بهمن نامور مطلق

This article applies discourse analysis to study the formation of theatre sub-field including cultural and artistic characteristics in the 1990s Iran, based on Pierre Bourdieu’s theoretical perspectives. The focus of this article has been on the 1990s, a time when a new wave of theater movements emerged and different works were created compared to previous decades. Respectively, the key question is what are the most important characteristics of a distinctive product in the 1990s. Accordingly, Teun A. Van Dijk’s discourse analysis had been applied to study “khane-va-de (family)” play by Mohammad Mosavat.  The findings indicate the formation of dimensions and capitals, the most prominent features of which manifest in aspects such as prioritizing performance over text, the absence of a central hero, typical characterization, complex staging, minimal decor, and empty scenes, a phenomenological view of the body, the dominance of post-dramatic theater, and borderless geography. In fact, “khane-va-de (family)” play has been written and performed to convey its specific concepts and discourse (the new field plan) against two levels of meaning and reasoning (the prevailing traditions) and to do so, it has clung to concepts such as simple decor, opposition to the text without a hero, and emphasis on global values beyond geography.

Cultural semiotics is one of the fields of semiotics that is associated with the name of Yuri Lutman. Lotman considers culture as a symbolic system in confrontation and interaction with other symbolic systems. From Lutman's point of view, every culture is self-systematic and what is outside the scope of its own culture is known as non-culture. The theory of narrativeness and occurrence based on the theory of Lotman's symbolic sphere considers the event as a kind of change of the norms in the symbolic sphere, which corresponds to the definition of the event from the perspective of Grimas. The present article analyzes the novel "Crime and Punishment" by Fyodor Dostoyevsky, relying on Lutman's cultural semiotics and Grimas's narrative process. The purpose of this study is to investigate the practical capabilities of Lutman's theory of cultural semiotics in comparison with Grimassi's narratology, in order to show how the Russian writer presents the main values, including ideology, religion and politics, in opposition to two poles. It compares itself (Russia) and the other (the West). Raskolnikov's metamorphosis and the transition from the border of "other" to "self" in the last part of the novel is formed through a nightmare, which corresponds to passing through an unfavorable situation, sudden and without intervention of the subject. Therefore, the new situation refers to the "self and not the other" approach; The approach that is related to the function of identification and ideology of culture considers Russian culture superior to the West.

The motifs obtained from the early civilizations had a conceptual value and were not based on symbols, legends or religious rituals just to express beauty. These same values ​​and conceptual expression have turned the patterns into a kind of signs, and drawing them became a contract and symbol that the prehistoric tribes used to convey messages. From the very beginning of humanity's understanding of its surroundings, man has symbolically depicted the influential factors in his life in his handmade works. In most of the historical periods of ancient Iran, artists used the motif of the sun as a symbol and drew it on works of art, and this process can be seen in various works of art until modern times. The sun is the largest star in the solar system and is located in its center. The sun is a complete sphere made of hot plasma and is the main source of light, energy, heat and life on earth. This important fact has been revealed to man since the beginning of creation, that is why it has a significant presence in the mythology of all the nations of the world. Even in some ancient civilizations, the sun has been considered and worshiped as God and creator. When man turned to agricultural life and realised that the sun would make the earth fertile, grow plants, warm and give strength to man, they worshiped the sun. Also, in different eras, it has had different genders, so that sometimes the sun is known as the female sun and sometimes as the male sun, and it has been depicted and honored. The most popular prayer in the world is addressed to our Father who is in heaven. The sun star has always had its own special place in Iranian civilization and has had a significant and symbolic presence in culture and art in all historical periods before and after Islam. The sun is reflected in Iran's art as a symbol and symbol in different forms in the historical periods of Iran. This bold presence of the symbol of the sun in Iranian arts has always been beyond formal decoration with a belief support and the attitude of the living society. After the arrival of Islam in the land of Iran, the beliefs and teachings of the previous religions were removed or adapted to the Islamic religion with gradual changes and took place in the mysticism, thought and culture of the people of this land. The motif of the sun is considered one of the visual elements that still maintains its previous position in the art of Islamic Iran and has a special place in the art and culture of Islamic Iran, especially the Seljuk period. In ancient Turco–Mongol myths and legends, the sun is embodied as a man and a woman; That is, in one period based on ethnic beliefs, the sun was imagined as masculine and male, and in another period it was imagined as femal. Even the creation of mankind is attributed to the sun in this people. The researches conducted on the mythological texts of the Turk and Mongol people show that among these people, the sun is shown as the source of reproduction and creation. After expanding their rule from Central Asia to Egypt, the Seljuks created new conditions, a scientific-cultural renaissance in the Islamic world, especially in Iran. The cultural atmosphere of the society and the emergence of many scientists and artists made the sultans and the rich always patronise artists and craftsmen. These supports caused the emergence of a certain style and method in arts and industries. The period of Seljuk rule in Iran is another period of flourishing of Iranian-Islamic culture. During this period, Iranian art experienced a tremendous change and it led to the fact that the history of Iranian art recorded another of its most brilliant periods in this period. The art of this period has progressed in all fields and fields of art and continues and completes the art of the previous era. Art developed and expanded to its highest extent in Iran during the Seljuk period. Seljuk sultans always supported artists and scientists and tried to expand culture and art based on Iranian, Islamic and Turkish beliefs. The art of this period is influenced by the rich treasure of ancient Iranian art, Islamic art, and the art of immigrant Turks, which combined the special art of the Seljuk period. The Seljuk period is considered one of the most brilliant periods in the history of Islamic Iran in terms of the development of science and technology, art and literature. Persian language developed and spread more and more. The construction and establishment of military schools, caravanserais, monasteries, mosques, libraries and other scientific centers had a great impact on the development of culture and art of this period. In this period, great progress was made in most fields of arts and sciences. Seljuk sultans were great patrons of industry and art and gathered artists and professionals in their palaces and government headquarters in Merv, Nishapur, Herat, Ray and Isfahan. After accepting the religion of Islam according to Sharia, Iranians tended to live a simple life. Since the Islamic laws forbade the making of decorative works of gold and silver, the attention of Iranians was more focused on the making of clay works. Also, the progress of construction techniques, special elegance, skill and variety of pottery works caused the further development of Seljuk pottery art. With the development of Seljuk pottery, the golden age of Iranian pottery emerged. As a result, the potter was able to sign their name and the date of creation of his work on their pottery. The Seljuk period is one of the dynamic periods of the Islamic world in the field of culture and art. The Seljuks ruled in different regions (Iran, Central Asia, Türkiye). The support of the Seljuk rulers (presentations of Iranian scientific ministers) to artists and sages caused a remarkable expansion of culture and art in this period. Despite the extent of the political geography of the Seljuks and the occupied regions, art has made significant progress in all fields and has continued the path of ancient Iranian art. In fact, one of the prominent features of Iranian Islamic art is the continuity and evolution of different art schools influenced by the art of previous eras. In this way, the process of creating works of art in every school and period of history, in subsequent schools and periods, has continued and has taken an evolutionary approach. With this premise, examining and analysing works of art in the historical periods of Islamic Iranian art requires a theoretical approach to investigate and study the influence and relationships between works of art in different periods of this vast land. For this purpose, in this study, the intertextual approach was chosen to study and analyse the data. The primary purpose of man in making earthenware vessels was to store water and food, but over time, he gave importance to its beauty and the structure and surfaces of these vessels were a place to express aesthetics derived from their culture and worldview. Although the pottery of Iran has been studied and examined by Iranian and Western researchers in different historical periods, but the role of the sun on Iranian clay canteens has been independently studied for the first time in this research. In different historical periods of Iran, very beautiful and practical canteens were made, and in each period, the types of decorations and pictures drawn on them are different and sometimes repeated. This research seeks to understand the concepts of the motif of the sun drawn on Seljuk clay canteens. The main goal of this research is to know how the depiction of the motif of the sun in two Seljuk and Parthian terracotta flasks is related to Genette's hypertextual approach. In the intertextual relationship, it is not possible to create text (b) without the presence of text (a) or pretext. In this type of relationship, attention is paid not to the inspiration and partial influence, but to the overall impact of one text on another text. With this theoretical background, this research aims to investigate and analyse the role of the sun in two Seljuk and Parthian terracotta works. The main problem of this research is to understand the hidden meaning behind the motif of the sun on the Seljuk works, and the main goal is to understand the way and type of connection between this motif and the previous motifs from the perspective of intertextuality. This research is of a developmental type and a qualitative method. The method of data collection is using library sources and objective observation of the works, and the data analysis is descriptive and analytical with Gerard Genette's multitextual approach. This research seeks to answer two questions: Which type of hypertextuality tends more towards the influence of the drawing of the motif of Khurshid Khanum on the Seljuk terracotta canteen than the Parthian terracotta canteen? And in this process, what changes have been made in drawing this role?? In order to answer the research question, at first, two Seljuk and Parthian terracotta canteens inscribed with the motif of the sun were selected in a purposeful way and were studied and investigated in terms of thematic aspects of the period in question. Then, structurally based on Gerard Genette's dual indicators (function and relationship) it was examined and analysed and the research questions were answered. The results show that the effect of Khursheed Khanum drawing in Seljuk canteen from Parthian canteen based on Genette's typology of polytextuality in the category transposition and transposition have a serious function. The transpositions created in the bitext include changes (gender, shape, composition and color) and the Seljuk artist did not just look at imitation in creating a new and independent bitext and completed it very creatively.

With the promotion of European culture in Qajar era, it caused significant changes in fields of culture and art. One of influential Qajar painting and tile manifestations is scene of Shirin bathe who has been as a symbol of Persian woman but concept of “other”. Qajar image tiles of the scene have been distinguished from images of pre-Qajar artistic schools with the appearance of “covering crone” between king Khosrow and queen Shirin. Therefore the research answers what is the function and cause of the emergence of "curtain and old woman" as covering crone in tiles of Qajar era in the context of a society in transition from traditional culture to modernity and what is the textual myth? Has it been formed? This research aimed to identify the cultural and social factors affecting the visual expression of "covering crone" that has produced specific cultural concepts of Qajar culture and aesthetics. This research employed descriptive-analytical method using analytical method of Gilbert Doran’s myth analysis.The manifestations of the old woman and the curtain show the traditional and Islamic culture, mediation between the lover and the beloved, hiding the beloved, legitimizing the religious-Islamic meeting of the lover and the beloved, emphasizing non-sanctity, expressing the transition from tradition to modernity. The duality of traditional and Western culture (self and other) dominates Qajar period. And from an aesthetic point of view, the duality of beauty-ugliness, old-youth, and fertility-sterility is manifested in the old woman highlights the two mythical characters of Khosrow and Shirin.

The Seljuk era, was a prosperous time in case of dealing with art; during this time art reached to higher level, as numerous and diverse artworks with cosmological concepts were created, which represents the significance of cosmology in this time. The artists in this era, by considering the position of astronomy and cosmological issues, frequently reflected the relevant concepts and contents as practical decorations and motifs in their works. This study aims to comprehend the concepts of cosmological motifs to target the mutual influence of Seljuk artists on each other while designing these patterns; Therefore, the manner these artists influence each other in designing the planet motifs and their meanings has been addressed in two artworks related to Seljuk era; in this regard, the following questions arises: Which kind of hypertextuality is more likely to be influenced by the design of the target motifs of the planets? And what changes have been made in these motifs while influencing each other? The research aims to understand the manner the design of planets' motifs influence each other and the alterations in the two target works by focusing on the hypertextuality theory of Gerard Genette.Research

A descriptive-analytical method has been adopted and the data was collected by using library sources; The results were analyzed relying on a qualitative method.

According to the research findings, the cosmological motifs that appeared in the Seljuk manuscripts are rather compatible with other built-in arts, in the case of decoration, besides considering the cosmological criteria; however, some changes have been made according to the artist's priorities. The artists in the Seljuk era were completely aware of the art developments of their own time and also the previous eras, as they tried their best to improve the art of their time by benefiting from the experiences of other artists.

the research finding showed that the planet motifs in «Ajaib al-Makhluqat» (hypertext) which is inspired by the planet motifs in the enamel bowl (pre-text or hypotext) have a transposition or transformation with serious function according to the hypertextuality of Genette. The created transformation in hypertext includes a variety of changes (gender, form, composition, and color). The miniature painter of «Ajaib-ul-Makhluqat» has not simply adopted an imitation attitude in creating a new and independent hypertext, as it has been designed differently.

Time and narrative are intricately intertwined, so one cannot consider one without the other. Time takes on various forms within a narrative. For this reason, narrative scholars regard time, alongside mood and tone, as fundamental elements in the formation of a narrative.Time influences narrative construction in at least three ways: order, duration, and frequency. Unfortunately, due to the limited recognition of the importance and methodologies of times impact in Iranian narrative arts; fewer opportunities are taken advantage of in storytelling.This paper aims to examine the types and methods by which time influences narrative and provide a comprehensive perspective on this subject.

In the course of history, photos have been published that have found a place beyond an regular photo. These photos have become a part of a heritage and memory of the people of a land or the whole world. This has caused artists and authors to be inspired by them and create other works such as films, sculptures, poems, performances, etc. This reception and adaptation shows that the importance of these photos is such that others have become interested in them to create a work similar to or derived from it. Parody, travesty, and transposition are used more among the hypertext that are based on photos. Pastiche, charge and forgery are less used in the hypertext of the photo.The myth-photograhs can be placed in the position of producing ideology and become the initiator or continuation of a cultural or political movement. Also, by expanding in other symbolic systems, they cause the growth and multiplication of their meaning as well as the expansion of that medium. This research has been done by descriptive-analytical method and according to the hypertexyualité approach. The result has shown that five factors are effective in the popularity and reproduction of photos and can make them legendary: Propaganda of power institutions: these institutions are able to make a photo famous and use it repeatedly by reproducing and distributing it widely. The photo of raising the flag on Iwo Jima is the most famous example of this. This photo has many different hypertexts and examples can be found in at least five of Gennett's six. Public favor and opposition to the ruling power: It is possible that a photo has gained importance against the usual process and government propaganda, as well as with regard to the general public, and this causes many popular or popular hypertexts to be made based on it. Like Che Guevara's photo. - Dependence on occasions: occasions and commemorations make a certain photo appear more important at a certain time and become the subject of reproduction and adaptation. The same photo may receive less attention at one time, but at another time it becomes especially important. For example, Omar Khavar's photo is more popular than ever at the same time as the anniversary of the Halabja tragedy. Photo in the position of starting and reminding an event: there are photos that, due to the specific narrative of a memorable issue, have caused the participants in the anniversary ceremony of that event to repeat actions similar to the original photo and This makes photographers try to create a photo similar to the original photo. The photo of Victory Day in Times Square is one of the famous examples for this section. The importance of the photo is based on the effects of the paratext: the audience's information is based on observing the elements in the photo and also receiving marginal explanations about it. These explanations can be true or false. The paratext of the photo presents marginal narratives and refers to things that exist outside of the photo itself. The photo of the child and the vulture by Kevin Carter is the most famous photo that has such a feature. Because when everyone sees it, they remember that the photographer of that photo committed suicide. It can also be said that the photographer and his tools do not have much effect on the production of the myth-photograph. Because the spread of a photo among people is influenced by factors after photography. The myth-photograph is created after the photography and with attention to communication and advertising. It should be noted that in a certain period, a photo may be popular and reproduced. But after the excitement and excitement subsides, that photo will usually be forgotten. Alan Kurdi's photo is a good example for this category of photos. The question of this research is how a photo could go beyond an advertising media and become a role model? "Myth-photograph" is a term that was developed in this research and also managed to achieve a specific definition of the concept and the effective factors in its production. A Myth-photograph is a photo that has been adapted by other artists due to its many reproductions as well as its pre-textual properties, creating a hyppetexyualité. Such a photo can remain in people's minds for a long time due to its features such as the narrative in itself and how it is reproduced on the audience level.

The motif of the double-headed eagle which is associated with the famous fabrics of Al-Buwayh is a rare, unique, and cryptic motif in the art of different historical periods of Iran that has many unexplored aspects. This motif can also be seen on a metal plate belonging to the Sassanid era, before appearing on the textiles of this period. This evidence has not been covered by any research before the present study. Considering the many influences of the Buwayhid dynasty from the Sassanid in various fields such as politics and culture, as well as the numerous derivations of this dynasty from Sassanid art, this study introduces the mentioned motif in the Sassanid era as a pretext for the Buwayhid era. The purpose of this study is to investigate the relationship between the two texts (the pretext in the Sassanid era and the Hypertext in the Buwayhid period) and to reveal the types of hypertext typology. The present article tries to give a clear answer to these questions: How can the connection between this motif in the period of Al-Buwayh and its predecessor be explained? What changes have taken place in the process of adaptation of this role from the Sassanid era by Al-Buwayh? This research has been done by descriptive-analytical and comparative methods and applies Gerard Genet's theory of Transtextuality. The findings of this study indicate that with the combination of written and visual signs, the relationship is transposition and by simultaneous thematic development and increase in stylistic issues, Development has taken place. The permutation by the artist of the Buwayhid period shows the effort to harmonize and reconcile Islamic beliefs and the cultural heritage of antiquity.

The transition from structuralism to post-structuralism and the transformation of the paradigm governs  society changes in the field of criticism. . In this period, the text is placed against the work, and the text becomes an open realm in abundance and diversity of meanings. Today, mythological approaches are considered as important methods of literary and artistic criticism. Myth is rooted in the history, culture and collective unconscious of nations and societies and benefits from thought, fantasy, symbol and internal imagery. The essence of literature and art seems the same, and there is a close connection between these two and myth, so myth can be considered as a literary or an artistic genre. To put it better, myth is considered an interdisciplinary genre that covers a wide range of epic, tragedy, dramatic literature, poetry, painting, and sculpture from the past and has a strong presence in cinema today. In the second half of the 20th century, the one who built Mythological criticism and organised the fundamental philosophy of imagination was Gilbert Durand. His theories and methods of criticism show this movement from Mythocriticism (Mythocritique) to Mythanalysis (Mythanalyse). He continued the new method of literary criticism that Gaston Bachelard had started but did not manage to finish, that is, a methodology based on myths. The present research aims to understand the stages of the formation of a meta-definition of myth in a chain of words and his methodology in a constructive combination of the intersection of old and new literary and artistic criticisms and their convergence in a trihedron of critical knowledge. It is taken into consideration and it moves in search of an answer to this question: The evolution of Gilbert Durand's theories in the continuation of the history of criticism until the formation of the theory-method of mythanalysis, what hierarchy did he go through and how did he use methodical mythology in the analysis of literary and artistic works and influence their criticism? The research method was done by translating and referring to the main sources including the works of Gilbert Durand and other related books, and using a descriptive and analytical method, the basics of the discussed theories were developed as practical approaches in art and literature criticism. According to the result, Gilbert Durand's definition of myth, among many definitions, is introduced and specified as a meta-definition, in that it ends the confusion governing the terms related to imagination and it provides a clear definition of the words that are necessary for his analysis; it also keeps only those expressions. Meta-definition defines this system in a chain including: reflex, schema, archetype, symbol, and myth. Gilbert Durand believes that the basis of understanding the structure of the text is the discovery of hidden myths, which are more effective than exposed myths, and knowing the cultural context of the society and metatextual issues can influence the choice of mythological patterns. According to him, myth and imagination are the center of gravity of historical, social and philosophical issues with psychological motives. It has also been indicated that from the Mythical figures and faces of the literary and artistic work to its hidden myth, what background and how many stages they have gone through to be analyzed and Mythanalysed. By identifying the mythical atom, that is, the smallest discursive unit of myth that has a structural nature, a limited atlas of micro-myths (Mythèmes) is formed at the moment of reading the work and at the moment of creating the work, and in the theory-method of mythanalysis, by searching and studying, the codes of the work are revealed. Its method can be defined in three stages: 1. Finding nuclear myths, 2. Chronology of culture and society, 3. Discovering the compensated myths. Such a process can be used to establish a proper structure in art criticism and art history through the adaptation and application of Gilbert Durand’s method in the literature. During the discussions of the article, concepts such as literary theory, literary criticism and literary history are not considered separately from each other, but it is believed that they imply each other and can be used in accordance theory of art, and art criticism. Therefore, it can be placed in the history of art. Many criticisms have been raised first in literature and dramatic literature; however, they can also be extended to art, and by referring to them, the art critic can focus on his perspective and how to create a new meaning. Gilbert Durand's theories and methodologies are usually used in a complementary way.

By classifying translation into three types of intralingual, interlingual and intersémiotique, Jakobson considers adaptation as a type of intersemiotic translation. Eco also considers intersemiotic translation to be an example of interpretation which means that the adaptor, as an experimental reader, transforms what he felt in the novel into the images, so he becomes a kind of interpreter. Therefore, the adapter is a kind of interpreter who, based on his lived experience, converts the meaning received from the novel into the images in the film. Although; intersemiotic translation can be considered a type of interpretation. The purpose of this article is to examine the intersemiotic translation of the characters of the novel "Crime and Punishment" (Dostoevsky, 1866), as one of the most frequently adapted stories in cinema, and the Iranian film "Pole Khab" (Barahani, 2014) in the aspect of the characters and actors of both works, to show the critical interpretation of the adapter from the source of the adaptation. For the first time, Victor Derély translated the novel "Crime and Punishment" from Russian to French in 1884, and since then the novel has been the subject of numerous French literary criticisms in terms of structure and content.The main issue of this research includes examining the changes formed from one continuum (novel) to another continuum (film), the adaptive critical view of the previous text and the social context of the new story- purely in terms of personality traits. The comparison of the character traits of the characters, the metamorphosis of the main character and the study of the stages of the hero's journey in both works show that the adapter's interpretation of the novel text, in addition to changing the nature of the characters and the stages of the hero in the content of the later text, brings other changes. In addition, the social context of the story is new, and these changes, in turn, are the result of the adapter's intentions and his critical view of his time.

The narrative of " Sabzeh ghoba" is one of the folk tale. how trajectory of hero in mythic journey in story of "sabze ghoba" Based on monomythic model of Campbell's hero's journey Also, identification of protagonist's psychological Tibi Kahler based on T.A. theory, is main issue of research. This research purpose is study of subconscious mind of story audience and find out narrative motivation of story of hero's journey in mythic story of "Sabzeh ghoba".This article analyzes story of "Sabzeh ghoba" with mythological and psychological approach.This study shows that total levels of initiation and departure levels exist in pattern of hero's journey theory and return levels do not see in story of "Sabzeh ghoba". In addition, research proves existence of interaction between psycho-moral and narrative motives in formation of symbolic story of "Sabzeh ghoba". This study also concludes that going through personality development as an archetype in collective unconscious in human beings is trans-regional value.This research shows existence of Tibi Kahler " be hardworking " in the draft of the protagonist's life . Therefore, this study concludes that Eric Berne's Tibi Kahler theory is reflected in tests of Campbell's hero's journey; And indicates existence of Tibi Kahler in Iranian mythology.Research method is descriptive-content analysis and data collection is field and library.

The house of Akhawan-e-Haghighi in Isfahan, which is a building belonging to the late Safavid to early Qajar period, contains a significant collection of wall paintings. Monochrome azure paintings on the plaster surface, which is one of the traditional examples of wall painting of the Islamic period, can also be seen in this building. Both in terms of amount and size and in terms of the subject, the azure paintings of the Haghighi house are remarkable and unique. The similarity of the use of azure color on a white background in European pottery with azure color wall paintings on plaster surface can be a key in finding new hypo texts for this type of wall painting. This research aims to show the impact of imported pottery from Europe on Iranian art, especially in this case, trying to reveal the content and basis of other murals of this kind found in the cities of Isfahan, Kashan, and Shiraz, and furthermore to examine the intertextuality relationship of these motifs with tiles and pottery. It also reaches one of the less mentioned sources of the influence of Western art on Iranian art, that is, the pottery exported from Europe to Iran. In this research, an attempt is made to answer the question of what are the hyper textual relationships of these paintings by examining the intertextuality of this type of wall paintings in a descriptive-comparative way. And can the so-called Dutch blue-white porcelain of Delft be considered the hypo texts of the wall paintings of this house? In this research, by examining the homogeneity of the form and content of the wall paintings of the Haghighi house with the assumption that the European pottery is the hypo texts of the azure paintings of the Haghighi house, the main question addressed in this study is whether the intertextual and hyper textual relationships of these motifs can be based on theories of Gerard Genette’s hypertext? Then, executive, reduction, displacement, deletion, thematic, thematic, hypo texts and text content are examined. As a result, with the help of Genette’s theory of intertextuality, the place of the Dutch blue and white pottery motifs is revealed as one of the hypo texts of the wall paintings of the Haghighi house, and the relationships of transformation and homogeneity between the hypo texts and hypertext are investigated.

The myth-religion of Sarai is one of the most popular and common traditions among the people of Azerbaijan. This myth-religion is the narration of the love of a girl and a boy, which leads to the suicide of the beloved due to the absence of the lover and the oppression of the village khan. This myth-religion is rooted in the literature and art of the people of these regions and has a high value burden in the culture of this region. In this research, which has been done in a descriptive-analytical manner, the authors have tried to study the pattern of love in this narrative and extract its main feature. According to studies, according to René Girard's theory, the sacrifice of the beloved as a result of the desire to imitate and obtain the girl that most village men want, by the village house and the spread of violence among the villagers in order to Preserving the honor of the village - which is the candidate of another man - is known as the main model for this narrative. In this case, the suicide of the beloved is the only way out of this conflict in order to preserve the authenticity, loyalty and freedom of a woman and at the same time, prevent Khan from harming the health and security of the village. After this sacrifice, the victim became a myth and supported the Sarai religion, which is manifested through oral and written literature, music, poetry, theater and cinema.

The city, as a phenomenon, consists of many aspects that are always in the focus of researchers' attention from different perspectives. The visual order of the city and its architectural structure is an issue that both represents the material facilities and resources of the city and manifests the rules and cultural and social values of the city. Man, as the most important member of the city, is constantly interacting with the city space and its evolution, which causes the establishment of urban law rules and the need to pay attention to the preservation of citizenship rights. The present article rereads the basics of urban law in a problem-oriented research with a descriptive and analytical method and recognizes it in religious teachings and jurisprudence texts. Therefore, the main purpose of this article is to explain the rules of urban jurisprudence as the main source that accurately considers the rights of city residents and states their commitment to the city's civil rules. Also, relying on Gérard Genett's transtextuality approach, the intertextual relationships of these rules are analyzed and a new reading is obtained from them. In the texts of Islamic jurisprudence, we also encounter many rules, from the point of view of Sharia's approach to man and the surrounding environment, mutual individual and social rights, freedom in the privacy of the home, the right to use nature's resources in principle and properly, and responsibility towards individuals. On the other hand, participation in maintaining the urban space and avoiding harming its facilities and resources is a right and responsibility for humans. Harmless jurisprudential rule (la darar), rule of tasleet, rule of etlaf, rule of tasbib and many principles and clauses included in the text of citizenship rights laws are considered among the most important jurisprudential and legal rules corresponding to urban rights. Therefore, we can point out the importance of jurisprudence and legal sources in explaining the rulings and regulations related to urban planning and architecture. In this way, both specialists in the field of urban planning and Islamic urbanism can use these rules, and architects and even citizens can use these principles in the field of civil engineering and the construction process and revive them in contemporary architecture. In addition, in order to achieve a conceptual and theoretical model of jurisprudence rules for their better efficiency, rereading these rules and organizing them from the perspective of transtextuality theory has been done in order to gain a deeper understanding of the textual relationships and their hidden and visible layers. The findings and results of the research show that the harmless rule (la darar)  is one of the most fundamental jurisprudential rules that plays an irreplaceable role in determining the rights of individuals and its fair implementation on all parts of the city. Also, based on the transtextual approach, the effect of the harmless rule (la darar) can be clearly seen in other rules of urban jurisprudence and some articles of the charter of citizenship rights, which indicates that this rule is pre-textual and the adoption of other jurisprudence and legal rules as resulting hypertexts from that. In other words, individual rights, social rights, spatial and environmental rights, whose commitment is explained in numerous laws, texts and legal charters are all based on the consideration of protecting the rights of others and the obligation to avoid harming them, which is the aforementioned rule implies all these concepts.

The World Wide Web has created a new arena for Google as one of the most widely used brand names in the last two decades, which has designed more than 4,000 examples of Doodle logo appropriate for its advertising strategies from 1998 to 2022. Among the doodles, the celebration of artists in various fields, especially painting, has a special place. The present paper, studies Google’s Occasional Logos as perfect examples of referencing based on Gerard Genette’s transtextuality. This French cultural critic and thinker developed a coherent theory for explaining intertextual relations by presenting the idioms of transtextuality. The paper draws on a descriptive analytical method to examine the extent to which Genette's typology is applicable to the design of Google logos (doodles) celebrating artists. To do so, the paper discusses the influence of hypertext on the hypotext of works of artists from different countries. The "hypotext" is the original text and the source of inspiration, and the "hypertext" is the second text derived from an earlier one. Hundreds of doodles have been designed to honor painters so far, and from among which, 11 paintings were selected as the corpus of the study by purposeful sampling. The results of the study indicate that different types of Doodle Googles in honor of painters revolve around four types of hypertext (except for charge and Travestissement), and most of them might be categorized in several types at the same time. A number of logos have been created based on pastiche (imitation of an artist's masterpiece), but most of the doodles are in the category of parody (comprised of a combination of elements from different works by the same artist). Many of them are categorized as forgery and transposition.

In the past centuries, when Westerners became more familiar with Iranian-Islamic art, they attempted to understand its essence based on the principles and foundations of their own art which is based on formalism, and thus called it decorative art. This means Iranian-Islamic art has additional elements that is separated from the original work. But it is noteworthy that contrary to the opinion of Westerners, in Iranian-Islamic art ornaments are not only a means of completing an artwork but as a way of forming and creating it, because in Iranian-Islamic art, beauty is associated with creation. The word “honar” Indeed is “ho n are” which means creating beauty. It should be noted that most of the researches done in the field of Iranian-Islamic art’s ornaments only describe different techniques of Iranian-Islamic art or different types of motifs in it, and finally, by producing descriptive propositions, can not help in understanding the themes of these ornaments. Consequently, the role of these ornaments in creating an artwork is ignored.
Thus, the main purpose of this article was to explain the basics of Iranian-Islamic art’s ornaments in order to understand the role of these ornaments in the formation of Iranian-Islamic art, and Chehel- Sotoun Palace in Isfahan is chosen for case study. This palace was built in one of the golden eras of Iranian-Islamic art and has various forms of ornaments. Since the ornaments of the Safavid period have often mythical and narrative themes, the chosen research method is a sort of mythological critique. Among the various methods of mythological critique, the Cruiser allegorical mythology method is the method of this paper because these ornaments are often symbolic and allegorical, and the allegorical mythology method is a suitable method for analyzing allegorical works. Cruiser argues that in an allegorical work the relation between form and meaning is based on allegory, and in this way the form of the work either becomes a symbol of meaning or refers to meaning through a mythical narrative. Based on this, it can be said that in this article, the main goal is to explain the meaning hidden in the allegorical ornaments of Chehel-Sotoun Palace through the method of allegorical mythology.
Thus, this article by using the allegorical mythology of the Chehel-Sotoun Palace’s ornaments concludes that the idea behind this Palace’s ornaments - stony lions, Anahita, chalipa, swastika, shamse, rotated shamse, Shah Abbasi flower, Niloufar, extensive mirror geometric designs and decoration, water reflections in pools and Middle Hall paintings - are signifying both dignity and illumination, or more precisely, the dignity required by monarchy, or the so-called “Kiani dignity”. Such a palace is built only by such a king and nothing else, and on the other hand the idea behind its pillar columns comes from Mitra's Palace, as the god of light and heat of the sun or in other words the brightest character in Iranian myths, which is an example of all the ideal cities of Iranian culture.

In critical discourse analysis theory, there is a tendency to analyze images as if they are linguistic texts. In the Qajar era, the institution of court painting (Naghashkhaneh) was the place of creation and supervision of various genres of the arts of illustrations, which Single-Page watercolor paintings were one of them. Some of these paintings show the royal family and courtiers; therefore, they directly relate to power relations and structures, and contain ideological indications that were often creating to represent the regnant power and to consolidate its ideological content. The watercolor painting from “Nasir al-Din shah Qajar” and two courtiers” which created by the court painter, Mohammad Hassan Afshar, and the support of an anonymous court patron- both as the participants in creation stage- is one of the artworks of Nasir al-Din shah period, which is studied in this article as a discourse based on Norman Fairclough’s theory of “Critical discourse analysis”. Fairclough’s theory is one of the important and reference theories in the field of “discourse” in which he has discussed linguistic phenomena and discourse actions, ideological processes of discourse, relations between language and power, dominance and power relations, and social reproduction in inter-discourse and inter-textual relations. According to him, discourse is an interwoven set of three dimensions of social action, discursive action (production, distribution and consumption of text) and text. As a result, the analysis of a specific discourse requires the analysis of each of these three dimensions and the relationships between them. In this discourse, there are verbal text in the composition of the image that describe the characters, so the image has an interdiscoursive space and both verbal and visual text and their interaction with each other have been analyzed. In this painting, the painter, in a symmetrical composition of asymmetry, places the minister, Mirza Aga Khan Nouri, sitting on the floor on a  hypothetical vertical line in the middle of the image as a traditional symbol of power, the king, Nasir al-Din, on the left side and Seif al-mulk who was Iran’s ambassador to Russia and a general on the right side; so according to the rules and concepts of Persian painting which always were showing the king as the source of power in the middle of the image, the painter based on his background knowledge from political situation of court, Has started the process of making denaturalization and has revealed a hidden power struggle between the king and the prime minister The main question of the present study is what is the hegemonic and dominant ideology in this discourse and whether the orders of discourses influencing this discourse has taken steps to consolidate, weaken or change the hegemonic ideology and power? To answer this question, based on Fairclough’s three-dimensional model, this painting has been studied in three stages: textual description, discourse interpretation and social explanation, which, as a matter of necessity, and as Fairclough has argued in his theory, the authors have been constantly moving between these three stages. It seems that this painting in the stage of social explanation shows that the painter- in the position of both an activist and a creative commentator- has attracted the opinion of the possible patron of the artwork, Mirza Aga Khan Nouri, in order to show his great power on one hand, and on the other hand, he identified a secret conflict that by presenting multifaceted signs that no one except Nasir al-Din Shah could win finally, because of his absolute power as the shadow of God in Iran!      Therefore, the achievement of this research is that in this struggle, contrary to the first semantic layer, which seems to show the Prime minister as the source of power and the symbol of traditional ideology, in the hidden layers of meaning, the dominant ideology still emphasizes the absolute power of shah. But this absolute authority follows a new structure based on a mixture of discourse orders of modernism and westernization, archaic thought based on the concept of charisma and royal charisma, and the utilization of religion; Also it can be said that Hassan Afshar’s view as the artist who has worked in the institution of the Painting House of the court, was not only a reflection of the orders of discourses in political and social institutions and structures, but also it has done a hidden change in the orders of discourses of painting institution in the court. According to this perspective, in a dialectical relationship, the artist as a discourse activist in this visual text has been effective on the changes on orders of discourses in the field of court politics in a small level.

Alexander is one of the most important and ambiguous mythological characters of Iranian history and culture that has undergone extensive changes and taken new forms under the influence of grand epistemological narratives (archi-myth) in the Greek, Iranian and Islamic worlds. One of the efficient cultural strategies of Muslims is the use of archi-myths by borrowing them from the myths of other nations in order to explain and confirm religious concepts and teachings. The results of the present research show that the poverty of mythological contents among the Arabs of the pre-Islamic period, the rise of the translation movement in the first A.H. centuries, the emergence of the second wave of Hellenism and Alexander's mythical behaviors paved the way for the formation of a new personality of Alexander in the Islamic world, and Alexander was introduced as Dhu al-Qarnayn in the interpretation texts of Quran. In the world of Islam, the myth of Alexander did not have a clear concept at first, but it gradually found its own characteristics and through the generally religious codes, it reached an independent concept in the middle ages, which has continued with changes until now. By using analytical-comparative method, the present research at first attempts to examine "archi-myths" and then to find why Alexander, as a archi-myth, has been center of attention for Muslims.

For the first time, “Yahya Zoka” in a research in 1964, has used the term “Shamayel-Khaneh” (house of icons) of Nasser al-Din Shah. The main question in the present study has been whether the term Shamayel-Khaneh was actually used in the Nasserite period. The sub-questions have been about quiddity of the Shamayel-Khaneh, its properties and related matters. These questions led to discovery of the “Royal Jewelry Document Booklet” at Documentation Center of the “Malek National Library and Museum Institution”, with registration number 6164. This booklet has written in Nasta’liq and Siagh script on European paper and has consisted of 66 sheets in the dimensions of 25/8×16/8 cm, which was written in 1291 AH and some items were added to it until 1317 AH; and therefore, it has belonged to the period of Nasser al-Din Shah and Muzaffar al-Din Shah Qajar. This booklet has related to the documents of Shamayel-Khaneh, books, Qur’an and Bayaz from the calligraphy of Imams (a.s.) etc. along with gold and jewelry in the treasury and court, and has contained the documents of five icons of Imam Ali (a.s.) under the Shamayel-Khaneh. The most important goal, then, has been to find the icons that have documented in the booklet and to reconstruct part of the Shamayel-Khaneh. Therefore, it has tried to explore the icons of the booklet among the icons of the Nasserite period, with the inductive method by comparing the document with other documents, texts, photographs, paintings and icons of the Qajar period, and using the three processes of description, evaluation and analysis. The findings show that the Shamayel-Khaneh has been one of the royal houses and has contained icons of Imam Ali (a.s.) that provided the icons needed for court houses and ceremonies and five icons of it have been part of the royal jewelry. Of these, three were made by Muslims and probably two by Christians or in close association with Christians. These icons have been the most important icons of the Qajar period and the Nasserite court, because they have been part of the royal jewelry of the treasury. The placement of the five icons of Imam Ali (a.s.) at the beginning of the “Royal Jewelry Document Booklet”, before the document of the Qur’an, the Turbah Karbala and other gold and jewelries, etc., as well as the employment of a person in the task of protecting the icons, has shown the position of these icons of Shamayel-Khaneh in the Nasseri court.The first document is about a medal which is oval shaped, silver, decorated with diamonds and contains a large piece of diamond, and a portrait of Hazrat Ali (a.s.) is illustrated in it. This portrait is probably the work of Abulhassan Naghash-bashi and is drawn by him on the order of the king from the icon of the treasury of the previous kings in treasury of Nasserite court, and it was hung on the body of the king for the first time on Wednesday, the 27th of Rabi al-Awwal, 1273 A.H. (1856), during a magnificent ceremony. This medal is mounted on Nasser al-Din Shah’s neck and chest in one photo and three paintings but its current fates is unknown.The second document refers to placing of a photo of an icon of sitting figure of Hazrat Ali (a.s.) under a smooth cut glass, which is made of high quality stone and has a gold frame decorated with diamonds, octagonal cut and crowned head. This icon is probably painted by a Christian painter and is now kept in the treasury of the “National Jewelry Museum”.The third document is related to a watercolor icon of sitting figure of Hazrat Ali (a.s.), which is placed in a gold frame and decorated with jewels such as rubies, emeralds, diamonds, garnet, and turquoise. This icon is the work of Agha-Hassan and is now kept in the treasury of “Golestan Palace”.The fourth document is related to an icon of sitting figure of Hazrat Ali (a.s.) with Imam Hassan and Imam Hussain (a.s.), Salman Farsi and Abu Dharr Ghifari. This black pen icon is installed on a framed canvas and its dimensions were 94.25  × 110.5 cm. According to the document, there is gilding or water gilding on the frame. This icon is the work of Ismail Jalayer and was installed in the funeral ceremony of Nasser al-Din Shah in the Takyeh Dowlat but its current fates is unknown.The fifth document is related to an oil color, undated, unframed, but with framework icon of Hazrat Ali (a.s.) on canvas. This icon is installed in the Takyeh Dowlat during Muharram and Safar ceremonies and is kept in the treasury of the “Astan Quds Razavi Museum” now.

The painting of Haftavad and Karam, as a work by Reza Heravi, is a manifestation of Indian art in the context of Iranian art. This work is taken from the painting of Dost Mohammad, a prominent Safavid painter, and is kept in Jahangir's album. The issue is the reason for the re-creation and adaptation of Dost Mohammad's work by a person named Reza Heravi in the Indian court. This research tries to answer two questions: In this process of derivation, what sign systems have been changed or removed that have led to a change of meaning? And what are the differences between these two paintings? The purpose is to achieve and identify the type of changes in Reza Heravi's text. So far, no research has been done on Reza Heravi's adaptations. This research is descriptive-analytical and comparative and examines the two drawings considered by two artists by Gerard Gennet's transtexualite method. Based on the results obtained and using symbolic systems, in the paintings of Reza Heravi, Jahangir and Ardeshir, the Sassanid king is also in opposition. However, due to Dost Mohammad, Haftavad and Ardeshir are facing each other Therefore, in this transtexuality due to the change and change of sign systems in Reza Heravi's painting, the meaning has been completely replaced by the dominant type of transformation. Adaptation and derivation in an intercultural-linguistic and transnational study takes place following the connection between cultures and between two different societies. In these intercultural derivation, the differences and similarities between the two works of Indian and Iranian society were studiedThis article, after examining three stages of the body of studies, found that the hypertextuality by Reza Heravi with the dominant type of permutation is related to the work of Dost Mohammad. This transtexualite, by changing some of the sign systems in the adapted work, has created a huge transformation in the second hypertextuality. Most of these changes are related to the replacement of important fictional and pictorial characters in the plurals of Dost Mohammad and Reza Heravi, because after the exchange of the statues of Ardeshir and Haftavad with Jahangir and Ardeshir, the meaning has changed in general due to adaptation. The new meaning is that Ardashir is condemning the Seventy in the first painting, but as a result of the adaptation, Ardashir is reproaching the universal. It can be said; This change of meaning is due to Heravi's adaptation of the signs mentioned earlier; It is purposeful, and the painter humorously condemns the universal forms of extremism in wine and opium, and chooses as a counselor who was once the powerful ruler of Iran in the Sassanid era Therefore, it can be concluded that the political approach also dominates this work and the image, despite its appearance, is king (Jahangir) centered and is a kind of propaganda discourse in the work. As a result, Reza Heravi's adaptation, both in terms of changes and in terms of the structural view of transcripts, has led to a quantitative and qualitative change in her prefaces.

The relationship between Safavid architecture, especially Safavid Government House, and the climate of this city in Isfahan is based on allegory and the icons of this Government House are based on the climate of this region. From this point of view, the architecture of the government house establishes a close relationship with the climate of the region, but the manifestation of climatic arrangements in this architecture is not only based on the material aspect, but also its form refers to something beyond it.Thus, the purpose of this article was to explain the relationship between climate of this region and Architecture of Safavid Government House, And the method of Cruiser allegorical mythology was chosen as the research method because it is one of the most appropriate research methods for discovering the idea or fundamental meaning of any allegorical work. It should be noted that the use of new methods in dealing with the history of Iranian architecture seems to be necessary because although Iranian architecture has been described many times in various ways, but, the gap of methodological and systematic analysis still can be seen and every new perspective at each of the historical structures of Iranian architecture reveals a new aspect of that structure and can be effective in understanding these buildings. Thus, this article, which was intended to reveal a new aspect of the relationship between the Safavid Government House and the climate of this city, used allegorical mythology to move from the climatic elements of the Safavid Government House to its meaning, and by Explaining this relationship reached its hidden meaning, and finally came to the conclusion that the driving force behind the formation of the icons of this architecture is the climate, and the influence of these forces has been such that it has acquired a symbolic aspect among these peoples, forming a metaphysical attitude towards these forces, as much as in this way narratives are formed and appeared in their architectural icons.

Narrative time has fundamental differences with real and linear time and brings out aot of freedoms for humans. The narrator by different manipulation methodskeeps control of time while in the real world humans are subject to a linear time. The methods of manipulation in narrative time are divided into three major categories and genres: order, duration and frequency. Time duration, which is the main subject of this article, is defined by distinguishing and examining the relation between story duration and narrative duration. The ratio of narrative and story time duration in a work can be expressed in three general ways: reduction, increase and semmetrical. These three refer to four main genres: omission, brief, scene and hasitent.The narrator manipulates narrative time by means of these four duration genres to convey meaning more beautifully and effectively. This article examines the role of these four genres in speed, acceleration, rhythm of the narration and its impact on sense making.

In the Safavid era, with the support of kings for arts and crafts, metal weapons, especially swords, underwent changes. Steel swords that in addition to the quality of the blades, much attention has been paid to its decorations, especially its inscriptions. These inscriptions as one of the components of historical records, in terms of content; Provides information about the history and social conditions of the era of the creators and their names, the names ordering the works as well as the governor of the time. In this study, based on Gerard Genette's Paratextualite approach, we intend to examine the various dimensions of "Assadollah Isfahani's" signature on the Safavid sword inscription that as a Paratextualite, how can the signature and name of the creator of the work be effective in receiving the text from the audience? The aim was to find out the explicit and implicit content of the signature, the relevance of the text, the Paratextual, and finally, the audience with each other, which, according to Genette , the Paratextualite was on the entrance of text and play an important role in communicating, understanding and receiving text from the audience. Findings, which have been done by descriptive & content analysis method, state that Asadullah's signature not listed alone, as Paratextualite the real name - one of the court blacksmith- and also a pseudonym - a nickname for the superiority of the blades made by other blacksmiths. Rather, the name of the owner of the sword was the main component of Assadollah's signature, which could be a manifestation of the political power and greatness of the Safavid kings at the head of the court. The maker of these blades, in addition to the appearance of signing and obeying the Safavid kings, has tried to emphasize the Shiite beliefs of the Safavid kings with titles and sentences, which shows the royal face, politics and authority of the Safavid kings under the banner of Shiite beliefs and their devotion to the family of the Prophet.

Islamic, juridical, and literary ideas have long found expression in the symbolic language of Iranian-Islamic miniatures. Qandil (luxury ceiling light) is one of the visual forms of Iranian art, mainly miniatures. Iranian miniatures depicting the Qandil represent their religious, literary, and philosophical ideas to communicate profound intellectual thoughts and beliefs.
This study reflects on the symbolic idea and employs Gilbert Durand's mythological approach to examine Qandil's symbolic importance in Iranian-Islamic art and culture. In this context, Gilbert Durand's mythological approach and ideas concerning symbols have been used to examine an image from Maktabi's Layla and Majnun. Answers to the questions, "What does the Qandil sign imply, and how is it used in Islamic-Iranian art and culture?" and "How is the Qandil symbol used in Islamic-Iranian art and culture?" is essential. What is the symbolic importance of Qandil's function in the school miniature about the other figurative components and concepts? It uses a library and descriptive-analytical research method.
According to research, symbolic components derived from archetypes have conveyed religious and Islamic themes. In Layla and Majnun at School, we discover the archetype that produces these motifs and the underlying thought by employing the symbolic visual motifs and how they are integrated. The proportion of the Qandil motif to other visual parts demonstrates the relationship between the image and its religious, literary, and philosophical values. Gilbert Durand's view and focus on archetypes in the creation of symbols and myths suggest that Qandil's purpose in the Holy Quran and Illuminationism is related to the archetype of light. This miniature is especially significant because it uses several different symbols—including the Qandil, Mehrab, and Gonbad—to represent the archetype of "Eternal Light," a central concept in both religion and Iranian-Islamic mythology.