تجزیه و تحلیل پی رنگ در داستان های جشنواره ادبیات کودک و نوجوان رضوی

Plot, as the backbone of a narrative and its most fundamental structure, is based on the cause-and-effect relationships of events within a story, which can evoke curiosity and reflection in the audience. The present study aims to provide an analysis of the stories submitted to the Razavi Children’s and Young Adult Literature Festival, employing a scientific approach within the field of narratology, with a particular emphasis on the element of plot. This analysis reveals that, despite some weaknesses, the plots of these stories share significant structural similarities. Most of the award-winning stories incorporate the essential components of plot structure, including exposition, rising action, climax, falling action, resolution, and conclusion. Therefore, evaluating these works through the lens of the essential element of plot, based on the findings of this research, seems both fair and justified. Conversely, most of these works exhibit a linear, strong, yet straightforward and closed plot, culminating in a satisfying conclusion. Recognizing the strengths and weaknesses of a story's plot can be instrumental in crafting innovative and meaningful narratives. It is hoped that the results of this research will enhance the understanding of these stories and contribute to the advancement of storytelling in the country.
Introduction:
The plot is one of the most dynamic and interconnected elements in any story. In fact, it is the most fundamental component of a narrative work, with other elements gaining necessary dynamism and vitality only when they are integrated into the story’s plot. One of the key characteristics of a plot is its ability to create unity within the structure of a narrative, resulting in beauty and appeal for the reader. Although the plot itself is a part of the narrative structure, it also encompasses internal principles that contribute to the coherence and orderliness of the narrative. Aristotle posits that a plot consists of three parts: beginning, middle, and end (Daad, 2003, p. 101). This structure ensures that the "why" and "how" of the story’s events appear logical to the reader, with the sequence of events built upon cause-and-effect relationships. Consequently, in the plot of any narrative, elements such as the beginning, complication, conflict, suspense, crisis, resolution, and conclusion are carefully crafted (Mir Sadeghi, 1988, p. 295). This study analyzes several award-winning stories from the Razavi Children and Adolescent Literature Festival, focusing on the use of plot elements and the criteria by which the works were judged.
The fundamental questions of this research are: To what extent have writers focused on the plot? Have the plots of the selected stories succeeded in fostering curiosity and reflection in the audience? Do the works deemed outstanding by the judges contain the essential elements of a plot?
Methodology:
In this study, we first examined the concept of plot, its various types, and the overall structure of plots. We then analyzed 24 works that received top honors at the aforementioned festival, as published by the festival's secretariat, focusing on the presence of structural elements within the plots. We compared the results obtained with the evaluations made during the festival. Therefore, the research method employed is both descriptive and analytical, utilizing library research and note-taking as the primary tools.
Results and Discussion:
The findings of this study indicate that plot, defined as “events based on cause-and-effect relationships,” is present in most of the works mentioned, although it is sometimes weak. In contrast, the scene-setting related to the shrine, pilgrimage, and the characters' emotions somewhat compensates for the plot's deficiencies. However, the two main characteristics emphasized by Forster—creating a sense of mystery and prompting reflection in readers—are evident in most of these stories. This not only satisfies the reader’s curiosity but also fosters engagement with the narrative and provides a relative answer to the question, “What happens next?”
Most of these works feature a linear plot, with the story narrated from the beginning. However, in some cases, we observe “time displacement” in the narrative, such as in the stories “Messiah of Mashhad” and “Not the Yunus (Jonah) We Knew,” which begin from the middle of the story or at the climax. Overall, in response to the research question, it can be said that although short stories typically exhibit a relative weakness in plot, based on the analysis conducted and considering the age and educational background of the writers, as well as the prioritization of content over form, these works possess the essential components of plot structure—such as the beginning, complication, crisis, and so forth. The functions of the plot, including evoking a sense of mystery and encouraging reflection in the audience, have resulted in a logical and causal structure in these works.
According to Table No. 8, an examination of 24 works from the collection that were deemed outstanding by the judges and published in the festival’s book reveals that all award-winning works meet the necessary conditions for top rankings in terms of plot. The judges’ evaluation of these works, at least from the perspective of the vital element of plot, aligns with the structural analysis conducted and reflects a logical judgment based on the principles of storytelling.
Conclusion:
The characteristics of the works submitted to this festival predominantly resemble those of short stories and flash fiction. In these pieces, the essential elements are presented in the briefest form, with conflict, scenes, and character development depicted with utmost conciseness. The narrative structure of the submitted works follows a specific pattern: the introduction of the setting, atmosphere, and characters occurs in the opening, although these introductions are succinct and typically limited to a single paragraph. After the introduction, the story swiftly encounters a crisis. Generally, the crisis in these works is singular and rarely sequential. Following the main conflict, the narrative progresses toward a climax, where the resolution of the conflict is determined. Subsequently, as tension diminishes, the story returns to its initial state. Ultimately, in most of these stories, the plot's knot is unraveled, leading to a conclusion, although some works feature open endings.
In some narratives, the crisis and climax are intertwined, with the climax occurring simultaneously with the resolution at the story's conclusion. At times, the distinction between the crisis and the climax, or even between the climax and the resolution, can be ambiguous.
Most of these stories conclude with a happy ending, restoring a sense of balance. Consequently, the endings are frequently accompanied by descriptions of emotions and the satisfaction derived from a pilgrimage. This emphasis on the message over form is particularly evident in stories with religious themes.
The conflict in these works, which generates interest through the tension between positive and negative forces, is primarily emotional and psychological. This aligns with the themes of the works and the nature of the plot complications, which tend to be more individualistic.
Relatively speaking, all of these works share the characteristic of possessing a “central message” or a “single action.” The brevity in character descriptions and other narrative elements, as noted in these works, ensures that, as Edgar Allan Poe states, “all words and elements of the story serve to evoke that single effect.” Furthermore, the concise nature of these works allows little room for the inclusion of multiple messages. Consequently, the vast majority of these works feature a linear and straightforward plot structure, which can be analyzed using models such as the “Bremond model.”
The present study (see Table 7) indicates that 70% of the examined works feature a linear plot, with the narrative clearly defined from the beginning. In these works, each action unit is a causal consequence of events that occurred earlier. Following this pattern, the next most common plot type, which accounts for 19%, consists of loose and coincidence-driven plots, predominantly found in children's literature. Finally, complex and mosaic-like plots constitute 11% of the examined works, which are typically found in literature by teenage and adult writers. In contrast, approximately 87% of the works analyzed feature a simple plot. In this type of narrative structure, the narrator initially recounts a cause and subsequently presents its effect. In 13% of the analyzed works, the narrator disrupts the chronological order of events, resulting in a relatively complex plot. Conversely, 62.5% of these works feature a closed plot, characterized by a definitive and inevitable resolution and conclusion. In contrast, 37.5% of the works feature an open plot, where a clear resolution is often lacking or less apparent. Consequently, these narratives frequently do not offer explicit answers to the issues presented, leaving the reader to seek their own solutions.