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Abstract The core concept of this article is the comparative study of the reflection of a common theme in the works of artists from different cultural backgrounds. The theme of temptation is common in the works of two artists studied here. "The temptations of Saint Anthony" by Hieronymus Bosch, the Flemish painter in the early sixteenth century and a miniature from Saadi's Bustan, "the Prophet Yusuf rejects Zuleykha" by Kamaledin Bihzad, the Persian master painter in the late 9th and early 10th century Hijra (early 16th century). The article studies the approach of each painter to the concept of "Temptation" and their perception of this phenomenon, how each one has tried to express their perception and the visual narrative they offer their audience. Through these comparisons and analysis, the authors try to examine the cultural differences as well as common cultural grounds between the Islamic and Christian cultures in one hand and on the other hand the artistic differences and similarities between the Flemish and Iranian painters' views.

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Abstract TAZKERAT - AL - ULIA is the only work by Farrid - Al - Din Attar in prose form. It expresses the biography, ideas and deeds of seventy two mystics and sofism. The reflection of historical, political and literary events affairs and creation on the works of Attar in particular , and Farsi literature of that time in general is quite interesting. In order to study the dramatic aspects of Tazkerat –Al –Ulia it is necessary to read, analyse and evaluate them in a different set of literary and artistic terms, that is to say dramatic and theatrical terms. The elements of theatre contain elements of play, performance, dramatic devices and techniques. In order to reveal the theatrical capacities and potentials of Tazkerat – Al - Ulia a selection of its narratives (three stories) 1 - Fozail Ayyaz, 2 - Rabee Advieh, 3 – Hosein – Ebn - Mansour Hallaj is in the center of present study and their theatrical and dramatic aspects of the prementioned stories have been analysed and evaluated in theatre critical terms. The researcher hopes that her research findings has shed light on the theatrical and dramatic potentials and values of Tazkerat –Al –Ulia and paves the way for dramatization and stage adaptation of the stories of the work in question.

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Abstract:
Relying on the dramatic effects and all cultural potentials of Iranian old and poular literature, this paper aims to deal with the possibilities to contemporarize them for new media productions. Literature is one of the most prominent icons of Iranian rich culture. A notable part of Iranian literature is composed of folklores and popular narratives, which are genuinely full of novel themes and authenticated knowledge to be adapted into film and TV series. The present research will show why exactly Iranian contemporary film-makers and play writers, despite the existing large culrual legacy, have failed so far to apply the potential capabilities. Using a pathological approach to the historical discontinuities happened during the evolution of dramatic functions of Persian old narratives, this study attempts to present a qualitative assessment of these literary art works. After reconsidering the most significant elements of Iranian popular narratives, the paper goes then to propund some common ignored challenges concerning the "adaptation" techniques for media productions. Finally, we would describe a typical narrative of Iranian folklore by which a practical method for new possible adaptation for Iranian TV drama might be provided.

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The present work is a comparative study of Aristotelian and narrative dramas with reference to “Oedipus Rex” by Sophocles and “Mother Courage and Her Children” by Bertolt Brecht. The basics of Aristotelian drama come from Aristotle’s Poetics, which was considered as an undisputed tradition in drama until the eighteenth century. The aim of this dramatic tradition is catharsis, which is achieved through pity, fear and empathy in the audience. Among the other main principles of Aristotelian drama are the observance of the three units: dramatic climax and peripetia, and the first and the last moments of excitement. The narrative drama is based on Bertolt Brecht's non-Aristotelian theories in drama. Brecht believes that we must create a critical distance from daily events through alienation so that the audience can reconsider them and develop a critical view. The duality of the actor's role, the inconsistency between the actor's thought and action, time leaps, musical interruptions of the story, strong lightening on the stage, a half-empty stage with a half open curtain, the use of titles at the beginning of the scenes, and putting placards that free the audience from illusions are some of the alienation techniques used in Mother Courage and Her Children. Aristotelian drama emphasizes the unity of sequences and coherence of events, and considers the play as a whole, which aims at involving the audience wholeheartedly and making the audience identifies himself with the hero of the play.  In contrast, narrative drama is a  montage of single  scenes, which causes pauses in the play. In this type of drama, the audiences, because of frequent interruptions, does not get involved in the play, gets distance from the scenes, and is persuaded to critically view the play, present solutions, and make decisions. In sum, the fundamental difference between these two types of drama lies in the effect they have on the audience. In this work, an attempt has been made to discuss the major difference between Aristotelian and narrative dramas with a number of examples taken from Oedipus Rex and Mother Courage and Her Children.  

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The present study is the analysis of the drama “Death of a Salesman” and its interlingual and intersemiotic translations into Persian. The drama has been interlingually translated into Persian and it became the basis for an intersemiotic translation, a tele-theatre. For this reason, the researcher compared the Persian translation with the English text and the tele-theatre to the Persian text to define and analyze the translation of significant ideological concepts in both translations. Then, using critical semiotics theory and extending it to translation criticism, the researcher criticized the tele-theatre from a critical semiotics viewpoint to identify which types of signs have been changed in the tele-theatre and how. Therefore, changes of ideologically significant concepts were analyzed and criticized. The results showed that there were no changes in ideologically significant concepts of the Persian text. But, in the tele-theatre, almost all of these concepts were omitted or completely transformed. In fact, the tele-theatre contains so many censorships in a way that, in some parts, it has lost its cohesion and sometimes even its meanings. In fact, the translator/director has tried to do his best to change the text according to the viewpoints of dominant culture of receiving society. Moreover, maintaining and adding their accepted ideological concepts and omitting or transforming their unaccepted ones, he has tried to represent their values and ideological positions to the receivers. As a result, he has created a text, which lacks cohesion in comparison to the original text and infers meanings, which are sometimes completely opposite to those of the original text.

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    Mohammadi Asiabadi.A. ,PH.D.
Abstract:
           
Pseudonym (Takhalos), as it concerns Lyric Poem, is pen-name of a poet that comes at the final verse of a lyric poem. Despite the fact that great lyric poetries has used pseudonym in their works, nothing has been written by the scholar on it necessity. Since, Islamic and Iranian rhetoricians has not distinguished between poet and dramatic speaker, in Persian literature, theoretical essence and aesthetic value of pseudonym has remained unknown. However, the great poets were not ignorant of the essence and value of pseudonym. The use of contexts of the verses in pseudonym  indicates that the great poets such as Hafiz, both in selection of their pseudonym and its use, had its own criteria. Discovering these criteria not only reveals the essence and value of pseudonym but also is useful in stylistics.
      This is possible that  in addition to general functions, pseudonym has some special functions; e.g. in poems of a poet such as Hafiz, it has special functions. One of the most important functions of pseudonym in Hafiz’s poems is development of ambiguity from poetry to poet.
 

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Rābi'a bint Ka'b tale in Attar's Elahinameh is one of a few stories of him among dozens stories has dramatic features. The features resulted in utilization rather picture and drama than only expression and description got dramatic value to this literature text. Availability of the elements like conflict, knot projection, crisis, relief, characterization, and visualization within the coherent and appropriate story also valuable and ethical themes makes the text with potential to a theater production. This paper is from the perspective of comparative literature tries to investigate and explain dramatic aspects of this based on Aristotelian tragedy element retrieved from the book of “Poetics” by descriptive-analytical study and show capability and dramatic aspects of this old literary tale in converting to an attractive and effective drama. In addition tries to provide accurate view of Aristotelian theater elements represented a comprehensive understanding to the addressed reader.

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Land Reforms Program and abolishing feudalism as a part of Modernization in Iran and Russia are considered as one the most influent passages in social and political changes. Anton Chekhov in “The Cherry Orchard” and Akbar Radi in “The Magnificent Smile of Mr. Gill” are using the Land reforms and the fall of aristocracy in Iran and Russia as background and reveal the influences on characters of different social classes. These two dramas are based on authoritarian modernization in Era of Pahlavi II in Iran and Nicholas II in Russia which was done very quickly. Therefore these works can be used as appropriate references for comparative history studies about fall of landlords. Both works have a critical point of view to modernization. Both works create characters with identity crisis giving new dimension and revealing untold results of Authoritarian modernization what was ignored in history analyses. Analyzing the characters of both works prepares a process to follow the results of Identity crisis coming from modernization. This article, by comparative inquiring between plays and their historical contexts, attempts to trace a picture of critical conditions emanated from industrialization, decline of agriculture, and infrastructural alterations. The purpose of this comparative inquiry is to reveal how modernization programme result in alteration of the conditions of social classes, and in the identity crisis, which have been reflected in two Iranian and Russian plays created in similar contexts.         

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This study investigates the origins of rural drama in Iran and presents a comparative study with pastoral drama. Pastoral drama is a sub-genre of rural drama. In Pastoral drama, the emphasis is on dramatic effects such as spectacle, music, and sentimental characters. The focus of rural drama is on the social and human aspects which often could be found in rural sociological studies. This kind of approach in western drama is very modern and new. Its origin goes back to 1850s with Turgenev’s A Month in Country; a movement which was followed by Chekhov’s Uncle Vaniya and three other plays, namely The Cherry Orchard, Three sisters, and The Seagull. All the events of these plays happen in Russian rural atmosphere depicting the change in the life and everyday experiences of rural people. Among the four plays of Chekhov Uncle Vaniya is a unique rural drama that later becomes a model for other playwrightsall around the world especially Iranian playwright, Akbar Radi. Radiunder the influence of Chekhov’s rural drama has written two rural Iranian plays, namely Marg dar payiz [death in autumn] and Dar meh bekhan [sing in fog]. These plays represent the most fascinating aspects of Iranian rural life. This experience also has influenced other branches ofart such as poetry, fiction, and cinema.The process resulted in the improvement of the Iranian humanistic drama.

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This paper analyzes communicative style of dialogues in Akbar Radi’s Melody of Rainy City (1998), using Grice’s ‘cooperative principle.’ The word ‘Gilan’, the name of the main character of the Melody of Rainy City, refers to a female name and also a province in the northern Iran. The play reveals the contradictions which can be naturally seen in the gap between the traditional culture and the imposing elements of modernity. Examining the cultural differences of characters, this paper deals with their hesitation to defend or dispose their individual values. Gilan’s nervous instability symbolizes the cultural chaos the province is facing. She is the young girl of an old caretaker who works for an aristocratic family. Gilan is in love with a youngguy who has just completed his academic education and returned home from the West. The socio-political debates of family members during their daily talks and their quarrels over the legacy of father, basically, have made these cultural gaps to be largely explicit. By using a cultural approach for the analysis of the relationship between characters, this article reveals how these paradoxical behaviors have been especially prevalent among the middle class of Iranian society. This paper finally presents a stylistic reading of dramatic dialogues as the conversational behavior of social characters.

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The experience of time, like anything else in the world, can manifest itself in the text. Time is regarded as a structural element of the text. One characteristic of narrative is that time is considered as the main element of representation tool and the represented object. Therefore, time is described in the light of the chronological relationship between story and the representing text. By analyzing the time of the story and the time of the representing text, it can be concluded that in all the four plays of Naghmeh Samininarrative has two kinds of temporalities: the cyclic and the linear. The linear temporality gives a dramatic characteristic to the text, while the cyclic temporality gives an epic characteristic to the text. The cyclic temporality is always connected to a particular place and somehow reveals the feminine subjectivity governing the text. This study aims to show that when the linear temporality is dominant, the text is dramatic, and when the cyclic temporality is dominant, the text becomes narrative, while both temporalities exist in these four plays simultaneously.

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This paper studies the concept of metafiction in Charmshir’s play Dastan-e door vaderaz-e safar-e sultan … be diyar-e farang (1998). Metafiction, as a result of an analytical perspective emerged first in modern novels, attempts to challenge the conventional frame of fictional reference to the reality of the external world as it is suggested in literary Realism. In this type of stories, narrative elements such as plot, character, time, and place are no longer representatives of imagined reality, but they in fact reflect a perpetual conflict between art and reality. However, it can be suggested that reality here is subordinated by the referents of the external world. Linguistically, metalanguage and poetic functions of drama would dominate its object language. The story then will be directed toward its narrative elements as well as its own process of creation. Adaptation and meta-historiographyare some of the other features of this style of writing stories which is associated with parody and irony. Charmshir’s play is not really a narrative of the king’s long journey to Europe;rather it is a challenge for the playwright to realize a metafictional probability in form of a postmodern drama. This play is an artwork about the process of building an alternative story and is a new exploration on narrative facts.The elements such as characters, structure, plot, the authority of the narrator, and the style of narrative are no longer the hidden parts of drama in the representation of the story and meaning;in fact, they are the story in itself. The foregrounding of language here is an ironic reference to literary and dramatic texts while it is a fictional device for fabricating history and manipulating data by which the reader expects to receive narrative information. This studyunravels new aspects of narrative structure in Iraniandrama using an analytic-descriptive approach.

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Debate is one of the literary prose types prevalent in Persian. In prose debates, two or more characters are presented in dialogue writing with each other and ultimately the authorsummarizestheir language and reaches a conclusion. The structure of these debates is mostly based on dialoguewriting. During the Constitutional era of Iran, these kinds of debates were regarded as ‘objectwriting’ or ‘theatrical writing.’ With respect to their formal structure and particularstyle of dialogue writing, it can be asked whether they can be read from a dramatic point of view. The dramatic tone and language, dialogue-based dramatic action, conflict, time and place are some of the identifiable aspects that are studied in this paper. The aim of this paper is to introduce a dialogue-based model for the study of the dramatic aspects of these debates. This model is proposed on the basis of a comparative study of dialogue in prose and drama as well as identifying commonalities between these two types of literature.

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Drawing on modernist techniques, the play Az poshte shisheha by Akbar Radi expresses an unrelenting challenge of the intellectual with the new-fangled, vulgar modern trends. In order to express his view, Radiemploys doubles in his characterization. He creates two female characters that stand in opposition to each other; one represents modernity without originality while the other is an ordinary woman with the same intellectual and psychological concerns. In a way, almost all characters of this play, especially the women, symbolically represent different social strata and ideologies. Considering the central role of women in this play, theanalysis of their characterscan reveal the author’s outlook towards the major conflict of the play.

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Problem: Architecture and cinema are a collection of art and technology that are intertwined with the help of the capable hands of an architect and a filmmaker. The two can act similarly in infusing the spirit of life into space and evoking human feelings. Among these, urban spaces and architectural buildings are very important as the location of a film event and represent the temporal, cultural, historical, social and are in the movie. So that paying attention to the category of architecture in cinema in a serious and conscious way is an idea that can be considered by directors and filmmakers. This article explores this relationship in the movie Mother, made by Ali Hatami.
Target: In this research, first to interpret the architectural space and place, Kanter's views on the sense of place are considered, then the features of melodrama style in cinema and its features are discussed and then the architectural concepts and features of place in The scene design of Hatami's film "Mother" is studied in terms of activity, body and meaning. The counter recognizes three components for each location: Physical characteristics, activities & Imaginations.
Method: To understand this issue, try to use the historical-interpretive method to communicate the spatial-local dialectical process, which requires the analysis and description of the components resulting from the changes identified in this research. Finally, through deductive-inductive reasoning, it has been tried to identify the output components of the tool used in this research.
Result: For this purpose, it was tried to explain the temporal process of the sequences taken from the film Mother in relation to the spatial coexistence or the progress and delay of the moving space of the scene from a sense of feeling. Eclectic view of space? By linking human relations with place in melodrama cinema, he identified a kind of space-place dialectic that can be affirmed and achieved in key words: spatial diachronic and synchronic.

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Haft Lashkar is one of the examples of comprehensive scroll written by an anonymous narrator in the Qajar era in 1292 BC. This title has been allocated to the name of one of the famous battle - narration due to its reputation and popularity as scrolls comprehensive.
Narrative aspect of the text is the prevalent factor of relationship between literature and drama. Imitating the movements of individual states by the narrator will orient the text toward the dramatic storytelling. In this case, narrator’s structural- subjective manipulation in the text of comprehensive scroll, in addition to explain the position of his/her, prepares the way to special narrative techniques in order to increase dramatic content of the work.
Based on Gérard Genette theory, in the present study narrative features of comprehensive scroll are examined in order to orient the dramatic content. Accordingly, the structure of narration in narration (Trans-narration), besides other narrative properties like order, voice or mood in the form of retrospective or prospective, focalization in narration and the relationship between focus and omniscient narrator are among the important narrative aspects of the present work which have shaped the orientation of dramatic text. 

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Abstract
This paper aims to examine the major effects of popular culture of folklore culture in the production process of Iranian dramatic literatureand studying the solutions for localizing the literature. This interdisciplinary study, tries to discuss the effective roll of folklores roll of developing Indigenous patterns of creative writing for the dramatic arts. Hamid Amjad, as one of the Iranian contemporary dramatists, uses various aspects of folk culture in create and representing dramatic world, and his works are proper example for research for studying some factors such as
language and tone, beliefs and customs, behaviors and subjects, and common signs of Iranian folklore culture.
This study is organised with gathering library data and the method of direct expose of dramatic texts, and with analytical method tries to determine the potential of Iranian folklore culture in organizing the ideas and realize them using techniques of playwriting. Findings of this research shows that some of the most important indexes of Iranian folklore culture, like folk tales, folk feasts and folk language was attend in creating dramatic texts by Hamid Amjad. Comparative comparison with some dramatic concepts and elements, like characterizations, subject, creating folk spaces and native language and culture, shows the different aspects of this usage. finally, research shows that using the elements from folklore

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Fatemeh Moeineddini, PH.D.
 
Abstract
Molana, known in the west often as Rumi, elaborates and conveys a significant extent of his story narrations through dialogues. Some of these dialogues do not have a specific audience, in other words, one of the heroes or even the narrator of the story himself speaks with himself in moments filled with severe passion and excitement. In this manner, this character helps the process of the story; while he reveals his consciousness or unconsciousness; so that the reader is informed about that particular character. It is actually through this method that Massanvi’s monologues are formed. According to the author’s purpose, structure and his particular linguistic shape and patterns, Massnavi’s monologues are divided into three types; intrinsic, dramatic and. self revelation.
The types of monologue play an important role in turning external point of view into an internal point of view. As a matter of fact this point of view suits Rumi’s main method in narration; as his stories often start with quite an open focus associated with the omniscient point of view, but then gradually the point of view and the focus of narration becomes narrowed and closed.
This paper was prepared through exploring documents, offering the results in an analytical-descriptive form, in order to survey the different types of monologue in Massnavi.
 

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Abstract Drama literature has been the full sign of all available mental currents in many cases as the reason for its vast correlation with the community through implementation on the scene. we can especially see this property in intellectual writers works with a political point of view. One of these points of view is a postcolonial theory, that examines the low east mental fundamentals contrast with high west and tries to show the output discourse of this contrast between colonization and colony. However, the battle with colonization and its politics every time has been a basic worry of Iranian intellectual fighters in the present era, but sometimes, their artistic works, such as film drama, , poem, and so on, have been written according to these thoughts. There fore one of the people who has a place in Iran drama and story literature and the people who had a trend in fighting with Pahlavi era dictatorial and colonial politics is Mr.Gholamhosain Saedi. In this research, this writer, Mahasal drama characteristics has been analyzed according to postcolonial theories and the work result, shows the correct and intellectual characteristics and their potential and power in presenting the writer central idea, that means, the colonization politics. How ever Mr. Saedi has been considered more than in postcolonial, he also , has paid attention to more careful and finer details in colonizer and colony discourse, that comes to the bigger domain of political and social and anthropology sciences.