علی تسلیمی

“Salvation” has always been both an implicit and an explicit concern in literary works; it has often appeared as a well-interpreted ending and sometimes under the guise of the afterlife. An investigation of A Stone upon a Grave and Prince Ehtejab in light of such concepts differentiates between “the end of time” as passive apocalypticism and “the end time” as active apocalypticism. The two works are located in the tension created between these times. Golshiri’s inexhaustible and cycloidal time inspires the protagonist, though death, as calendar time, blows his dreams away. By accepting the authority of linear time, Al-e-Ahmad forgoes confronting time through qualitative or cycloidal time, and seeks salvation through breaching the linear time, which is manifest in childbearing.

This research examines the postmodern novels "Please Close the Door" by Javad Mojabi, a current Iranian writer who incorporates postmodern elements in unconventional circumstances, and “City of Glass" by Paul Auster. The analysis of current American writers, who write within the cultural and social backdrop of the "postmodern situation", has been conducted in a comparative manner. Given the extensive prevalence of the post-modern theme in the Western world, it is anticipated that Auster’s works will exhibit more intellectual deconstructions. Despite the presence of numerous incoherent narratives in his novel, he is expected to effectively demonstrate the post-modern qualities. Nevertheless, Mojabi is endeavoring to incorporate postmodernist elements into his works. Any shortcomings that may arise are primarily due to the novelty of postmodern concepts in Iran and the limited academic training available in this field. 

For Kristeva, each text is the result of its preceding textual network. Hence, to decode a text, one must consider this textual network. Authors and poets have always benefited from previous texts. This is sometimes done as legendism which is nothing but rewriting and recreating legends, and does not help literature much. However, “trans-legendism” has a different approach that can be a cause of literary transformation. Trans-legendism does not just refer to legends by way of allusion and referencing but transforms the past texts by employing intertextuality to the point that the reader cannot easily recognize what texts and legends have been used in the formation of the new text. In the novel Spells, we are faced with three methods legend-telling, legendism, and trans-legendism. In The Blind Owl, too, the writer has transformed the text of the past through the use of multiple legends and myths. This article investigated the two novels based on trans-legendism or legendary intertextuality. This study concluded that both novels have benefitted from legends even in opposition to legends.

The formation of the idea of a school called Imagism in the early 20th century in Hulme, after studying Bergson, and Pound, after getting to know Fenollosa and studying Japanese poetry, created a leap in European poetry and paved the way for a new kind of poetry that after Arthur Rimbaud and Charles Baudelaire drew careful attention to the specifity of images and language. Imagism focuses on a specific object or image as the main subject of the poem with clear and concise language. This school is a subset of modernism that focuses on the skillful presentation of objective images, does not waste time talking about the subjects behind the images, and lets the image speak for itself. Examining the imagistic solutions of Hulme, as the father of Imagism provides a suitable opportunity for researchers of modern poetry. Bijan Elahi, a contemporary Iranian poet, due to his translations of modern European and American poems, was able to reflect the features of this school in his poems. The simultaneous analysis of the artistry of these two poets in their poetic style leads to the clarification of their intellectual, philosophical, and cultural backgrounds. Elahi and Hulme were successful poets in Imagism, and the difference between these two poets, in addition to their cultural context and mental background, was that Hulme, as the pioneer of this school, adhered more to the framework of its ideas, but Elahi, having passed through She’r-e-no and Moj-e-no, was faithful to the tenets of the school only partially and in certain periods of his development. Hulme’s mental background was philosophy, old laws, and a new point of view towards the world, whereas Elahi was more influenced by eastern mysticism.

Summoning and recalling the past is the result of social and political crises of the present. In order to legitimize and confirm the rulers, Muslim writers tried to match the schemas of ancient times with their contemporary examples. In such adaptation, the existing king was compared to the ideal king and his performance was compared to that of the Golden Age of Iran. The centralized and organized historiography of the Sassanids narrated the story of Mazdak in order to legitimize the power and performance of the Sassanids and created an ideal image of the era of Anushirvān and his justice. Khājeh Nizām al-Mulk, who was in charge of the ministry in a turbulent era, was searching for an ideal government in the era of Anushirvān. To deal with the Ismaili movement, he resorted to the example of the killing of the Mazdakians by the Sassanid government in the final part of Siyāsatnāmeh, and by reconstructing the historical patterns, he not only confirmed the killing of the Mazdakians, but also legitimized the suppression of the Seljuk opponents.

This study examines “disintegration” as one of the types of tricks and arrangements that are manifested in short storied and postmodernists novels. “Mummy ” (MOOMIYAYEY)is one of Mojabi’spostmodern works that has a special place in terms of language, expression, structure and images. In this research relying on Derrida’s views and with a descriptive-analytical approach to analyzing the structure and qualitative content of “Mummy” (MOOMIYAYEY) and reflecting tricks the rupture is addressed in it in order to reveal further the unique dynamics and specific style of mojabi. The result of the research shows that Mojabi, in the role of a master artist, has broken the normal construction of words and created a seemingly disjointed, plural and at the same time artistic structure. By using various techniques of disintegration, he has created new, but not far-fetched, meaning ؛in such a way that the reader has the opportunity to participate in determining these meanings. The use of complex and confusing language, the arrangement of words without logical and content communication in dreamy and deconstructive formats are a featurehighlights of this effect.

In Nietzsche’s point of view, tragedy includes the real art and culture, because tragedy is contrary to church based on disorder, mortality, injustice and disaster in human life. According to Nietzsche, tragedy introduces us to disorder. Although the approach leads to absurdism and nihilism, it gives birth to art and culture; in another word, mortality is the price that we have to pay for awareness and culture. For Nietzsche and Steiner, old Greece achieved the real art by the birth of tragedy, which Socrates, Plato and Aristotle weakened so that the church could sound the death knell of tragedy later. Now, we have to think about the birth of tragedy once more. The purpose is to say that another type of tragedy has been born after new theater: Folk-tragedy. Whereas ancient great tragedy dealt with death of special characters, in Folk-tragedy, especially the six plays of Folk-tragedy that we examine in this article, tragic death happens to common people, even in everyday life.

Resālat al-Abrāj is one of Suhrawardi’s symbolic stories in Arabic, full of symbols and metaphors asking for a return to the original homeland. Nevertheless, which roles do these symbols and metaphors play in understanding the text, and how should they be interpreted? Paul Ricoeur, one of the contemporary hermeneutics philosophers, considers symbol, metaphor, and narrative very essential as media through which one obtains the knowledge of oneself and one’s surrounding world. Interpreting symbols and metaphors with Ricoeur’s method in Resālat al-Abrāj provides an opportunity to understand Ricoeur’s hermeneutics and his method as well as an illuminated text in the contemporary worldview. Ricoeur’s hermeneutic method is a dialectic between “explanation” and “understanding”: interpretation begins with a semantic explanation of the text, especially symbols and metaphors as places to create new meanings. The interaction between these new meaning fields leads us to the world of the text: the world in which the reader finds the possibility of living and appropriates it. By this method, we understand that the world of Resālat al-Abrāj reminds the sacred call to “Return” to the illuminated homeland, and rouses the love towards this homeland for those who find themselves in deep darkness. This illuminated world threatens the current world of contemporary humans, because the concept of the sacred homeland may be a false consciousness. However, the world of the text, by reminding ontological darkness, points out deceits of consciousness. This new possibility results in the fundamental development of the reader’s world and his self-knowledge.

The ideas of Michel Foucault (1926-1984) have brought about great changes in the fields of philosophy, politics, knowledge and social science. One of the most important terms in his view is power. According to Foucault, power exists in all aspects of human life and among all human beings. Power in its behavior seeks to regulate and subjugate others. It seems that by analyzing Foucault's views on power and its epistemological relationship between subject and subjugation, several works in the field of history, politics, oral history and even literature can be examined under cultural studies. The purpose of such research is to pay attention to the approach that Foucault has followed in recognizing power as a raw material by understanding the sub-subject and marginal. It is through these procedures that we can understand the mechanism of techniques and procedures of power and how it works (Barry, 2006: 104).Oral history in the field of Iran-Iraq war (1978-1988), especially the memoirs of prisoners of war, is important as an example of societies that clearly emphasize the mechanisms of domination and power for survival. The book "An Inscription on the Sky" Narrated by Akbar Sayad Borani (2017), an Iranian pilot who was captured by Iraqi Ba'athist forces on the fourth day of the Iran-Iraq war, after his plane crashed at the border between the two countries. In this book, Sayad Borani, while narrating the bitter narratives of captivity, expresses the structure of hard and soft power, resistance and quasi-discourses within the captivity camps.

In this study, the method of constructing the subject of criticism and the rule of the Iranian captives and the relations and functions of domination (prison guards) as the construction of the subject man in highlighting a specific narrative and parallel discourses have been studied. To show the aspects of originality and abstract images of Sayad Borani narrative propositions, his memoir entitled "An Inscription in the Sky" has been used. The main question of the article is the quality of power discourse and the confrontation of some external discourses in the form of discourse resistance. How did the author (narrator) of these memoirs show the disciplinary technology of prison guards in the three elements of knowledge, power and body?

Foucault talks about the quality of power. In his view, these four themes encompass the issues of power that must be avoided: first, power is possession, and second, power is a phenomenon that is specifically concentrated in a particular state or social class. Third, power can be reduced to other areas. Fourth, its effects and effects are purely ideological (3), so they are subject to falsification, distortion and skepticism (Bard, 2003: 7-116).Foucault considers the "problem of power" to be an interactive phenomenon and draws on micro-textures for power that extend to the smallest aspects of human relations. Foucault also believes that power does not usually change in nature. An example of this view can be seen in several places in the narration of an inscription on the sky.In Foucault's definition of power, we come to the "qualitative characteristic" of a part of the relations between individuals that emerges within a specific framework of control systems in order to subjugate the supposed society.Sayad Borani in expressing the relations between individuals and the control system (dominant discourse) refers to three relations: first, the relationship of prisoners with each other, and second: the relationship of prisoners with infiltrators and spies. Third: Prisoners' relations with prison guards.In all three forms of relationships, the act of organizing is shown as the "possible sphere of action of others." In other words, the competition of each of the mentioned discourses, while trying to organize the nature of the representation of individuals, seeks to dominate the (discourse) of the other.

This study showed how the prison government, in order to create subjugation and order in its construction, highlights one discourse and marginalizes another discourse. The narrator states in his narrative that the desired power of the prison regime in the early days of his captivity and that of his friends initially sought to subdue them through threats, intimidation and punishment, but due to the resistance of the prisoners, the prison guards gradually turned to strategic behavior. They seem to be humane, and by providing facilities, changing violent guards and increasing food rations, they added to the aspects of care. In this study, there is a set of connections, activities and experiences in an intertwined network of discourse relations of the captive community through which to describe the connections between different classes of this human society. Citing evidence from the book Inscription in the Sky, it was found that in the approach of closed and totalitarian societies, such as the prisoner of war prison, two interconnected elements of behavioral norms and subjugation techniques in the self-regulation struggle for power seek to exploit the dominated elements. On the other hand, in a capillary, intangible and multifaceted way, the power tried to draw certain ways of life for the members of the society (prisoners of war) by persuading them. Power has done this by changing, but it did not change its nature. The intertwined networks of discourses sought to spread their accepted truths in the captive community in overt and covert conflict. The most important reason for the inability of the dominant discourse (prison guards) is the lack of proper understanding of discourses or sub-discourses that have overcome the dominant discourse and the established system of government in the form of resistance and sub-subjects.

Human Attitude Toward the World is Influenced by the System of Discourse. Text Analysis, better than any other Method, can Show Socio-Cultural Processes in all their Forms, with all their Nature. In this Regard, Laclau and Moff's Discourse, which is Closer to Foucault in some Respects can be Used. This Research Uses a Descriptive-analytical Method and a Discourse Analysis Approach to Analyze and Explain the Discourse fFormulations Applied by Khayyam in Nowruznameh. Using Discourse Articulation Mechanisms, this Study Indicates that the Discourse Followed by Khayam is a Material and Cultural Discourse which Plays a Significant Role in Nowrouz Discourse reproduction. Nowrouz Feast is the Cornerstone of Discourse Around which such Discourse as Medicine, Astronomy and Superstitions are Organized. Among the Discourse Elements of Nowruznameh, the Element of wine, which is Quite Intoxicating, has a Prominent Significance.

Globalization is a process that human beings inevitably face. Some oppose it and some choose to become completely Western. But there is a middle ground. This phenomenon has occurred in all political, social, economic and cultural dimensions, but its role in culture and art, including literature, is different and has complexities. Countries that are considered the Third World are usually forced to approach the countries that have globalized their literary capital in order to enter this field and play a global role. But they can build their global identity by retaining features of their own culture and capturing the positives of other cultures.Persian literature has been influenced by world literature since the constitutional era. This effect is superficial in most cases. They have either blindly imitated or retaliated. Of course, the works of some poets and writers have more potential for globalization. Especially those who have different sounds using local and national elements in a new way. Nima Yoshij is the first poet who has better understood the meaning of modernity and globalization than others, and while using local, folk and national elements and paying attention to his cultural assets, he has tried to compose a global poem. In this research, we have selected one of Nima's poems that has a legendary and local color to study. This research provides an approach to the study of Persian literary works by looking at the indigenous and global elements of these works and their capacities in transnational fields.

Every life is the realization of a “whole,” that is the realization of the “self.” This realization is called individuality in Jungian psychology. Relying on Nietzsche’s book Thus Spoke Zarathustra, Jung analyzes concepts such as “the subconscious mind” and the archetypes of “shadow,” “positive anima,” “negative anima,” “chthonic mother,” and “wise old man,” and through this analysis, he explains the concept of individuation or attaining the status of “Superman.” Individuation is the process by which the ego, as the center of self-awareness, is transferred to the “self,” which is the innermost part of the subconscious. In this process, takes place in The Blind Owl, the various aspects of personality reach cognition and compatibility with each other, and self-awareness eventually becomes synchronized with the unconscious. The Blind Owl reflects the human search for individuation in the form of two real and symbolic journeys. This essay attempts to explore the idea of Nietzsche’s “Superman.” Studying the symbolic representations of the images of The Blind Owl, it also examines the role of trinity and its manifestation in the novel and its connection with individuality in Jung’s theory. The most important conclusion of the article is that the reader understands how Hedayat uses various symbols such as the ethereal girl, the prostitute, cypress, lotus, and numbers to refer to the origins of the two ancient civilizations of India and Iran. It also shows that the narrator of The Blind Owl is Nietzsche’s “Superman” who is trapped in the realm of existence and repeats a life in different places and times. The individual who appears in The Blind Owl, in symbolic and numerous forms—the narrator, the coffin-bearer, the uncle, the ethereal girl, the prostitute, the prostitute’s mother, the nanny etc.—are the shadows of the narrator (eternal-man) who lives in different faces and different times and tries to reconcile with different aspects of his existence. In addition, The Blind Owl’s narrator intends to overcome the inferior shadows of his existence to achieve the individuality referred to in Jung’s theory. Showing the narrator’s failure in trying to achieve individuality is the ultimate goal of The Blind Owl.

Cinema is a modern art which has combined former arts and knowledge and has presented this to the audience with abundant attraction. Reflected thoughts in the past of eastern countries and especially classical literature of our country enjoy a spiritual theme. Reflection of mystical themes of classical literature in cinema works can be a means for linking thought with national art. In this research, in addition to presenting a historical-conceptual division, there is an abridged survey on mystical and spiritual thoughts of directors in our country and presented proposals for strengthening the relationship between cinema and classic literature. This study shows that there is no complementary and extraterrestrial linkage between spiritual thoughts of our past mystical literature and the art of cinema. Various factors influence this issue. The most important points are: suspicious look at politics to Sufism in iran،existence of different and controversial attitudes towards the thoughts and lives of mystics, attitudes of mystical concepts towards the mentality and their evasion from evidence, instrumental weakness of Iranian cinema for the plausible making of fantastic works and the opposition of classical and intellectual spectrums of the critics of Iranian cinema by making mystical works.

Analysis of the debate has main contents and theories which each may be effective for analysis of encyclopedia, Nowruznameh, Kimiaye Saadat. The debate studies are important for showing a methodical relation between social, political and religious views of critics. Among this, the Ernesto Laclau and Chantal Muffle debates which are closer to the Foucault one globally and also Fairleigh debate may be used. Study of Avicenna, Khayam and Ghazali debates provides possibility of challenging inclusive debate ruling on effect and evolution of stabilized system of its concepts by determining meaningful relation of the text.

The present research is a descriptive-analytical study which has been performed by library method. In this research, the formation of the debate which is used by these three writers are analyzed by approach of debate analysis.

This study shows that the Avicenna debate in proving Asity is a philosophical-rational debate relying on reasoning. Khayam debate is a cultural-material debate which plays a fundamental role in reproduction of Nowruznameh debate. Ghazali debate has a mystical trend.

Although these three debates are in contrast with each other, but the Khayam broad-minded debate is in contrast with the Avicenna and Ghazali broad-minded debates and the Avicenna and Ghazali debates are in contrast with each other. Among these three debates, the dominant Ghazali debate, with overstatement and boycott mechanism, rejects two other debates and features its debate as dominant and best power.

Philosophical studies show that against existence for oneself, there is another being called existence for “the other”, i.e. as we think about ourselves, we find in our being another existence that depends on our existence. This paper seeks to answer the following question: what is the meaning of “the other” regarding the existentialism in Sartre’s play No Exit and Modarresi’s novel Yakolia va Tanhaei Ou? Considering the above question, the authors’ hypothesis is that the concept of “the other” in the two mentioned works means existence for the other, i.e. existence dependent on the other, which is the determining and guiding factor of individual behavior in the society. To test the research hypothesis, data was collected from a corpus of philosophical and literary works using the library method and was analyzed by the descriptive-analytical method. It followed that the authors’ hypothesis was confirmed and the meaning of “the other” was accordingly explained in existentialism.

The Legend-turning is originated from Legendism of romantists in the late eighteenth century. It had been prescription of the romantists to begin the legendism which was a kind of rewriting and recreating the legend. But symbolists were more endeavoured so as to show the Legendism and even the Legend- turning. There was a basic difference between the Legend- turning and recreating the legend; whereas the recreating legend and the Legendism had been openly concerned with legend, the Legend- turning was interested in ambiguous and intertextual transformation of legend that sometimes reader couldn't trace it to legend. Nima Yushij in Iran, was the first poet that used the Legend-turning and his singular operation at that in free verse. The aim of the article is to introduce a legendary narrative in the inner layers of Nima's poem and one of its consequences is to enter femininity and to disobey rigid masculine language. The article investigates the structure of Nima's free verse specifically the poem of "Snow" based on Legend- turning theory.

New historicism is an approach in cultural studies which reconsiders the relationship between history and literature, and emphasizes the historical context  of the text as the ground of the interaction of different discourses and power relations. In this study, the anecdote of "The Execution of Hasanak the Vizir", which is considered as one of the most important narratives of Bayhaqi History, is analyzed using new historicism approach, to better represent the role of effective discourse and ideologies in this text. The analysis of this anecdote has been done in two parts. The first part is related to Masoud Ghaznavi, who has the leading role in the plot and tries to indirectly retaliate his hatred of Hassanak with the help of the caliph's old decree. The second part is related to the Bayhaqi who is the narrator of the story and is influenced by the influence of the power discourse of that period, directs the words in accordance with the desire of the Sultan. In describing events with heroism and eliminating Masoud in the process of narrative rupture, while diminishing his role, he added to Busahl's function and justifies Masoud's actions.

Bilinguals transfer elements from their first language to their second language unintentionally due to their weakness in communicating in second language. This process is called linguistic interference in sociolinguistics and science of language teaching. Exploring the consequences of linguistic contact, linguistic interference, and bilingualism sheds lights on many issues and subjects and on developing educational materials in a multilingual community such as Iran where Farsi language is used for educational purposes. Therefore, the present study sought to explore the lexical interference in Taleshi-Farsi and Farsi-Taleshi bilinguals among the Talehshi-speaking community of Anbaran village and immigrants of this village to the west of Tehran through comparison between the two bilingual groups. The research data were obtained through a questionnaire and a number of sentences translated by bilingual people into each language. The subjects were randomly selected from among the inhabitants of Anbaran and the bilingual immigrants in the west of Tehran. It was revealed that interference from the first language to a second language occurs more frequently and the gender of the speakers also has a slight effect on linguistic interference.

Jalal Al-Ahmad is one of the most productive writers in the field of fiction. He has created stories in the field of proletarian literature in a collection of stories called “Of Our Suffering”. Proletarian literature is a collection of works in which the social life, thought, personality, ideals, and just struggles of workers form the main axis of the text. Jalal, on the other hand, is considered a realist writer among fiction writers. He tries to depict what he sees as it is, and this is the main goal of the realism school. Investigating the realist proletarian stories of Jalal from this perspective can disclose his intellectual level in the characters and social life of the workers. This proves that the realist stories of Jalal eventually lead to a kind of desolation and despair that distances itself from the realist and it is mostly influenced by Hedayat’s stories. In this research, by examining and analyzing the stories of this collection, we have tried to approach the intellectual level governing these stories.

New historicism is one of the interdisciplinary approaches which use history as a Text to show the hidden layers of events. The memoires of Ezzat Shahi is a Narrative of resistance and combat of an individual who was trusted by many groups fighting against Pahlavi's regime. In this historical Narrative, interaction and confrontation of the regime and reproduction of rival Quasi-discourses are presented in three periods: Pre-prison, inter-prison, and after the victory of Islamic Revolution. In this study, the above-mentioned Work is investigated in two classifications of macro and micro and in six sub-levels. Findings show that this Work with an atomistic view to the field of Oral history of Islamic Revolution, make a discursive classification, as well as describing the Hegemony and the Dispersion of sovereignty, the intergroup dissolution of opposing forces, and finally the fragmentation of Iranian society in 40s and 50s. The narrator to configure ideological relationships of power describes the political behaviors of litigant micro-discourses. This book with the use of intersexual and appended historical documents (explanations of the editor).presents signs and quality of power formation In other section of this research shows contrast, contradiction, vagueness telling, and ideological constraints of litigant powers in the context by examples

A field experiment was carried out in order to investigate the effect of several types of nitrogen biofertilizer on yield and yield components of two wheat cultivars (Chamran and Shiroudi) as split plots based on randomized complete block design with three replications in Darab city. Wheat cultivars (spring type Chamran and Shiroudi) were considered as main plots and biological fertilizers (General Nitragin (A1) – Nitragin special Cereal (A2) –Nitrokara (A3) –Nitroxin (A4) – Nitrogy (A5) – Nitrogen biofarm (A6) – 100% pure Nitrogen (A7= 400 kg ha-1 as urea) – without Nitrogen application (A8)) as subplots. The measured indices included plant height, number of spikes per square meter, number of seeds per spike, 1000 grain weight and yield per unit area. According to the results, there was a significant difference between wheat cultivars (P ≤0.05) and fertilizers (P ≤ 0.01).  The treatment A4 (nitroxin + 60% pure nitrogen from urea source) obtained the highest values for the measured indices. The A2, A1, A3, A6 and A5 treatments were arranged in the next step, respectively. A7 treatment, which was exclusively urea, was arranged in the next step. Generally, the biofertilizers applied in this study containing nitrogen fixation bacteria (NFB) from Azotobacter and Azospirilum genuse, if accompanied with nitrogen fertilizer like Urea, could be a suitable and safe alternative for supplying a part of nitrogen chemical Fertilizers.

One of the most important literary issues of Iran in the last few decades is the publication of women's novels and stories. This work presents a new situation with a feminist approach and a strong application of female myths. Belgheys Soleymani is one of the women storytellers who has greatly used myths. The present study, with a descriptive-analytical method and a review of all the works of Belgheys Soleymani, seeks to analyze how and what the reasons for reconstruction and recreation of the themes and mythical narratives in the works of this contemporary female author. After brooding upon Belgheys Soleymani’s stories, it was concluded that he used myths and archetypes in a variety of ways, albeit with a social purpose. She has a responsibility to show the unreliability of fictional characters who are copies of her community and to combat the narcissistic culture of patriarchal society, and heralds myths as a means of defending women's identities to express their goals and desires, they have a high frequency of myths such as female bodybuilding, fertility and anima and animus.

Implied author and implied reader are components of a narrative structure, playing a crucial role in illuminating hidden elements within a text. Therefore, studying these elements in literary works can expose the underlying layers of narration and open up new critical outlooks to the readers. Furthermore and in cases of cinematic adaptations, it explains whether this was the novel or the film that has managed to unravel narrative complexities of the other medium more successfully and better facilitate audience understanding. The novel GavKhuni and its film adaptation are among works in which the plot is not causal, but internal and fluid. Thus, the reader has to decode textual evidence in order to understand how conceptions and viewpoints are formed in characters. Afkhami’s adaptation of GavKhuni is totally loyal and all elements of the story are faithfully mirrored in the film. However, Afkhami has made use of these elements to present his own ideological concepts. Repetition is a method that both the author and the director have used to transfer their ideas to the audience. Using a descriptive-analytical methodology and a narratological and inter-disciplinary approach, the present research attempts to analyze the ways in which implied author and reader are represented in the novel and the film. Since the author and the reader of each era are thrown into their work and new meanings are discovered in fulfillment of their expectations, thus the audience of this novel and film would discover new meanings from out of the narrative text of GavKhuni as well as its adaptation.