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Every person in society has a perception of reality and the translator is no exception. Identity construction is somehow related to reality construction. So the main issue is not how the narrative is constructed as a text, but how the narrative acts as a mental tool in constructing reality and, consequently, identity. Like the controversial issue of language-thought, it is not easy to deal with narrative discourse and narrative thinking, since the reality existed in the mind, depends on the spatio-temporal framework of the culture. Eelaborating on the concept of narrative identity, and Goffman’s Frame Analysis and its applicability in the mentioned concept, this paper shows how society, as a cultural frame, forces the translator (or the publisher) to retell the narrative and to reconstruct the identity, and why this identity formation will be more pronounced in the paratextual elements (translatorial & authorial prefaces). Analyzing the frame, along with literature and media, it proposes a hybrid model based on Somers’ features (Paul Ricoeur’s Mimesis), and Goffman’s Framework for the concrete manifestation of renarration, and the incorporation of the core conception of identity formation, to indicate how orientalism concepts have been renarrated in translatorial and authorial prefaces of Edward Said’s Orientalism, affected by structure or agency during 80s in Iran, and how these prefaces play a role in framing readers interpretation. Finally, it has concluded that, regarding structure/agency, and the involvement of multiple agents in translation, different author-functions and identities have developed through the presentation of the prefaces in question.
 

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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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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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There seems to be a strong dualism throughout the novel, Chess with the Doomsday Machine, both in the images of the text and its narrator’s viewpoint. The story revolves around the eight-year Iran-Iraq War and purportedly follows the typical novels of the “Holy Defence” genre in which the most significant theme is the human choice of divine sacrifice; on the other hand, there are elements of an absurd worldview in the text in which wars and the entirety of the creation are viewed fatalistically. This dualism gets stronger in the paratexts of the novel. Paratexts, in Genette’s theory, are the surrounding elements of the text by which the text proposes itself as a book to its readers, and more generally to the public. While inner paratexts of the studied novel, like the title, the cover, and its appendages and epigraphs show an absurd viewpoint, its outer ones, such as the dedication of the work, notes of the author and the publisher’s propaganda, try to misrepresent it as a work with a “Holy Defence” discourse. Some of this dualism is because of the open ending of the story and some is due to the authorial out-of-text decisions such as choosing the publisher, Sure-ye Mehr, that is famous for its ideological books. It seems that the dualism of the paratexts of Chess with the Doomsday Machine is a result of the author’s insight into the different types of readers whose satisfaction has been at the center of the author’s attention.

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Semiology is a critical movement based on scientific and methodical aspects applying for the aesthetic conception of poetic texts and deciphering complex semantic codes which are difficult to be decoded through a simple and unilateral look. Using all powerful and effective cognitive tools in hand, semiology has approached the area of literary researches. Its shades of analysis have been spread over contemporary Arabic poems so that semiology researchers can unveil aesthetic nature hidden in the text and develop a different understanding about it. Meanwhile, following this issue in Mohammad Afifi Matar`s poem by applying the semiology method, it not only results in careful scrutiny towards his poetic expression but also helps determine hidden points and latent secrets. The present research aimed at investigating the exemplum of the ode Silent Sun Beam. The major theme of the exemplum is famine and poverty, being comprised of a descriptive report by which social events are indirectly viewed from the aspect of nature. Using its dominant narrative structure, it tried to find words and combinations which could lead the exemplum texture to move from textual areas to poetic aesthetics in a dramatic way, that is, dark and distraught place. Calling for natural words and personifying them made the treasures of exemplum`s vocabularies, Moreover, the textual aesthetics announced the forms of intertextuality combined with folklore beliefs about capabilities of natural elements to change situations.