جستجوی مقالات مرتبط با کلیدواژه « gerard genette » در نشریات گروه « علوم انسانی »

This ethnographic study using semi-structured interview and non-participatory observation and with the help of combined targeted sampling (acute cases and snowball) with 15 women abandoned in the cultural context of one of the suburbs of Isfahan city with a methodological framework inspired by Gerard's theory It is Genet. The findings show that these women used the negative acceleration technique in creating their life stories. Paying attention to the element of time in the narration of these women's lives made us understand the cultural reasons and the role of culture in the passage of time of these women in the narration of their lives. The reason for this is that these women were from the Bakhtiari ethnic group, and in the past history of the Bakhtiari people, the respect, attention, authority and high status of the ancestors and elders of the people, commitment and adherence to traditions and ethnic and cultural values are clearly alive and lasting. and people always build a bridge to their past and remember it. Finally, it can be said that time is a cultural thing that is constructed in the narrative of these women's lives in a new way and according to the cultural context

The narrative mode of Passages, a novel by Fatin Al-Murr, employs the focalization to establish the point of view presented in the story. This technique focuses on who observes the story rather than who narrates it. Gérard Genette identifies three levels of focalization: zero, internal, and exterior. In Passages focalization is utilized to depict two seemingly contradictory identities through the perspectives of two narrators (Darine and Najwa). Each character embodies a unique identity shaped by the Israeli occupation, representing the Palestinian Christian and Muslim communities in Lebanon and the refugee camps, as well as the Palestinian Muslim population. This study adopts a descriptive-analytical approach based on Gerard Genette's theory of focalization to examine the author's style in Passages and its portrayal of the reality of the Arab world during the Israeli occupation. This study identifies the presence of all three focalization patterns, with the perspectives of Darine and Najwa serving as primary vehicles for storytelling. The introspective narrative within the novel is predominantly channeled through Najwa's perspective, characterized by her profound understanding of the Palestinian conflict. Through a series of exchanged letters, Najwa endeavors to enlighten her Christian friend about the brutal massacres and injustices unfolding in Palestine.

The present article is devised on the basis of a descriptive-analytical procedure and is based on the theory of Genette, with the aim of identifying the types of time lapses in the narrative and the cause for their use in the novel; “Game Rules.” Furthermore, it is to examine different forms of acceleration and frequency and their impact on the process and attractiveness of the aforementioned novel. The content of the novel is the rule of the psychoanalytical and philosophical game. Zonouzi has set up a well-considered structure for better transmission of this content. In the concept of order, the findings indicate that a high percentage of the text has anachronism of lapse in past time. By objective correlative, the narrator breaks the timeline and expresses his mistakes in past. These past tendencies have created suspense of the work. The narrator's internal monologue and expression of ideologies have created negative momentum; but considering that Zonouzi's goal is to deal with the character's story, its acceleration is completely appropriate and natural. The highest frequencies are dedicated to the repeated ones. By doing this, he has caused a better transfer of confusion, psychosis and narrator's complexes and recounts the effect of those events on the narrator's psyche. In this work, there is, not only no inconsistency among the components of Genette’s theory, but also an effective connection and interaction among the components. The techniques used in the narration of this work are appropriate, and the structural study of this novel has led to the understanding of its complexities.

Intertextual relationships have been a prominent topic in recent decades, with many researchers exploring this subject. Among them, Gérard Genette has examined it more extensively through his theory of transtextuality. This article analyzes Arash Abbasi's play Anna Karenina in comparison to Tolstoy's novel Anna Karenina using a descriptive-analytical and comparative method based on Gérard Genette's theory of transtextuality. The main objective of this research is to discover the various transtextual relationships between Abbasi's hypertext (the play) and its hypotext (Tolstoy's novel Anna Karenina). The research results indicate that Abbasi has consciously established an intertextual connection with Tolstoy's Anna Karenina in his play, while maintaining independence from the original written text. He has utilized various types of transtextual relationships, including: explicit intertextuality (quotation) and implicit intertextuality (reference, allusion, and irony) in various ways; paratextuality by choosing the title of the hypotext; metatextuality through his interviews, emphasizing the contemporary nature of the Anna Karenina play; architextuality by selecting the romantic genre of the hypotext; as well as hypertextuality in two forms: 1- homogeneous hypertextuality by adopting the realistic style of the hypotext 2- transformative hypertextuality from two perspectives: a) quantitative transformation in the form of reduction b) internal transformations (deletion, addition, and substitution).

Qabus-nameh, one of the prominent works of Persian didactic literature, holds a central position among Persian literary works owing to its formal elegance and diverse themes. This text plays an integral intertextual role in the realm of Persian language and literature by facilitating the acquisition and dissemination of religious, social, and educational teachings. The profound wisdom and educational counsel from the elders of Islamic-Iranian Sufism represent invaluable legacies that have been passed down to significant Persian works through Qabus-nameh. A detailed intertextual examination of Qabus-nameh alongside Sufi elders' sayings can illuminate the influence of mysticism and Sufism on the educational framework of Unsur al-Ma'ali Keikavus, the book's author, and provide insights into the intertextual dynamics of Qabus-nameh and its intellectual sources. The findings of the present study, presented in a descriptive-analytical manner, underscore the prevalence of both implicit and explicit intertextuality in Qabus-nameh, highlighting its rich literary and aesthetic merit. Furthermore, the abundance of social and religious educational themes, as well as the emphasis on linguistic and behavioral decorum, underscores the significance of social connections and interactions within Unsur al-Ma'ali Keikavus's worldview and the intellectual landscape of Sufism. The attentiveness to the teachings and conduct of the venerable figures of Islamic mysticism indicates Unsur al-Ma'ali Keikavus's steadfast commitment to drawing educational insights from the key sources of this spiritual tradition.

Alexander Pushkin, the renowned writer of the 19th century and the golden age of Russian literature, has presented original and unparalleled works to world literature with his unique literary style and language. In the present study, after elucidating the theory of intertextuality by Gerard Genette and considering the requirements of this theory and employing the method of content and thematic analysis along with comparative reading of narrative elements, the famous tale “The Dead Princess and the Seven Knights” by Alexander Pushkin, the illustrious poet of the 19th century Russia, has been scrutinized and critiqued. The analysis indicates that Pushkin's tale has intertextual relationships with numerous texts including three tales: “Sleeping Princess” by Vasily Zhukovsky, “Snow White and the Seven Dwarfs” by the Brothers Grimm, and “Sleeping Beauty” by Charles Perrault. In other words, it serves as an echo of its predecessors. The comparative critique and analysis of these tales, besides confirming structural and narrative similarities among them, suggests that they all share a common underlying theme despite their Russian adaptations: a beautiful girl cursed by envy or revenge falls into a deep sleep but is ultimately rescued and the tale ends happily. The intertextual relationships between the tales leave no doubt about their intertextuality for Pushkin's tale, although Pushkin, by adhering to Russian narrative traditions, has deviated from mere imitation and infused the Russian spirit into this tale.

Myth is the poetic expression of great landscapes of nature and mysterious directors of natural and supernatural phenomena, which justifies the origin of human emotions with poetic vision and has rhetorical value with imaginative action. For this reason, myth, with its intertextual nature, has always been reproduced in literary works and has played a prominent role in the semantic, rhetorical, and aesthetic development of literary works. From the distant past until now, Persian language poets have paid attention to all kinds of myths, including Greco-Roman mythology, and have benefited from the diverse functions of these myths in the application of various concepts. Afghanistan's contemporary poets have reflected different concepts and benefited from the capacity of these myths, considering the reproduction of Greco-Roman mythology. Therefore, the current research, using a descriptive-analytical method, based on the intertextuality theory of Gérard Genette, examines the rhetorical effect of Greco-Roman mythology reflection in Afghanistan's contemporary poetry. The results of this research show that Afghanistan's poets have often reflected Greco-Roman mythology in the form of implied intertextuality. These poets have re-created myths to reflect social, romantic, mystical, didactical, resistance, and ideological concepts, as model, idealistic, and charismatic characters, in declarative and imperative sentences.

Paratextuality is one of the types of Gerard Genet's transtextuality. The French theorist, with the theory of transtextuality, examines every form of communication of a text with other texts in a broad and structured way; in this theory, the text is examined in five dimensions: paratextuality, Intertextuality, hypertextuality, metatextuality, architextuality. This category includes any relationship of a text with a non-self-contained text; the relations of a text with its surrounding elements, relationships based on coherence, criticism and interpretation, longitudinal and genre relations, and relationships based on adaptation. In this regard, the elements of the paratextuality are all elements that, although they are not part of the text, are present in the text, they surround it and accompany it and affect the reader's reading; elements such as: the cover design, the author's name, the publisher, Introduction, posters, promotion posters, presentations, etc. In this research, we try to rely on this theory to examine the elements of the pre-roman novel of the teenage novel "This Weblog Is being turned over" by Farhad Hassanzade and identify its functions. It is worth mentioning that the elements of paratextuality are widespread in this novel, and because of the special way of narratives of this work, it is present on all pages, thus helping and guiding the text with the reader.

Following Julia Kristeva who first coined the term intertextuality concerning the relationship among different texts, a new wave of critical approaches and notions to text analysis was formed among which was Gerard Genette's idea of 'transtextuality' that was the result of his investigation of all possible intertextual relationships. An important category of transtextuality is extratextuality which is concerned with the relationship between two literary texts from a certain perspective. The present paper is an attempt to examine extratextual relationships between Najmud-din Razi's treatise "At-toyour" [The Birds] and some of the previous literary works. The findings suggest that, in composing his treatise, Razi mostly made use of some of the treatises of Ikhwan As-safa, Sanaee's "Seyr-ol Ebad El-al Ma'ad" [People's Journey toward God], and Suhrawardi's "Ghesse-ye Ghorbat-e Gharbi" [The Story of Western Solitude]. He also touched upon Nezami's poetical narratives. The most important reasons for the extratextual changes in his book include the specific role of the audience, Razi's authorial style, and the dominant trend in Persian prose of the time.

Studying literary and cultural interactions between nations is one of the scientific ways of examining the extent and the ways of their intertextual presence of linguistic, cultural, and intellectual elements in each other's literary texts. The intertextual study of ancient Greek and Iranian literary texts can show the extent and the ways of their literary, intellectual, and cultural exchange. One of the most important manifestations of cultural interactions between Iran and Greece is the manifestation of ancient Greek scholars' educational, moral, and social ideas in Qaboosnameh. This paper has analyzed intertextual interactions of Qaboosnameh based on the theory of Gerard Genette using a descriptive-comparative method and concluded that the multitude of ethical and social issues obtained from the ancient Greek scholars in Qaboosnameh illustrates the importance of ethics in the individual and social well-being of the ancient Greek and the attention of Iranian men of letters to this land as one of the important origins of world democracy. Onsorolma? Ali’s prominent attention to Plato's wisdom stems from his utopian thinking in Qaboosnameh, influenced by the teachings of ancient Greece and the knowledge of various civilizations of mankind. The high frequency of implicit intertextuality especially literary translation and allusion is in accordance with the high literary quality of Qaboosnameh and the frequency of explicit intertextuality especially quotations and proverbs prove Onsorma? Ali’s honesty, high wisdom, strong memory, and explicit reference to scholars of Greece persuade the readers.

As a form of narration characterized by various writing techniques, the novel can be analyzed from different critical perspectives. Gérard Genette, drawing on several theorists, studies the function of time in the novel by presenting a salient structural model that can be used to examine its presentation in a given literary text. This study examines the structure of time in Fazl Mokhadar’s Eskandarone based on Genette’s framework. Throughout the novel, the author employs a standard speed of time by creating dialogue between the narrator-protagonist and minor characters. The writer also fills the gap in time by using analepsis in connecting the events and the minor heroes. However, it is possible to observe anachrony in the narrative structure as the narrator sometimes narrates the events in terms of analepsis. Moreover, the author speeds up the narration by eliminating/summarizing events and slows the narration through pauses. This study finds that Eskandarone enjoys a regular and ordered temporal structure which is created by the narrator. The most important aspect of the narrative is its open-ended form as the narrator ends the novel by prolepsis. The novel, accordingly, oscillates between standard and negative narrative speed.

Transtextuality is an approach that examines possible relationships between the text and other texts. Gérard Genet, a famous French literary theorist, and semiotician (2018 AD - 1930 AD), divided transtextuality into five categories: intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality. Gérard Genet’s precision regarding the description of the characteristics of hypertextuality and intertextuality in literary texts provides the possibility for researchers to distinguish these types of texts with a high degree of confidence despite the apparent similarity of poetic evidence-- something that might not have been possible without this theory. Based on an analytical-descriptive research method, the study compares Hossein Monzavi’s ghazals with those of Hafez and Saadi firstly, to explain the extent of his affectedness from their ghazals, regarding each of the above types, and secondly, to reveal the methods that Monzavi noticed in each employment of the classical poets’ ghazals. As the results show, hypertextality is the main arena of Monzavi’s works and performances, especially its transformation type. Then, implicit intertextuality and internal authorial paratextuality are more important.

There are multiple cognitive theories that aim to uncover the surrounding details of a text, including Genette's theory of paratextuality. In parallel texts, the recipient can analyze the text of the story and its contents, and through which he can produce a vision with semantic dimensions that clearly show the content of the discourse. Gérard Genette's theory of paratextuality provides a framework for examining the surrounding elements of a text including the title, the author's name, the cover, and the internal paratexts in order to elucidate the relationship between these materials and the main text. The present study uses a descriptive-analytical methodology to investigate the relationship between the paratextual components and the main narrative in Saoud al-Sanaousi's novel Sajin al-Maraya. Al-Sanaousi is a prominent Kuwaiti novelist, known for his acclaimed work Saaq al-Bambuu. His work Sajin al-Maraya is a psychologically-driven romantic novel that explores the human psyche's struggle to break free from the harsh reflections of life. The protagonist, Abdulaziz, who is profoundly affected by the traumatic events of the Kuwait-Iraq war and the loss of his loved ones, is suffering from a pervasive sense of fear.
Saud Al-Sanaousi has not been negligent to the paratexts and has carefully selected the paratextual elements, including the cover illustration, title, author's name, epigraph, and chapter headings, to align with and augment the central themes of the novel, either in a linguistic or photographic form, captivating the reader of the novel. The first existing paratext is the cover design, which depicts a child and a house with two doves that are in love with each other. This illustration represents the love and affection that the protagonist of the story has lost. The cover of the novel is in light blue, which signifies freedom, and the purple color of the title signifies glory and grandeur, all very attractive to the reader. These images on the cover are placed within a mirror, and the mirror in psychology signifies the formation of human personality. The author's name is displayed on the front cover, manifesting all functions of the name: naming, ownership, and fame. Due to the importance of the author's name, his name is also repeated on the second page of the novel (i.e. the page after the cover).
The title of the novel reappears on the back cover too, serving multiple functions. It provides identification, description, and inspiration, encouraging the reader to engage with the work. As soon as the reader reads the title, he faces many questions, such as who and what character is meant by the title? What is the meaning of the mirror in the title? At the same time, the use of words such as "box", "locks", "key", "perfume", "smell", "seasons", etc. are among notable words. Each of them reminds the audience that they are encountering a novel centered on the psychological struggles of the protagonist. Similarly, the epigraph, a quote from Tagore, says: He who carries his lamp behind his back sees nothing in front of him but his shadow. It symbolizes the novel as an illuminating force that casts light on the shadow of the self and one's memories. A person like the protagonist of the story, who suffers from depression due to preoccupation with the past and memories, must free his soul to achieve peace. There is another parallel text in the novel, which is an introduction that includes the interpretation of Saadia Mufreh, the Kuwaiti writer, poet, and journalist, and includes the failed ego and the optimistic other, as well as the homeland, which she refers to with the symbol of the mother. Mentioning it before starting the main part of the novel is a kind of motivation for the reader to read the novel. This thematic resonance is further echoed in the inspirational writings that preface each chapter, representing each chapter of the narrative. Overall, all these paratextual elements demonstrate a cohesive and interwoven relationship with the primary text. Perhaps the most prominent result that the researcher has obtained from these investigations is that the various paratexts of the novel Sejin al-Maraya have reproduced its main theme in the form of specific language signs and images, appropriate to the original text. The most important of these paratexts is on the cover page of the novel, which, in addition to the existing images, also contains the paratext of the title and the author's name.

Qaboosnameh is a rich treasure of ethic-educational knowledge and experiences. Onsorolma?ali paid attention to all individual and social aspects of human beings in addition to his needs. So he has benefited from various Islamic sources, especially Qur'an, and Hadith. He has explained them in coherent and simple language with a high scientific and literary proficiency in his educational book. The intrusion of holy Mohammad’s ethic-educational linguistic and intellectual elements in different ways within Qaboosnameh indicates their indisputable intertextual relationships. This paper has studied the textual and content representations of the Prophet (PBUH)’s wise speeches in Qaboosnameh by descriptive-analytical method and based on Gerard Genette's theory. It concluded that the ethic-educational teachings of Islam’s prophet which have been presented implicitly, explicitly, and covertly in Qaboosnameh, play a fundamental role in the intellectual and educational framework of the book. In terms of the subject matter, these teachings include a wide range of individual, social, religious, and economic issues. The high frequency of the Prophet's (PBUH) social teachings in Qaboosnameh is in accordance with the social nature of Islam and the Prophet's (PBUH) emphasis on Muslim unity. The macro relationship between Qaboosnameh and Prophetic Hadith in an intertextuality approach is the continuation and attraction of these teachings in order to complete the ethical, educational, and literary dimensions of the book.

Film adaptations are one of the most significant branches of comparative literature studies and are of great importance to the field. The concept of film adaptations, which are so-called transpositions, is a component of Gérard Genette’s theory of hypertextuality, a subset of the broader theory known as transtextuality. Pedro Almodóvar is one of the few filmmakers whose work exhibits a unique affinity for literature. This article analyzes the adaptation process of the film “The Skin I Live in” (2011), directed by Pedro Almodóvar and adapted from the novel “Tarantula” (1984), written by Thierry Jonquet, by addressing the question, ‘How did the adaptation process work in “The Skin I Live in” based on Gérard Genette’s theory of hypertextuality?’ Here, the literary work is studied as the hypotext and the film as the hypertext. This paper employs the descriptive-analytical method. Considering that transposition occurs due to the change of medium, it first defines the terms “adaptation” and “transposition” as well as explaining Gérard Genette’s theory of hypertextuality. It then analyzes the transformation of the text during the process of adapting the novel into the film. The findings show that “The Skin I Live in” is a transposition in the sense of its hypertext due to the various transformations made, with an emphasis on excision, concision, extension, and substitution in this adaptation.

Narratology, a field within literary studies, focuses on analyzing narratives, narrative systems, story structures, and storytelling techniques. It aims to uncover the more profound meaning embedded within texts and enhance our understanding of narratives. Postmodern literature often challenges conventional notions of time and narrative in prose fiction. Nader Ebrahimi's "A Quiet Romance" exemplifies this type of narrative. This descriptive-analytical study examines "A Quiet Romance" through the lens of Gérard Genette's theory of narrative time. Genette, a prominent figure in structuralist narratology, emphasizes the significance of order, duration, frequency, focalization, and voice in describing and analyzing the structures of literary texts. The research findings reveal that "A Quiet Romance" exhibits strong coherence. However, deliberate temporal disruptions in the events add artistic depth to the story. These temporal disruptions are prevalent throughout the novel, with frequent shifts between the past and the present. The initial chapter primarily focuses on the past, incorporating retrospective elements contributing to a slower pace. In terms of duration, the surface layer of the novel follows the passage of days, creating a sense of positive acceleration and time omission. Conversely, the content layer of the story conveys a negative sense of acceleration. Dialogues, predominantly conveyed through the emotions and beliefs of the character "Gile Mard," form the narrative's core. The story often includes extended descriptive pauses, contributing to a slower narrative progression. Repetition and recounting are also prominent features of the narrative. Regarding focalization, the story utilizes two perspectives: an omniscient narrator and a first-person narrator, with the majority of the novel adopting the first-person viewpoint while the third-person perspective is sparingly employed.

Transcendental relationships of text are one of the new literary approaches that Mikhail Bakhtin with the subject of text dialogue is considered the basis of this theory. Other theorists such as Julia Kristeva, Laurent Jenny, Michail Riffaterre, Barthes and Gerard Genette evolved this theory. In his theories of Transtextualite, Gerard Genette has proposed the relationships of influence and influence of literary texts, including the works in which this influence is observed, the introductions of epic texts. The present study, with a descriptive-analytical approach and the use of library resources, has analyzed the Introductiones of National Epics of Iran based on the Theory of Genette Transtextualite. The results of this study show that national epics as more texts have been influenced in self-old ageing, elimination, reduction and expansion processes. In the hypertextualite relationships of national epics with Shahnameh, transformation and homogeneity are relative and are meaningful in relation to each other. The Introduction of Garshasbnameh indicates the influence of Shahnameh on the themes of Garshasbnameh, Bahmannameh indicates the influence of this work from Garshasbnameh, and Iranshah's Kooshnameh have been influenced by Shahnameh and Gershasbnameh. The main and minor titles of epics from the perspective of the paratextualite relationship indicate their influence and influence from the original texts. The creation parts of the universe in Farmarznameh and Shahnameh, based on the relationship between Genette's Arcitextuality, show the roughness with the unified subtext.

The science of narratology was developed under the leadership of structuralists and its purpose is to identify things that are common to all narratives and only narratives. The word "narrative" was first proposed by Tzvetan Todorov and in the past decades it has become an important topic of discussion in almost all fields from fine arts and natural and social sciences to the study of communication and media. Coffeehouse painting is one of the most important folk arts in Iran, which flourished with the birth of the constitutional movement and the awakening of public opinion. One of the most important features of the coffee house painting is its narrative, which makes it a suitable example for narratology. On the other hand, shabihname, as a performing art of folklore, often has a relatively complex narrative form. Investigating how this complexity also makes Shabihname a suitable option for narratological investigation. According to what has been said, in the first step of this research, Genet's narratology was investigated as the main framework of the research, after that, coffee house painting and shabihname (both Iranian religious-ritual arts) were briefly introduced. In the end, the narration of Muslim children's story in two arts, coffee house painting and Shabihname, with the aim of evaluating how and the extent of influence and influence on each other, based on Genet's narratology, was compared. This research is descriptive-analytical and it uses document-library sources and reliable internet databases

Since mystical texts are based on Qoranic verses, hadiths, and sayings of saints, they are more suitable for the exploration of transtextual relations than other texts. This comparative study aimed to analyze transtextual relations in Resaleh Qoshayriyeh and Seyr al-Auliya based on Gérard Genette's theory of transtextuality. The goal was to discover which types of transtextual relations exist in Seyr al-Auliya, and how this work has established a dialogic relationship with Resaleh Qoshayriyeh. Based on the results, Mir Khord Kermani established a conscious transtextual relationship to create a work on the same level as Resaleh Qoshayriyeh. Among the different types of transtextual relations, explicit, latent, and implicit intertextual relations were observed at the level of themes and narratives; a paratextual relation existed in the book’s structure and parts (main title and subtitle, chapters, sections, and epilogues); an architextual relation in the book’s style and language; and a hypertextual relation of the adaptation type in the use of mystical terms, verses, hadiths, anecdotes, and sayings of the saints.

Gerard Genet, a prominent structuralist narrator, has proposed a comprehensive blueprint for narrative texts. He has proposed three aspects of narrative structure in his narrative theory including grammatical time (order, frequency, duration), dimension (distance and focus) and the tone or sound (narrator in three levels: meta-narrative, narrative level and sub-narrative). This study, examines the novel Asfar Kataban, by Aboutrab Khosravi based on the theory of Genet’s narratology with a descriptive-analytical method. The results of this research indicate that the author has created temporal distortion by using the method of flashback. He has slowed down the narration of the story by eliminating and summarizing it, and has slowed down the narration by expressing a descriptive delay. Also, in critical moments, with the frequent repetition of a narration, the importance of the incident has been highlighted, and the novel has reached the meta-fiction level with the multiplicity of narrators and narrations, anachronism, the death of the author and the narrative nature of history.