جستجوی مقالات مرتبط با کلیدواژه "اقتباس ادبی" در نشریات گروه "ادبیات و زبان ها"

Writing scripts based on literary works is a significant aspect of the film industry. Considering the success of adapted screenplays, it’s evident that the main factor in creating an outstanding adaptation is the author and screenwriter's mastery of story elements. A screenwriters attempt to develop the story, characterizations, and writing dialogues in an adapted screenplay is substantially dependent on the expertise of the original author on the details of the story’s elements and his precision and subtleness in executing them. In this regard, the present research was written to investigate and apply the elements of Plot in two contemporary creative works, including the short story "I am the Killer of Your Son" written by Ahmad Dehghan and the adapted screenplay. "The Reward of Silence" written by Farhad Tohidi. In this research, using the descriptive-adaptive method, the elements of the plot, including the inciting incident, complications, conflict, climax, and resolution, have been examined and discussed. The result of the research shows that the Plot archetype of "sacrifice" in the literary text has turned into the Plot archetype of "search" in the script. Therefore, it leads to the conclusion that as the success of "The Reward of Silence" testifies, the "I Am the Killer of Your Son" author`s mastery of the Plot elements, plays a remarkable role in the process of adapting a literary work into a screenplay

Kalila and Dimna is one of the most enduring and influential literary works in the world which has been translated into various languages and its allegories have long been the source of adaptation for various authors in the world. There can be found in Russian Literature many examples in the fables of Loe Tolstoy and Ivan Krylov. Aleksey Remizov, one of prominent Russian authors of the twentieth century has, with an emphasis on the adaptation from canonical and old literary works, withdrawn and reflected many features, core ideas and even sentences in his own literary works. Remizov has produced with an emphasis on the adaptative Eslavic translation of Kalila and Dimna a book entitled Ikhniat which we intend to, based on a descriptive-analytical methodology and a comparative study of selected works, which similarities and analogies there are in characters and events and what is the writer’s approach in these literary adaptations. Studies have revealed that Remizov story has been penned by the first two chapters of Kalila and Dimna and there has only been the main story of two jackals named Estifanit (Kalila) and Ikhnilat (Dimna) as the underlying source of inspiration for the author. Remizov in his introduction _ by referring to the story of Dr. Borzuyeh _ and in his final story _ by referring to the historical background of the literary work_ has had many adaptations and references to Kalila and Dimna.

The ability to transform a literary work, especially a novel or a short story into a cinematic narrative, requires examining the style and context of the author of that work. Therefore, the basis of any scientific research must necessarily be evaluated in the framework of a specific theory or theory, but according to the subject of the present article, which is within the limits of cinematographic literature, no valid and reliable model or approach was found. Therefore, the authors of this article have analyzed the two fictional works "Homa" and "Ziba" written by Mohammad Hijazi with a stylistic analysis in order to answer the question from an intellectual and literary point of view, whether these two works can be converted into screenplays or not?

This research is based on library studies, with a descriptive-analytical approach. The statistical population of this research is the two long stories "Homa" and "Ziba" written by Mohammad Hijazi, which have been examined in the form of stylistics, in two intellectual and literary contexts.

The findings of this research indicate that Mohammad Hijazi used both the schools of realism and romanticism. His similes have a high frequency in characterizing and describing the inner states of the characters. The use of Arabic words, market alleys, and in some cases aristocratic terms, which are the characteristics of the school of romanticism, has given his language a distinct color from other writers. The physical and psychological dimensions of the characters are introduced to the audience of the work.

The stories "Ziba" and "Homa" are among the works of Mohammad Hijazi, which, due to the way of characterization and the use of appropriate story elements, have the ability to be transformed into drama narratives or screenplays; Especially, both works are planned on the centrality of "women" and their relationship with society, which is one of the most popular narrative themes in Iranian and world cinema.

One way of understanding meaning and comprehending the aesthetic techniques used in a text is finding the hidden contrasts in the text; and discovering the way of hiding them completes the process of criticism. Contrasts can be examined at different levels of a work and can be divided into two types: obvious and hidden. Obvious contrasts are juxtaposed in a text while by hidden contrasts only one side comes into view and this shows that the orientation of the work's creator is toward the dominant side. The question of what contrasts are and what kind of relationship exists among them leads to understanding meaning. Also, the question of with what aesthetic techniques contrasts were processed reveals the ways of hiding meaning as well as the secret of delightfulness of the work. Comparison between the two different media shows the different and unique ways of each of the media in processing contrasts; and one of the study areas of this subject is the comparison between adapted movies and their literary resources. The present article is a comparative analysis of contrasts in the story Ashghalduni(Dustbin) by Gholamhossein Saedi and the adapted movie Dayereh-ye Mina by Dariush Mehrjoyi. The final conclusion of the research is that because of loyalty to the narrative surface and deep structure of Ashghalduni(Dustbin), the director has transferred the theme and narrative contrasts from the written story to the movie; yet, the stylistic elements of the film have completed these contrasts in the area of picture and have created different aesthetic expression.

Literary works are valuable sources that manifest in various forms in different artistic areas. One of these areas is where literary texts are used in order to create films, a procedure known as adaptation. Adaptation here means using a written text partially or fully in order to create a visual text, and several scholars maintain that this procedure takes place in three ways, namely free, faithful, and word-for-word. Other approaches have also been put forward. The current research looks at adaptation, focusing on both the narrative text and the visual text. Considering the visual text, three approaches to cinematic adaptation have been introduced and illustrated with examples from the Iranian cinema. Considering the narrative text, two approaches to the analysis of adapted works have also been reviewed. The current paper aims to address the shortcomings of approaches to the analysis of adaptation and put forward a new perspective that gives more weight to the elements of the literary text.

Filmmakers, television programmers, experts in literature, and those with an average knowledge in literature, cinema, and television, have different standards in evaluation of adapted movies. Similarly, there are various theoretical foundations in comparative studies of adaptation. Analyzing adapted movies and comparing them with literary sources can be done with a cultural study approach of which nature is interdisciplinary depended more on cultural feedback. From this perspective, examining the relationships between cinema and television regarding One Thousand and One Nights series shows that the adaptations in which the story has been developed according to its very cultural-historical function, succeeded more. These kinds of adaptation were faithful to the structure of the work. The reason why the faithful adaptations to One Thousand and One Nights were successful is that the theme of this book emerges from its structure. Crossing out the theme pattern in adapted movies doesn’t satisfy common addressees of book and movie.

The comparison between films and literary sources is the base of comparative studies in adaptation. These writings can be divided as: the books or theses wrote independently and by one author; the collection of essays which controlled by a cultural foundation or a company of cinema; the researches that analyze literary works by the view of “narrative elements”، “stylistic elements” and “stylistic & narrative elements”; the works which critic literature according to cinema criticism. Dispersed and short comments in newspapers. All of these studies are kind of literary criticism because of new conception by new methods.