| چکیده انگلیسی مقاله |
1.Introductionstructural analysis recently become important in fiction and narrative literature so it is effective in classifying Fictions, stories, and anecdotes. If we gather trustful informations about the work, we can easily identify the elements and components of the story by using this type of analysis and discover their relationships and achieve the author exact purpose. It is so important to study the morphology of the story of Rana va Ziba- one of the most popular stories in Persian literature- for a clarified understanding and getting the absolute message of this story. Story and fiction are both narrative works that they narrate events. Morphology seeks to classify a unit into its components and constituent elements in various sciences, also it has a close relationship to the structure and style of the works. The story of Rana va Ziba is about Rana va Ziba's love to that at last they re:union: Despite all long and amazing adventures which is full of dangerous journeys, suffering and hardship, No research has been done on this prose work and its morphological structure.Introducing the author and works: Mirza Barkhordar Farahi, nicknamed Mumtaz, is the son of Mahmoud Turkman. He was a writer, poet and storyteller of the 11th century. Apparently he lived in Shah Abbas and Shah Safavi’s period of time, and served as a scribe and secretary in the service of the Safavid dynasty. Research MethodCurrent study has examined and introduced the exact constituent structures of Rana va Ziba's story based on Vladimir Propp theory in a conducted, descriptive and analytical way and The data have been collected and classified through library research method and the results have been classified. this story is extracted from the Mahboub Al-Qulub book written by Mirza Barkhordar Farahi, then it is examined according to Propps Method and the results are described in this study. DiscussionIn morphology discussion of the story, Propp considers the actions as thirty-one operations and determines special symbol for each of them, that can be obtained from a specific image and as a pattern of morphology of the stories of Jen-va-Pari can be generalized to folktales and stories of other countries (Propp, 1392: 11-47). Propp also divided the 31 functions into the following six categories, which can be applied to Rana va Ziba's story as follows:Primary Situation and Preparation: After the Malek Rihan’s death, the kingdom will be handed over to his uncle Sanobar due to the young age of the king's son- Malek Rana-. Malek Sanobar, whom his daughter previously had married to Rana, breach his promise and wants she marry to a Chinese king, so Ziba escapes with Rana.Problem Complexity: In this story, the complexity begins with the trick of Mallah, who only accepts Ziba to vome inside the ship and occurs to his evil temptations along the way.Ziba’s hypocrisy to escape from Mallah, the guard of the thieves' camp, Gholam Habashi and staying at the old woman's house are other complexities of this story, and a new solution is sought by Ziba, Rana and Safdar.Transfer: Rana returns to the beach after three days of waiting. After the death of her uncle Sanobar due to serious illness, Malek Rana became the king and started to seek for Rana in china with the help of Safdar.Controversy: Ziba’s moral combat Mallah, the protector of the camp of thieves and slaves, as well as Rana's fight with the mallah, the hero and destroyer of the camp of the thieves, are some of the conflicts in this story.Comeback: The property of Rana will be returned to Khutan and will be ruled.Recognition: After Malek Rana finds Ziba in China, she returns to Khutan then they got married and live together. ConclusionRana va Ziba written by Mirza Barkhordar Farahi is one of the popular prose romantic stories in Persian. The story has a special chain that can be analyzed based on the Propp Method. Characters are also categorized into seven areas of action. Time durations are generally described in this story same as traditional stories for example night, day, morning, etc. but where the narration takes place is clear; Such as Khotan, China, Khanbaligh, Sangha Island, etc. Considering that this story is one of the admirable and pleasant Persian prose and is the work of a writer who has had court experiences and has tried to describe the details and generalities of his life and his contemporaries during his travels. His works are informative like this one and all ancient and folktales that are part of our cultural and literary heritage that worth to analysis and study scientifically. Certainly, the importance and classification of stories is due to their diversity and breadth in the literature of various nations. In recent decades, due to the developments that take place on the eve of the twentieth century, a new kind of literary method has emerged that pay attention to morphology of the literary works. Storytelling was introduced by the Russian researcher Vladimir Propp to the literary and narrative society. In the analysis of the morphology of Rana va Ziba’s story according to Propp Method, the graph of performance or narrative of the story is as follows: ie3k1 K2 q1 ↑↓R2 g j hX x ω D L Φ E V Y2 hXD1H2 S2ωLE10VM2Y4Φω↑ΦY1hXωLE1VPuY4D5LE1ΦPuLVjPujV5Φn↓ω↑ΦY1E2PuV1ΦTr4↓NH4H5Z9 Z2VN The story of Rana va Ziba begins with a ban and defiance and is formed by Rana va Ziba's escape. Tricks and calamity bring the story forward. The abundance of performance in this story is with the supportive element and then decision-making of the protagonist of the story and also the defiance contains the most parts of this story. This story contains three misfortunes and calamity, and eliminating of them, that base on those the three comebacks and transfers happen to the main heroes of the story. This story has written by Indian stories style. The narration of a story in another story begins with advice and makes the plot more miscellaneous. The main plot of this story is Rana's love and affections to Ziba. The content of this story includes social, intellectual and historical issues that are vital for storytelling. In the story and middle stories, moral points such as honor, honesty, piety and chastity are recommended.ReferencesAsaBerr, Arthur, Narrative in Popular Culture, Media and Daily Life, Translated by Mohammad Reza Liravi, Tehran; Soroosh, 2000.Agha Khani Bizhani, Mahmoud, Toghyani, eshagh, Mohammadi Fesharaki, Mohsen, The analysis of the Patterns of Fairy Tales in the Stories Lyric of Shahnameh, Journal of Lyrical Literature Researches, 16th Volume, 31st Issue, Pages 9-28, Winter and Spring 2019.Ahmadi, Babak, Text Structure and Interpretation, 2nd edition, Tehran; Nashr Markaz, 1993.Barthes, Roland, Introduction to the Structural Analysis of the Narratives, translated by Mohammad Ragheb, Tehran; Saba, 2008.Daad, Sima, Literary Expressions Dictionary, 4th Edition, Tehran; Morvarid, 2001.Eskandar Beyk Munshi, History of Jahanaraye Abbasi, by Iraj Afshar, Volume 1. 3, Amir Kabir, Tehran, 1350.Farahi, Mirza Barkhurdar, The Complete Course of Mahboub Al-Qolub Book - Mahfel Ara- Rana va Ziba, Tehran; AmirKabir, 1957.Farahi, Mirza Barkhurdar, Mahbob Al-Qolub, Tehran; University Press, 1994 Goldman, Lucien, Developmal Criticism, translated by Mohammad Taghi Ghiasi, 4th edition, Tehran; Bozorg Mehr, 1990.Martin, Wallace, Narrative Theories, translated by Mohammad Shahba, Tehran; Hermes, 2003.Mirblochezehi, eshagh; Barani, Mohammad; Khalili Jahantigh, Maryam, Studying of the Narrative Structure of the Khurshid-va-Mahpareh According to Propp Method, Journal of Lyrical Literature Researches, Sistan and Baluchestan University, 13th Year, 25th Issue, pages 202-183, Fall and Winter 1994.Mir Sadeghi, Jamal, Fictional Literature, Sokhan, 6th edition, Tehran; 2011.Mir Sadeghi, Jamal,, Elements of Story, 2nd Edition, Tehran; Shafa, 1988.Mir Hashemi, Seyed Morteza, Saadatinia, Zahra, The Morphology of Mahan Mesry’s Legend Based on Theory of Vladimir Propp, Literary Text Research, 20th Volume, 70th Number, pages 73-89, winter 2016.Nasiri, Mohammad Reza, The Creators, 2nd Volume, Tehran; Association for National Works and Figures, 2005.Nafisi, Saeed, History of Persian Poetic and Prose to the Late Tenth Century in Iran, Tehran; Foroughi, 1984.Okhovat, Ahmad, Fiction Grammar. 1st edition, Tehran; Farda, 1992. Propp, Vladimir, Morphology of Fiction, translated by M.Kashigar, 1st edition, Tehran; Rooz, 1989.Propp, Vladimir,Morphology of Folktales, translated by Fereydoun Badraei, 3rd edition, Tehran; Toos, 2013.Propp, Vladimir,Historical Roots of Fairy Tales, translated by Fereydoon Badraei, 1st edition, Tehran; Toos, 1992.Rouhani, Masoud; Enayati Qadiklaei, Mohammad, 2009, The Morphological Study of "Bijan va Manizheh" Ferdowsi's Shahnameh Based on Vladimir Propp Theory, Journal of the Faculty of Literature and Humanities, Kharazmi University, 17th Volume, 66th Number, pages 119-143.Safa, Zabihullah, History of Literature in Iran, 5th volume, Tehran; Ferdows, 1999.Shamisa, Sirus, Prose Stylistics, Tehran; Mitra, 2011.Younesi, Ebrahim, Art of Story Writing, 11th edition, Tehran; Negah, 2013.Zarrinkoob, Abdolhossein, From the past Literary of Iran, Tehran; Sokhan, 2006.Zohoruddinoff, Abu Bakr, The Times and Works of Mirza Barkhordar Farahi, Vol. 1, No. 4, No. 2, Khorasan, Kabul, 1984. |