The fictional character may be completely imaginary and the author is the creator. The author is also able to use the characteristics of himself, others and even historical and literary figures. In this case, his story will have a real background. This type of character is called a fictional character with a background, and in this article, the creation of its species is examined. Sometimes, to build a scientific and real character, the author uses the analysis of psychologists to identify various fictional characters in his work. Some of the characters created by the author become role models so that the author can use their characters in other stories as well. Some social figures express the ideas and ideals that society likes. Sometimes the author uses these characters in the story. But people hate some characters. The author may refuse to use them. In reconstructing the character, the author sometimes uses various factors such as the tone of the people in the story.

The theory of possible worlds presents a model for narrative semantics. This essay focuses on the use of possible worlds’ theory in narrative semantics with interdisciplinary approach. Conception of narration based on possible worlds’ perspective is the main purpose of this paper. Based on this perspective, plot is not only textual actual worlds which some events occur in it, but also include possible worlds which without regarding them, narrative semantics will remain incomplete. Such perspective is derived of semantics of modal logic; therefore, for explanation of this perspective attention to modal logic is necessary. Contemporary semantic theories have three main branches: philosophical, formal and linguistic semantics. Linguistic semantics uses formal semantics as a semantic logic in order to make clear how the study of meaning is. In this essay it will be illustrated that logical semantics can be applied in narrative semantics. Consequently, if the readers include private worlds of characters or fictional minds’ worlds and various possible worlds in their reading, they will get more complete and more profound conception in reading narrative text, because a fiction is considered as a complete modal system and the mental representations of characters is equal with the PWs of a modal system. Some of accomplishments got, through foreshadowing to meaning of narrative text on the basis of this model, are the redefinition of plot and conflict notion. In order to apply this model in a narrative text, the binary Wandering Island and Wandering Cameleer novels by Simin Daneshvar has been chosen.

Studying Persian heroic epic verses affected by narrative tradition and Shahname is one of the areas that can be analyzed from different perspectives. Samname which is considered as the last national epic in Persian Literature and apparently is written in late 7th century and early 8th century – if we accept to be written by Khajooye Kermani- is among these works which is similar to Shahname for it is influenced by epic tradition and existence of a romance element on the one hand and a hero who escapes using his own ways to reach his beloved on the other hand and these features make this work a heroic romance. The present study deals with recognition and analysis of fictional motifs of the work in order to compare it to other fictional and narrative works and therefore to determine better role for Samnameh in evolution of different literary genres in Persian literature. In this study, supernatural motifs including heroic- crafty, romantic and dignity motifs are among most famous motifs applied in this literary genre. Main characteristic of choosing and investigating the motifs in this work is existence of two factors i.e. repetition and motivation which are suitable criteria for offering frequency chart to be compared to other Persian epic or romantic verses.

The necessities and requirements of the standard logic of phenomenology create some problems in the analysis of fictional propositions which are replete with imaginary identities and lack signifiers. However, the logical conditions of these propositions as the constituent parts of language, is very significant and it cannot be denied or ignored that in the ordinary language, fictional identities are referred to and their relevant propositions are both accepted and rejected. In this paper, the auther has attempted to employ the definite framework of the possible worlds, to find explanations for the manner of referring to these propositions and the value of their truth. A few logic-related issues of fictional texts are also treated in this study; the author, also presents a system for the logic of fictional propositions.

The problem of "Other minds", as one of the most important problems of the contemporary philosophy of mind, is usually considered through two different approaches; i. e. the epistemological and the conceptual ones. In this paper, after a short discussion of these approaches and a survey of historical issues, we will focus on the "analogical argument" as one of well-known responses to the epistemological problem. The main basis of this argument is that we are able to justify our belief in other minds through an inductive generalization of our mental states. We first explain some versions of the argument and then try to examine the most important objections against it. The final conclusion is that the analogical argument results in a probability of the existence of other minds, which is enough high to justify the related belief.

Arthur Schnitzler, an Austrian author and playwright, is one of the founders of modern German literature. Being associated with the latest literary trends of his time, Schnitzler has been a pioneer in some fields. He has influenced several generations of artists in the west and the east up to now. Schnitzler is known to be a psychologist-psychoanalyst author. Literary critics have praised his rare intelligence in revealing motives hidden behind human actions. Schnitzler’s world of fiction has other remarkable aspects that this article is going to deal with. The most important one of them are implicit humanism and decadence that are expressed in his writings. This article also examines main features of fictional writing of Schnitzler as an author who has never been presented in Iran adequately and never received the attention he deserves. The study acquaints readers with thoughts of Schnitzler and certain technical characteristics of his art too.

Siavash's story is one of the Shahnameh's stories which Ferdowsi has enriched it with artistic elements of some of the story elements and storytelling techniques. Siavash grief involves the two stories of Forbidden Love and the story of Siavash deportation to Turan Land and his killing by Afrasiab, a combination of the epic and richness. This article investigates Shahnameh storytelling techniques with emphasis on fictional elements in Siavash's story and has been written using descriptiveanalytical research method. This article investigates techniques of Shahnameh's storytelling with emphasis on fictional elements in Siavash's story and has been written using descriptive-analytical research method. In mourn of Siavash the element of dialogue is used to represent the characters' thoughts, to develop the story and to advance the events, to express the characteristics of the persons, to introduce the relationships between the persons and their relationships, to illustrate, to determine the places, to specify the time, and to make space. The results show that in this story, Ferdowsi uses elements such as characterization, conflict, and plot in addition to the dialogue, and uses techniques such as suspense, arousal, rhythm, flash back, and combining epic with lyric.