advantage in literature and psychology in such a way that without them, literary and fictional texts seem to be “soulless and meaningless works”. There is rarely a poem or a story that evokes our emotions without expressing them. With these artistic expressions full of emotion, the susceptibility of the audience is also doubled and the writer and reader feel empathy. Emotion in the realm of artistic creations has been considered as “the artist's inner dealings with individual issues and phenomena of the outside world” and it has been divided into three categories: “individual”, “collective” and “humankind”. (Kolahchian, 2013:226).This element is so critical in improving the literary quality of prose and verse texts. In this regard, it is possible to get a detailed explanation by studying the works of Mahmoud Dowlatabadi, as one of the great contemporary Iranian realist story writers. Dowlatabadi's works show the confrontation of the old and new worlds. (Rezai Jamkarani, 140:289). He portrays the suffering and bitterness of people in a traditional society that has dominated people's beliefs, superstitions, minds, thoughts and lives. (Salahi et al., 1401:161). In this article, the author chose the novel “Missing Soluch” and nine short stories with the aim of “explaining the quantitative and qualitative aspects of human emotions” in Dowlatabadi's works, and investigated “the reason of emergence”, “the ways of occurrence” and “the effects and consequences of creation” (or change) the types of emotions of the characters in the above-mentioned stories. In this research, among the many emotions that have been discussed in Persian literature and psychology, six main emotions (fear, anger, disgust, sadness, joy and love) - based on Caroll Izard's opinion- were the basis of the analysis. Research Method This research was done in a “descriptive-analytical” way, citing reliable library sources. After “defining, expressing the types and place of emotions” in the two fields of Persian literature and psychological science, as well as introducing terms related to fiction literature such as: novel, story, short story, etc., “human emotions” in terms of “quantity and quality” according to the questions and the main purpose of the research were studied among the selected works. Discussion 3.1. Positive Emotions (Excitements) in Dowlatabadi's Stories 3.1.1 Love Love or interest is an emotion that creates the desire to explore, manipulate and obtain information from the surroundings. Interest is the most common emotion in daily practice. Maslow defined the hierarchy of needs for a healthy person and thought of it as a ladder that must be climbed in order. In fact, what led Maslow to a new understanding of human beings were emotional phenomena: love, respect. (Shamlo, 2004: 123). Interest is the source of “creativity, learning and developing human abilities and skills”. The level of interest in any subject determines the amount of attention and energy directed to that subject. Love in the two meanings of loving and being loved is an image that is rarely seen in Dowlatabadi’s works, and it is often in the form of indirect behaviors (verbal and non-verbal). His fictional characters for various reasons including, educational methods, ethnic traditions, cultural values and common and ruling customs (especially in villages and the past) on the one hand and social repressions, economic poverty, problems and life hardships etc. on the other hand, don't have much motivation and opportunity to express their emotions, especially love. 3.1.2.Happiness Happiness is actually the highest level of positive emotion. According to Ekman (1992), the cause of happiness is the pleasant consequences related to personal success and interpersonal communication (Rio, 1397: 187). Happiness is capable of neutralizing negative emotions and increases human strength in facing unfortunate events. This emotion is a forgotten element of a certain period of time that was written by Dowlatabadi. In his works, the characters either have no reason to be happy or they have not learned how to express it “clearly and directly”. 3.2. Negative Emotions in Dowlatabadi's Stories Negative emotions has appeared more than positive emotions in Dowlatabadi’s works; the hardships of village life, migration, lord-serf society, economic and cultural poverty, personal and social insecurities, patriarchal system, life events, natural disasters, etc. are among the main causes of these types of emotions in the characters of his stories. 3.2.1. Fear Fear or anxiety is a state of mind that is described by obvious negative emotion and signs of physical tension, during which the person predicts future dangers and misfortunes worryingly. Anxiety can include feelings, behaviors and physical reactions. (Rio, 2017: 345) 3.2.2. Anger “Anger is an emotion that arises in response to certain situations, whether real or imaginary, and is associated with physiological arousal and aggressive thoughts. These situations, such as threats or attacks, loss of material or spiritual assets, are under the control of others (Rio, 1397: 187). In general, failures and not reaching goals are the main cause of anger. This emotion has a high frequency in the stories and mostly appear in the characters of these stories in ways such as: types of violence, physical, sexual, mental abuse (verbal and non-verbal), group fights, family fights in front of the force and oppression of others or towards women or due to poverty and its consequences (addiction, unemployment, physical and mental illnesses, etc.). 3.2.3. Sadness The feeling of sadness does not necessarily mean depression. Rather, it is an emotion that humans naturally need like other emotions, but one should be careful to maintain its balance in life. “Loss is the trigger of feeling sad. Grief is actually a feeling that occurs as a result of losing ability or after feeling a loss.” (Rio, 2017: 366). By knowing the feeling of sadness, you can accept it at the right time and then eliminate it. 3.2.4. Disgust Disgust means: “getting rid of something polluted or rotten.” Through this emotion, which is considered a defense mechanism, incividuals actively discard some psychological or material aspects of the environment (Rio: 2017: 334). Conclusion Among the selected emotions, negative emotions, especially the two feelings of anger (31%) and fear (23%), have the highest frequency, which are created often in response to chaotic life conditions and factors such as: economic crisis, class conflicts, group differences, cultural issues, false social traditions, unsavory customary beliefs, etc. and mostly appears in ways such as: verbal and non-verbal violence (verbal arguments, fights and beatings), individual and collective conflicts, abuses physically, sexually, etc. The characters in the story often show negative emotions “easier and faster” than positive emotions!. Positive emotions obviously have a low frequency and appear more indirectly in the emotional relationships. “The effects of emotions” (individual and social) mainly appear in the form of changes in temperamental characteristics, the appearance or exacerbation of some moral abnormalities, behavioral disorders, physical diseases, severe nervous reactions etc., finally, the degeneration of the target society at various levels. 5.References (All in Persian) Atkinson, R. L.et al.(2005. Introduction to Psychology, Mohammad Taghi Baraheni, Tehran: Roshd publication Baraheni, R.( 1989). Fiction Writing, 4th edition, Tehran: Alborz publication. Tolstoy, L. (2008). What is art? translated by Kaveh Dehgan, Tehran: Amirkabir publication Dowlatabadi, M.(1982). Missing Soluch, 6th edition, Tehran: Cheshme publication Dowlatabadi, M. (1989). Guzel My Lucky Deer, Tehran: Cheshme publication Dowlatabadi, M. ( 2017). Sepanj’s Record Card, Vol. 1 & 2, Negah publication Rezaei Jamkarani, A. Chiragif, A. (2021). “The Conflict Between Tradition and Modernity, the dominant element of Mahmoud Daulatabadi's works with an emphasis on Missing Soluch”, Scientific Quarterly of Culture Studies-Communication, No. 56, Vol. 22, pp. 289-310, winter. Reeve, M. (2017). Motivation and Emotion, translated by Yahya Seyed Mohammadi, Tehran: Virayesh publication Sayyid Qutb(Shazli),S.E.H. (2019). Literary Criticism: Its Origins and Methods, translated by Mohammad Baher, Tehran: Khane Ketab publication Shamlou, Saeed, 2005, Schools and Theories of Personality Psychology. Tehran: Roshd. Shafiei Kadkani, M.R. (1997). Periods of Persian Poetry, Tehran: Sokhan publication Shamisa, S. (2001). Literary Genres, 9th edition, Tehran: Ferdous publication Shultz, D. P. Shultz, S. E. (2016). Theories of Personality, translated by Yahya Seyed Mohammadi, 10th edition, Tehran: Virayesh publication Salahi, R. A. et al. (2022). “Social-behavioral Influences and Folk Beliefs in Dowlatabadi Stories”, Ethical Research Journal, No. 3, Vol. 12, pp. 159-181, Spring. Fotouhi, M. (2004). Image Rhetoric, Tehran: Sokhan publication Kolahchian, F. Mirzaei, M. (2013). “The Function of Transpersonal Emotions in Hossein Manzavi's Ghazal”, research paper on lyrical literature, University of Sistan and Balochistan, No. 22, pp. 227-246, spring and summer. Mirsadeghi, J. (2006). Elements of the Story, 5th edition, Tehran: Sokhan publication MirAbedini, H. (2007). One Hundred Years of Fiction Writing in Iran, Tehran: Cheshme publication Watson, J. et al.(2021). Emotion-Focused Therapy Training: An Empirical Approach to Change, translated by Mohammad Arash Ramezani, Tehran: Arasbaran Publishing. Younesi, E. (2004). The Art of Fiction Writing, 8th edition, Tehran: Negah publication

Iran's literary story stepped in its new era with seyyed ali Jamalzade. "Yeki bud Va Yeki Naboud" collection has vast differences in cracterization, narrative style with its former and similar and language. Although Jamalzade has written long stories too capability is roted for his short stories. Jamalzade advanced writing short stories a step forward in comparison with Dehkhoda. Therefore most researches about jamalzade's short stories focus on their content and context. Jamalzade concentrated on topic and context more than style and structure as a result only afew researches discussed narrative possibility in hjis short stories. In the following writing at jamalzade and his works are introduced in short and then there's a brief discussion about narratology. The main part of this article is allocated to narratology in jamalzade's short stories in terms of "plot", "character and characterization", "point of view", "narration techniques", "starting and ending methods" and language. The important claim in the present article is that jamalzade's short stories are formed between tradition and innovation however repetition in his following works prevented him from innovation.

The present article is an attempt to review the Syrian Short Story from the period between 1931 to 1947 and its development.Syrian Short Stories in this period are affected by cultural, political and historical events.

Bijan Najdi is the writer who is capable of creating images through which the anxieties of his modern alienated characters are revealed. Through these characters and their mentalities Najdi provides the opportunity to achieve his own other self.This paper analyses the stream of consciousness in Najdi’s short stories and tries to deal with character revelation. The bases for such an analysis are the narrators and their paranoia, the function of time in the mental processes and the psycho-literary symbols. The close study of the texts is the methodology of this paper.

In the poetics of formalism, the two issues of "story" and "plot" have been redefined depending on the ultimate goal of this theory that is defamiliarization .Based on the new definitions, "story" that was believed to be the temporal chain of events, is presently known as the raw material of the narrative called fibula. Similarly, "plot", in opposition to what preformalist critics believed to be the logical and causal narrative structure, currently refers to all the aesthetic devices used to give that raw material an artistic structure and is called subject. These devices appear in the three levels of language; themes, narrative techniques and the aesthetic structure of narrative. Persian contemporary short story writers have created an innovative form of deconstruction in the narration of their stories by considering formalistic theories and a skillful utilization of linguistic, thematic and Technical features. Therefore, in the process of writing stories, they disregard plot in the form of its event-driven classic definition rather try to highlight the form of a fictional narrative through the application of new narrative techniques. As a consequence, they achieve "Defamiliarization" and "subject" intended by formalism. Given that the defamiliarization often appears in the level of narrative figures more broadly and diversely, in this article, we are going to analyze and categorize diverse methods of creating defamiliarization which are the main reasons for the strangeness and intricacy of the contemporary formalist short stories.

Modernist novel and short story have played a significant role in modern retouching of mythical narratives and in their recreation in the contemporary narrative literature. One of the major reasons for the particular attention of these novels and short stories to mythical roots is the necessity that the recent authors feel due to alterations in social conditions as well as the fundamental transformations in human’s intellect and attitude. The disorder in today’s chaotic world, the discourses of which are full of contradictions, irregularities, and rule aversion has intrigued today’s man in incoherent, nonlinear and discontinuous narratives abundant with temporal disorders, a characteristic which has a rich background in mythical narratives. A prominent writer in contemporary Persian literature is Shahriyar Mandanipour, the works of whom can resemble mythical narratives in terms of both the structure and the processing of some elements of story, specially the element of time. This study attempts to demonstrate that just like in some mythical narratives, in some of the stories by Mandanipour, 1- time is qualitative and mental not quantitative and objective; 2- time takes its validity from the narrated event or phenomenon; and 3- time is circular and cyclic not linear and straight. Of course, confirming these resemblances does not necessarily imply that Shahriar Mandanipour has consciously been influenced by mythical narratives.

The purpose of this study is the analysis of motifs in Ghazaleh Alizadeh's short stories. Motif refers to any recurrent and unifying element in a story which connects the elements of the story to one another. This study briefly sheds light on Ghazaleh Alizadeh's life and thoughts and focuses on her book entitled with Ghazaleh to Nowhere. The collection and analysis of the motifs in her stories is a gateway to determine the process and pattern of her thoughts.

As a committed writer, Najib al-Kaylani was of the belief that works of art and literature should be used as a means to promote the Islamic culture; thus, he regarded writing narratives, in a realistic style, as the need of the Arab World and particularly the Egyptian society. Features which distinguish his works from those written by other writers are the religious hue and spirit of his stories as well as his commitment towards Islamic issues, the significance of which made it necessary to conduct the present research. Explanation of the realistic style of his short stories is a turning point which serves as the objective of the present study, since it is through his recourse to Islamic teachings and taking advantage of the Islamic doctrines that al-Kaylani addresses the society's problems and calls the public opinion to understand them and find respective solutions. Utilizing a library research method, the present study analyses the narrative elements of al-Kabus short story anthology to explain his critical realistic style in addressing social issues.It is concluded that al-Kaylani utilizes as the core of his realistic stories issues that are of an Islamic hue and contain a moral message, and writes a story which is short yet purposeful by means of elaborating the three elements of narrative, i.e. point of view, character and plot, more than other elements.