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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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This paper examines the correlation among different aspects of speech and thought representation with a focus on free indirect discourse. The paper first examines Genette’s views regarding speech and thought representation and then focuses on the analysis of various types of speech and thought ranging from the most mimetic to the most autodiegetic. I will then focus on the free indirect discourse and try to shed light on it by resorting to the theories of Bally, Toolan and Machill. Our analysis demonstrates the fact that the linguistic features of FID can represent the thoughts and ideas of characters and narrators of story in a special way while they also bring about a kind of discourse replete with irony and ambiguity.

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Beyad ,M.,Ph.D
Nemati .F.
 
Abstract:
 
Focalization is like a prism through which the events and existents of the story’s fictional world are seen. As a literary term, Gerard Genette first used it in order to differentiate between "narrative mood" and "narrative voice". These two concepts respectively deal with these questions: "who sees?" and "who speaks?". When we read, we hear the narrator's voice; he is able to report what he himself sees and what the characters see. Assuming the transposition of another agent's perceptions in the narrator's report is what creates differences and divergences between various points of view. Moreover, the introduction of this term justifies the polyphonic nature of narrative since it deals with the various perspectives feeding the narrative.
 

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Every story is formed from a strong link between two elements of surface and structure. In structuralism, narrative is considered as a structure, which has been studied by theorists such as Algirdas Julius Greimas (1917-1992) to find its components and provide a basic pattern for this structure. Algirdas Julius Greimas was a structuralist and semantic theorist, also a follower of Vladimir Propp (1895-1970). He introduced the theory of Actantial model for the narrative. This model aims to reveal the role of the characters of a narrative, and helps to indentify the characters by linking action and character to each other. In this research, we studied the Ilahi-name of Attar based on the modern literary theories including structuralist narratology, semantic pattern of Greimas, and morphological pattern of Gerard Genette. In addition, the narrative function of two stories of Ilahi-name, the “Pious Woman” and “Daughter of Ka’b and Her Love”, has been interpreted according to the narrative model of Greimas. We further studies stories by recognizing the situations of the narrative discourse (based on the focalization theory of Gerard Genette), and also the plot, i.e. Actantial model (six actants: sender/receiver, subject/object, supporter/oppositionist), to analyze the tales based on semantic square (le carré sémiotique).

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ntroduction
Since about a century ago, Iranians have been careful in facing the social developments of other nations and the implementation of the "development" paradigm in Iran and third world countries. And gradually their thinking has reached a degree of maturity to start an official effort to replace this paradigm.
A review of Iran's social history from 100 years ago until now, clearly indicates that Iranians have continuously observed the social developments of other nations and with the coming of the Pahlavi period, they witnessed profound spatial changes in Iran.
These developments took an organized form especially during the second Pahlavi period, and many programs were prepared in the field of administrative organizations, buying satellites, establishing a nuclear power plant, building big dams, creating a modern army, etc. The implementation of these programs in several decades was followed by a national review of what had happened. The general understanding of the society based on the emotional wisdom of what had happened can be summarized in a few basic points.
What has happened is pushing Iran towards a country with mass consumption and leading to dependence on foreigners.
The class gap and the population of the poor have increased drastically every day.
Nomadism and muralism are in danger of extinction
Environmental vulnerability has become a serious problem
Iran's cultural and historical identity has been exposed to destruction and its major change has manifested as a fundamental attack )Crossing identity, history and security(.
Theoretical foundations and objectives:
This article followed a comparative logic and mostly analyzed the differences between the development and progress paradigms. Also to run the progress paradigm it is tried to benefit from the executive structures of the development paradigm
Methodology
In order to achieve the goals of this research, at first, the bases and foundations of the development paradigm (Rusto in America), the land use paradigm (the French and the Germans) and the regional foresight paradigm (the European Union) in terms of epistemology are investigated, and according to the definition of paradigm according to Cohen, the semantic variables of each paradigm are indexed. The semantic variables defined for each paradigm were:

• The Hometown  of paradigm

• The Doctrine of paradigm
• The goals of paradigm
• The final destination of paradigm
• The executive subsystems of paradigm
• The ideological contexts of paradigm

After recognizing each of the semantic indicators of the paradigms, the recognition of these semantic indicators was discussed in the paradigm of progress. This work was done based on the latest version of the Paradigm of Progress document at the Iranian Islamic Pattern Center. In the next step, to compare these paradigms with each other, “Nich method” was used to calculate their spatial distance. The degree of difference of each in the field of Hometown, Doctrine, and Goals was determined. This comparison has followed “Jeanette's method” of analysis.
Findings:
Investigations showed that the four paradigms in spatial planning have sometimes fundamental differences in terms of Hometown, Doctrine, and Goals. These differences in their Hometowns, Doctrines, and Goals are different from what is discussed in the progress paradigm of Iranian society, and therefore, a review of the theoretical foundations of social and spatial evolution in Iran requires a serious revision.
Conclusions:
For the implementation of any paradigm, three systems (scientific-philosophical, governance and cultural) are necessary Which can generally be summarized in the following cases:
Borrowing the executive organization of the "development" paradigm is one of the valuable experiences, the use of which can reduce the fifty-year period of the progress paradigm to one or two decades.
Certainly, the implementation of the progress paradigm cannot be implemented without having three systems of "governance", "scientific" and "cultural", and this is the most important achievement of the development review and international experiences of several decades in the development paradigm.
In the field of philosophical and scientific system, although the combination of the field knowledge and the university is a suitable combination, but the change in the content is necessary both in the field of knowledge and in the university. Iranian scientists and researchers in both areas should define indicators that can continuously and intelligently evaluate the paradigm elements and the extent to which they have been achieved.
In the realm of culture, the tricks and techniques of the evangelists are very rich and only updating them and their form of presentation should be adapted and updated according to the taste of today's societies. In this matter, the main axes of the norms of the progress paradigm should be placed in the agenda of the cultural trustees and help in all processes that can transform these norms into social behavior at various scales.

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Historical texts’ influencing and being influenced by one another have provided special conditions for participation and dialogue among them throughout history, so their title have been also efficient . The titles of historical texts are influential in the creation of their subsequent historical texts’ titles. Therefore, these titles have been in a particular intertextual relationship during their lives.  This research has analyzed the titles of historical texts from the early Islamic period to end of Afsharid period according to Genette theory. The present study seeks to answer this question: what is the intertextual relationship among titles of historical prose books with each other and with text of these books. According to Genette’s theory, title is a paratext that is the entry threshold to text, i.e. in a position that is neither completely independent of the text nor entirely dependent on it. And this position distinguishes it from other parts of the text. Demonstrating Trans-textual relationship of titles of historical prose books in intertextual, arcitextual and Hypertextual types, and the intertextual relationship between titles of historical prose books and their texts and influencinge of titles from the style in which historical prose are written are the main achievements of this article.

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Abstract Based on the intertextuality approach, no text is self-sufficient and any text is an intertextuality of previous texts and at the same time would be an intertextuality for following texts. In this article, we will introduce a collection of fairy tales of the book “One Thousand and One Days”. As Petit de la Croix suggested, this book is a translation version of the book “Mokhles” by Darvish which is a collection of Persian tales. Afterward, we will explain this book compared to the Iranian folk tales, based on the transtextuality (Intertextuality) approach of Gérard Genette, we also will explain the Intertextuality relationships of this book. Based on the Intertextuality relationships, it is concluded that de la Croix had access to some pretexts of Iranian folk tales, including hypotexts that “Jawami ul-Hikayat“ is compiled and translated based on them. It can never be said that the roots and foundation of “One Thousand and One Days” tales are fake, inventive and imaginative of de la Croix’s pen. Keywords: One Thousand and One Days; Alf Al-nahār; Intertextuality; Transtextuality;Gérard Genette

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Abstract Texts are linked and connected together with specific reasons and motives and in many different ways. Texts about the general history which are written throughout the history are not exceptions. Shahnameh is a pre – text that its presence in the public historical writings indicates an inter‌textual relationship between these two texts from different and at the same time related branches. So the research question in this paper is that how has been the intertextual connections between Shahnameh and public historical writings from the fifth to mid-eighth century? For this purpose, we took advantage of Gerard Genette’s intertextuality theory, which is a perfect theory for finding all aspects of an intertextual relationship. The main purpose of this research is to discover and analyze different transtextual relations with Shahnameh in public historical writings. The research methodology is library research and the data analysis method is qualitative. The results obtained from the study indicate that historians knowingly and consciously and under the influence of their social situation and the Supportive institutions have established intertextual relationships with Shahnameh by writing public historical writings to achieve their own goals and motives ; and in this regard, they have taken advantage of four types of transtextuality, that is intertextuality , architextuality, paratextuality and metatextuality, respectively from the one used most to the one used least.

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There seems to be a strong dualism throughout the novel, Chess with the Doomsday Machine, both in the images of the text and its narrator’s viewpoint. The story revolves around the eight-year Iran-Iraq War and purportedly follows the typical novels of the “Holy Defence” genre in which the most significant theme is the human choice of divine sacrifice; on the other hand, there are elements of an absurd worldview in the text in which wars and the entirety of the creation are viewed fatalistically. This dualism gets stronger in the paratexts of the novel. Paratexts, in Genette’s theory, are the surrounding elements of the text by which the text proposes itself as a book to its readers, and more generally to the public. While inner paratexts of the studied novel, like the title, the cover, and its appendages and epigraphs show an absurd viewpoint, its outer ones, such as the dedication of the work, notes of the author and the publisher’s propaganda, try to misrepresent it as a work with a “Holy Defence” discourse. Some of this dualism is because of the open ending of the story and some is due to the authorial out-of-text decisions such as choosing the publisher, Sure-ye Mehr, that is famous for its ideological books. It seems that the dualism of the paratexts of Chess with the Doomsday Machine is a result of the author’s insight into the different types of readers whose satisfaction has been at the center of the author’s attention.

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“Non-creative Repetitons” in Simin Daneshvar’s Stories
Analyzed through Genette’s Hypertextuality
This research deals with five stories written by Simin Daneshvar, and it tries to investigate various types of hypertexutality.Through this it becomes clear how texts influence each other. The applied framework of the study is Genette’s definition of hypertexuality.
The investigated various types of hypertextuality in these five books include parody, adaptation, travesty, restatement and recreation; of these types , we have found, the rarest is travesty and the most common one is restatement. This research has found out that in the process of her writing Daneshvar parodies and repeats her own other books. This repetition reveals itself in the subject matter, the situation and the characters. Among the repetitions, characters are the most repeated ones.
This is a descriptive, analytical library -based research and the data are presented through tables.
Key words:
Non- Creative Repetitions , story, Daneshvar, hypertextuality, Genette

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Intertextual links in the formalism theory, intertextuality theory of
Kristeva, Trans-textuality theory of Jennet and the theory of Bloom's
anxiety of influence, are some of the new approaches to reading and
literary criticism Under these approaches, none of the text is
independent of others, and each text is an intertextual derived from
earlier texts that will be present in the later texts as well.
Gérard Genette, one of the theorists in the field of intertextual
links, has classified his trans-textuality theory into five dimensions,
one of which is the intertextual axis. He divided intertextuality into
three types intertextual links i.e. open-intention, hidden-intention and
implicit and has defined and assigned conceptual realm of each of this
interpretation.
Considering the fact that the outcome of teaching poetic art led to
embodiments of intertextual links in Islamic, Persian and Arabic
rhetoric, this paper using descriptive-analytic approach, makes a
comparative study of three-dimensional intertextuality of Janet and
parts of Islamic rhetoric theory. The research results show that some
literatrary components, such as guarantee, allegory, resolution, and
adaptation as well as some of literary robberies in Islamic rhetoric are
consistent with models from three-dimensional intertextual patterns.

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Although narrations have been at the center of attention for a long while, precise discussions in this regard were presented as of the waning years of 20th Century. One of these discussions is the Structural Movement which studies the status of narrator in the narration and the relationship between watching and speaking in narrations. One of the most prominent theorists in this field is Gerard Genette.
Meanwhile, parts of Holy Quran state narrations with a unique artistic form, which maintain a wide-scale anecdotal-literary capacity for psychological studies. Hence, in this research, the narration of Joseph has been analyzed and studied based on Genette’s theory. Although this narration has been stated in Holy Quran based on educational and guidance goals, all the factors considered by Genette such as diversity in the Structural approaches, diversity in expression and reconsideration of actions; and usage of different structural approaches are evident in this narration.

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Fereshteh Rostami

Abstract
 
The point of view is a window which is opened by the author for the reader for the latter to pay a glance at the events unfolding throughout the tale. The narrator is valued and treasured as long as he maintains his own voice. Whenever the narrator turns autonomous, the narration is harmed and the tale becomes unilateral.
This report has been carried out within the framework of categorization made by George Genette, within which five points of view in the stories authored by Daneshvar have been assessed. This article intends to realize that up to what extent the point of view in these tales has impacted the means used by the narrator and in regard to which point of view, the author has rarely interfered in the story. This article has come to realize that there are two types of voice in the said tales. Firstly, it is the voice of character or narrator which builds up the inner-text voices, and secondly there are the trans-contextual voices which are added to the text. In some points of view, there exist trans-contextual voices, and in other parts, inner-contextual voices are maintained.
The collection of data has taken place upon the assistance of library techniques. This process has been assessed with the descriptive-analytical methodology. At the end, the statistical graph will display the point of view and the scattered trans-contextual voice in texts.
 
 

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Finding similarities and differences in historical and literary writing may be defined in the interdisciplinary studies. In this research, the narrative aspects of killing places in Ashura were analyzed from viewpoint of Gerard Genette's narrative time. The object of study is Holy Ghasem. The research has descriptive- analytical method, and the following items are the considerable results of research: (1) in the field of phenomena order, non-accredited historical phenomena include the most part of Anachronies mentioned in semi-narrative killing places (historical- fictional).The most different type of anachrony is mentioned in Moharegh Algholoub which is non-diegetic traditionally remained in today eulogies; (2) in the field of phenomena duration, the most part of narrative decelerations is non-accredited historical phenomena which is the product of literary processing in word; another method of narration prorogation is the mixture of poetry and prose; then the description of details of some phenomena including accredited and non-accredited has reduced the acceleration of narration. The most dramatic scenes are mainly related to the fight scenes; (3) in the field of phenomena frequency, the most repetitive frequency is the integrated product of poetry and prose which is the repetition of prose in poetry.

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Alexander Pushkin, the renowned writer of the 19th century and the golden age of Russian literature, has presented original and unparalleled works to world literature with his unique literary style and language. In the present study, after elucidating the theory of intertextuality by Gerard Genette and considering the requirements of this theory and employing the method of content and thematic analysis along with comparative reading of narrative elements, the famous tale “The Dead Princess and the Seven Knights” by Alexander Pushkin, the illustrious poet of the 19th century Russia, has been scrutinized and critiqued. The analysis indicates that Pushkin's tale has intertextual relationships with numerous texts including three tales: “Sleeping Princess” by Vasily Zhukovsky, “Snow White and the Seven Dwarfs” by the Brothers Grimm, and “Sleeping Beauty” by Charles Perrault. In other words, it serves as an echo of its predecessors. The comparative critique and analysis of these tales, besides confirming structural and narrative similarities among them, suggests that they all share a common underlying theme despite their Russian adaptations: a beautiful girl cursed by envy or revenge falls into a deep sleep but is ultimately rescued and the tale ends happily. The intertextual relationships between the tales leave no doubt about their intertextuality for Pushkin's tale, although Pushkin, by adhering to Russian narrative traditions, has deviated from mere imitation and infused the Russian spirit into this tale.
 

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This study examines the dialectical mechanism and absurdity, which have occupied the bulk of concerns of contemporary writers, thinkers and philosophers. Zakaria Tamer, who begins the song "Blue Coarse" with a philosophical vision interspersed with absurdity, realistic black criticism and rhetoric toward those influenced by materialism and machinations in this degenerate world where original values and ideals were lost. As such, the basic problem of the research is to determine the role of the text's semantics and its thresholds which help readers absorb the subject mentioned in "the Blue Coarse" to plot based on the theory of French critic Gerard Genette, who shows his critical experience of relations and transcendental transcripts in different ways. The most important findings of this study are based on the descriptive-analytical approach. The title and effectiveness of color, text, space, time, and the character in the semantic field based on the coding and displacement through metaphors, as receptive mechanisms, illustrates the ability of Tamer in the field of creativity and the reflection of absurdity that makes man depart from humanity and self-purity. Many of them seek to rebel the pressure and change the harsh conditions and others because of their sense of frustration and despair that are subject to surrender from the absurdity of life that is alienating, sinful or suicidal.

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In Genette's narrative discourse, both the story and its way of narration, namely discourse are emphasized and narration is regarded as an interaction between the story and discourse. In this approach, discourse has three aspects: form, tone and time that is consisted of discipline, continuity and repetition. Using a descriptive-analytical method and by investigating the structure of time, narrative focuses, the distance between narration and narrator's expression in Umm Sa'd novel, in the present study we try to analyze narrative text and determine the extent of application of this approach by Ghassan Kanafani with the purpose of forming the narrative system and structure of the story. It is supposed that the novel is involved with interference of triple time periods and fits this hypothesis; hence it is demonstrated that due to focusing on descriptive pause at the beginning of the story, the story's acceleration is negative and non-important events are removed at the end parts of the story, as a result the narration gains a positive acceleration; however, the dominant frequency is singular in this story and repetitive frequency has been used for meaningful emphasis in novel's plot. By violating the time's linear routine, the author has used different types of retrospective and prospective anachronism but simultaneous narration that manifests as dialogue and debate between two parties has the most frequency and this caused a realistic space within the story and reduction of the distance between audience and text, as a result Kanafani's narrative dynamism is enhanced.