فهرست مطالب طیبه پرتوی راد

Since the beginning of the history of cinema, adaptation of literature has taken a significant share of dramatic works, including television films, series, and movies in the world, and after more than a century, attention has been paid to the adaptation of literary works in the genre. Animation is a growing trend in cinema. In the meantime, benefiting from narrative-oriented popular literature for the production of dramatic works is one of the appropriate ways to use the treasure of Persian literature. This issue is investigated in this research with a descriptive-analytical method and an interdisciplinary perspective. The capacities of Samak Ayar as one of the most popular works of this type of literature should be investigated for making an animated serial adaptation. Based on this, it seems that there are many ups and downs due to the adventurous structure and diverse and entertaining themes in the context of countless kinds of tying and unraveling of the story, which includes action-oriented and suspenseful conflicts and crisis points. There is a capacity to use these elements in the creation of a series in the animation genre by selecting and paying attention to various and popular characters of this text and relying on all kinds of situations and exciting scenes.
 
Keywords: Popular Literature, Samak Ayar, Adaptation, Serial and Animation.
 
Considering the vastness of Persian literature and especially classical literature in different presentation structures and in poetry and prose formats, it can be claimed that even a poem, a historical text, or a travelogue may have this capacity to be adapted. In other words, in this view of adaptation, the analysis is not focused on the mere presence of some dramatic elements, which are present in many literary and non-literary works, but the qualitative level of these elements, along with their frequency and repetition, will determine their desirability for adaptation.
From this point of view and considering this in the range of classical Persian popular literature, there are various popular stories suitable for adaptation in various theatrical formats, including movies (live and animated), serials, theater, and even computer games. By introducing and analyzing works with characteristic features for their adaptation and reproduction in all kinds of media, we can create more hope in strengthening the process of interaction between cinema and native literature in accordance with Iranian culture, which depends on the skill and the artistry of the filmmakers. In this way, in the present research, one of these types of works, namely Samak Ayar by Arjani, is considered from the perspective of quantitative and qualitative elements suitable for adaptation in the form of animation. The main research question is: What are the favorable characteristics of this work of popular literature to become a visual version compared to other similar works?
 
In this research, first, by using documentary and library resources, the history, definitions, and characteristics related to the field of popular literature are taken into consideration. Then, using the descriptive-analytical method, the story of Samak Ayar has been investigated and analyzed in the context of popular literature and romance and with the approach of emphasizing the favorable indicators for adaptation in the production of animation series.
 
Redearch The exaggerations and dramatic dialogues have the capacity to become a popular adaptation in the form of a multi-season series with local and national approaches, such as the animation series of Pahlavanan. Based on this, the accurate selection of themes, characters, events, and the updating of physical and mental challenges, along with the selection of appropriate tone, language and expression, and the integration of advanced two-dimensional and three-dimensional technical techniques are suggestions for making a fascinating animation.
 
Discussion of Results and Considering the results of the present study, although the works of classical Persian literature have not been written for the show, there are brilliant works such as the story of Samak Ayar in this literary treasure, which has a high capacity to become a serial. Especially in the context of animation production, its capacities are more visible since this text relies on a long, eventful, and exciting narrative, in accordance with the Aristotelian structure, while having dramatic characterizations, detailed, and varied illustrations and scenes, fascinating incidents, numerous and varied conflicts and exaggerations. Considering the commonalities of animation and computer games in structure, the suggestion of making an adaptation game from this work will not be out of mind and can be considered as an independent research topic with this approach.

The art of animation, in recent decades, has turened out to a lucrative indusy; hence attractig many audiences across the globe through its enchantment. Adapting from literary texts is one of the strategies applied by  cinema and animation industry to produce an attractive movie. One Thousand and One Night is regarded as one of the most important samples of these foresaid texts that its vast distribution has made this work significant for many audiences in Iran, India, the Arab world and the West.  This study, by highlighting the imaginative and fantasy aspect- as one of the most important prerequisites for animation- of the anecdote of "Ebony Horse" , intends to adapt the aectode with the structure of the animated screenplay in a descriptive-analytical approach to explain the elements that are influential in making its animation. Furthermore, it aims to indicate the capacities of this anecdote to the audience particularly to the directores by highlighting aspects such as: subject and story; utilizing the structure of Aristotelian triad theatrical scenes including dilemma, crisis, climax, and solution; practical and suspenseful conflicts; charactrization based on dialogue and action as well as interesting fantasy scenes and situations suitable for animation, the characters show the audience the capabilities of this anecdote.

Animation is one of the most popular cinematic genres for people of different age, intellectual and cultural levels. Adaptation of literary texts is, also, one of the flourishing areas for making these works, which in line with its global flow, in Iran, considering the rich and great Persian literature, has the capacity to be given more attention. With this approach, mystical works, and especially Attar's poems, are one of the desirable contexts/areas for adaptation. In the Indian Sarpatak in Elahi Name and similar examples, this type of work is suitable for making adaptive animation, providing the ground for its dramatic exploitation, emphasizing capacities such as the story, and theme, which are standard and expandable, different  kinds of storytelling techniques, the presence of lovely characters and the possibility of of expansion with a focus on description and dialogue. In addition, the text and the use of crisis points and peaks, action-oriented and suspenseful conflicts, and, finally, the ability to create different kinds of interesting scenes and situations suitable for animation space could be some potentials in this respect... Such anecdotes and similar examples in the mystical works of classical Persian literature can be considered as suitable frameworks for making adaptive animation.

Allusions in literary texts are among the elements which can cause intercultural misunderstanding. In this study, the translation of the  allusions of two narrative poems selected from Nizami’s The seven Images (Haft Gonbad) were studied. To this end, the frequent types of implicit allusions were extracted from the poems: The Black Dome and The White Dome. Next, the original text was compared with its English translations to identify whether these allusive meanings were found and transferred in their translations. To achieve this goal, Leppihalm’s (1997) model of translation strategies for key-phrase (KP) allusions was employed. The findings indicated that the most frequent strategy selected by the translators is literal translation. Rendering the poems into English literally, the translators ignored the implicit meanings underlying the allusions. The findings can have implications for translating literary texts.

Persian literary texts, especially the classical ones, have never been written for the purpose of animation display. Nevertheless, some of these texts have dramatic capacities which enables screenwriters to adapt them via various techniques and methods. Attar’s Manteq-o Teyr is regarded as one of the significant mystic poems as well as a classical masterpiece of Persian literature that can be adapted in the genre of animation due to its rich and profound didactic instructions. Animation is a narrative of the impossible world, hence it is not only capable of igniting audience’s surprise and wonder but also capable of depicting the impossible as possible by employing motion, picture and imagination. Applying descriptive-analytical method, the present study aims to analyze dramatic meta-structural elements including dramatic structure (conflict, complication, crisis, and resolution), characterization, setting, dialogue and, etc. based on generic approach and focusing on the type of animation to reveal adaptive capacities of Attar’s Manteq-o Teyr. Consequently, the analysis of the foresaid elements indicated that Attar’s Manteq-o Teyr due to the coherent structures of the tales appropriate for theatrical expression along with the features like motion, picture, and imagination can be regarded as a suitable text for animation script. Furthermore, the presence of complex and symbolic characters, variation in color and motion, as well as, multiple settings and various time of the journey are included among the capacities that enhance the visual features of this text for animation adaptation.

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

One of the main subjects that has been a matter of attention to the literary researchers is reviewing the narrative techniques of the poets and writers who are well known in the field of narration.
Discovering the mystery of these narratives, not only can manifest the value of the previous works, but also helps today’s writers in achieving the effective narrative techniques. Discovering the deeper layers of the Golestan of Saadi demands deep thinking, and through reviewing and reinterpreting it, new literary potentials can be found. This research aims at a critical study and analysis of narrative discourse and the structure of narration in the story about a young boxer in the third chapter of Golestan. It shows how much Saadi has been successful in induction of his beliefs through finding the proper forms related to them and based on the assimilation of form and content, he creates a piece of work which has different dimensions of a literary work all together, a work which satisfies the audience through different eras.

Looking at the history of adaptation from literary sources in various kinds of worldwide dramatic arts such as cinema, television and theatre shows that adaptation can well fill the existing text-gaps in theatre and other forms of dramatic arts. In Persian literature, although the literary texts aredescriptive, there are many works possess high dramatic potentials and may be used to enrich the dramatic texts. One of the works like this, known as Ilāhī-Nāma, has been written by Attar of Nishapur that considers with less artistic and literary value under the effect of his Mantiq-ut-tayrandTadhkirat-ul-Awliyā. It’s a work full of narrative stories from which some stories have considerable dramatic potentials have not yet attracted the attention of researchers.Relying on the importance of adaptation from literary sources, in this article, the dramatic potentials of the story “The Pious Woman” have been analyzed through a descriptive-analytic method based on 18th century definition of Aristotelian theatre. It has been endeavored to study the semantic aspects and structural features to get an appropriate source for literary adaptations.

Attar’s Manteq-o-Teyr (Conference of the Birds) is one of the few works which has found favor with the West in recent decades and، with their special definition of mysticism، has frequently been performed in drama scenes all over the world. In this article، while reviewing the origins of Manteq-o-Teyr، I will compare the adaptations of this mystical poem by authors from outside Iran، Especially Jean-Claude Carrière، with authors from inside of Iran، using descriptive-analytic method. In comparing such adaptations، I will evaluate their strong and weak points based on presentation capabilities and aspects of this poem. The results indicate that by structure، innovation and deconstructing the structural rules of theater and its use of Brecht structure، very close to the narration of Manteq-o-Teyr، in collation with Aristotelian structure، this adaptation has been able to distinguish Carrière theater from the domestic adaptations; there are، though، many differences between Manteq-o-Teyr and its adaptations، especially Carrière adaptation، in terms of theme and content. This same gap shows that this work deserves more attention and more serious and effective adaptations. Adaptations، which are indicative of Attar’s thoughts and the Islamic mystical soul of the poem، while applying new theatrical structures as well.

Sama, as one of the most prominent characteristics of Sufism, is a combination of music, dance and prayer, which in turn are accompanied by specific and certain rituals. First performed in the tenth century, it has survived throughout time and the criticism of dissidents, thanks to the support of its followers. Such as it is with every other religious ethic, this ethic too has an appearance and acore, the way to the core being one which is not easily attainable.
After Molana, his descendants systemized Sama in Turkey.Unlike the past, in a time when the rituals were performed solely by Sufis, Sama has also been presented publicly in the recent years. This article endeavors to study the structure and typology of Sama by benefitting from observational and experimental studies. It tries to gather different opinions concerning the various signs in Sama, in order to provide the audience with an understanding of such signs which are employed in religious and gnostic texts and throughout the rituals themselves.