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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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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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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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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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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.