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Assistant Professor Of  Persian Language and Literature Shahid Chamran University of Ahvaz rn rn rn   rn rn rn According to the  intertextul approach there is no text that is self-sufficient; rather,in this approach, it is supposed that every text is an intertext from previous texts and for following texts. In this essay, first different aspects of text and intertextuality are explained and then, a tale from Marzbanname is analyzed according to this approach. At the end,it has been shown that as Barthes, Bakhtin, Keristova, Genette, Todorov and other adherents of Intertextulity approach have emphasized, there is no authentic and original text; therefore, the mentioned tale from  Marzbanname , like other texts, is a retelling of previous texts.

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Based on Mikhail Bakhtin’s point of view, the Dialogism, novel, more than anything else, is a linguistic phenomenon, which has a fair correlation between its genuine and its feature of heteroglossia. Language expresses the different social and ideological approaches of the utterances within a translinguistics framework. So the novel compiles all of these diverse social and ideological discourses and utterances. Different Character zones and discourses of the narrator, and embedded genres create a world of different voices and ideologies. From a feminist critique perspective (Gyno criticism), the novel Cheraghha ra Man Khamush Mikonam (I turn off the lights), applies social and cultural differences in different discourses to indicate the writer’s womanly standpoint through various social languages and utterences, and therefore, makes grounds for the promotion of the womanly voice in a multi-linguistic system. Here, through a descriptive-analytical method, we are going to study the “Heteroglossia” feature in the novel Cheraghha ra Man Khamush Mikonam written by Zoya Pirzad in the light of Bakhtin’s dialogism, and also from the Gyno criticism point of view, to analyze the diversity of discourses in this womanly novel. In this novel, the womanly awareness is indicated by the writer, the double-voiced discourse consists of the writer’s double-voice discourse and that of the narrator, embedded genres and the Character’s zones display the different social and cultural levels available, which also result in the appearance of a womanly world in the novel.

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Nathalie Sarraute belongs to the the modern novelists who take a discrete- fragmentary and physical-intuitive outlook to the representation of the human psyche. In fact, according to Sarraute, it is only within dialogism that the actualities of the human psyche manifest themselves, and such actualities stem from strains and stresses between characters which run through the underlying subspace of the dialogues—what Sarraute calles sub-dialogue, or tropism. We claim that there exists a distinct quality in Sarraute’s tropismes which detaches the reader from the horizontal axis of the narrative and leads him/her vertically into a veiled abstract world, a quality which we call “linguistic transudation, that is, a transudation which disconnects one from the stereotypical level and leads him/her to the veiled underlying world by rendering the imperceptible tropismes tangible. In this article, by referring to Mikhail Bakhtin insights on dialogism and polyphony, we demonstrate how our “linguistic transudation,  as a linguistic technique, maps into to the writer’s view of  discourse  and the negation of the Cartesian Supreme Subject. In fact, Sarraute  dialogism as fragmentary and discontinuous conception shows the resemblance with the principle of discontinuity as a philosophical term in phenomenology.

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Most Iran-Iraq War novels are considered to be an ideological device for the “Holy-Defense” genre; however, in the recent years,a number of distinct polyphonic novelshave emerged, one of the most important of which is Ahmedzadeh’s Chess with the Doomsday Machine. Bakhtin’s distinction distinguishes between monologue and carnivalesque novels. Polyphonic novels, like carnivals, act as a centrifugal force supporting nonofficial dimensions of the society. Images of food and carnal elements, cursing, reciprocal relation between characters and settings according to the double aspects of carnival, and rebellion against a victorious closure by postponing the narrator’sactions distorts the linearity of narration common in in the Holy-Defense novels. 

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  Although Bakhtin did not formulate any theory of subjectivity per se, the problem of subject or, as he called it, “self” formed one of his main critical interests. This study focuses on his definition of “dialogic self” and the different notions of subjectivity discussed in his books in the course of his twenty-five year career. For convenience, five stages are introduced through which Bakhtin has constituted his definition of subjectivity by taking a piecemeal approach to the issue. These stages are labeled as: ethical, aesthetic, novelistic, carnivalesque, and dialogic subject. Except for the carnivalesque stage, each of these stages is built on the modification of the previous stages about subjectivity. It was only in the carnivalesque subject that he discusses a new characteristic for the subject—a characteristic that was eventually omitted in his final paradigm. Two of the contemporary theories of “dialogic self” predicated on Bakhtin’s ideas are also briefly discussed in this study. One is Hermans’ theory of subject-space/subject-position, and the embodied dialogic subject, and the second is the later developments on Hermans’ theory of the dialogic self.

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Among the various types of rhetorical figures applied in Shahnameh, metaphor is one of the most effective examples of rhetorical devices. Ferdowsi has been able to imagine, exaggerate, move and depict it at the same time by using it as a means to create discursive space and dialogic atmosphere.
Since we encounter with the text of discourse in the Shahnameh, we find that every word is a way  toward the  perception of the former and a way to perceive the word of the future. Each word treats another word or it targets the belief system of the target audience.So, braggadocio is a dialogic- discursive system in which metaphore plays a key role. According to Bakhtin's theory, there is a close relationship between dialogue and polyphony, and language is also "dialogic" in its nature, regardless of what the answer will actually be.
Polyphony is also a dialogic feature, and Shahnameh is also a Polyphonic- dialogic text. The purpose of the present research is to investigate the relationship between the braggadocio of Shahnameh with making narration by relying on Bakhtin's dialogic theory and its relationship with metaphor, and to show how this feature interferes with the restoration of action, suspension, and delay. It can lead to a dialogic atmosphere and extend it to transfer actions.
 

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Focus on the other person is the main pillar in understanding the core of Mikhail Bakhtin’s anthropology. Although in the novel philosophical viewpoints, the need for the other as a subject has been emphasized; Bakhtin, through the expansion of the meaning and status of the other person, establishes the pillars of his anthropology on the interaction between oneself and the other, while putting one step further and attaching importance to the other person. He presents the theory of the other person. In the view of Bakhtin, the theory of another person draws new horizons in human bonds and their interactions within the framework of mutual, sympathetic, and equal relations in the contemporary era. In the mystical anthropology, the topic of the other person has always been attended, such that one can say mysticism revolves on the other person.
This article intends to research the meaning and status of the other person in the philosophical anthropology of Bakhtin and in mystical anthropology, to show that Gnostics, based on an ethical approach, and Bakhtin, with a social approach, have emphasized on perception of the need for existence and preference of the other person in human life.

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Mir-e Nowruzi is one of the ancient carnival performances of Iran, which has either disappeared, or rarely occurs today. Unfortunately, not enough literature has been written in order to preserve the importance of this ancient drama as it deserves. In Iranian historiography, there are few and limited documents that reliably report how Mir-e Nowruzi performance was held. On the other hand, after studying the sources and researches in line with the topic of the research, the authors found out that none of the previous researches have been done on the subject of “performative” aspects of Mir-e Nowruzi festival. Despite all the valuable efforts of writers and researchers of Iranian dramas, including Bahram Baizaei, Sadegh Ashourpour, Farideh Shirzhian, Dawood Fathali Beigi and others, unfortunately, this type of drama has not been sufficiently addressed in Iran, and with the passage of time, the danger of Iranian shows being forgotten and faded is felt more than ever. This will lead to the separation of the contemporary Iranians with their rich and authentic culture. Therefore, research in this field seems to be vital for researchers in the field of culture and art of Iran. Throughout the history of Iran, many poets, including Hafez, have written verses about Mir-e Nowruzi's play, but none of these poems and references have dealt with describing the event and its details, and it seems that these references are only symbolic exploitations of the poets.