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

Intertextuality is an approach that examines the effectiveness of the text in other texts. it is particularly important in the examination of texts and determines how much a genre has mixed with other genres and how much has been created creatively? In the analysis of genres according to Genette theory, "it can be said that the main issue is the predominance of imitation or change aspect, so in the first stage, the amount of imitation or change is of interest, and after that, the type and quality of transformation are discussed. In other words, what has changed and what has been imitated." (Namvarmatlaq,  2013: 147)
Genette has divided the transtextual relations into five basic forms: 1- Intertextuality 2- Paratextuality 3- Metatextuality 4- Architextuality 5- Hypertextuality. Namvar Motlatq,2011: 434). Genres can be combined, and each genre can include subgenres. Sometimes new genres are created from their combination. In contemporary genre theory, this issue has been called "Literary Types Interaction". This attitude refers to the fact that "there is no pure genre; For example, in a novel, it can appear in different genres such as plays, ghazals, and odes." (Wediji, 2014: 281). One of these genres is fantasy in which can be seen different literary genres. This genre arose in the late 19 century in the West. Harry Potter is one of the famous examples of this genre, after its publication, many works have been published in different countries. Fantasy works have been written also in Iran. One of them is the Dasht-e Parsova collection, the first volume of which - Hume Sokoot - has been recorded in the Black Crow list as one of the top two hundred works in 2017.
 
Since in the intertextual analysis of the genre, we identify the genres in a text by using architextuality, and by using hypertextuality, we analyze the amount of changes in the text. In this research we have tried to answer these followig questions: Which genre has represented in Azizi's fantasy? Does the author's work have its own characteristics? Is it an imitation of previous literary texts like Harry Potter? What are the similarities and differences between this work and Harry Potter?

It is a comparative-analytical research method to investigate the intertextuality of genre in Harry Potter and Dasht-e-Parsova. 

According to Razmjo, genre theory is an attempt to divide various literary topics according to the appearance or formats in which the topics have created and composed with their own special characteristics and rules. (Ref: Razmjo, 1374:10). Frow defines genre as "the organization of texts according to the thematic, rhetorical and morphological dimensions" and subgenre as "becoming more specific of a genre according to specific theme" (Frow, 2005: 67). Intertextuality is a very important method in identifying the relationship of the text with other texts. Genet has also mentioned genre in explaining intertextual relationships; He introduces five categories of factors that play a role in accepting and receiving texts, among which "two types of Architextualie and hypertextuality are related to the issue of genre." (Vaezzadeh et al., 2013: 98)
For this reason, by examining these two methods, we will identify literary types in Harry Potter and Dasht-e-Parsova:A) Architextualite
In Architextualite, the longitudinal relationship between a work and the genre to which the work belongs to it is examined. According to Genet, in the main text, "we have the genres, with their determinations that we’ve already glimpsed: thematic, modal, formal, and other" (Genette, 1992: 82) as mentioned in this way, the connection that a text establishes with the texts before it is through genre. In this way, the later text uses the literary type of the previous text and sometimes it includes different types and achieves a new type.
B) Hypertextity
Another intertextual relationship that leads to the recognition of genres is hypertextuality. Hypertextuality examines the way of reproduction and expansion of the text more than other genres of transtextual relations. Hypertextuality "means the placement of the text in a totality of texts and especially the knowledge of literary genres" (Ahmadi, 2018: 321). According to Genet, hypertextuality employs two methods of imitation and transformation. The purpose of sameness is to keep text A in text B without the slightest change and with a little creativity, and one of its functions is to stick different texts together without the slightest change. If the author's goal is to change a lot in the text A, "transformation" has been done, and if the goal has only a little overlap, then "imitation" has been formed. (Genette, 1997: 92-91(

The present research investigated the genre in Dasht-e-parsova and Harry Potter series with an intertextual approach in order to determine the level of creativity and imitation of the Iranian author according to this research, the author has connected with the pervious text by using Architextualite and different genres such as fantasy. Oral tradition, myth, legend, riddle, romantic genre has been used in his work with architextualite. He has introduced these genres into his text by using architextualite and has given it special characteristics by using hypertextuality. Azizi, by following the modern story writing in the space and plot of the story, has created changes that have caused innovation in the story and made it different from Harry Potter.
The author has also benefited from tragedy as a genre in his story to influence the audience, and the genre is not seen in the Rowling story. In general, Azizi, though in the entry of literary genres in his text, has benefited from Rowling's work; but by using the hypertextuality, he has introduced his national culture into his work and has distinguished it from its western sample.
The present research investigated the genre in Dasht-e-parsova and Harry Potter series with an intertextual approach in order to determine the level of creativity and imitation of the Iranian author according to this research, the author has connected with the pervious text by using architextualite and different genres such as fantasy. Oral tradition, myth, legend, riddle, romantic genre has used in his work with architextualite. He has introduced these genres into his text by using architextualite and has given it special characteristics by using hypertextuality. Azizi, by following the modern story writing in the space and plot of the story, has created changes that have caused innovation in the story and made it different from Harry Potter.
The author has also benefited from tragedy as a genre in his story to influence the audience, and the genre does not seen in the Rowling story. In general, Azizi, though in the entry of literary genres in his text, has benefited from Rowling's work; but using the hypertextuality, it has introduced his national culture into its work and has distinguished it from its western sample.

"The Red Manes Mare" is a novel about the life of the Arabic famous poet, Imru'al-Qais, which is written in Persian. This research was done using a descriptive-analytical method and its main purpose was to explain the types of text relations based on Gérard Genette’s theory of transtextuality. The results show that the novel of "the Red Manes Mare" is an example of transtextual texts that has consciously linked with different ranges of Arabic texts and this link in line with creating a semantic system in these texts consisted of relations of intertextuality, hypertextuality, archittxtuality and paratextuality in Gérard Genette's theory. Base on intertexutality, it was concluded that some historical texts which were somehow related to Imru'al-Qais' life have been rewritten in the novel. Quantitative and pragmatic transformation of this work shows that there are some changes in parts of events and main contexts of the story than hypertexts. On the other hand, the interaction of types of literature is one of the most important features of the novel style. The novel also contains a final note with paratextual features.

Kalim Kashani follows Iraqi-style ghazals, in some respects. This study, written with the purpose to understand the similarity between the Hindi and Iraqi-style ghazals, based on the assumption that the Hindi-style sonneteers follow Iraqi style and in this respect, on the horizontal and vertical-axis, tendency to this style is evident in the Hindi sonnets, attempts to analyze, through descriptive–analytical method, the Kalim's genre based on Gérard Genette's Architextuality Theory. To this end, with regard to the importance of typology of Hindi -style sonnets, this issue studies in two sections: single and multi-content sonnets. The result shows contrary to popular perception not all Hindi-style are multi-content; so that in Kalims, many single-content sonnets are seen, among which romantic sonnets are frequent. Many of multi-content sonnets have a romantic framework, that sometimes non-romantic distichs of which could be interpreted by romantic arrangements. In terms of typology, all sonnets have an architextual relationship with Iraqi and Khorasani-styles. The only distinct species in Kalim's is a kind of boasting-complaint, is parody of the boasting odes about past styles. This type, which is the outcome of hypertextual changes, shows off on the vertical-axis in the single-content sonnets and on the horizontal-axis in multi-content ghazals.

Nushdāru (antidote), a novel by Ali Mơazzeni, is one of the contemporary literary fictional texts has extensively communicated whit mythical and epic stories of Shāhnāmeh such as Rostam and Sohrāb, Siyāvash, Fereydun and Zahhāk. Exploring these relationships not only leads to a better understanding of the novel, but also is beneficial to identify the components of contemporary fictions have been influenced by epic works specially Shāhnāmeh. To achieve this, in present essay, the transtextual relations between Nushdāru and Shāhnāmeh have been reviewed and analyzed bases on Gerard Genette`s theory. He divides these types of relations into five categories: Intertextuality, Paratextuality, Metatextuality, Architextuality, and Hypertextuality. Some introductory discussions have been proposed, first about intertextuality and transtextuality, and then different types of transtextual relations have separately discussed in each part of the essay through a brief review of the novel’s content. Finally, their features and instances in Nushdāru have been analyzed in comparison to Shāhnāmeh.

Intertextuality studies are considered as one of the most recent approaches to literary criticism. In this approach to literary criticism, it is believed that no text is independent of prior texts and texts are written with reference to earlier texts. Intertextuality, as a field of study, was first introduced on the basis of the ideas of Julia Kristeva and was extended and developed by Gérard Genette into a unified and systematic discipline after three generations of theorists. Genet called his body of works transtextuality and divided them into five categories: intertextuality, transtextuality, paratextuality, metatextuality and architextuality. Architextuality focuses on the relationship of a work of art with its literary genre. In Persian literature, each literary text belongs to a specific literary genre. Tazkirat al-Awliyā by Farid al-Din Attar is one of those literary texts which, despite the fact that it belongs to general biographies, has some very specific features that distinguishes it from other types of biographies. This study is an attempt to investigate the relationship between Tazkirat al-Awliyā and its literary genre drawing on the notions of architextuality. This study illustrates that Tazkirat al-Awliyā is a didactic poets’ biography and a mystical epic that has a special place in literary texts.

Arcitextuality is one of the quintuple issues of transtextuality by Gerard Genette which analyzes genre-related relations and Arcitexuality in a piece of work and the genre it belongs to. This category is appropriate for the analysis of literary works which have undergone changed from their initial type, due to social and ideational, and audiences’ expectations in a specific period of time. One kind of such works is "Iskandarnameh" which consists historical epopees, but has also features from other genres which change them to something more than just historical epopees. How such features can affect the epic nature of these works and how they are related to the title “Iskandarnameh” can be analyzed in these works. Therefore, the elements of these three genres are extracted, and the relationship between different lyrical and pedagogical genres, and epic architext was analyzed. The results reveal that the overlap of the genres in Iskandarnamehs after Ferdowsi and prominent features of pedagogical genre paved the way for a change in the title of these works to Kheradnameh (letter of thought/wisdom) although the epic aspect of these works has not been lost. So in this essay, arcitexuality of poetic Iskandarnameh( Ferdowsi, Nezami, Amirkhosrow) and the type and genre they belong to are analyzed in order to determine their textual relations and the transformations they have undergone.

The present paper is an attempt to investigate the concept of intertexuality in Sharyar Mandanipour's Sharghe Banafshe, which is attained with the analytic reading of the text along with the concepts that this work shares in common with the other texts, demonstrating the fact that these similarities have been deliberate, intending to achieve a mystical purpose. The contemporary thinkers are on the belief that each text incorporates in itself the sources taken from various cultures and is replete with the signs leading to the process of text creation. They further believe that no text is created in isolation and that we cannot interpret and read it without considering its connection to other texts around. Accordingly, in Shahryar Mandanipour's Sharghe Banafshe, the traces of other texts are present. In fact, in this work, the author utilizes the signs by which one can find intertextuality in the text. The followings are some of the features that Mandanipour's Sharghe Banafshe has in common with the other works of art: the same plot, common mysticism, belief in being within nothingness, and the path of annihilation. Investigation and analysis of these similarities existent in this work with the other works is the achievement of this essay.