Narrative Style in Mohhammadali Jamalzadeh’s Yeki Boud Yeki Naboud (on the basis of Jaap Lintvelt's Theory)

Abstract
A “short story” is a rather short tale typically with a limited number of characters where they partake often in a single action and focus on the creation of a certain atmosphere through a unified effect. Yeki Boud Yeki Nabood by Mohammadali Jamalzadeh is the first collection of short stories written in the modern style. A look on the five stories selected here from the collection shows that they are very simple and elementary in structure, so simple that they reveal almost no structural innovation. To offer an analysis of the narrative style of those stories, the present article uses a theory by Jaap Lintvelt who is a French critic. Considering the practical heterogeneity of the narrator and actor in each story, two main narrative forms are defined: narrative with heterogeneous atmosphere and narrative with homogeneous atmosphere. Each of these forms can be divided into minor forms. The heterogeneous narrative has three forms: the text-scriber (where the author or “I” the narrator is the same with “I” the narrated), the actor, and the neutral; while in the homogenous narrative there are only two forms: the text-scriber and the actor. In terms of narration, all the five stories are in the homogenous text-scriber. Looking at the past times of the story, the narrator relates it while he removes his camera along with the other actors. The point of view in the selected stories is introvert which goes with their narrative mode. Their plot structure is solid enough, while “Molla Ghorbanali’s confiding” is the most complete in narration. On the whole, a big part of the success of Yeki Boud Yeki Naboud seems to be a function of its simple language and the treasure of popular culture in which it is rooted. Its narrative techniques are simple, and certain narrative turns are not highlighted in it.