دانشگاه اصفهان فنون ادبی 20088027 مقالات آماده انتشار 2026 07 08 Narrative Typology in Sudabeh Fazaeli's Sodaa Based on Jaap Lintvelt's Theory گونه‌شناسی روایت در رمان صداع سودابه فضائلی براساس نظریۀ ژپ لینت‌ولت 105 122 30601 10.22108/liar.2026.148011.2553 FA آیدا ایزدآبادی دانشجوی دکتری زبان‌شناسی، گروه تخصصی زبان انگلیسی و زبان‌شناسی، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران حسین رضویان دانشیار گروه زبان شناسی، دانشکده ادبیات و زبان های خارجی، دانشگاه سمنان، سمنان، ایران. مهناز کربلایی صادق استادیار زبان‌شناسی، گروه تخصصی زبان انگلیسی و زبان‌شناسی، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران Journal Article 2026 01 07 This study analyzes the narrative structure of Sodaa by Sudabeh Fazaeli based on Jaap Lintvelt's framework of narrative typology. Given that Fazaeli's works remain underexplored from a narratological perspective and the significance of examining innovative narrative structures in contemporary Persian literature, the study investigates how the four dimensions of narrative—including perceptual-psychological, temporal, spatial, and verbal dimensions—are represented within the novel's non-linear structure. The research method is based on structural analysis of the text and examines components such as point of view, temporal order, narrative space, and the narrator's discourse. The findings indicate that the dominant narrative type is homodiegetic auctorial narration, in which the first-person narrator recounts psychological and self-reflective experiences through a limited and mind-oriented perspective. At the same time, temporal and spatial flexibility, along with discursive diversity, enables the controlled presence of certain actorial features. Furthermore, self-reflective discourse, narrative disruptions, and suspense move the narrative beyond a mere representation of events and transform it into a reflection of the narrator's linguistic and psychological consciousness. Keywords: Narrative Typology, Jaap Lintvelt, Sodaa, Sudabeh Fazaeli. Introduction Sudabeh Fazaeli is recognized as one of the prominent writers and scholars of contemporary Persian literature whose works occupy a distinctive position due to their incorporation of mythological layers, symbolic structures, and interdisciplinary approaches. Her novel Sodaa, as one of her most significant works, represents an important example of narrative innovation in contemporary Persian literature through its mind-oriented, multilayered, and non-linear structure. Despite its literary significance and considerable potential for structural analysis, Fazaeli's works have received relatively limited scholarly attention in narratological studies. Previous studies have employed Jaap Lintvelt's theory in the analysis of various narrative texts and have demonstrated that narrative typology can provide an effective framework for explaining the structure and organization of literary narratives. Nevertheless, no independent study has yet examined the narrative structure of Sodaa based on the four dimensions proposed in Lintvelt's theory. Accordingly, the main objective of the present study is to investigate how perceptual-psychological, temporal, spatial, and verbal dimensions are reflected in the narrative structure of the novel. Furthermore, the study seeks to determine the narrative typological status of the work. The study is based on the hypothesis that Sodaa, through its mind-oriented perspective and self-reflective language, tends toward an auctorial narrative mode while simultaneously incorporating certain actorial features, thereby creating a hybrid and multilayered narrative structure. Materials and Methods The present study adopts a qualitative approach and employs a descriptive-analytical method based on Jaap Lintvelt's theory of narrative typology as its theoretical framework. This theory, through its emphasis on the relationships among the narrator, the actor, and the narrative world, provides a framework for analyzing narrative structures across different dimensions. By examining narrative components, Lintvelt classifies narrative types according to perceptual-psychological, temporal, spatial, and verbal dimensions, thereby enabling the identification of the typological status of narrative works. The corpus of the present study consists of Sodaa by Sudabeh Fazaeli, which has been selected as the primary text for analysis. Research data were collected through a close reading of the novel and the extraction of textual instances related to narrative components. The analytical process was conducted through an examination of the narrative structure and by correlating textual evidence with the dimensions proposed in Lintvelt's theory. In this regard, components such as point of view, modes of representing consciousness and perception, temporal organization, spatial structure, and discursive features of the text were examined. Subsequently, the relationships among these components were analyzed in order to determine the narrative typological status of the novel and explain the formation of its narrative structure. Research Findings The findings of the study indicate that Sodaa, within Jaap Lintvelt's framework of narrative typology, belongs to the category of homodiegetic narration and is characterized by the dominance of the auctorial mode accompanied by the controlled presence of certain actorial features. At the perceptual-psychological level, the narrative is constructed through a limited and mind-oriented first-person perspective, and the overlap between "who sees" and "who speaks" results in the representation of the story world through the narrator's unstable and psychological disruptions. The oscillation among memory, reality, and illusion further contributes to the multilayered structure of perception. Within the temporal dimension, narrative time is governed by the narrator's subjective experience, and the linear sequence of events is disrupted through temporal shifts, flashbacks, and mental associations. In the spatial dimension, places function less as sites of external action and more as reflections of the narrator's psychological, mental, and hallucinatory states, often assuming symbolic and metaphorical functions. At the verbal level, the variation of grammatical persons, particularly the use of the second-person pronoun as an alienated form of the "I," together with poetic language, internal dialogues, and multilayered discourse, creates a hybrid narrative structure. Overall, Sodaa combines auctorial and actorial characteristics to produce a multilayered and intergeneric narrative that transcends the boundaries of conventional narrative categories. Discussion of Results and Conclusions The results of the present study suggest that the narrative structure of Sodaa cannot be fully explained within the framework of a single narrative category. Although, according to Jaap Lintvelt's criteria, the narrative generally falls within the category of homodiegetic narration with the dominance of the auctorial mode, meaningful features of the actorial mode also emerge across different narrative layers. Therefore, the study's hypothesis regarding the hybrid nature of the narrative structure is confirmed. The analysis of the perceptual-psychological, temporal, spatial, and verbal dimensions demonstrates that these components do not function independently; rather, they interact with one another to form a narrative network directly influenced by the narrator-character's mental and psychological condition. Within this structure, time departs from linear organization, space extends beyond a merely physical function, and language operates not only as a medium for conveying events but also as a means of representing the narrator's lived experience and psychological state. Consequently, the narrative moves beyond the simple recounting of events and becomes a process of mental reconstruction of experience. The findings also indicate that Lintvelt's theory of narrative typology, in addition to categorizing narrative structures, offers considerable potential for the analysis of complex and multilayered narratives in contemporary Persian literature. From this perspective, Sodaa may be regarded as a significant example of an intergeneric narrative that transcends established narrative boundaries and creates a dynamic and multidimensional structure. مقالۀ حاضر به تحلیل ساختار روایی رمان صداع سودابه فضائلی می‌پردازد و چارچوب گونه‌شناسی روایی ژپ لینت‌ولت را به‌عنوان مبنای نظری برگزیده است. با توجه به فقدان پژوهش روایت‌شناسانه دربارۀ آثار فضائلی و ضرورت واکاوی ساختارهای نوین روایی در ادبیات معاصر فارسی، مسئلۀ اصلی این است که چگونه ابعاد چهارگانۀ روایتِ ادراکی - روانی، زمانی، مکانی و کلامی در ساختار غیرخطی رمان تجلی یافته‌اند. روش پژوهش بر تحلیل سطوح خرد ساختاری متن، شامل زاویه دید، نظم زمانی، فضای روایی و گفتمان راوی، استوار است. یافته‌ها نشان می‌دهد که گونه غالب روایت، متنگرای همسان است؛ راوی اول شخص، با پرسپکتیو محدود و ذهن‌محور، تجربه‌های روان‌پریش و بازاندیشانه خود را روایت می‌کند و دسترسی مستقیم به کنش‌های دیگر شخصیت‌ها ندارد؛ با این حال، بازنمایی دقیق برخی صحنه‌ها، تغییرپذیری زمان و مکان و انعطاف گفتمانی، امکان هم‌نشینی کنترل‌شده ویژگی‌های کنشگر را فراهم می‌کند، بی‌آنکه محدودیت‌های ذهنی و بازتاب تجربه‌های شخصی راوی نقض شود. گفتمان‌های بازاندیشانه، گسست‌های روایی، خطاب‌های درون‌روایتی و تعلیق، روایت را از بازنمایی صرف کنش فراتر می‌برد و آن را به بازتابی از آگاهی زبانی و روانی راوی بدل می‌کنند. بدین ترتیب، صداع نمونه‌ای برجسته از روایت ترکیبی در ادبیات معاصر فارسی است که مرزهای گونه‌های متنگرا و کنشگر را در چارچوب محدودیت‌های ذهنی راوی به هم می‌زند.

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