Comparative Reading of Two Short Stories "Perlashes" by Zoya Pirzad and "The End of the Story of Non-Bayda" by Ghada Alsman Based on the Narrative Discourse Analysis of Gérard Genet

Narrative discourse analysis is one of the most effective and reliable methods for structurally examining a story. By explaining and interpreting the ways a narrative text is conveyed, it offers a means to uncover the author's hidden meaning. The two short stories by Pirzad and Ghada Alsman, including "The End of the Story of Non-Bayda," employ a feminine language and style. Both authors focus on women's perspectives and attitudes toward society by centering their narratives on female characters. This article aims to uncover the hidden meanings within the text through a comparative study of these two stories, analyzing their narrative discourse techniques and identifying their structural patterns. The research method is descriptive and analytical, relying on library sources and a case study of two authors' story samples to identify the differences and similarities between the stories, independent of external influences. Ultimately, the study revealed that despite content differences, both stories are structurally very similar and suitable for narrative discourse analysis. Time return, repetition, descriptive detail, summary, external focus, general knowledge narration, dual focalization, and dialogue are among the most important narrative techniques used in these two stories. The story of Alsman centers on the mental and spiritual turmoil of the main character, whereas Zoya Pirzad’s story lacks Alsman’s intensity and instead attempts to depict a woman’s companionship with a man
Introduction
Narrative discourse analysis is one of the effective and reliable ways to examine the structure of the story, which provides a way to discover the hidden meaning and concept of the author by relying on the explanation and interpretation of the ways of paying the superstructure of a narrative text. The two short stories "Perlashes" by Pirzad and "The End of the Story of Non-Bayda" by Ghada Alsman have feminine language and style, and both authors have tried to show the attitude of women towards society by focusing on the character of women in their stories.
Refreshing women's stories through new linguistic approaches, particularly discourse analysis, not only highlights the role of the structural system of the text in each story but also demonstrates the author's skill in using this system to convey meaning. Additionally, it showcases the efforts of female writers to assert their scientific and cultural identity and integrity. They also demonstrate their relevance with modern currents. Each story follows a specific form, format, and structure that serves as a container tasked with conveying meaning. The extent to which the author has been conscious in choosing their own format and attentive to new structural knowledge can be assessed through a structural review of the text.
Method
This article aims to uncover the meaning and concepts embedded in the text by comparing these two stories, analyzing their narrative discourse techniques, and identifying their structural patterns. The research method employed is descriptive analysis, utilizing library sources and case studies of two authors' stories. It identifies the differences and similarities between these stories without focusing on their influences. Ultimately, the study finds that, despite differences in content, both stories are structurally very similar and can be analyzed through the lens of narrative discourse analysis.
Structuralist knowledge, which respects the independence of the text and focuses on the body of the story and its patterns, aims to explain how to analyze a narrative text using simple and purposeful language while identifying its structural and linguistic features. The narrative represents the knowledge that emerged within the context of structural science. It can be described as "a new kind of literary structuralism that is less concerned with the fundamental structure of stories and more focused on the structure of the narrative itself." The structure of the narrative refers to the manner in which stories are recounted in the broadest sense of the term (Bertens, 2008: 86). Structuralists analyze stories as narrative messages to uncover the processes of narrative formation and have developed specific methods for examining narratives. Prominent figures in structuralism, such as Roland Barthes, Tzvetan Todorov, and Gérard Genette, have contributed systematic approaches to studying narratives and identifying the underlying structures and mechanisms within narrative texts.  In the meantime, by presenting the pattern of narrative discourse, Gérard Genette sought to study the complex relationships between discourse and the story it aims to recount.  In analyzing a story, he employs terms such as time, timing, narrative center, generalist narrator, characterization, dialogue technique, and narrator's position within the story, considering several modes for each. Given the significant similarities and differences observed in the texts of the two stories, it is important to examine them through the lens of the American comparative school.
Results
Both stories are written in a feminine style and point of view, with the explanation that the character of Alsman’s story is demanding and troubled. Almost all the techniques proposed by Genet for the structural analysis of a narrative text can be traced in both stories. From the point of view of narrative time, although Pirzad's story follows an irregular pattern and constantly fluctuates between the present and the past, it has less internal turmoil than Alsman's story. The mental confusion of the character of Alsman’s story, by focusing on repeated repetition, has made some scenes bolder. But the repetition in Pirzad's story is mostly based on the events of the story and depending on the occurrence of each event, it is also represented in the story. Description plays a key role in Alsman's story. But in Pirzad's story, it is somehow superfluous to the story and is mostly used to explain the words. The use of omission and summary in both stories, along with description and dialogue, has caused the acceleration of the story to not reach a negative point. In the beginning, both stories use an omniscient narrator outside of the story, but Alsman's story is changed from the third person to the first person of the participant in order to attract more attention and companionship of the reader. The speaking element is more dominant in Pirzad's story, but Alsman's story, since the narrator is in the first person, has tried to be accompanied by the least absence of the narrator from the story.
 
Conclusion
Temporal returns, repetition, descriptive break, summary, external focus, omniscient narrator, double focalization and dialogue element are among the most important narrative techniques of these two stories. Alsman’s story is based on the mental and spiritual turmoil of the main character, but Zoya Pirzad's story is devoid of the sharpness and frankness of Alsman’s accent and has tried to depict a kind of companionship between a woman and a man.
One of the concepts discussed by Tone and Tone is that narratives are divided into two types: homogeneous and heterogeneous. If the narrator (third person) is outside the story, the narrative is heterogeneous. Conversely, if the narrator (first or second person) is inside the story and recounts events about themselves or another character, the narrative is homogeneous.  The story of Pirzad largely reflects an uneven world in which the narrator remains detached, recounting events as an observer rather than an active participant. The only exception occurs when Morad's mother recounts the introduction of Murad and the song; in this instance, the narrator becomes an actor within the same world.  In the story of Alsman, the majority of the narrative is told from within the story itself. I become part of the story when it is narrated by the central character, who is also a theologian. This story also depicts two identical yet unconscious worlds, reflecting a dual or variable center.