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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.

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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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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.

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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.

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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.

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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.  

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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.

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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.

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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.

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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.

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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.

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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.

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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

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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.

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Intertextuality is Mikhail Bakhtin’s evolved polyphonic theory based on which the literary texts of past and present are in dialogue with each other and no text is self-sufficient and devoid of its earlier texts. The intertextual feature of artworks and literary texts challenges their independence and makes the boundaries of their independence unstable. Drawing on this idea, the present study analyzes the short story “Mirza Yunos” from the short story collection Ayne va Se Dastane Digar by Sirus Shamisa. In addition to being a manifestation of the characteristics of postmodern era, I argue, the instability and suspension of boundaries among literary texts is a consolidating element for the ontological aspect of fictional atmosphere in the realm of fiction, through which the textuality of history/reality is realized. This study shows that the various inter-texts in a text can make it possible for the existing and non-existing experiences to be interwoven in a way that recognizing their limits becomes increasingly difficult. I also argue that literary texts are not just in dialogue with written texts, but the semantic and conceptual scope of the word “text” becomes wider and includes various new aspects. In fact, as different genres enter the fiction realm, one should speak of “inter-genre” concept and think of the fiction as its subcategory.

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Intertextual links in the formalism theory, intertextuality theory of
Kristeva, Trans-textuality theory of Jennet and the theory of Bloom's
anxiety of influence, are some of the new approaches to reading and
literary criticism Under these approaches, none of the text is
independent of others, and each text is an intertextual derived from
earlier texts that will be present in the later texts as well.
Gérard Genette, one of the theorists in the field of intertextual
links, has classified his trans-textuality theory into five dimensions,
one of which is the intertextual axis. He divided intertextuality into
three types intertextual links i.e. open-intention, hidden-intention and
implicit and has defined and assigned conceptual realm of each of this
interpretation.
Considering the fact that the outcome of teaching poetic art led to
embodiments of intertextual links in Islamic, Persian and Arabic
rhetoric, this paper using descriptive-analytic approach, makes a
comparative study of three-dimensional intertextuality of Janet and
parts of Islamic rhetoric theory. The research results show that some
literatrary components, such as guarantee, allegory, resolution, and
adaptation as well as some of literary robberies in Islamic rhetoric are
consistent with models from three-dimensional intertextual patterns.

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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.

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The theorists of intertextuality observed a new meaning of the text that there is no text without a pretext, that the text is not closed, independent and self-sufficient, and that every text is a memory of other texts. In this research, we investigated the ritual and performance in the ceremony of "Tir-ma-size Sho" in Mazandaran. Considering this ritual as a text, and using Genette's transtextuality, the effect of this ritual from previous texts (hypertextuality) was investigated and the role of different texts in the performance of this ritual (intertextuality) was discussed. The purpose of this research is to study the relationship between ritual and drama in order to answer the following question: What is the co-presence of ritual and drama in "Tir-ma-size Sho" from the aspect of transtextuality? The article is done in a descriptive and analytical way borrowing Genette's transtextuality approach based on library research. The hypothesis indicated that in the transtextual relationships of "Tir-ma-size" ceremony, there is a co-presence of various systems such as the dramatic and ritual system with the pretext derived from the mythological sources. The action of "trifunctional" based on “Sovereignty”, “Military” and “Productivity” can be checked in this ritual. The practical battle of good and evil is a dramatization of Tishtar's fight with the demon of drought. It is also a manifestation of the battle with the demon, the enemy of the vegetable gods and plants. "Laal Shu" can be seen as the continuation of Arash's life in the form of a plant symbol that brings existence, birth, and life to people.