چکیده:
As Khosravi's most substantial work، Rood-e Râvi contains all of the author's characteristic skills of writing. Khosravi's conscious use of words to achieve a post-modernistic effect has given the novel a subtle narrative form. This article is intended to explore the basic elements of the novel by taking advantage of the post-structural approach of Roland Barthes. Rood-e Râvi، in its deep structure abolishes or violates time by such techniques as the conversion، denial-and-restoration، and reincarnation-and-reiteration of the characters. Meanwhile the form of the novel is in concert with these techniques since the author loses no chance to express the basic idea of opposing time، and the order of the episodes indicates a kind of anachronism which manifests the lack of harmony between the narrative time and the dramatic time.
خلاصه ماشینی:
) Continuation of the first sequence of Narrative A: (15-The narrator and Gayatri talk together on the way to the uncle's mansion.
) Preliminary sequence of Narrative B: (By reading the book Hudud al-A'mal fi Shay' from Elias Abu Maqsud and Hudud al-Dhat al-Ahwazi, the narrator provides information both about the Miftahiyyah and their beliefs, and addresses the fate and beliefs of Ahwazi.
) Sixth sequence of Narrative B: (According to the narration of Abu Maqsud, citing the commentary of Zij Ghafr ibn Awli) Construction of the observatory (1- Abu Dujana summons the astronomers to bring celestial readings to him.
) Thirteenth sequence of Narrative A: Gayatri's hospitalization and the discharge of Aqdas Mujab (1- Hazrat Miftah is angry with the narrator, and for this reason, he is not invited to the meetings.
5- The uncle returns from the coronation ceremony and, in his meeting with the narrator, besides stating the reason for his selection, speaks of a woman who was the beloved of Hazrat Miftah and suffered a bruise.
We have categorized the methods of the new writer to expand the deep construction of the story, but it is necessary to remind that an important characteristic of our culture is the continuous presence of cycle and rotation, which Khosravi has used to overthrow or invalidate time, and he expands it in the design of the novel so that he can stabilize this very thought in the river of the narrator; thus, the important and recurring form of all his methods is writing and the word, and the content of all of them is re-creation.
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