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One of the most distinctive features of Rumi’s narratives in Mathnavi is blending the stories with each other. The narrator in the midst of the story digresses to another story, links to each other two sequential stories, or sometimes narrates two stories simultaneously. Discussing the technical features of “intersectional narration” and its history and theories the researcher in this paper explains the distinctive features of the form of narration in Mathnavi.

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This study explores dialogue, a dominant style in both traditional and contemporary poetry / prose  narrative literature, in Shahname as a classical  masterpiece. To this end, initially, the concept and terminology of dialogue is scrutinized from the viewpoint of narration and its position and functions are discussed. Then, a reasonably large number of various dialogues are extracted from Shahname and examined in terms of their different features, including their in/directness and the partners. Finally, to analyze the role of this literary element, a subset of the distinguished dialogues basically concerned with champions are analyzed further for their content and topic and how they correspond with the conditions and setting factors. It is concluded that the literary element under study is basically represented in the heroic section and the dominant theme is boastfulness.

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order to communicate with the celestial world. Also, it is a unique means to introduce and suggest many key thoughts of Sufism. Dreams are normally stated in a narrative style. All dreams of Sufi literature depict narrative themes. This paper examines the qualities of dream narration and the role of the two substantial elements: narrator and addressee in forming the narrative style of dream.

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Structuralism  mostly  investigates narrative  elements in  stories. A structural  narratologist  basically intends to  compile  a  coherent  structure  among  other  different  aspects of a story. The  present  study   investigates  the  structure  of  AmirArsalan  story, the last  important  fragment  of  Persian  folksy  long  story  generation, according  to  some  structuralist  theories. According to  Grard Genette,  we  can  analyze  AmirArsalan  story  at  two  levels  of  recite  and  narration. At  “recite” level,  it  has  been  discussed  based  on  narrative  perspective. At  “narration”  level,  the  narrative  structure  has  been  investigated and  then  the  similarities  and  differences  have  been  mentioned  compared to  other  folksy  long  stories.  In  the  second  part  of  narration  level,  its syntactic  structure  has  been  pointed  out  and  we have tried to  summarize  the story  characters,  their  acts,  and  manners  in  the  most  compact  way.

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Communication is one of the main functions of language. Linguistic communication usually combines with other modes of interaction such as nonverbal communication. People’s nonverbal behaviors display their styles and personality characteristics. Therefore, the fictionists and historians tend to reflect the quality and quantity of the character’s nonverbal relationship in their narration. The present study examines the adventure of Hanging of the Hasanak Minister in Tarikh-e Beyhaqi in order to show how Beyhaqi succeeds to imagine, objectify and portray the events of Qaznavi's periods and how it could improve the dramatic capacity of historical text with accuracy in nonverbal communication using a descriptive-analytical method and an interdisciplinary approach. This study displays that Beyhaqi often uses nonverbal communication in order to complete the verbal communication; but in many cases, they are replaced by verbal behavior or control the verbal behaviors.

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The narrative focus has a significant role in the analysis of those techniques that the storyteller uses in creating his own stories. The point of view, with respect to its semantic extension in modern narratives, is a special aspect by which the narrator shapes the temporal, cognitive – emotional and ideological components of his story and the narratee is sometimes led to read the text when the narrator changes and creates various points of view and presents different views. Therefore, the story finds a dynamic process by an interaction among the narrator, the character and the reader. In the story of Rostam and Esfandiyar, the narrator portrays the setting, incidents, characters and their actions, thoughts and inner feelings in an aesthetic and beautiful way and this is done by using different and changeable narrative focuses. In addition, the narrator provides presentation, evaluation and judgment of the story by his absence or presence in some parts of the story and also by combination of two ways of narration and drama. Furthermore, sometimes the narratee is led to a more effective and sincere inspiration of the story by narrating the story from the characters’ point of view.  In addition, the narrator expresses his own doctrines and special ideology by using non-narrator focus or the characters’ words; as a result he prepares the situation for the presentation and conjunction of different views or opinions, and in this aspect it equals many modern narratives. The analysis ofa few parts of this story can show Firdausi’s exceptional genius in his creation of this universal masterpiece.

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Gérard Genette is a French structuralist theorist and critic. In this paper we have investigated the speed and time technique of narration in the story of Varqa and Golshah by Ayyuqi from the viewpoint of Genette. The result of the structural study of Varqa and Golshah indicates that for the normal progress of the story and to avoid any ambiguity the writer has chosen the present time as the base and main time. Internal retrospective anachronism in the context of the story is used to inform the audience or restating the memories, and anticipative anachronism is only used to express the ambitions of the characters of the story. The study of duration shows that the story has been narrated with negative acceleration. By using this element, the writer has built the desired form of his story and has been able to increase the epic aspect of the story more than its lyric aspect. The element of frequency has been investigated from the singular, repetition, and frequent aspects. The results show that these elements have caused the text to progress fast and have led to meaningful repetition of events and emphasis on them.

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One of the most important issues in narratologicalstudy of Masnavi is methods of reading and interpreting the allegories. The relationship between this subject and narration is best revealed when we attend to the relationship between interpretations and storylines, regardless of the content of those interpretations. The main aim of this paper is to investigate the methods by which Mawlawiinterpreted the allegories narrated in Masnavi. It can be said that presenting the interpretations on the syntagmatic axis is the most important property of Masnavi. To interpret these stories, Mawlawi reads these as separated storylines, then, presents an interpretation corresponding to each of them. Multiplicity of these storylines is the result of two factors: Multiplicity of characters and Multiplicity of sequences. In this process, the value of main storylines is equal to subsidiary ones. Therefore, sometimes, the motivation (initial interpretation) of telling an allegory is not proportionate to the final and medial ones. The validity of the storylines for presenting the interpretations is both a factor for polysemy of allegories of Masnavi, and a presenter of a narratological explanation for association in Masnavi.

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Implied author and implied reader are components of a narrative structure, playing a crucial role in illuminating hidden elements within a text. Therefore, studying these elements in literary works can expose the underlying layers of narration and open up new critical outlooks to the readers. Furthermore and in cases of cinematic adaptations, it explains whether this was the novel or the film that has managed to unravel narrative complexities of the other medium more successfully and better facilitate audience understanding. The novel GavKhuni and its film adaptation are among works in which the plot is not causal, but internal and fluid. Thus, the reader has to decode textual evidence in order to understand how conceptions and viewpoints are formed in characters. Afkhami’s adaptation of GavKhuni is totally loyal and all elements of the story are faithfully mirrored in the film. However, Afkhami has made use of these elements to present his own ideological concepts. Repetition is a method that both the author and the director have used to transfer their ideas to the audience. Using a descriptive-analytical methodology and a narratological and inter-disciplinary approach, the present research attempts to analyze the ways in which implied author and reader are represented in the novel and the film. Since the author and the reader of each era are thrown into their work and new meanings are discovered in fulfillment of their expectations, thus the audience of this novel and film would discover new meanings from out of the narrative text of GavKhuni as well as its adaptation.