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

The rewritten works are basically old texts that have been adapted for today"s reader in terms of language and content. As one of the most precious literary works of Iran, Shahnameh has been rewritten many times and in various forms. In most of these rewrites, the image accompanies the text. In this article, while introducing the styles of illustration in rewritings of the Shahnameh for children and teenagers, the types of interaction between text and image in each style are also described and criticized.

This research was written based on library sources and descriptive-analytical method. The studied society is the rewriting of the Shahnameh.

Although it is expected that in the depiction of the Shahnameh, as an ancient text, more of the traditional style has been taken care of, the findings show that the styles of depicting the Shahnameh include a wide range that the actual methods and new styles (including expressionism, cartoon humor, surrealism, and cubism) are also included.

From the examination of these texts, it can be seen that the realistic style and under it the comic strip has been gradually forgotten and instead, following cartoon and abstract styles has become a kind of tradition. This change of approach is also evident in the verbal aspects of the rewrites; In this way, parallel to the distancing of the images from the reality, the rewritings have also tended towards adaptation and re-creation, and the relation of similarity between the text and the image has given its place to a decreasing and increasing relation.

One of the most prolific writers in the field of rewriting ancient literary texts is Mrs. Mozhgan Sheikhi, who has rewritten a number of stories for children such as Golestan, Bostan, Kalileh and Damaneh, Qaboos Nameh,Mantiq-ut-Tayr,etc. This article examines the structure of this author's rewritten stories from Golestan Saadi's six children's stories and compares them with the original text using a descriptive-analytical method and using library information collection tools. The findings of the research show that there is no noticeable change in the general framework of the work, but the range of rewritings has become wider than the original text. Describing the performance and appearance of the characters, increasing the dialogues, and in some cases, internal expression is among the rewriting techniques to make the story more interesting. The tone of the dialogue has changed from literary and poetic to a simple tone that matches the characters to some extent. The point of view in all rewritten texts is the omniscient narrator. In some stories, rewriting brought the point of view closer to the dramatic point of view, but did not change the content and theme. Sheikhi was not innovative in naming people and used common names in the original text. The language in the transcript is simple and formal. But sometimes difficult words, long sentences, incorrect omissions, and excessive use of the conjunction "and" between sentences have harmed the simplicity and fluency of the text. In all the stories, common terms and ironies are used significantly, some of which are incomprehensible and difficult for the target audience. Although the rewriter has sometimes achieved success in rewriting the work, there is a need for his rewrites to approach Saadi's artistic subtleties and tricks..

Based on qualitative-explanatory research grounded in the concept of "rewriting" within the "School of Manipulation", this article  demonstrated how Fitzgerald rewrote the poem of Jamī based on the two types of poetic and ideological rewriting. The former followed the rules of the era, while the latter referred to the role of supporters among others. The findings showed that Fitzgerald's numerous manipulations were due to not only facing linguistic and poetic differences, but also adapting to the culture and ideology of his time. The most important results included representation of Iranian cultural and literary elements, particularly those related to Sufi literature, in Fitzgerald's rewritings. He created a different and sometimes imaginary representation of Iranian culture and literature, which was more in line with Western expectations. Additionally, Fitzgerald rewrote the text to conform to the cultural capital in English networks and social circles. These adaptations included selecting new words, changing sentence structures, and even deleting or adding parts of the original text to make the final product more appealing to English readers. The overall conclusion was that Fitzgerald's rewritings of Jamī's poems were not just simple translation, but a complex process of cultural rewriting and representation that involved ideology, poetics, and social expectations. These findings helped to better understand cultural interactions between East and West in the modern era and demonstrated how literary translations and rewritings could be a means of cultural transmission and transformation.

Ancient anecdotes and stories (Kelileh and Demneh) are considered to be very suitable resources for training, nurturing and flourishing the talents of children and teenagers due to their educational capacities and excellent and pure educational themes. The purpose of the current research is to analyze the rewritten stories of Kelileh and Demneh based on the types of adaptation. The research method is content analysis. While examining the definition of adaptation and its types, the authors have presented various strategies and criteria to carry out a creative and suitable adaptation. Choosing a suitable and creative title, using white writing techniques and telling gaps, creativity in the beginning and ending of stories, expanding the story and old stories through increasing the number of events in the story, increasing conflicts, etc. are important. It is the most important component of a creative and free adaptation of ancient texts, including Kelileh and Demneh. The results of the research showed that among the reviewed works of four rewriting groups, despite the fact that all four groups did not use creative rewriting criteria much; But Davoud Lotfollah and Mozhgan Sheikhi, according to the average that was obtained, compared to the other two rewriters, namely Mehdi Azar Yazdi and Reza Shirazi, have used more features of creative adaptation in their stories.

Mehdi Azaryazdi is known as the father of the Persian Child Literature. Amongst his works, the "Good Stories for Good Children" book series have gained a lot of popularity and are considered as the most widely circulated work of child literature in Iran. Through the present study, in order to find the pattern of understanding (i.e. hermeneutical orientation) of Azaryazdi, a comprehensive sample of 121 rewritten stories of his collection are reviewed. Then their differences with the original (i.e. ancient) stories are classified. Hereby, seven categories of changes are identified. These seven types of changes are conclusively the outcome of author’s understanding of A) ancient texts, B) his own mission and duty, and C) the audiences (i.e. children).According to the research findings, in each of these three stages of understandings, Azaryazdi believes in A) Possibility of objective understanding, B) Complete and true understanding, and C) Just one single true interpretation of texts, contexts, or whatever which is the subject of understanding. In his view, the meaning and function of words are permanently fixed. Though, by emphasizing on moral concepts, he does not allow his audiences to have a different or opposite understanding of the purpose of his writings. Therefore, it is concluded that the pattern of his understanding is matched with the traditional hermeneutics; particularly harmonized with Schleiermacher's style.

It is important to transmit the works of the past generations and convey their concepts to children and adolescents of the modern time. For this purpose, there are different methods. Adaptation is one of the effective methods through which the previous works lost their connections with the modern audience can be revived. The works of Saadi are among the most prominent ones in Persian texts that the adaptors have always considered them. Meantime, Mozhgan Sheikhi is one of those prominent figures in rewriting the works of Saadi for children and adolescents. She has rewritten twelve volumes of Saadi's Bustan and Golestan for children. Since the themes of these works are concerned with training and cultivating, it is essential to scrutinize their downsides and positive points. The deficiencies and positive points will be clarified and better patterns can be presented in this regard. In this research, the books adapted by Mozhgan Sheikhi from Bustan and Golestan of Saadi have been investigated to figure out the shortcomings and positive points from 2002 to 2012 in terms of theme and structure based on the characteristics of children and adolescents in the age group of ten to twelve. Eventually, a pattern is determined in which the adapted works can be placed in so that their downshifts and positive points will be cleared. In this article, the common points of the definitions of this term have been discussed the definition of adaptation from the lexical and terminological point of view. Then, the adaptation is divided into two types of content and structure, and each one of them is separated into parts. For the next pars, this sophisticated Persian poet has been introduced and the significance of his works has been mulled over. From 2010 to 2021, Sheikhi has rewritten ten stories of Bustan and ten stories of Golestan of Saadi. The present article is dealt with the story of ''the clumsy fox'' that has been rewritten by Sheikhi. Initially, the original text of Saadi's Bustan has been compared with the rewritten one by Sheikhi. Then, the content and the structural points of Sheikhi's work has been analyzed, And the important things in content analysis includE the selection of pre-effect, topic and content, matching the message, removing unnecessary content and increasing and processing. Regarding the principles of rewriting and the mental necessities of the age group of children from ten to twelve, the aforementioned points have been dissected. Next, the story has been analyzed in terms of structural analysis including language simplification, word difficulty, and word repetition, writing style, punctuation marks, rhetoric and grammar. For the next step, the sentences that Sheikhi has adapted from Saadi's Bustan in her story have been expressed for better understanding along with examples of the verses of the original anecdote. In the last part, the compatibility of the illustrations with the text has been investigated remarking this age group. The most important results of the data analysis of this research indicate that structure and content are inseparable and the adaptor has considered this point in her works. Although Sheikhi has done her best to preserve the compatibility of the content with the age group of ten to twelve and she has carefully used the interpretations and words and simile, the structural compatibility with this age group has been ignored. Also, she has chosen a good anecdote of the original text. As comparing oneself with other, imitating and hastily judgments are the characterization of this age group, retelling this story attracts the audience's attention. In fact, this age group may feel the animism and this group indirectly learns to try to help others despite strength and ability. Another remarkable point in choosing this story is that fox has been introduced as a kind and caring animal although the stereotype character of fox is cunning and mean. In terms of the topic and content, considering that Saadi has deliberated educational and educational aspects both in Bustan and Golestan, Sheikhi has indirectly considered the training – moral issues of the anecdote. In his Bustan, Saadi has explained one specific issue and then he has also repeated that subject in the following verses. While rewriting the Bustan, Sheikhi has reflected this issue, as well. In addition, this message that God's sustenance to his creatures is observed in both works. Notably, as this part is about generosity and kindness, Saadi has also minded the kindness of the lion. The kindness of lion to fox along with God's sustenance complete the story. Sheikhi has paid attention not to make the audience feel bored. So, she has not changed all the verses into prose. She has also added some more points to clarify the issues. The stereotype concept of lion is a cruel animal that does not care other weak ones, but lion is introduced differently in Bustan. It would be significant to consider this point in the rewritten text so as to vanish away the concept of power with violence from the audience's mind. In the structural analysis in the language simplification section, considering the special language and style of Saadi, who has used difficult words and expressions in his works, and in some cases Arabic, if the written language is complex for age group of ten and allusions and expressions and if difficult words are used a lot, the motivation of the audience to read the story is gone. Sheikhi has practiced simplicity as much as possible. In the word difficulty section, the difficulty or complexity of the word is measured consistent with the audience's age and vocabulary. In Bustan, Saadi has repeated the word sustenance three times and Sheikhi has also repeated it in three sentences. In the writing style section, Sheikhi's style of writing is studied in terms of formality or speaking, and according to her writing style, which is formal in the story, it has been mentioned in five cases that are written in a colloquial and colloquial way. From rhetorical view, irony and simile are the most used figurative elements for the age group of twelve. Using irony is suitable in the rewritten text, but it is not appropriate to use metonymy in one sentence of the aforementioned story. Furthermore, the rewriter has considered the grammatical points and punctuations to be coped with the age of the addressee. In the adaptation part, there are some verses from Saadi that the Rewriter, Sheikhi, has exactly translated and given their exact meanings. Mentioning the literature and its exact meaning by the adaptor indicates the adaptation of the rewriter. The complete text of the original text have been mentioned in the rewritten text so as to prevent plagiarism and be faithful to the original text. In the last part, all the illustrations of the text have been considered and the important points have been pointed out.

Mulana Masnavi is one of the important books that due to its educational goals, has a greater share in rewriting and recreating works of ancient literature for children and adolescents. But sometimes we see that rewrites, in language and content, have weaknesses in terms of style compared to the original narrative and the appropriate language of the audience.

In this article, using the library method and comparative analysis of the content of the rewrites with the original story of Masnavi, the collection of rewritten books in the center of intellectual development of children and adolescents has been reviewed from a stylistic perspective in terms of language and content. . The statistical population of the research is a 12-volume collection of Masnavi anecdotes "from Neistan" for the use of age group "D" which was published in 2007 on the occasion of the eight hundredth anniversary of Rumi"s birth, for children and adolescents to get acquainted with Mulana, for use in cultural and artistic centers.

Choosing meaningless ancient words, quoting Masnavi verses instead of a part of narrative, ancient grammatical structure, slang words and terms at the linguistic level and not paying attention to Rumi"s educational content and inappropriate changes in the original content of anecdotes, from The main disadvantages of rewriting Masnavi are in these books.

Comparing the transcripts with the original anecdote, Mulana purpose and language appropriate to age group "D" shows that in some cases due to lack of understanding of the content, lack of attention to the appropriate language of the audience, change of content and lack of attention to Rumi"s message, linguistic and intellectual slips And have strayed from the goals of intellectual education, which is the main mission of the center.

Marzbannameh ,one of the most valuable works of classical texts, Includes stories and tales that in addition to its educational and moral value, the reflection of our ancient Iranian culture and civilization. The expensive and instructive tips of this book can be from the child to the ages of all classes of society but Technical prose and to a certain extent its artifacts are a major obstacle to achieving those concepts Which has drawn the attention of the replayers to this book. In this research, three rewritten works by Mehdi Azarzadi, Maryam Lotfali and Abdolmajid Najafi have been investigated and while measuring these works, we tried to evaluate their story elements and the origins of a creative rewrite As a result, it's a good idea to rewrite this awesome book. In these works sometimes the rewriters have been able to amplify narratives and personalities. They also changed the tune to the audience. There is no particular change in the angle of view and inside - except in rare cases. From these rewriters, Maryam Lotfali's text with the least creativity is most similar to the original text And the text of Mehdi Azarzadi and Abdolmajid Najafi have been more successful in updating the story in order of importance.

The present study investigated the book Maqamat-e Hamidi by Hamid al-Din Balkhi in order to find the possible signs of the native ideas of the translation technique. The history of translation studies is divided into three periods: pre-linguistic (literal), linguistic (linguistic), and post-linguistic (cultural). Given the recent period (linguistic or cultural), it is now thought that cultures translate according to their needs. Given that the findings of the present study trace the existence of this idea in the preface of Maqamat-e Hamidi, it should be noted that Hamid al-Din Balkhi referred to multilingual and cultural issues in translation centuries before current scholars. In the post-linguistic stage, cultural expectation determines which text to be translated, why, and how and these elements moved the translation activity from lexical, meta-lexical, and textual levels to rewriting and recreating the translator’s ideas. In order to implement the idea of a translator-author, Hamidi, based on the principles of comparative literature, rewrote and recreated the Maqamat of Hamedani and Hariri’s ideas in Persian based on the principles of comparative literature. The present study is descriptive-analytical in terms of the method and nature, respectively. The results of the study showed that Hamidi in the introduction of his Maqamat has proposed the idea of discarding faithful translations in order to satisfy the users of the target language and to strengthen the language and literature of the target community. In this way, he paved the ground to rewrite and reproduce the source texts in the target language. It should be noted that the introduction of Maqamat-e Hamidi is based on the fundamental idea that the components of a literary polysystem are in constant competition for a dominant position in language and literature. Therefore, this system is always witnessing constant challenges and tensions between the center and its peripheral environment. In other words, literary genres that are located in the periphery of this literary polysystem are constantly trying to reach a dominant position in the center of the polysystem and other literary genres that are in the center of this system (in the face of rival species) are trying to establish their dominance. On this basis, so-called less valid genres such as translated literature can be considered effective factors in the dynamics of the literary system. Translated literature can help to invent new literary techniques in the target community and this is one of the main reasons for recreating Maqamat in Persian. Finally, it is necessary to ask a key question and answer it: What were the decisions made by Hamidi in rewriting and recreating Arabic Maqamat in Persian? His decisions and actions can be classified into the following categories: 1) Innovation in choosing the title of Maqamat; 2) innovation at the beginning and end of Maqamat; 3) innovation in the illustration of the narrator and the hero of Maqamat; 4) innovation in the journey of the hero of Maqamat; 5) innovation in the structure of Maqamat with extensive use of debates and arguments; and 6) innovation in the content of Maqamat.

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.

Classic literary texts are of special cultural importance. Although Persian speakers still can read and understand these old texts after hundreds of years, for the younger generation and recent Persian learner is hardly possible due to lexical and slightly syntactic changes. Therefore, many of these texts have been simplified for children and even adults. This research tries to compare some stories of Kelile and Demne with their simplified versions to examine the changes of the literary text through the process of simplification, and at the same time, to extract patterns of simplification. The reason for picking up Kelile and Demne is that on the one hand, it is one of the technical and ornate literary texts in Persian, and on the other hand, it is recurrently simplified. In this research, changes have been classified in four levels of morphology, syntax, lexicon and text. As result, three different approaches to the mechanism of simplification of old literary texts of Persian were observed: The tendency to keep both the content and the form of the original text The tendency to keep the content unchanged, but manipulate the form of the original text The tendency to manipulate both the content and the form of the original text Thus, the form has been always under change. The maipulations can be grouped into four levels of lexical, morphological, syntactic and textual changes.

Ibrãhym al Shüarãby was the first Arabic translator to translate Hãfiz's lyrics and he became well known with the song of Shiraz and the lyrics of Hãfiz Shirãzy. This prose work, which also includes a poetic composition in the translation of some lyrics, such as the 10th lyric, is influenced by the limitations that translator André Lefevere says in her rewriting view. In this view, he considers translation as a kind of rewriting in which extra-systemic and intra-systemic limitations, ideology and poetics are effective. With a descriptive-analytical approach, this research tries to study the Arabic translation of the poem and prose of Shüarãby from the 10th lyric of Hãfiz due to Lefevere's intended limitations. The final result of this research, on the one hand, shows the effect of Lefevere's ideological limitation in Shüarãby's translation, with his mystical attitude in rewriting this lyric and equating monastic symbols, “pyr”,“miykhãnih”,“kharãbãt”, ”khãniyh khammãr” and on the other hand, he expresses poetic limitation which leads Shüarãby to conceptually rewriting and manipulate sound, music, and the literary tools. The manifestations of Lefevere's view can be seen in Shüarãby 's rewriting in the form of separate translations of poems and prose, increasing and decreasing some words, inverting the use of structures, the shape and material of pronouns, and inverting the pseudonym or omitting it. Shüarãby is both affected by the mentioned limitations and by choosing special strategies in his rewriting, he appears as a controlling factor.

Kalile va Damne is one of the valuable texts of the past and any attempt at displaying its hodden capacities can make the young generation more acquainted with the various values of this text. In this study, Kalile va Damne is approached through a new perspective so that its capacities for being re-written be partly represented and a method be suggested for selecting old texts, methods based on theories in young-adult literature and able to make their works more comprehensible and enjoyable for its readership. The purpose of this study is to realize the capacities of Kalile va Damne for being rewritten and recreated.this study has also aimed at examining decentration as an aesthetic factor by recognizing the techniques of decentration in the tales of Kalile va Damne and their effect on children’s self-fulfillment. The findings of this study show that out if the 21 techniques of decentration that Khosronejad and Moradpour have found in tales, eleven are found in Kalile va Damne. The function of some of them in this oeuvre is similar to their function in tales, and that of some others is new and different, in which case it develops that technique. The decntration techniques in common between tales and Kale va Damne include: exhibitionism, narrator’s intervention, tale in tale, displacement of the protagonist, debate, surprise, exaggeration, white-writing, metamorphosis, inversion, and simultaneous scenes. Six new techniques were found in Kalile va Damne, that can be added to the previous ones: awareness of the ending ,Inner textual, changing the narrator (if accompanied by changing the point of view),Compound characterization, tale-to-tale, and poem, verse, Hadiths in prose text.

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.

 The purpose of present study was exploring the strategies with Persian translators of children’s literature have adopted in dealing with culture specific items. Moreover, this study investigated the cultural factors which have led to applying specific strategies in transferring cultural items from one language culture to another. The parts being analyzed were extracted from a book entitled to Good Night Stories for Rebel Girls which is written in 2016 by Elena Favilli and Francesca Cavallo and its three translated books by three contemporary translators. The comparative descriptive study was done based on characteristics of children’s literature translation and cultural context adaptation components which are proposed by Klingberg (1986).  The main attention was paid on the problems which happen in the process of translating of culture items categorized by Klingberg: lexical items within the sentences of the target text that sounded different in the text with source text. The result showed that by regarding to Klingberg’s strategies, translators can use these strategies to purify the text some of which are not accepted in terms of cross cultural communication in the target reader culture (i.e. Persian children); and most cross cultural exchanges were translated in two stories out of the three.  Based on obtained results (frequencies and percentages) the researcher concluded that rewording, substitution, and deletion were known to be the most frequently used strategies by translators. At last, it was concluded that three translators of the mentioned book should attend to cross cultural communication activity and they must acquaint themselves with two cultures and two languages to achieve their meanings in their own cultural background and because of international subjects they should provide the child with opportunity to get new things about new cultures.

The purpose of this research is to compare the story of good and evil in the military seventh with the narration of its rewriting in Bakhtiari culture, to show that the type of attitude towards the child and his expectations in this culture had an effect on the rewrite. Accordingly, the narrative elements in these two stories, such as start, suspension, knitting, ending, personality, angle of view, time and place were investigated. The results of the research show that, according to Bakhtiari culture and attitude towards children, changes It was created in rehearsal tale. Family acceptance and trust in others, including values ​​and hurricanes that have to be learned in the Bakhtiari culture, children, and emphasized in the rewritten story. The negative attitude to violence has made the story a happy ending. Inappropriate knowledge of the theme of love for children has led to a very brief account of this scene in the rewritten story. The importance of the children's biological experience and the principle of conceptualization has changed the time and place of the story into the Bakhtiari nomadic zone, and changes have been made in the age and role of the characters, or the attention given to the issue that, in the Bakhtiari culture, children should In solving life problems, characters play an active role in Bakhtiari's narrative, contrary to the deterministic attitude in military narrative.

Ancient literary stories must be told in a simple and fluent language in order to be compelling and comprehensible to today's audience. The process of narrating these tales in contemporary language should be in accordance with the principles that have two main axes: First, maintaining the structure of the story and the style of the author, and second, its conforming to the audience’s language and understanding. In this regard, rewriting and returning the stories of Shahnameh to prose, in addition to paying attention to the level of the audience, also requires knowledge about Ferdowsi's style and expression. On the other hand, attention should be paid to summarizing and simplifying stories. Each of the Shahnameh's rewrites has some degrees of summarizing and omitting story or artistic effects. But the omission of some sections damages the original structure of the story, does not reveal Ferdowsi's art in composing stories for the audience. There are several ways to convey these points and the story to the audience as completely as possible. Considering the linkage of the Shahnameh headers with the structure of the story, our suggestion in this article is to use this manuscripts of the Shahnameh based on their headings. As a notable example, we have used the Florence version, which is the oldest available version of the Shahnameh and while reviewing some of the problems in rewriting this work, we have provided solutions for more accurate rewriting.

The free flaunt of translator’s language and applying rewriting elements is one of the most important reasons for the emergence of  authorship translation approach in Persian literature and classic Arabic. In this approach, just like free and communicative method, translators avoid equal, equivalent, and parrot-like translation which is mostly inexpressive and incomprehensible. Rewriting approach was widely used in old Persian translation from Arabic because of not regarding rules and scientific standards of translation and idealistic goals. And relaying on rewriting issue and its mechanisms the translator would deal with lots of changes in translated texts compared to the originial without considering custody. The present research tries to study the concept and rewriting aspects in four episodes of Bal’ami’s history (the killing of Siavash, the making of Kavous’s Palace, Kavous’s ascending to heaven, abandoning sovereignity by Kay Khosrow) considering André Lefevere’s rewriting discussion in order to achieve aspects and functions of rewriting approach in Bal’ami’s translation. The results indicate one of the reasons of Bal’ami’s translation durability, which is known as the translator not the writer, is due to the successive aspects of rewriting concept. And the translator has created a rather different work than Tabari’s by using techniques uncluding adaptation, structural adjustments, delete and compression, and sometimes verbiage.

In the corpus of Persian Classical literature, Kalīla wa Dimna is one of the texts which have drawn a vast amount of interest on re-writers’ side and many of its tales have been re-written. The reason for this appeal, as well as an answer to the question whether or not this text is a proper fit for children can be sought with resort to the theory of ‘implied reader’. Recognizing the implied reader of a classical text can serve as a criterion for re-writing that text and aid re-writers to pick the proper text to re-write for children. This article figures out the implied reader in Kalīla wa Dimna using Aidan Chambers’s theory along with an analytical-descriptive method. A comprehensive look at the implied reader in Kalīla wa Dimna with an emphasis on the relationship between the four elements of this theory proves that the three elements of ‘style’, (with regard to new questions posed about it), ‘partiality’ (considering the absence of the child character) and ‘point of view’ (with an emphasis on the decisive role of ‘dialogue’) in Kalīla wa Dimna are more salient and more fulfilled compared to ‘empty space’. An all-encompassing view could tell that although the amount and the quality of the presence of the four elements of the implied reader are not equal and similar, but differ from modern children’s fictions, still there are signs of the writer’s attention to the taste, comprehension, and needs of the low-aged reader that provide the text with qualifications for being rewritten. Mindful of the elements that show the implied reader of a text is a child, they can maintain and enhance these elements to make their rewritings more successful. Keywords: Implied Reader; Kalīla wa Dimna; Re-writing; Aidan Chambers