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

One of the cases of research in the field of comparative literature is the study of cinematic adaptation. The scope of the present article is the study of John Rawlins' special interpretation of One Thousand and One Nights in the form of its recreation in the movie Arabian Nights (1942). This movie, which is named after the book, One Thousand and One Nights, has distanced itself from One Thousand and One Nights and has distorted it. This distortion or change inheres in the adaptation because Rawlins does not want to be completely faithful to the story and practically sacrifices fidelity to his creativity. The main issue of the research is that since the director of the film is a Westerner who represents the East, the question is whether this change is ideological and the film should be examined in the field of Orientalism studies. Has he distorted the East? The results of the research show that Rawlins has completely metamorphosed Shahrazad's character and introduces her as a female dancer who dances for Arabs and enchants them with her dance. Rawlins maybe interpreted as to have distorted the East and through this distortion of the East Rawlins maybe interpreted as to have presented stereotypical and negative images of the Orient. Rawlins’s adaptation maybe interpreted to portray the Orientals as autocrats, law-breakers, emotional, superstitious and authoritarian people.

Recreation is the most innovative possibility in the field of adaptation: the way and the material of confrontation, digestion, transformation and appropriation of the great and previous text(s) by the author or creator allows a divergent and different creation. In this respect, the recreated text is secondary, but not second-rate. It embodies repetition and otherness at the same time. By presenting definitions, capabilities, and possibilities of new creation, this study analyzes the reasons for stagnation, inertia, and the limitation of new creation in children's and young adult literature in Iran. It shows that the perception of tradition as something outdated, the didactic-moral orientation in the creation of texts, the ignoring of various philosophical, mythological, religious, and historical texts, etc., the ignorance of the importance of the story/novel in transforming experiences, enjoyment and improving creative thinking of children and young people, and the consideration of the audience as an object of the generation, i.e. the consideration of the audience as passive and inactive, which has reduced recreation in Iran to changing the point of view, characters, place and time, tone, ending, etc. After analyzing the reasons for this stagnation and time marking, this study shows the expansion, capacity, multi-layered (nested) and eclectically intertwined aspects of western youth novels by comparing Iranian and non-Iranian youth novels. These novels have benefited from various intellectual, epistemological, and artistic texts and sources as well as from one statement, allegory, idea, or main theme.

Among different types of texts for translation, poems are one of the challenging ones given their aesthetic specifications that are in harmony with the meaning. A poem can convey a variety of aspects of meaning to the audience, which is not easy to do in other ways. In addition, creating a balance at all levels of the target text to create an equal and similar text to the original text is not feasible, which in many cases leads to a failure to convey the whole meaning and concept. Literary recreation is an approach that is expected to attract more attention for making a versified version of the poem translation. The present study examines Jami Poetry Collection by Taiyeh ibn Faraz in terms of semantic, superficial, and aesthetic aspects and the transfer of meanings from Arabic into Farsi in a versified form. The study was carried out through a descriptive-analytical method. Taking into account the notable similarities between Jami and Taiyeh ibn Faraz’s poems in terms of words, sounds, and clarity of words, Jami’s work can be considered as a translation loyal to the original text. The poet does not attempt to create literary aspects to convey the idea via an independent work in Farsi. The translator has made himself committed to finishing the verses with words identical to the original text in terms of sound so that in many cases he has finished the sentences with the exact Arabic word. This approach has created ambiguities in the meaning and highlighted the loyalty of the translation to the original text.

Ancient Iranian literature, is an inexhaustible source for creation of diverse cultural products for all age groups, but the way that authors narrate this enduring source is very important. Education has always been one of the primary concerns of human beings and basically it is the mission of the prophets and their role in the human life is achieving to this goal. Gradually with the emergence and evolution of literature and its division into different types, many scholars decided to combine literature and didaction in order to pave the way for achieving this, and thus didactic literature was formed. Didactic literature believes that human felicity lies in improving morality and focusing on cultivation of the spiritual powers and moral education of man. The content of this literature is moral, social or scientific educations and is aimed on education. Whereas Iran is the cradle of dedactic literature, and Children's literature follows this approach, many writers from the past to the present and based on their literary taste, mentality and imagination have used ancient texts as the basis and standard of their work. They re-created it or rewrote that ancient work in modern and appropriate language for the age of their audiences, Children and adolescents. while retaining the linguistic characteristics and tone of the original work, a new recreation of the texts will be offered to their audiences. Qaboos nameh and Siasat nameh are of the prominent and important books containing dedactic and advisory books, which were recreated and rewrote several times. Present article is going to observe the statistics of the recreation and rewriting of these two books during the sixties to nineties, then examining the uniformity and impact of the recreations.

Attar’s Mantiq al-Tair, a classical Persian literature heritage, has transcended the local geography and has been considered at worldwide level. One of the fiction books published under the influence of Attar's Mantiq al-Tair is The Conference of the Birds by Peter Sis, the Czech writer, illustrator, and filmmaker. The book was recreated and illustrated by Sis for children, adolescents, and adults in 2011 and after it he won Hans Christian Andersen Award or the biennial Little Nobel Prize–the most prestigious literary and artistic award in the field of children's literature. Zohreh Ghaeini, a writer and researcher of children's literature, translated this book into Persian in 2016. Next year, she was selected as one of the nominees for the sixth period of receiving Golden and Silver Flying Turtle Award for adolescents at domestic festivals. Adopting descriptive-analytic method, intertextuality approach, and specifically Gérard Genett's theory of transtextuality with a critical look, this article attempts to describe and analyze the transtextual relationship between The Conference of the Birds and Attar's Mantiq al-Tair. Intertextuality has long engaged researchers with the premise that texts interact with each other. Intertextual method has roots in the works of Russian critic, Mikhail Bakhtin. All the theorists have presented their own view of dialogism. Among others, Genette proposed and completed his model of “transtextuality" in the twentieth century based on Bakhtin's dialogism principles. His theory of transtextuality includes five types of relations including "intertextuality", "hypertextuality", "paratextuality", "metatextuality", and "architextuality". In the following, these relations are described and analyzed in The Conference of the Birds. Paratextuality includes intra-textual and extra-textual paratexts that are the gateways to enter or exit the text. It is considered an influential element that affects the audience mind and perception. Examples of intra-paratexts are title, second title, book size, cover design, and the like. Extra-paratexts can be divided into two categories of paratexts created by the author and publisher to attract the audience, and paratexts created by other people, including critics or reporters and other authors to promote or critique the text. The Conference of the Birds by Peter Sis is an adaptation of Attar's Mantiq al-Tair based on paratextual sources and documents. The author's explanations concerning the book's connection to Attar’s and his announcement of copyright permission granted to Research Institute of Children's and Adolescents’ Literatureare examples of intra-paratexts. Extra-paratexts can also be seen on Persian and English sites and some media. Intertextuality is the interconnection and relationship between two texts, which includes explicit (verbal), non-explicit, and implicit relations. Implicitly, the essence of Mantiq al-Tair is reflected in the main and general plot of The Conference of the Birds by Sis. From the beginning, through paratexts and references to Attar's metamorphosis to Hudhud, Sis acknowledges that this work is a rewriting of Mantiq al-Tair and with these references he avoids using quotes in the text. Examples of intertextuality are the birds being called by Hudhud to seek the king and set out on a journey to Mount Qaf; the birds bringing pretexts for not going on the trip; the seven valleys (Haft Wadi); and reaching Simorgh. Metatextuality is the explicit or implicit critical commentary of one text on another. In The Conference of the Birds, which is itself an adaptation of Mantiq al-Tair, the effects of conforming to Mantiq al-Tair’s atmosphere in the general formation of the new work cannot be neglected. During the transfer, Mantiq al-Tair’s atmosphere, which is mystical-didactic, has been reduced to a moral-didactic one in The Conference of the Birds; a kind of description and confirmation that the author has adopted in recreating that great classic work taking into account the target audience and the circumstances. Thus, metatextual relations between The Conference of the Birds and Mantiq al-Tair are formed based on the main story. Architextuality is the relationship between a work and the generic category to which it belongs. The genre of Mantiq al-Tair and The Conference of the Birds can be viewed from two perspectives: one is the genre of mystical epic, and the other is the sub-genre of Risalat al-Tair, a branch of didactic genre. The epic genre has indeed been transferred to The Conference of the Birds and has turned it to a didactic epic; however, the format of the new work has changed from a poetic story to a prose one. This part is one of the aspects that Genette's transtextuality considers it to be weak in terms of architextual relationship. Hypertextuality is a relationship based on the adaptation of text B from text A; which is divided into two types of transformation or imitation. From imitation view, the plot and structure of the work can be considered an imitation of the original plot and style of Attar's Mantiq al-Tair. This imitative plot, which forms the plot of Mantiq al-Tair, has been rewritten for children and adolescent audience. Reducing the volume, adding imaginative illustrations, and reducing the mystical dimension could be considered as instances of transformation. Accordingly, by exploring Genette's transtextuality, different dimensions of textual relationships can be examined which have even been created at various geographical boundaries and over different times; though some criticisms are leveled against this model by reader-oriented and systematic analysis approaches.

Rewriting and recreating are among the methods employed to make classic Persian literature accessible to contemporary readers. Garshasb Asadi Toosichr('39')s letter is one of the prominent literary texts in the field of Persian literature that has been rewritten and recreated in recent years. In the current study, the content of reproduced works was analyzed against Garshabname under two separate sections of rewriting and recreating, to assess manipulation both qualitatively and quantitatively. The results showed that the authors of these stories used the script of Avesta and other Pahlavi scripts along with Garshasbname and by adding to the number of characters and conflicts and combining the events from different sources, have rewritten and recreated stories based on Garshasb’s character.

Rereading and recreating literary texts enables intertextual conversation and also transferring and enriching the concepts and themes. Furthermore, it contributes to the creation of the works closer to the taste of contemporaneous audience. Literary works adaption has always been viewed as a resource to create new art and literary works. Reza Ghasemi, a contemporary author and playwright. Has applied Persian literary potentials in his plays. Some of his plays were adapted from traditional Persian literature while some there ones were taken from dramatic and modern works. Embedded in Deborah's theory, this paper is to closer some adaption techniques in Ghasemi's plays considering reflection, review, recreation and emphasis. For this purpose, five plays were selected of the most important based on adaption. A close analysis of Ghasemi's plays illustrates that those plays written in Iran rereads traditional texts of Persian literature while two written plays outside of Iran are being adapted from modern plays and stories. Such plays as “ Zahak became king over the world”, “ Mahan Koshyar” and “ the dilemma of the architect Mahyar” are taken from the Zhak by the Ferdowsi and Seven Beauty of Nizami Ganjavi respectively. Likewise, “ it's your turn Mercutio” and the portrait(Temsal) are two plays adopted from several modern texts. Those plays adopted from Persian classical literature are mostly reflecting, rereading and transferring concepts in their genres. Enjoying new plot and characterization in a different setting, his modern plays are of recreating trait in spite of transferring and interpreting concepts in source texts. In both texts, Ghasemi tries to converse with his predecessors and contemporaries and with the audience of his texts simultaneously.

Loyalty, recreation and literary creation are three distinct approaches in translation which are achieved in different layers of semantics, surface and tone while some are related to another. Loyalty is essential for recreation and without recreation, the translation will not be sufficiently expressive in the target language. Beyond recreation, literary creation offers an exquisite work without respecting the principle of loyalty. This exquisite work is different in many linguistic and even semantic layers from poetry that is more evident because of its literary features, especially if the translator is a tasteful poet. With the help of stylistic analysis, the current research tries to investigate the poem of Jami which has been written under the great influence of Al-Farazdaq’s fine eulogies in praise of Imam al-Sajjad. This is to determine the manner and measure of loyalty, recreation and literary recreation of the poem of Jami toward the poem of Al-Farazdaq, according to the features of Jami’s work and commonalities and distinctions among the two literary Pieces in domains of semantics, surface and Aesthetics. This research uses descriptive-analytical approach; however, in some cases statistical approach will be used to determine the amount of creativity and innovation or loyalty of Jami toward the original text. Considering the clear distinctions between the poem of Jami and Al-Farazdaq in the layers of phonetics, vocabulary, rhetoric, emotion and Syntax, Jami’s work is not only a loyal translation of the source text but also a translation which is comparable to something created and is related to the source in general. However, there is no corresponding relationship between them in terms of detail and verses.

Today the conjunction between the comparative literature and intertextuality is known as a new achievement which makes the analysis easier in a framework. One of the most important factors of analysis in the field of comparative literature is to study the similarities and the effects on one another; the text founds based on a pre – discourse and then makes the discourse of his own and it even causes change in the main text. According to the myths effects on one another, this paper tries to compare the myths in Sadeq Hedayat and Edgar Allan Poe's works. The present paper attempts to study the myths and their applications in two abovementioned famous authors based on intertextuality. The question of the research is how to study Sadeq Hedayat and Edgar Allan Poe's works based on intertextuality. The results show that the similarities of myths and common applications in the field of content and concept is observable.

Jarmila Očkayová is the first immigrant author to recreate one of the most well-known treasures of Italian literature.
It has been over a century since Carlo Lorenzini, by the nom de guerre Carlo Collodi, wrote the Pinocchio stories, but the version created by Očkayová is not just a humanoid machine, confused between the two worlds of humans and dummies, but on the other hand, it is the former wooden doll with a fundamental difference in structure: He starts to speak to his audience and narrates the story from his own point of view. The continues analysis of the words and the contemplation about their concept alternative etiology are the main structural and conceptual evolutions that Očkayová has made in his recreation. On the other hand, the selection of this opus for rewriting is undoubtedly with certain cause. The reason of the selection is a kind of existentional bipolarize and the suspicion of Pinocchio between the tow worlds: human worlds and those of wooden dolls. In this inquiry the features of this recreation devoted to language and words and also the reasons why it was recreated are going to be discussed.

Rewriting and recreating of ancient texts play an important role in transmitting ideas which are found in ancient texts to the new generations. One of the texts which is considered in this field is Rumi's Masnavi Ma‘navi .This paper is a study of recreation of one of the most significant stories from Masnavi in order to see if important elements of the story (plot, theme, character, etc) are properly and successfully transferred from a mystical-didactic and ancient text to a re-created, modern and only didactic text and what changes have been added in the course of transmission. Mystical themes in the ancient text have been deleted in the re-created text due to the fact that they might not be appropriate for the young adult. Plot in re-created story, unlike the original text, is closed (with certain denouement) and extensive (with several sequences). Unlike the original text, the main character in the re-created text is dynamic. In general, elements of story in re-creation are stronger than elements of story in the original text since the purpose of re-creator is storytelling of an classic text, not expression of a mystical text.

In their article ‘Historical Evolution of the Illustrations of “Khālih Sūskih” ’ Massih Zekavat and Zahra Nazemi contend that the notion of implied viewer is not neutral and that pictures in illustrated and picture books interpellate their reader/viewers through creating preordained subject positions for them. The illustrations of different adapted and recreated versions of Khālih Sūskih، a Persian folktale، are analyzed within the framework of implied viewer as proposed by Perry Nodelman by administering content analysis. Nodelman’s concept of implied viewer، founded on Wolfgang Iser’s notion of implied reader، posits that pictures imply specific social subjects and their response as viewers. Yet، a diachronical investigation of various illustrations of the folktale conveys that the relationship between the real and implied reader/viewer of these books is reciprocal and the child viewer cannot be considered merely as an agent who takes pleasure in consuming their pictures. To put it in other words، the child viewers are not pre-constructed stable subjects before their encounter with pictures، and illustrations contribute to children’s interpellation as social subjects and partly modify their subjectivity through their definition of subject positions and their ideological impositions.

Mehdi Azaryazdi is amongst the precedents in rewriting the classic stories for youths and children. He recreated the book “Nice Stories for Nice Children” in eight volumes since 1957 until 1990. His main aims were to transfer the ethical messages to the young readers as well as familiarizing them with the valuable treasure of Persian literature. Hence he has apparently recreated the main theme of the stories into an ethical theme. Therefore, the mystical stories of Molavi and Attar have so much changed that there does not exist any common aspect between them and the final work of Azaryazdi. This paper investigates the themes of “Molavi’s Stories” and “Attar Stories” and compares them with the rewritings of Azar yazdi. It is declared how much Azaryazdi has changed the themes of the stories. As Azaryazdi has definitely changed the themes of these stories to social, ethical and sometimes to historical and royal themes. As a comparative analysis, while just only %19.6 of the original resources of Azaryazdi’s rewritings come with the ethical theme, this theme, in Azaryazdi’s works, appears over %60.2; where the original resources are mainly (%62.5) covered by mystical theme. By such a rewriting, there is no doubt thatAzaryazdi has clearly recreated completely new stories from the sense of the classic stories.

Recreating stories, myths, events and, in general, all the ancient prose and verse works is of great value and importance. Recreating helps the artist to create a brand new work using his power of imagination while he gets the inspiration from the ancient work. And on the basis of his interests, attitudes and purposes he changes the genre of any topic. However, these recreations are not always apparent.Resorting to a comparative study of two totally different literary works, the present article seeks to answer the question whether Nima Youshij’s poem under the title of “Mahtab” is the recreation of the allegoric anecdote from Kelile va Demne, namely “Shabtab”. Undoubtedly, one of Nima’s thought sources was his attention to ancient Persian literature. He has mostly taken the essence of his contents from the ancient Persian literary works. But those ancient thoughts and ideas have been dressed newly and have changed their inner and outer figure after being processed in the creative mind of a thoughtful creator like Nima. Due to a large number of similarities between these two literary works, including their characters, dialogues, manners, events, time, space and other features, one can come to such a conclusion that Nima’s “Mahtab” has doubtlessly been influenced by “Shabtab” in Kelile va Demne, i.e. Nima’s “Mahtab” is the recreation of “Shabtab”.