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Showing 5 results for Hypertextuality
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.
Fereshteh Rostami,
Volume 9, Issue 35 (10-2016)
Volume 9, Issue 35 (10-2016)
Abstract
“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
Volume 9, Issue 37 (3-2021)
Abstract
Religious beliefs are shaped by myth. Mythical heroes and innocent Imams are always considered to be among the recurring themes as the sacred and identifying elements of the Iranian culture. They are in the subconscious, beliefs, and traditions of the people. With common goals and similar destiny, they have been influential in the formation of various literary and artistic works, including Ferdowsi's Shahnameh and Taziehs. This study focuses on the semantic decoding of repetitive mythical elements, in two texts from the pre - and post- Islamic eras. Employing the Genette's hypertextual approach, the study analyzes the story of Siavash in Shahnameh (pre-Islamic) and the Tazieh of Imam Hussein) post-Islamic(. The purpose of the research is to find out how the textual narrative was adapted by the theatrical narrative. After explaining the theoretical issues, the summary of the texts, and the characteristics of the heroes, the results are given in a table. The common or unique elements and symbols of thought and actions of the Iranian hero are sometimes manifested in an earthly-mythical and sometimes religious-historical and celestial personalities. Every year, similar rituals are repeated and reproduced in the mourning. The research method is descriptive-comparative and the analysis is done through content analysis and the use of library documents. The findings showed the following symbolic similarities: the halo of light, intelligent horse, white clothes, the presence of extraterrestrials, among others. The difference between the rituals were: the symbol of the plant god, the passage of fire, the Siavashun feather, Zulfiqar, the magical armor, among others.
Introduction
Research Background
There are several research projects conducted on the hero's myth, behavioral pattern, rituals left in their honor, spiritual journey and comparative relations on the texts about Siavash's mourning. Some examples are Dalir (2008) in an article entitled "The Intertextual Relations of Siavash's Story from Shahnameh and the Condolences of the Martyrdom of Imam Hussein’s Tazieh" in which it has examined the intertextual relationship through the similarities of the two stories and the structural comparison, space, and characters of the play. Alizadeh Moghadam (2010) has compared the epic and tragic world of the imitations of Imam (AS) from the perspective of the hero. In the book of mourning for Siavash, by Meskoob (1975), issues about the myth, epic, and mourning of Siavash are given. In the Iranian plays by Ashourpour (1994), and Housouri (2002), some commonalities of general mourning and the mourning of Siavash, which are mostly in the field of mythological beliefs, the genealogy of Siavash and Imam Hussein are investigated. It also has a historical connection with the ritual of Tazieh.
Goals, questions, and assumptions
The goal and the research problem are the adaptation and decipherment of symbolic elements, common intertextual relations, and the mythical and recurring role of the "hero" between the two works. This article seeks to answer the following questions: What are the most important recurring similarities in the mythical symbols of the hero between the two texts? What is the difference between the fields of fiction, narration, the concept of time, place, behavior in Tazieh and Ferdowsi's Shahnameh? What is the effect of the heroes' behavior in tragic and epic literature in Iran on the formation of two types of dramatic literature (in Tazieh) and epic literature (in Shahnameh)? As a research hypothesis, it is suggested that historians have consciously established an intertextual relationship with Shahnameh in line with their goals and motives. Also, the mourning of Siavash of Shahnameh and Majlis Tazieh of Imam Hussein (AS) within intertextual reading has had many connections during the history.
Discussion
The myth of the "hero" in the historical memory (national and religious) of our nation, his role in wars, and the constant confrontation between light and darkness, is one of the most stable and influential common themes in popular culture, literature, and art of different ethnic groups. The repeated presence of the hero in the context of history is considered as one of the influential and pivotal elements in the creation of artistic texts. It is with the connection of myth and history that the heroic character can be given an eternal aspect. In every field, time, and place, his presence can be considered as a believable model. The history of Iran as a whole is, on the one hand, a mixture of ideas (myths), facts (history), popular opinions and beliefs (myths), and documents that exist in various forms, while shaping the existence and identity of the Iranian nation. Recognizing and adapting the role of mythical and historical heroes, their worldview regarding existence and creation, the superhuman and mystical content of their actions and their role modeling in later periods, can meet human needs. In this regard, the reason for the symbolic features of the "hero" as the driving and shaping element of the story of Siavash (in the epic literature of Shahnameh) and Imam Hussein (in the tragic play of Tazieh) need to be compared.
Conclusion
The myth of the hero speaks of the common themes of "human existence and spirituality", aiming to fight demons and oppression. It goes through similar steps to achieve their human and lofty goals, and because of their human nature, they consciously embark on a difficult journey. In the end, with their oppressed and bitter martyrdom, they leave a stable and living model in the minds and executive customs of the people, sometimes in the form of a mythical and sometimes infallible face of religion. They join in the context of history. Similarities and implications in mythological components, the variety of common or unique forms, dense semantic layers in belief, literature and popular art, common and unique symbolic aspects that have high interpretability, all in all show that the two texts are influenced by each other. The findings indicate that the repetitive elements that have become the reason for the ritual and similar repetition every year are to appreciate the sacrifices of the heroes.
References
Alizadeh Moghadam, A. & Vamiri, M. (2019). A comparative study of the characters and heroes of Shahnameh and Tazieh with an approach to dramatic literature. Research in Art and Humanities, 3(17), 19-26.
Ashourpour, S. (1994). Iranian performances. Surah Mehr.
Dalir, A. (2009). Intertextual relations between Siavash's story from Ferdowsi's Shahnameh and the condolence of the martyrdom of Imam Hussein. Honar, 77(4), 176-187.
Ghadernejad, M., Khalandi, A., & Shafei, K. (2019). Re-reading the ritual of mourning for Siavash and mourning for Imam Hussein (Based on the analysis of paintings related to Siavash mourning in Central Asia and a work by "Hossein Zande Rudi". Persian Language and Literature Research, 49(4), 71-94.
Hosuri, A. (2001). Siavoshan. Cheshmeh.
Meskoob, Sh. (1975). The mourning of Siavash (in death and resurrection). Kharazmi.
Asma Hosseini Moghadam, Samira Bameshki, Abolghasem Ghavam,
Volume 13, Issue 52 (12-2020)
Volume 13, Issue 52 (12-2020)
Abstract
Shirin and Farhad by Salimi Jerouni, composed in the ninth century AH, is adapted from Khosrow and Shirin by Nizami Ganjavi. The distinguishing feature of this poem is the addition of a mystical theme, as compared to its hypotext. The purpose of the current study was to investigate how the narrative structure of this poem has changed compared to Nizami Ganjavi’s Khosrow and Shirin, employing Gerard Genette’s theory of hypertextuality and also intentional interpretation. The researchers have also tried to show how Salimi Jerouni was able to connect his mystical thoughts with Khosrow and Shirin’s earthly love. Based on epitext and peritext analysis and through retrieval of the intention of the author, it was concluded that Salimi Jerouni had created a narrative, using quantitative transformation and pragmatic transformation that in its deep structure, illustrated mystical behavior. The characters of the story have gained symbolical interpretation, proportional to the mystical content of the poem and in line with the evolution of the hero (Khosrow) on the way of reaching the position of a perfect man.
The analysis of speech act and its transformation in Persian Mirajnamehs based on borrowing approach
Volume 16, Issue 4 (4-2025)
Abstract
Mirajnamehs are narrative poetry that refer specifically to the Ascension of the Prophet Muhammad (PBUH). The creators of these poetic texts have composed their works by imitating or slightly changing the prior ones. Following the approach of Searle’s speech act and Genet’s hypertextuality, the analytical –descriptive method, and library research tools, this article explores the structural and linguistic interplay of Mirajnamehs. It was hypothesized that the poetic texts were hypertextually connected and the contemporary narrators consciously followed the prior narrators in composing their poems. Examining 26 similar sequences indicated that not only the works of Sanai and Khaqani with 17 subordinate poets were hypotexts of other texts, but also Sanai, Qawwami, Akhsikati and Molana were not subordinate to other poets; moreover, it clarified that contemporary poets had a greater tendency for the change rather than the imitation; in addition, it revealed that the quantitative generative transformation of the aesthetic expansion type as well as the applied transformation of the qualitative internal type had a higher frequency; furthermore, it showed that the most diverse speech acts were those of Helali and the most frequent ones belonged to Khajoo. All things considered, detailing, adding figures of speech and act episodes and actors, description, educational and moral discussions, creating a contrast between two concepts or characters, creating dialogues and using auxiliary characters were the reasons for the high frequency of speech acts in similar sequences.
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