Showing 34 results for Textuality
Ali Mohammad Haghshenas,
Volume 1, Issue 2 (6-2008)
Abstract
In this article, I have tried to see whether one can find any signs of Mowlavi's influence in the poetry of Hafez. Two considerations have made me deal separately with the form and the content of works of the two poets; a) the deeply static and change resistant nature of the Persian traditional culture, which makes it difficult to say whether one is facing a case of shared culture or one of poetic influence; and b) the need for use of two theoretical standpoints (intertextuality and metaphor v. metonymy) to deal with content and form respectively. The results I have come up with are as follows: 1. As regards the content, one can detect more of an empathy arising from cultural unity rather than any trace of influence of one upon the other. 2. As for the form, one cannot help noticing that Hafez is exceedingly conscious of form, whereas Mowlavi pays little attention to it. 3. Whiltst Hafez leans heavily upon metaphor, Mowlavi is greatly inclined towards metonymy; one tends to ascension, the other to movement forward along the same route. 4. Finally, Hafez does not seem to have made any greater use of the form and content of Mowlavi's poetry with an eye to emulation than of the poetry of other poets, both previous and contemporary with him.
Mahmoud Rezaei Dasht Arzhaneh,
Volume 1, Issue 4 (12-2008)
Abstract
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.
Qadratolah Taheri , Majid Hoshangi ,
Volume 1, Issue 4 (12-2008)
Abstract
In the history of world's literature, there have always been authors who see literary works as a place to express human’s position in the society and try to describe man in relation to the nature and the world surrounding him and warn him of the perils this world may bring to him.Today's world is a world of unrest, tension and identity loss due to rapid technological changes and ideological instabilities. With machines overwhelming human life and his conformity to the cold tune of today's world, a distance has emerged between man on one hand and morality and spirituality on the other, and this has led him gradually to a severe critical atmosphere. Some creators of literary works have tried to show this reality in their works.They have employed creative literary techniques to show an intensified view of human position in relation to the current world in order to refer man to his inner nature and notify him of the peril and distress governing the society. Kafka, Ionesco and Saramago are among those writers who are mindful of the crisis man is experiencing in his modern and postmodern life and have reflected the situation in their works, the Metamorphosis, Rhinoceros, and Blindness, respectively. In this article we have used the intertextual approach to analyse these three works based on their structure and theme and have remarked their semiological relationship.
Volume 2, Issue 3 (1-2016)
Abstract
The concept of Quranic phrase بَعُوضَةً فَمَا فَوْقَهَا" : a gnat or a larger entity" has been always the subject of dispute among interpreters and translators of the Holy Quran. Apparently, the word "فوق: above" is not used in its common sense (higher and larger), rather, used in the parable sense, i.e. the opposite meaning "lesser and lower". The current study, applying an analytic-descriptive inquiry, using linguistics and referring to lexics, syntax, interpretation books, and considering the differences of words "«فـ»، «ما»، «فوق» : above, anything, or, respectively" based on intertextuality relations, assessed such implications in words of Islamic grandees (Hadith of the holy Prophet, Imam Ali, and Imam Kazem). The phrase has been neglected due to the intertextuality to get the meaning of the verse, and has been interpreted as "larger and higher". Also with regard to intertextuality of this Quranic phrase and assuming a phrase from Sermon 164 of Nahjo- al-Balagheh, it is indicated that " فـَ" in this phrase means " إلی : to " and should be translated as«تا» in Persian, implying an ascending trend. Moreover, reviewing many Persian translations of this phrase and providing the diagrams, it is revealed that the word«فوق» in Persian does not certainly tolerate two opposite meanings (in any case), and accordingly, only some translations remain faithful.
Volume 3, Issue 2 (6-2012)
Abstract
Both intertextuality and intermediality are discursive phenomena that impact the semiotics by defamiliarization or interaction of the media and the text. Intertextuality function since its appearance could be seen only in the literature and its contrast was only with multi-media novel. In various arts, especially in the cinema, theatre and cyberspace, it seems that they could not achieve to prove the transdiscursive technical and media situation – particularly in the criticism area – until intermediality is discussed. The intermediality shows interaction of various characteristics between different mass media next to each other keeping all characteristics of its signs. It has then a transposition by which the primitive characteristics are suspended and differentiated. The most important aspect of this media conflux is to establish a material and a form of expression next to another material and form. The purpose of this research – besides studying intermediality discourse – is to consider its function in the semiotics and arts as well. That is why having the intertextuality reread, the borders between text and media and, finally, the effects produced by interaction of the media are regarded to gain a proper theory about intermediality.
Volume 4, Issue 2 (7-2013)
Abstract
The present paper is an attempt to investigate the concept of intertexuality in Sharyar Mandanipour's Sharghe Banafshe, which is attained with the analytic reading of the text along with the concepts that this work shares in common with the other texts, demonstrating the fact that these similarities have been deliberate, intending to achieve a mystical purpose. The contemporary thinkers are on the belief that each text incorporates in itself the sources taken from various cultures and is replete with the signs leading to the process of text creation. They further believe that no text is created in isolation and that we cannot interpret and read it without considering its connection to other texts around. Accordingly, in Shahryar Mandanipour's Sharghe Banafshe, the traces of other texts are present. In fact, in this work, the author utilizes the signs by which one can find intertextuality in the text. The followings are some of the features that Mandanipour's Sharghe Banafshe has in common with the other works of art: the same plot, common mysticism, belief in being within nothingness, and the path of annihilation. Investigation and analysis of these similarities existent in this work with the other works is the achievement of this essay.
Volume 4, Issue 3 (12-2016)
Abstract
Volume 5, Issue 2 (7-2017)
Abstract
Abstract
Turkish writer Orhan Pamuk in his novel "My Name Is Red" by presenting a historical fiction story of a moment in the history of their country's artistic and cultural developments The contrast between traditional art and Western art in the form of a long narrative in the face of the Ottoman court painters Venetian painters (West) has written to the Heand fabls by referring to the distant past and telling stories that are rooted in history and dream and myiths, wider problems of modern society in a way one of the complexities of the world today is rebuilt, This open confrontation with the audience intelligently processing, This raises the question; indeed the author of the text intended to articulate what it is and what it is, how does Reproducing? Part of that comes from this study that The story ultimately is the paradox interpretation unwanted desires historical and cultural tradition and modernism. In a society where at least five centuries ago is still involved in this story. In this paper, we investigate and analyze the aspects of the interpretation of its dimensions. This paper includes descriptive analytical process would have benefited from the resource documentation library.
Volume 5, Issue 3 (10-2014)
Abstract
For the first time, Julia Kristeva, while exploring Bakhtine's ideas such as "dialogical logic" and their application to literary texts, introduced the term of "intertextuality". She considered intertextual relations and considerations as rationales in freeing the literary text from a limited semantic system. From then on, Kristeva and other post-structuralists such as Roland Barthes extended many of the ideas associated with "dialogism" and they approved that every literary text have a continuous and solid link with other texts. From this perspective, none of the text is lone and novel rather and emerged and derived from different and plural cultural origins. In this paper, for applying the intertextuality theory to the contemporary Iranian poetry, we have chosen poems of Qeysar Aminpour and believe that intertextual relations and considerations in his poetry have institutionalized a remarkable essence of dialogism and have substantially led to complete the meaning of his text. In other words, we believe that the intertextual considerations and relations in Aminpour's poetry fulfill two principal functions: "create the character of dialogism" and "help complete the basic implications of meaning". In this paper, apart from explaining the results which are obtained in the light of intertextual reading of Aminpour's poetry, it aims to examine the possibility of applying this theory to other poetry especially the contemporary Iranian poetry.
, S. Mostafa Mokhtabad Amrayi, Hamid Reza Shairih,
Volume 5, Issue 20 (12-2012)
Abstract
As intertextual studies penetrated in art, the intertextual scholars attention was drawn to various mechanism of text in intertextual analysises of Gérard Genette studies. Genette presented 5 types of these relations by proposing transtextuality. These studies gradually found their way to cinema. This article aims to survey hypertextual and paratextual relations-two component of transtextuality- in Iran’s cinema.Through facing cinematic adaptation, we will realize that how a movie text excerpts from other texts in different ways, whether they are literary texts or not! One of the basic issues of this research is to recognize all kinds of cinematic adaptations and their characteristics. In paratextual relations the text is placed on the threshold of the other text and it seems that its ratio to the release time is the most important issue in this regard. The objective pursued here is to introduce a model of intertextual relations which specifies types of these adaptations and paratextual time relations in iran’s cinma. For this purpose, after rereading review of literature of intertextuality, hypertextuality and paratextuality, we will distinguish intertext from intertextuality. Finally some of the movies of Iran’s cinema in 1370s and 1380s will be observed in order to achieve hypertextual and paratextual relations.
Volume 6, Issue 3 (12-2018)
Abstract
Sa’adi’sBoostan is one of the books illustrated in different ages by different painters. The painting“Begging man in front of Mosque” is one of the maintained illustrations in Cairo library which is illustrated by Kamalodin Behzad. The basis of the Behzad’s illustration is the Sa’adi’s poem which in this story uses the Hadiths and storied and narrations and is expressed in a poetic manner. On this basis, it is assumed that Behzad also used the narrations, hadiths, and stories in order to illustrate the Boostan. Using novel techniques of the work reading which are conventional as intertextuality at present and codified in Janette’s thought in details, one can provide a comparative analysis of the textual references in an inter-textual manner. In this research, one of the Trans-textual Janette’s typologies is used in order to investigate how the painting“Begging man in front of the mosque” by Kamalodin Behzad is related to the Sa’adi’s poem“Love and Passion and Drunkenness”.This research seeks to find the answer of this question: what other sources did Sa’adi use in this and what text and references did Behzad use in illustrating this poem, in addition, to compare the painting with the poem. This research is theoretical and fundamental in term of methodology and this is conducted in descriptive-analytic procedure and the note-taking was used to gather information. The research findings based on the intertextuality discourses imply that Sa’adi used the narrations and Hadiths in writing the Boostan.In addition, Behzad also used these resources in illustrating the text as the main origin of the images and didn’t rely only on the mere reflection of the story.
Volume 6, Issue 4 (12-2018)
Abstract
According to the intertextuality theory, each text is formed from the previous texts and cultures which are hidden in the present one and form its existence. Intertextuality theory is going to decode the presence of the previous texts in the present one. Based on this theory, this article wants to decode the Simultaneous presence of Quran and Kashf al-asrar (a translation and interpretation of the Quran) in Ahmad shampoo’s poems. The importance of this subject is in its efforts to show the role of the Quran in the rhythm of Iranian contemporary Blanc poem. Authors in this article have tried to apply the theory without considering the intentions of the poet and his ideology. The results of this research show that the Intertextual relationships between these three texts have been seen in the levels like external and internal music of poem (meter, rhyme), rhythm, Structures of sentences, Quranic horizontal style of writing.
Volume 6, Issue 5 (12-2015)
Abstract
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.
Fateme Heidari, Behnaz Amani, Bita Darabi,
Volume 6, Issue 22 (9-2013)
Abstract
According to the theory of intertextuality: a text is not created in isolation and cannot be read or interpreted without making references to the other texts. In reading the story of Paykare Farhad the influence of Boofe Koor is clearly noticeable. In fact, there are some signs presented in Paykare Farhad, which can be utilized to find the sources of intertextuality in the text. This Research by using comparative Methods based on the theory of intertextuality and analyzing the evidence attempts to prove the hypothesis, that the Commonality between Paykare Farhad and Boofe Koor that in some cases has got imitating nature is not accidental. And this reflects the influence of Boofe Koor in creating Paykare Farhad: Similar plot, same narrative style (stream of consciousness), the belief in reincarnation, the use of common symbols such as the blue Lily and… are some of the features that Paykare Farhad shares in common with Boofe Koor. The main achievement of this essay is investigation and analysis of these similarities, in order to demonstrate the intertextuality of these two texts.
Volume 6, Issue 22 (10-2018)
Abstract
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
Seyed Ali Ghasemzadeh,
Volume 6, Issue 24 (12-2013)
Abstract
One of those fictional streams is the tendency of women writers towards independence in writing and their attempt for establishing a kind of feminine writing style. According to some of its claimers, this style would be acquired through reconsidering patriarchal narratives and attempt to form a protest-critical movement with an approach of rereading mythical narratives. The novel “Welcome to the Hades” written by Belgheys Soleimani is a mythical-critical novel, in which the author as a representative of women population, has tried to present a kind of mythical model. Through this model, she tries to illustrate the ignored stand of women in society by some mythical narrations.It seems as if, according to her, ignorance of the role of women in patriarchal narratives such as war narratives, corresponds to the ignorance of goddesses in myths. Since mythical novels, as a result of following the mythical model, are character-based, the research has tried to focus on the main character of the novel and her spiritual-psychic status through the events of plot, and has based its theoretical framework on a consolidated approach towards theories of Transtextuality by Gerard Genette and archetypal analysis by Pearson. The result shows that the writer, by integration of Iranian mythical narrations like Rostam & Sohrab and Rostam & Esfandiar, and focus on Greek myth “Persefone & Hades”, tries to protest against the patriarchal process of mythical narratives in eastern and western parts of the world, and as a result to show that human society is only rescued by deconstructing male/female contrast and also revival of women rights. Representation of Rodabe in archetypal character of “Orphan” and her conversion to unsuccessful “Terminator”, shows the structural congruence of text and character with the theme of protest in the novel.
Volume 7, Issue 27 (9-2019)
Abstract
- Each nation has its origins in the manifestation of the beliefs and customs of its people. Literature is the mirror par excellence of each nation's past. The history of each nation or people is not discontinuous and, if a message of a text of folk literature is related to its historical realities, it will always be transmitted over time to the following periods and will be periodically reconstructed. One Thousand and One Nights- the prototype of world’s tale- has been always a remarkable source in folk literature. Throughout the history and over time, these stories have been emerged under diverse meanings and shapes. Farīd ud-Dīn Attār, the mystic poet- has taken the advantages of folk literature in order to express mystic thoughts. The existence of common signs and points as well as formal and content aspects of these tales show the inter-textual relations of both histories. It is possible to describe structural pattern of these stories by investigating their lyric structure. According to their theme, stories have different content (epic, romantic and mystic). In this research, the authors have compared two histories from Elahi-Nāmeh and One Thousand and One Nights according to Gérard Genette theoretical framework and inter textual relation by insisting on the their impressionability from folk literature.
Hossein Pirloojeh,
Volume 8, Issue 29 (3-2015)
Abstract
It is traditionally maintained in structural linguistics that by cutting verbal signs off each other paradigmatically, and enchaining some of them against the others syntagmatically, language system makes a body of text signify a certain meaning which is sustainable through contextual fluctuations. In line with this Saussurian assumption, and in an attempt to ascertain the authorial intention in literary works, many literary scholars have been mistaken rhetorics for criticism, albeit under the rubrics of structural poetics. This article, however, dismisses the futile attempt to pull certain meanings out of literary masterpiecesfor the purpose of investigating the origins of textuality in any work—let it not be shelved as great literature or literary at all. It aims to demonstrate why such mechanical procedures, prevalent in rhetorical studies, cannot account for textuality beyond the question of the thematic unity of a work; wherein textuality and plurality of text are suppressed in favor of the integrity and entirety required for works of verbal art. To account for the extensive significance of text and the abundance of its possible readings, a seemingly heterogeneous body of texts (including a piece of a poem, an extract from an article, and a vignette) has been analyzed within a reader-oriented framework. Drawing on Roland Barthes (1981), Asgari Pashaei (1995) and Christian Metz (1982), I have tried to move away from rhetorics toward a more proper notion of literary criticism.
Volume 9, Issue 1 (5-2021)
Abstract
Intertextuality examines the relationships between texts. Because in every text there are references to earlier works. It can be said that there is no new and original text. In intertextuality, two texts are compared: a text below and a rough text. Genette divides intertextuality into three categories, which can be examined in the form of the explicit, implicit, and implicit presence of one text in another. In this article, the authors first explore the roots of Rumichr's mystical anecdotes and thoughts in the first book of Masnavi in mystical, fictional, interpretive works, Davin poetry, and Arabic historical books. Then he divides these anecdotes into three categories based on Genetchr's theory of intertextuality. At this stage, the following text of Masnavi is specified. This text below should have both chronological and historical precedence over other texts and should be most similar to Masnavi's narration. This study shows that Rumi had read many Arabic historical, interpretive, fiction, and mystical books before him and brought them to the margins of Masnavi. However, in all the cases studied, he has changed mystical thoughts and previous anecdotes to achieve his mystical, theological, and moral goals. Meanwhile, Ibn al-Farid and al-Thalabi are more present in the first book of Masnavi than others in the field of mystical theories and anecdotes.
Keywords: intertextuality, intertextual reading, Rumichr's Masnavi, Arabic works.
Volume 9, Issue 2 (5-2018)
Abstract
The purpose of this research, which is conducted in a descriptive analytical and statistical manner, is to examine the criterion of cohesion and one of its components, the Normal Ordering Strategies in the poem entitled “Manzoome be Shahriar", and its effect on the extent of poem textuality. The principle of Grice's cooperation consists of four maxims entitled quantity, quality, manner and relevance. However, the producer may violate these rules to create implicatures. According to Beaugrande & Dressler, Principles of Grice's cooperation in text linguistics determinine the various aspects of cohesion and the level of informativity and textuality. The present study seeks to determine Which Grice’s maxim is the case of violation in the poem “Manzoome be Shahriar".What are the functions of this type of violation and how much does it affect the textuality of Nima poetry? . The result is that the violation of the Manner Maxim in the poem “Manzoome be Shahriar" is more obvious than the other three maxims and the poem has violated all three conditions. In the above-mentioned poetry, Nima violates the "shift from the first condition, "rearrangement the constituents" in the phrases and the sentences, " parenthesis”" and " apposition", the second condition is "excerpts" which goes with it and the third condition is away from the ambiguity that is denied by the use of grammatical ambiguity. Each case was analyzed according to the manner maxim violation frequency, and its contextual and textual factors. Rearrangement of the constituents has been due to Nima's nativism, the emphasis on the part of the word and other purpose-oriented goals. A rejection of "excerpts" is due to the novelty of the poem and its need for detailed explanations". Group and structural Ambiguity" have been due to the tendency of Nima to obscure the poetry. Thus, the functions of the violation of the rule of reasoning are the creation of a new poetic language, attracting the attention of the audience to a specific section of the sentence and stylistic and political considerations. At the end, the impact of the violation was measured on the informativity, intentionality and textuality. Nima has changed the rules of language in order to achieve newer language features, but by doing so, it reduces the cohesion and consequently, the informativity and intentionality of poetry. Since the use of ambiguous sentences, prolonging sentences and numerous center embedding, get the mind occupied by margins and reduces the " informativity ,the " intentionality " and "acceptability" of the word and, consequently, "textuality". Thus, in the present study, the principles of cohesion indicate the use or deviation of the Grice’s semantic rules by referring to Beaugrande and Dressler cognitive-textual approach in order to make their theory practical in better understanding of intentionality. While Beaugrande and Dressler have practically used problem-solving methods, global patterns and interactive planning to achieve Intentionality and textuality.