Ilam Rug is a collection of rural Rugs in Iran that the different factors have influenced its evolution that causes the integration and development of this rug. This integration in the design and patterns of the Ilam Rug is because of a permanent authority that, despite the continuous changes of this rug during the time, always remained unchanged, and there is a possibility which is one of the involved factors in the creation of this rug. Therefore, this research will consider the process of understanding the Ilam Rug through its environment, geography, and culture. The primary purpose of this study is to understand the way and the type of relation between the texts which create the meaning of Ilam Rug. In the encounter with artistic work, if a vast collection of literary and artistic texts is recognizable, it is possible to obtain the hidden meaning of the work through reading and understanding of the very collection and the relationships among its members. Combining a set of texts and the achievement of an integrated text is a process that is always carried out by the human mind to create new texts. One of the most outstanding theoreticians who bring up a complete method for analyzing such a thing is Gerard Genette, who offered a new way for understanding the relationship between the text with his Hyper textuality method. The re-search is descriptive and analytical and provides informa-tion in a library-based manner. The Analysis of the Information in This research was done based on the theory of hyper textuality of Gerard Genette, and the procedure was recognizing the component of the artwork and then determining their influences on forming the final text. The result of this study shows that the Rugs that have studied in this research are samples of culture and the art of the Ilam region, which in their process of evolution, a set of text with different ideologic roots were to create a unified system that has semantic cohesion and esoteric cohesion despite its Formal plurality. Ilam Rugs using different texts with pre-Zoroastrian )Mithraic(, Zoroastrian, and post-Zoroastrian )Islamic( foundations and jointing them through different ways were up to create a text is meant for a Muslim person with Iranian heritage. A result of this research is that one of the essential properties of this rug is its Mithraic foundation which has preserved its meaning during the time and in the other ideologic systems. This condition, which gives rise to “, textual continuity, ”,guarantees an artist’, s survival by loading time and modifying proposed systems. Textual consistency is a particular situation in which the textual elements are interconnected. Demanding the rug’, s relevance and how it forms in this testimony is based on a robust reforming system that has evolved over different periods through the convergence of Islamic and Iranian textures.

The present article is concerned with the fictional narrative or the narrative fiction from the perspective of Gerard Genette, the French literary theorist. A controversial concept variously interpreted by the critics ever since its appearance. His major work on narrative best known in English as “An Essay in Method” deals with five main concepts discussed in detail in this article. The difference between fiction and dialogue in Genette’s eyes, conceptual divisions and their various elements are also elaborated on.

Narrative is the description of the events of a story in different forms (poetry, story, etc. )and narratology is a science that analyzes the methods of narration and its structure. Gerard Genette as a researcher and one of the influential theorists in Narrative Science offers comprehensive models of narrative analysis. Considering the narrative elements of Gerard Genet in this study, it is attempted to study the story of Esfandiar's Haft-e-Khavan based on these elements in order to determine its structure and mechanism and the techniques Ferdowsi used in this work. Investigations and studies show that in the story of Esfandiar Haft-e-Khani among the components and narrative elements of Genette, the component of order (retrospective, foresight and temporality) was not used and the componentsThe other (continuity, frequency, aspect, and tone) are only used in parts of the story. Therefore, it can be inferred that in Haft Khan, Ferdowsi was able to create a uniform work and he uses structural narrative methods that have the greatest impact on the mind and psyche of the audience.

One of the materials used in compiling the history of Iranian art is Murraqa. Started from the primitive forms, these Muraqqas have gradually become specialized, and, in particular with the addition of the preface, have played an important role in drawing aspects of Iranian art history. Bahram Mirza’, s Muraqqa (951AH) is one of the prominent works in this regard,a collection with an important preface, and impressive images, calligraphy and embellishments. This research aims to classify visual genres in Bahram Mirza’, s Muraqqa, and to describe the features and the functions of the social archigenre and its distinctive themes. The analysis is concerned with such questions as which of the genres is the dominant one, and how the style and the themes are related. It is hypothesized that the social archigenre dominates Bahram Mirza’, s Muraqqa which is consisted of the themes of the court, prominent figures and their social status. Based on Gerard Genette’, s theory, the paintings are of epic, social, and lyric archigenres. The article, focusing on the themes of the social archigenre, tries to show first the importance of these images and then their distinctive features. Examiantion of the content and form of these paintings shows that changing social context and possibly the tastes of the patrons of the works has inclined the painters to show “,humans”,of various social classes. The analysis of these paintings demonstrates some of the relations and aspects of the social life in the court. Moreover, it reveals parts of the ups and downs of the painting tradition of that time and its connection with the naturalism of the next generation. In Bahram Mirza’, s Muraqqa, such social classes as rulers, courtiers, warriors, and servants with realistic details of their own are identifiable through visual evidence provided by the social archigenre. Methodologically, this basic research includes description, analysis, and evaluation processes which have been overlooked in some respects in previous researchs.

With the arrival of Islam in Iran Quranic teachings in the individual and social life of Muslims took a special role followed by Quranic verses and hadiths in the literary and mystical texts of the people of this land, reflected and the writers and poets of your word decorated with Quranic themes and in various ways showed their writing power. Interpersonalism is one of the structuralists issues according to it, any text of the texts before itself has been influenced; therefore, the authors do not create the original effect; but it also extracts its features from the texts before it. Baba Afzal Kashani is a wise and spiritual ontologist; one of the aspects of his thoughts on human thinking and ontology and many of his topics are inspired by the verses of the holy Qur'an the word's of revelation in the works of this great wise have left many spiritual and verbal influences; as discussed in the essay by Baba Afzal Kashani (madaregolkamal and gavdanname), this influence on the depth of his thoughts is an excellent expression and a feature of his style of writing. The present research project is analytically-descriptive and uses library resource's, has examined the influence of Baba Afzal Kashani on the Qur'an and narration the results of the studies show that he has expressed his mystical thought's, using the Quran and narrative, and has created a deep link between Quranic thought's and literary-mystical thought's given the division of Gé rard Genette from Intertextuality, Baba Afzal to the forms, straight (Revealing), and Non-explicit (Hidden and deliberate) and implied, the Quran and narration both in content and in the structure of the treatises have been influenced.

This article deals with Gerard Genette’s ideas about narrative components: “command time”, “mood”, and “voice” in three narratives of “Pir Changi” story. The story of Pir changi was narrated for the first time in “Asrar Altohid” and after that “Attar Neishabouri” and “Mulana” also narrated the story with some changes. This study tries to investigate the differences between these three narrations. Even though this story is now well known with Mulana’s name, but the style of narrations and its type in “Asrar Altohid” is different. He used the mechanisms of narration in another level that can be considered higher than the other two.The differences between Asrar Altohid and the other two narrations are:1- The narration is not linear. The author, with some flashbacks, narrates his story, exactly unlike the other two which have linear narrations.2- “Distance” is the result of the presence of the narrator in the narration. In this narration, the distance is very obvious. We have less distance in the other two stories.3- “Perspective” in this narration in internally-focalized. But the other two stories are non-focalized.4- The narrator in this narration has a part in the story. He is one of the minor characters means homodiegetic. But the narrator of “Attar” and “Mulana” are both out of their narrations.

Point of view and tone in Neighbor Novel by Ahmed Mahmud has various approaches, although the tone is dominant and friendly. Structure-oriented narrative Gerard Genette has proposed a comprehensive plan for the study of narrative texts and it has proposed three aspects of narrative meaning: time, point of view, and tone in the narrative review. This essay examines the ways of recalling two elements of point of view and tone in Neighbor Novel, based on Gerard's theory of comparative-analytic approach, and it analyzes the narrative approaches of the author to recall the two elements of the view and tone of the research, therefore, the results of the research show that the element of vision in this novel is influenced by the various centers of narration, and the focus of narrative in this novel that is a combination of three types without focal radius, inner focal radius and outer focal radius. The tone of narration also serves to direct the narrator's expression against the characters of the novel and the orientation of the characters against which the author has created a different tone from this perspective, but it keeps with the atmosphere of the novel and the position of the characters. Also, Neighbor Novel, from the point of view of the narrative tone in spatial dimension, is an internal narration, and it has all three types of post-modern narrative, pre-term, and concurrency in the time dimension.

This study examines the dialectical mechanism and absurdity, which have occupied the bulk of concerns of contemporary writers, thinkers and philosophers. Zakaria Tamer, who begins the song "Blue Coarse" with a philosophical vision interspersed with absurdity, realistic black criticism and rhetoric toward those influenced by materialism and machinations in this degenerate world where original values and ideals were lost. As such, the basic problem of the research is to determine the role of the text's semantics and its thresholds which help readers absorb the subject mentioned in "the Blue Coarse" to plot based on the theory of French critic Gerard Genette, who shows his critical experience of relations and transcendental transcripts in different ways. The most important findings of this study are based on the descriptive-analytical approach. The title and effectiveness of color, text, space, time, and the character in the semantic field based on the coding and displacement through metaphors, as receptive mechanisms, illustrates the ability of Tamer in the field of creativity and the reflection of absurdity that makes man depart from humanity and self-purity. Many of them seek to rebel the pressure and change the harsh conditions and others because of their sense of frustration and despair that are subject to surrender from the absurdity of life that is alienating, sinful or suicidal.

Gerard 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.

Whereas the narration and description are the central elements of the poetics of Nima’ s new poetry; during his poetic time, he composed several narrative collections of poems. The purpose of the present article is to investigate the techniques of narrative time in the Servielli House system, based on the theory of time narration by Gerard Genette. The results of the study show that procrastination (expansion of narration), retrospection, and foresight are among the most important tricks of the time that Nima has dealt with in narration. Since, according to Nima's theory, the purpose of poetry is to describe and narrate and embody the poetic subjects, so his trick in his narrative poems is to expand the narration, which has been done in this system with objective and very beautiful descriptions. The function of delay in this poem is to describe the place and time of the story, to characterize and to objectify the abstract matters. Nima has also used the retrospective and futuristic tricks of the narration to express the poet's hopes and doubts, and his hesitations and delays, which are beautifully expressed in the form of the Serivili controversy between the Nojo poet and the devil, which is a symbol of temptation. His deceptive and seductive inner selves are depicted. In general, Nima's time tricks in this poem are consistent with both the theme and content of the story and Nima's descriptive style. His most important time technique in this system is delaying or expanding the narration, which is not a frequency component in the descriptive style. Keywords (English): Narration, Element of Time, Gerard Genette, Nima Yoshij, Descriptive Style, Serivili House Collection.