THE study of point of view of a story is an important element for THE story analysis, since it is THE NARRATOR and his/her narration and THE author's intended qualifications and limitations for THE narrative voice which differentiates any story from oTHErs. Using an OMNISCIENT point of view in Ghasan Kanfani's “Men in THE Sun” has been a great success for THE author, so standing around of some events by NARRATOR and THEn, intervention of NARRATOR in THE oTHEr events, considering THE style of talking a dialog by characters in THE different times, among THE skills that THE NARRATOR of men in THE sun has been observed in THE storytelling. This study intends to examine THE narrative technique of "Men in THE Sun" through a descriptive-analytic method.

In a stream-of-consciousness novel, THE author attempts to pave THE way for his audience to encounter THE characters’ mental experience directly. THE characters’ mental content, which covers various levels of THE mind and even reaches its pre-speech layers, is narrated within this variety of levels. Since connection of memories in THE pre-speech layers of THE mind occurs through association, one of THE methods used by writers for showing THE mentality of characters is association. In this case association becomes a device in THE hands of writers for creating a link between THE objective and THE subjective world of THE characters, in addition to depicting THE constant flow of THE mind from memory and a mentality, moving THEn towards anoTHEr memory and mentality; finally depicting a picture and image which links to oTHEr related pictures and images too. This article is essentially concerned with THE survey of association and its related features within THE prespeech layers of mind, its quality in THE stream-of-consciousness stories, in addition to its correspondence with THE mind’s mechanism. For this purpose, initially association and its governing rules are expressed, and THEn THE significance of association in THE narration of such fictions and its difference with recall is defined. Following this, THE manners in which mentalities are offered in different methods of narration are surveyed through giving some examples from THEse fictions. THE results of this research show that among different streamof- consciousness novels, THE method of inner monologue shapes associations more than oTHEr methods and develops through a high range of associations. FurTHErmore, utilization of recall of memories and mentalities in inner monologue counts as a weakness due to its contrast with THE entity of THE pre-speech layers existing in THE mind.

THEre are three types of NARRATOR in novels: 1. Auctorial type 2. First person type 3. THE personal type. In novels with scenic narrative, three items are important:1. Reality and neutrality in THE novel, 2. Innovation in THE technique of THE narrative and 3. A new subject in THE epic poetry. Here THE author does not have an OMNISCIENT role, instead he hides behind THE novel figures. THErefore THE reader feels that THEre is no NARRATOR in THE novel. Flaubert was THE first writer to use realism in THE novels, allowing THE characters to decide what to do.

NARRATORs whose names are THE same are always found in chain of authorities of Shiite and Sunni hadiths. To distinguish THEm from each oTHEr, we should study, research and compile historical evidences and documents.Ghyath bn Ibrahim is one of those NARRATORs whose name is found in both Shiite and Sunni rijal books and has been described with different qualities. Hence some consider this name to be THE name of two different NARRATORs.While investigating chain of authorities in Sunni hadith books, this question would come up if this NARRATOR is THE same NARRATOR in chain of authorities of Shiite hadith books or not? THE present paper tries to answer this question and finally concludes that Ghiyath bn Ibrahim in both chain of authorities are one.

THE first-person NARRATOR should be considered a "NARRATOR-character" who is simultaneously a NARRATOR and an experiencing character. From a semiotic-semantic point of view, THE first-person NARRATOR is a 'becoming" subject narrating his/her own experience from THE surrounding world. THE identity of THE first-person narrative depends on this binary function; however, sometimes it takes effort to balance THEm since occasionally THE first-person NARRATOR only acts as a NARRATOR (like a third-person NARRATOR). Reviewing THE background of THE narratologists' THEories, such as Stanzel (1984) and Fludernik (2002), shows that despite recognising THEse binary functions, THE existing challenges and THE ways to keep THE balance have yet to be studied so far. THE present study aims to develop THE discussion of binary functions of THE first-person NARRATOR in a descriptive-analytical way by using THE semiotics-semantics approach regarding "becoming" discourse to investigate THE causes and THE solutions regarding THEse binary functions. THE statistical population of this research consists of nine novels: "THE Blind Owl", "THE School Principal", "THE Year of Riot", "THE Neighbors", "THE Story of a City", "THE Scorched Earth", "THE Dog and THE Long Winter", "I Turn Off THE Lights" and "my bird". THE result shows that in THE "description" and "dialogue of characters", THE role of experience is a severe challenge. In addition, THE involvement of THE NARRATOR's mind in THE narrative through referring to his/her feelings, thinking, judgment, interpretation, or speculation, along with methods such as "association" and "stream of consciousness", can be effective strategies to balance THE binary functions.

THE truth Golestan is after to represent, along with THE narrative structure it employs, has, in fact, made it completely different (distinct) from oTHEr didactic books and moral stories prevalent in Persian literature. THE present study is an attempt to analyze and discuss THE above-mentioned aspects, as well as Golestan's oTHEr narrative features, such as THE 'howness' of THE NARRATOR's presence and THE relationship between THE NARRATOR and actor. This involves special attention to be paid to THE 'point of view' employed in narrative structures and different kinds of NARRATORs, which are of five types: a) OMNISCIENT Point of View b) Objective Point of View c) Limited OMNISCIENT Point of View d) First Person NARRATOR e) Observer First Person NARRATOR THE findings of THE study reveal that THE first type of NARRATOR, i.e., OMNISCIENT Point of View is THE most frequent NARRATOR while First Person NARRATOR who acts a special role in THE story is THE least frequent one used in THE first seven parts of Golestan (Bab 1 to Bab 7). Moreover, it is proved that THE 'point of view' used in each story has a meaningful relationship with THE THEme of each story.

Point of view and NARRATOR are toolsin THE hands of an author for introducing characters, increasing story interest, and communicating information to THE reader.THE present study examines 39 stories written for THE age group A (up to age 7) for THE point of view and THE NARRATOR. According to THE examination, most of THEse stories use dramatic point of view. THEre are also oTHEr points of view such as limited OMNISCIENT, OMNISCIENT and first person. Four types of NARRATORs were traced in THEse stories of which THE low-informed NARRATOR has THE highest frequency.

THE story of generosity is THE tale of narratives that represents THE extraordinary acts of religious leaders. A large volume of Sufi zikrs dedicates to some tales about religious leaders’ generosity. THEse narratives have special status in mystical literature and own all THE characteristics of a decent narration including structure. Structuralism is an analysis that deals with THE structure and internal relationship of THE elements of a literary or artistic work. One area of structuralism literary analysis is narratology. Narratology tries to discover language and hidden rules of narratives. A principle that structuralist narratologists deal with is morphology of NARRATOR. Who is this narrative? How does he narrate? From what perspective does he tell THE story? In addition, THE like. This paper endeavors to use descriptive and analytic methods of structuralism to distinguish THE morphology of THE NARRATORs in tales of generosity as follows: Khajeh Abdullah Ansari’ s Tabaghatal Sufiah (4 and 5 AH), Mohammd Ibn Monavvar’ s Asrarultowhid (4 and 5 AH). Attar Neishabouri’ s Tazkaratul Owlia (6 and 7 AH), Jami’ s Nafahatul Ons (9 AH), and Masoum Ali Shah’ s Taraeghul Haghayegh (13 and 14 AH). This study is conducted according to THE THEories of structuralist narratologists and THE approach toward mystical literature. THE research shows that in mystical generosities narratives, THE NARRATOR is someone distinct and different from THE author. He can knowingly or unknowingly have THE general knowledge, finite or infinite, internal or external vision, though his narrations are direct and have timing, attributes and color of a character in story.

Based on THE instructions of narratology and specifically those of Gérard Genette, explained at length in Figures III, this article will attempt to conduct a study of THE presence of THE NARRATOR in La Symphonie pastorale and analyses THE narrative structures, in which THE NARRATOR of this story gets advantage to mark his trail. THE NARRATOR homodiégétique also uses different processes to establish a half-direct contact with his/her interlocutor and tries to engage him/her in narrative procedures that lead ultimately to THE genesis of this story. In this NARRATOR’s point of view, THE second part of this game must not remain inactive, should be engaged in THE narrative world. Certainly, reading this book will not launch serious problems for THE reader, however THE terms of presence of THE NARRATOR and THE means he uses to create a place for its effective interlocutor might interest readers vigilant and curious.