In cognitive linguistics, the meaning of linguistic units is determined by the context of use and meaning interpretation is a dynamic process referred to as conceptualization. The conceptualizers are actively involved in this process through developing some on-line mental representations called mental spaces (Fauconnier,1997). Thus these mental spaces and blended spaces derived from them contribute to making sense of complex ideas people perceive through language. Focusing on conceptualizers as the major sources of meaning, cognitive linguistics has proved to be a practical and efficient framework to analyze literary texts. The aim of the present article is to show how the people interpret literary narratives through generating mental spaces. The study tries to give a descriptive-analytic account of two narratives namely the restatement of one part of Kave-e-Ahangar story in Shahnameh and a fable in resale-e-delgosha, two works representing tragic and comic narration respectively. This research used space builders as clues to specify the micro and macro level mental spaces of two narratives. The analysis also revealed that two main conceptual blends would merge in a narrative: emotive and non-emotive that one of them might be dominant in a specific literary genre.

Shahriar Mandanipour is one of the contemporary writers who was experimental in structure and form. For this reason, the reader is challenged with spaces in his stories that are essentially an arrangement of mixed and various spaces. Dealing with this type of space in a theoretical and sometimes practical way can be observed in Michel Foucault's approach, which he calls it heterotopian or other spaces. In this regard, this study first describes these types of spaces through writings of Foucault and other thinkers who have explored in this field. Then, it analyzes these spaces in the fiction of Mandanipour including Mummy and Honey, Midday Moon, Violet Orient, and Ultramarine Blue. This study concludes that Mandanipour, by bringing up such spaces in his stories, points to the hidden truth behind the homogenous structure of one space. Moreover, introducing a new way and knowledge beyond the limitations in homogeneous spaces, heterotopian spaces help the characters from the limitations not only in understanding themselves but also the world. Extended Abstract The different narrative language of Shahriar Mandanipour is perhaps the most characteristic of his story writing that calls attention to the first reading. This feature is due to his interest in structure and form, which is often expected from modern storytellers because they attempt to free themselves from established structures so as to mix a new structure with the old one for their new experiences. Assuming that their type of vision cannot be offered in traditional structures, he has developed a language in storytelling that distinguishes him from any other writer and creates a unique story space in the range of this language, as the author himself points out: “Language is the purpose of writing. Therefore, it is not a means for writing stories, and the author must be able to create a range of different languages” (conversation with Shahriar Mandanipour, 2012). This convergence of different languages makes his prose complicated and sometimes unrealistic, but at the same time, it allows the author to bring almost disparate worlds together. For this reason, in his stories, the border between reality and fantasy merges, and the reader's entry into the story is like entering a labyrinth of uncertain boundaries, and this is the result of the author's experimentalism in writing stories. Now, as Mir Abedini (1998, p. 74) emphasizes: “From his very first stories, he showed that he has a thought and tries to find a suitable structure and tone for this thought, and through experiencing the form, he reaches a new understanding of reality”. The world that Shahryar Mandanipour creates in his fictional works is sometimes derived from dreams and is hyper-realistic and sometimes from myth, folklore and Iranian culture, which is special in its way and plays a significant role in the development of Iranian fiction literature. The mixing of apparently dissimilar worlds can be considered one of the most basic narrative features of this storyteller. This study attempts to shed light on space and place in the stories of Mandanipur. In so doing, this study relies on the methodology of geocriticim or spatial studies. Then, heterotopias or other spaces are described, which are influenced by Michel Foucault, in order to explain and discuss the appearance of such spaces in Mandanipour's stories. Michel Foucault's heterotopian spaces have had an important impact on space-place studies. Introducing heterotopia versus utopia as a space that challenges the knowledge of homogeneous spaces. Placing these spaces together and revealing their internal contradictions can be considered a critical reading. This is Foucault's approach in continuation of his discussion about the opposition of power and resistance, which according to him, in every discourse of power, a conflicting and challenging discourse is formed, even though it is on the sidelines. Shahriar Mandanipour, a contemporary Iranian writer makes literary use of these spaces in his stories, which is a result of his new approach to modern and experimental writing. Desert, prison, library, book and literary space, cemetery, cinema, theater, cafe, hotel, park, table, and so forth are examples of heterotopian spaces in his stores. In these spaces, the characters of his stories seek to overcome life's crises, which are often tied to death, love, tradition, politics and power. These spaces help them to challenge the homogenous spaces because they already have limited their understanding of self and the world. These heterotopian spaces in his stories are sometimes of a critical and sacred type; sometimes of the type of spaces that are for those who do not follow the rules of society and are deviant in a way; sometimes the functions of these spaces undergo changes in the form of context and time; sometimes they challenge time; sometimes it is an illusion and to cover the lack of homogenous spaces; and sometimes it is of the type of space of literature, all of which have significant impact on the lives and thoughts of the characters in the stories. The use of these spaces in the writings reviewed in this article is in line with Mandanipour's desire to create a new style in writing, and somehow these spaces help Mandanipour to have a special and different style. Mandanipour's other writings, such as The Courage of Love (1998), Censoring an Iranian Love Story (2009), Moon Brow (2018), and Seasons of Purgatory (2022) also contain heterotopian spaces that can be the subject of further studies.

What is the difference between style and literary school? They are closely related from one point of view. However, they are also different. The oldest and newest description of literary school have been made according to the most reliable English sources and some comparisons have been made between them. All the branches of stylistics have been accounted for too. For instance, I have tried to elaborate on the description of Mohammad Taghi Bagher's definition of stylistics. The major difference is in the analysis of meaning and we want to explain whether it is a component of literary school or not. Is the main difference between them in this component or not? If the task of literary style is the analysis of language and meaning, then there won't be any difference between them. Because school covers both the area of language and the area of meaning. But, if the meaning analysis of texts isn't considered as the literary style, then there will be a wide gap between them. It seems that other notions show personal style and impersonal school. However, some believe that school has a wider meaning than style. But neither of them have any fixed foundation.

It is henceforth a commonplace; the science-fiction would be a refractory genre by nature against the definitive assimilation to the literary mainstream. We can say that the usual thematic of the genre, to which is added the irresistible propensity to prospect the future in all its forms, immunizes the SF against the “academic confinement” to the benefit of other forms of confinement. Indeed, the SF belongs to the great family of the paraliterature where the more or less listed subgenres are waiting to receive a likely definition. Popular genre which relies on a remarkable poetic, the SF is an open place to the imagination, to the verbal and the figurative creativity. It owns itself its subgenres, among other things, the space opera which was, in a way, the original matrix of the speculative fiction and of its contemporary imitators. The Sternberg’s work did not have a special vocation to feed the already rich world of the science-fiction. It constitutes however a new step liable to bring a touch of self-reflexivity, we will notice that, to the history of this genre. French: “Le Navigateur” de Jacques Sternberg ou la phylogenese parodiee du space opera C’est dorenavant un lieu commun, la science-fiction serait un genre par nature refractaire a l’assimilation definitive au mainstream litteraire. Nous dirons que les thematiques habituelles du genre, auxquelles viennent se meler l’irresistible propension a prospecter l’avenir sous toutes ses formes, immunisent la SF contre “l’enfermement academique” au profit d’un enfermement d’un autre genre. En effet, celle-ci appartient, comme on le sait, a la grande famille de la paralitterature ou se cotoient les sous-genres plus ou moins repertories en attente de recevoir un semblant de definition. Genre populaire s’appuyant sur une poetique singuliere, la SF est un lieu ouvert a l’imagination, a la creativite verbale et figurative. Elle possede elle-meme ses sous-genres, entre autres, le space opera qui fut en quelque sorte la matrice originelle de la fiction speculative et de ses emules contemporaines. L’oeuvre sternbergienne n’eut guere pour vocation de nourrir le repertoire deja riche de la science-fiction. Elle constitue neanmoins une etape non repertoriee susceptible d’apporter, nous le constaterons, une touche d’auto-reflexivite a l’histoire du genre.Keywords: Jacques Sternberg, Nouvelle, Science-Fiction, space Opera, Aventure, Fiction Speculative

This study aims at investigating the production of space in Zero K (2016) in terms of Henri Lefebvre’ s spatiology. Lefebvre conceptualized space as being comprised of three moments: the spatial practices, the representations of space and spaces of representation; on the one hand, and the conceived-the perceived-the lived, on the other hand. The analysis demonstrates that the characters create their own spaces individually or collectively, each in their own way. On a broader scale, the novel divides into two kinds of space: the abstract and the differential. But on a closer analysis, the character-narrator, on the one hand, uses a set of literary practices such as climax, anticlimax, register shifts, description, humor, iron, incongruity, word coinages and plays, and, on the other hand, everyday practices such as love, walking, bodily activities to defend himself against the rampant growth of the abstract space. In addition, the very act of novel writing could be taken as producing spaces of representation against the representations of space in the society. In the light of lefebvrean spatiology, some of the literary techniques could be redefined as space-producing ideological practices, too.

literary theory is a systematic study of the essence of literature and a way to analyze literary phenomena. Although the literary theory has been widely used in Persian literature research in recent years, it seems that its semantic and empirical realm has not been well established; because in some research conducted in the field of Persian literature, individuals’ literary opinions have been mistakenly read as literary theory. In the following article, to show the difference between literary theory and literary perspective, five specific characteristics of literary theory have been explained and described; which includes these items: “Arising from a philosophical mindset”, “Systematic and coherent”, “The result of reflection on the text”, “Providing a new perspective” and “Using in criticism”. In the following, the extreme point of view that believes in the similarity between some opinions in Persian classical texts and Western theories on the existence and even the precedence of theories in its past has been criticized. And it is clear that basically the discovery of these views in past scientific and literary texts was due to familiarity with western ideas. In the end, the result shows that because of the inefficiency of the literary opinions collected by the researchers from the characteristics of a theory, the term “literary theory” is not correct and accurate for their opinions and literary opinions. It is better to use the term “literary perspective” to make the field of knowledge of Persian literature more precise about such opinions and theories, so that this term has its own specific definition and examples.

Background: Cement space is necessary for seatabillity and fitness of cast crowns, but can affect crown's retention. In this study the interrelationship between them was investigated via die spacing.Materials and Method: For evaluating the effect of die spacing (cement space) on crown retention after cementation, 50 similar machined metallic dies were prepared and divided into five groups and coated with 0.2, 4, 6, 8 layers of paint-on standard die spacer, respectively. Cast crowns. Were fabricated on the dies using base metal alloys, and then cemented with zinc phosphate cement under a constant load of 5kg for 10 minutes. The samples were started in distilled water for 48 hours. Then the force required to remove each crown from the die was measured with instron.Results: Statistical analysis revealed a significant increase in the force required (crown retention) by adding layers of die spacer (p<0.05).Conclusion: Because retention didn't show any significant increase with more than 4 layers of die spacer, so optimum thickness of die spacer (or cement space produced) is suggested to be 4 layers equal to 40 microns.

Time and space are parts of the major components in fiction literature that could not be separated from each other, both of them play a tremendous role in novel setting. This research aimed to examine the structure of time and space in “, the Year, and Journey of az-Zahra”,of Murtadha Abdussalam Al-Haqiq in order to affirm to which extent the novelist succeeded in constructing these two components in his novels. Descriptive method was adopted for the research. The study revealed that time and space were given great values during the narration and they were both linked with other components in the novels. The researcher discovered many results at the end of the study, these include but not limited to the fact that the novelist adopted modern narrative techniques to construct time and space in the novels. While narrating time of events, he used paradox techniques to brief the reader about past events and predicted the future of characters. He equally depended on summary and omission to speed up the narration forward to avoid missioning issues that do not fit the content of the narration. He then used dialogue and descriptive pause to slow down the narration to reveal the emotions and feelings of the characters. On the structure of space, the novelist succeeded in giving an accurate description to all spaces in the novels and attached a special cultural values to them, such as,denoting poverty and wealth, open and close spaces, rural and urban. Finally, spacetime in the novels was able to determine the path of the characters, revealing their emotions and affiliations, expressing their concerns and obsessions, and carrying their visions and aspirations.