Rereading the Literary Elements and Principles of the Story (why is the story considered literature?)

The main research question for the current research is that story, despite being predominant, is not a field of signs, images and metaphors. How does it enter the field of literature? In order to achieve the goal of the research, the researchers have first explained the nature and truth of literature. Then, it has been established that the literary elements of the story are different from the essence and literary components of the poem. Since the beginning, the nature and essence of literature has been debated and sometimes disputed. Regarding what makes a literary writing, especially the order, literature, the views are different, Aristotle considers the essence of poetry to be simile, Plato considers it to be an imaginative and creative imitation of nature, and Abdul Qahir considers literature to be the result of the secondary meaning of words. Some people consider literature as a result of norm-avoidance and adding rules in language. Some of them consider imagination as the essence of poetry and consider the function of images such as metaphor and simile to convey high human emotions. In recent centuries, linguists, with the help of different linguistic schools, have considered literature and its essence to be a "sign". Now the question is; Can the whole story be seen as a sign of a secondary meaning? Because many of the stories lack signs and, by extension, images, but they are stories and more importantly, literature. The results of this research reveal; Literary components and emotional actions appearing in the story are directly related to its virtual reality.
Introduction
Poetry is a word of imagination, and imagination is its main element and essence. It is an image that is created with the help of words; with a metaphor or simile. In Islamic rhetoric, imagination, or image is the subject of the science of expression, and its types are metaphor, simile, allusion, etc. The form of imagination is a set of possibilities for artistic expression, and its main background is made up of types of simile, metaphor, figurative documents, codes, and various types of presenting mental images. Literature is the product of an event that occurs in language, and perhaps in explaining and describing this event, the discussion of signs and semiotics can be raised. A sign is anything that, by an implicit or explicit convention, acquires a new value in addition to its original and intrinsic value and is used on the basis of this new value. The sign itself has an internal structure that consists of the signifier, the signified, and the signification. The signifier is the word for anything, the signified is the meaning, and the signification is the relationship between the signifier and the signified. This relationship is either arbitrary (e.g., the signification of the word orange is a type of fruit) or motivated by a special value that can be proximity, cause, or similarity. The main question in the present study is; "How does a story enter the field of literature, even though it is not predominantly a field of signs, images, and metaphors?" In order to achieve the goal of the study, we first explained the nature and truth of literature. Then, by stating the fact that the literary motifs of a story are distinct from the literary essence and components of poetry, we will seek to answer why the nature of a story is literary. From the beginning, there has been debate and sometimes conflict about the nature and essence of literature. There are different views on what makes a literary writing, especially a poem, literature. Aristotle considers the essence of poetry to be imitation, Plato considers it to be an imaginative and creative imitation of nature, and Abdul Qahir considers literature to be the result of the secondary signification of words. Some consider literature to be the result of non-normativity and rule-making in language. Some consider imagination to be the essence of poetry and consider the function of images such as metaphor and simile to be the transmission of high human emotions. In recent centuries, linguists, via the assistance of various linguistic schools, have considered literature and its essence to be dependent on “signs”. A more recent questionthat emerges in this field is; can the entire story be considered a sign of a secondary signified? Although many stories lack signs and do not offer imaginative forms, they are stories and, more importantly, literature. The results of this study reveal that the literary components and emotional actions appearing in the story are in direct connection with its virtual reality.
Method
The theoretical framework of this research focuses on the distinction between fiction and literature. In fact, the researchers seek to separate the boundary between language and literature, followed by a discussion over the literary types and then, show how a story enters literature (imagination and emotion). With these premises, while explaining the boundaries of language and literature, the researchers addressed the category that language joins literature by transcending the boundaries of reality and metaphors and similes are formed, just as in fiction. The transition from reality to imagination can enable the transition from reality to the world of fiction. To prove the scientific claims, the study relied on Mohammad Haqshenas' theory of “where the boundary between language and literature is,” and this theory was used as a tool for analyzing the boundary between fiction and poetry, and we obtained fruitful results.
Conclusion
The history of storytelling among humans goes back to oral narratives and heart-to-heart quotes among different generations. By creating stories, humans present their personal feelings, emotions, and inner worlds in the form of creating characters and virtual spaces, and come up with a world that reflects their pains, pleasures, spiritual influences, states, loves, and ideals. Historical documents show that humans have been interested in preserving, recording, and transmitting their emotional experiences in the form of stories and anecdotes since the beginning. According to Aristotle in the Boetique, “a story is a combination of events that is a general extension that also includes the concept of plot. One of the prominent elements in every story is the element of imagination, which brings the story closer to poetry. Literary language is different from fictional imagination. It is true that many stories are formed in the world of imagination, in fact, the basis of the story is imagination, but some writers have a more emotional language. For example, Bijan Najdi in contemporary fiction has poetic stories, while the basis of his narrative is imagination.
Results
Literature is the product of an event that occurs in language. In explaining and describing this event, the discussion of sign and semiotics can be raised. A sign is anything that, by an implicit or explicit convention, acquires a new value in addition to its original and intrinsic value, and is used on the basis of this new value. The sign itself has an internal structure that consists of the signifier, the signified, and the signification. The signifier is the word of everything and the signified is the meaning; however, signification is the relationship between the signifier and the signified. This relationship is either arbitrary (such as the signification of the word orange for a type of fruit) or it is an induced signification as a new value that has been given to something by a special validity that can be proximity, cause, or similarity (such as the signification of the word pistachio for a smiling face, and this is induced signification). In literature, the sign signifies the meaning. However, in language, the word signifies the meaning, and therefore, it can be claimed that literature and literary language are the arena of the signification of signs.