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The contemporary literary theorists have examined different literary genres from different viewpoints. Among them Mikhael Bakhtin, a distinguished Russian literary critic, is a standout. Highlighting his key concept of dialogism, Bakhtin from among different literary genres describes the novel, specially Dastayovski's novels as possessing dialogic or Polyphonic quality. In such novels, the voice of the narrator isn’t dominant but is beside other voices. Among Persian literary classic texts, Masnavi – ye Manavi is one of the few texts in which the debates and dialogues between its story allegorical characters is considerably conformable to the components Bakhtin considers for dialogism. We raise and describe this conformability in this article.

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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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Based upon the major events of the past decades in the field of
comparative literature, there seems to be a need for a new definition of
comparative literature and comparative criticism. In this essay, the
new characteristics needed for the new definition of comparative
literature and the approaches and methods of comparative criticism
(especially interdisciplinary approaches) will be outlined. The
researcher believes in order to understand these new characteristics,
one needs to analyze and re-read the concepts of “the other”, “border”
and “identity”. With the advent of translation theory, semiotics,
narrative theory, postcolonial theory (especially diaspora theory) and
cultural theory, there appeared drastic changes not only in the field of
comparative studies but also in the methodology of comparative
studies. Therefore, the challenge we face at the moment is the
explanation of the approaches and methods based upon the new
definitions. Consequently, three major theories and methodologies are
proposed and it is claimed that the intertextual theory and methods
match best with the new definitions of comparative literature.