Scientific Journals Management System

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One of the most prominent evident features of Mathnavi Movlavi is its unique of story telling and association. In this article attempts are made to explore the distinguishing feature of Mathnavi Movlavi`s narrative style against those of former man of letters. Meanwhile, the author, highlighting the similarities in the narrative style of Mathnavi and Qazalyyat-e Shams and particularly Attar works, proceeds to comparing the narrative styles of Mathnavi ad the Holy Qoran and comments on movlavi`s innovations.
 

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Time is one of the elements that gives the fictional text its identity and distinguishes a story and a narrative. In addition, time takes on different functions in the fictional text and contributes to the progression of the story in various ways. The present research investigated the element of time in the novel “Chess with the Doomsday Machine” based on Gérard Genette’s theory. Considering the memory-like structure of the novel, anachronism has a high frequency in the text and calendar time is not of much significance. The interest of the author in writing the story based on his mental images has obviated the need to record the precise dates of the events. Drawing on the technique of breaking the time in the narrative, the author has created suspense in the story and resolved some of the ambiguities existing in the text. Frequent descriptions and attention to details have stopped the time of the narrative in most of the scenes of the story. In this novel, the frequency of the narrative of events is of singular type and, drawing on such a method, the author has tried to increase the pace and advancement of the story. The author of the novel “Chess with the Doomsday Machine” has utilized various time-related techniques and methods to narrate the transformation of the perspective of the protagonist of the story from a dogmatic to a relatively tolerant attitude and has wielded time techniques to cast doubt on many learned beliefs of the narrator. 
 

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Due to the closeness of the two words "history" and "story" the debate between narrative and history has long been a multi-faceted issue: to what extent is "history" narrative, and to what extent can narrative be historical? Is narrative utterly devoid of truth, and does history have a direct relation to truth, so much so that if history is emptied of truth, it loses its validity. If the truth is not recorded in history, will it no longer be the truth? What is the difference between historical narrative and narrative history? What is the difference between a narrative and a non-fiction and, or historical narrative? All the discussion between narrative and history is but between fiction and non-fiction. From this perspective, what is the status of Beyhaqi's History? From White's point of view, Beyhaqi's History is neither a chronology nor a chronicle but contains Beyhaqi's epistemological and teleological selections from the history of this period of Iran, which ironically has both an ideological and a political burden. Beyhaqi has turned "the real" into "the fiction". This article shows firstly how the History of Beyhaqi, as the product of a particular political discourse, has been prevailed in the Ghaznavid era, and secondly how it reflects the characteristics of this discourse, both on and off the screen. The History of Beyhaqi is a transition from a mythical and epic narrative to a historical and worldly narrative.

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“Romance-Chivalry” as a literary genre, narrates in poetic terms the protagonist’s struggle to achieve the beloved. Ayyuqi’s Varqa and Golshāh, Saam Nameh, Khwaju Kermani’s Homay o Homayun, Nazl Abadi’s Masnavi-e Jamal and Jalal, and Humay Nameh and Badi al-Zaman Nameh (by an anonymous poet) are among the outstanding works in this genre from the fifth to tenth Hijri centuries. The characterization of the protagonist is among the most significant narrative characteristics of this genre. The shared characteristics between the protagonists can classified as a genre. The protagonists in this genre, who have multidimensional and mysterious personalities and are of noble and royal descendants, are portrayed as lovers, moralists, pacifists, theists, and chivalrous which render them popular among people. Also, based on context and narrative traditions, the protagonist can be characterized within an Iranian-Islamic axis where he is presented as prophet, saint, leader, and commoner. In Ayyuqi’s work, the protagonist is a leader. According to Northrop Frye, the protagonist is superior to ordinary people. The protagonist’s personality, to various degrees, follows the characterization tradition Shahname, Eskandar Nameh-e Naghalli, and Hamzeh Nameh. Gradually, The protagonist’s religiosity becomes prominent which accords with the dominant political and religious circumstances of the poet’s society, to the extent that in Badi al-Zaman Nameh we witness dogmatic protagonist.