جستجوی مقالات مرتبط با کلیدواژه « transformation » در نشریات گروه « ادبیات و زبان ها »

 Bahar Danesh is one of the folk and ancient Indian legends, written by Inayatullah Kanabwe Lahori (1088A.H.), it is a joint chapter of folk and literary stories in the style of Indian storytelling and stories within stories. Transfiguration (human to human, human to animal, human to illusory beings, animal to animal, etc.) is one of the recurring themes in the stories of this book, with themes such as shape-shifting, spells and magic, incarnation in a state of change. The form, the awareness of the science of taking off the body and transferring the soul from one body to another is evident throughout the space of stories. The cultural diversity of the vast field of ritual literature in India has led to the discovery of rich collections of folk tales in which the occurrence of extraordinary things is a common thing; Therefore, in legends, we are faced with creatures that suddenly change, metamorphose, do things beyond the natural power of man and reveal the unattainable hopes of the mass of Indian people like a mirror. Various types of personification in Bahar Danesh folk tales have been done with the purpose of analyzing and analyzing the function.

 This research was carried out in a descriptive-analytical way and based on the theoretical framework of the research and using the method of collecting information in a library.

 The types of transformation in the folk tales of Bahar Danesh include a wide range of transformation of humans, animals, divan, fairies and their actions and speech, especially in those types where the elements of imagination and illusion are mixed together, it presents the idea of transformation of humans, an approach towards capacities Ghani"s imagination can be imagined in contrast with natural phenomena.

 In the tales of Bahar Danesh, a large part of mythological beliefs, belief in dissolution and reincarnation, traces of Vedic religion, magical powers of the lord of knowledge and Indian Brahmins in their folk narratives in Persian language have been reflected in it.

one of the stylistic attributes of constitutional period poetry is the use of European words (French, English, Russian) which were used by different factors in poets" poetry. and influenced the Persian language. In this article, with the aim of investigating the position, changes and evolutions of these words and their influence on the Persian language, the poems of the poets of the constitutional Current have been analyzed.

 The collection of article information was done in a library manner and it was written with a descriptive and analytical approach. The statistical population of the research includes the poems of ten prominent poets of the constitutional period, and European words have been examined in their poems from the point of view of word stylistics.

 In the course of constitutional poetry, approximately from 1285 to 1300 AD, European words have become a stylistic feature and can be seen in the Diwan of all poets. The Frequency of these words in special words related to the names of persons, places, Epithet and everyday terms(Idiom), words related to the field of politics, military and economic affairs, words related to the field of culture and social life. Poets used words in political, social, and lyrical content for various reasons, such as: creating a new theme, the necessity of using the word in the absence of a Persian equivalent, interest in using the word despite the existence of an equivalent word, artificiality and modernism. Compared to Persian equivalents, these words were used with translation at the same time as Persian equivalents, and in some cases, Persian or Arabic equivalents are more common. The evolution of these words after the constitutional period can be seen in three ways: 1- The words were removed from the Persian language with a change in theme and equivalence, 2- Some were used with a slight change. 3- Most of the words that were in the field of culture and social life of the people remained and are common today.
 

 European words are used in the fields of politics, military, society, culture, and economy for various reasons, modernism, the necessity of application, and beautification, in the poetry of constitutional poets. Their developments after the constitution are of three types: abandonment after the constitution, equalization with Persian words and stabilization in the Persian structure.

Legends and oral traditions are important sources of the manifestation of mythology and culture of Iran's past. One of the important components of these traditions is magic and extraordinary acts that originated from the imagination of ancient mankind. Transformation is one of the most important and imaginative effects of local legends. According to the climatic and cultural conditions, the legends of South Khorasan are the origin of wishes and dreams, culture and various mythological rituals. In this essay, an attempt has been made to investigate the legends of the region in an analytical-descriptive way in order to answer the questions of what is the figure-turning in these legends, what are its types, and what are its mythological roots. With the conducted investigations, the results were obtained that transformation exists in most legends and one can see all kinds of transformation in them, including the transformation of human into animal, animal into human, and human into plant. This type of personification has been the most repeated and all these personifications go back to mythological roots such as plant gods or descent gods and the important roles of animals in human life as helpers of gods.

In this study, with the aim of general study of the Place and developments of proverbs in Persian prose styles, fifteen prominent prose books It has been analyzed in various subjects from the fifth to the ninth century AH. About The historical evolution of the use of proverbs, how they are used in the text, the relationship between Persian proverbs and Arabic proverbs and the authors' approach to them. In these centuries, all kinds of verses and hadiths, Common proverbs, sayings of elders, sages, mystics and poems of poet have entered prose in the form of proverbs. The results of the study of developments show: Historically, this is the evolution of proverbs, Morsal style (fifth century): beginning, Beynabeyn style (late fifth century): consolidation, technical style (sixth and seventh centuries): the golden age and the eighth and ninth century: the Age of decline. Repetition without change, repetition with partial change, simile, the abandonment of some proverbs by changing styles are among the evolutions of proverbs in these centurie. The position of proverbs in the text is with a letter and a connecting sentence or without a connecting sentence. A large part of the structure of proverbs has remained unchanged with the change of styles, but some proverbs have been transformed with the change of styles.. Arabic proverbs along with Persian proverbs come in several ways: without translation, verbal translation, conceptual translation and equivalence. The personal style of the writers has been involved in the evolution of proverbs, and some of them have changed or rejected the proverbs in line with their ideas.

One of the stories of the famous book One Thousand and One Nights is called "Ala'addin Abolshamat". This story narrates Ala’addin’s adventure from his birth in Egypt to his trip to Baghdad and permanent marriage to the girl with whom he was supposed to be with for just one night as well as other adventures until the end of his life. A part of this story has become the source of legends with the same structure in Persian folk tales. In this article, ten types of these narrations have been identified and analyzed. Some of these stories have been published in collection of anecdotes, but most have remained unknown. These narrations have more or less some differences in the method and details of narration as well as linguistic and literary issues. Although the general structure of the stories is the same, the narrators have inadvertently or intentionally made changes in the details over time; maybe because it was more attractive for the audience or the story became more believable for the Iranian audience. By analyzing the details of these narrations, we can get some interesting points. From a broader perspective, we can determine the order of changes in the narratives based on the same details.

Transformation in fictional narratives is referred to the essential changes of human or inhuman characters by a supernatural force. The present article is intended to examine this essential transformation of the characters of folk tales in the context of Claude Bremond's narrative theory. In classifying the role of the character in the narrative, Claude Bremond proposed the "Agent" and the "Patient" characters based on the extension of Levi-Strauss's "Binary Oppositions" theory of "Actant" characters. The agent has an active, effective, and dynamic role in the story, and on the other hand, the patient is passive and impressible. The present study seeks to answer the question: according to Bremond's theory, how the transformation in folk tales can lead to change in the function of the character and consequently, the status and role of the character in the story, from agent to patient and vice versa? This study, through referring to the library sources and by descriptive-analytical methods, in four specific folktales as the case studies, intends to conclude that transformation causes the main and sub characters, to create new actions or be affected by the new ones, after the transubstantiation. And as a result, they change from an agent to a patient or vice versa.

The present study examines three mythological symbols of blood, plant and long hair, which are related to mythological characters who become martyrs, in contemporary Persian novels. To achieve this goal, first the symbols are examined in the story of Siyāvash in Shānāmeh, and then the transformation of these mythological symbols in three contemporary novels is analyzed. The statistical population of the research is the story of Siyāvash in Shānāmeh and three novels Suvashun, Bewilderment (Heirani) and His Ego (Man-e-oo) that have been selected by the purposeful sampling method. The present research, by using the descriptive-analytical method, aims to state that the mythological symbols (blood, plant and long hair) have been changed and reproduced in all three novels under the influence of the culture and internal relations of the society. The results, while confirming the regeneration of these mythological symbols in Persian contemporary fiction, show that despite the temporal, spatial and positional differences, their structure remains the same, but the components, context and semantic function undergo transformation and according to the elements of change, fracture and integration have been reproduced.

Tazkereh al-Awliya, which is the most important work of Attar's prose and one of the greatest texts of mystical prose, has great potential for intertextual comparisons with other mystical works as well as Attar’s Masnavis. This descriptive-comparative study aims to show the textual relationship of 51 joint anecdotes of Tazkereh-al-Awliya and Attar's Masnavis with the hypertext approach, one of the five pillars of Gérard Genette’s theory of transtextuality. The results of the research show a broad relationship between Tazkereh Al-Awliya and Attar’s Masnavis. Both types of hypertext (i.e. homogeneity and tragedy) are observed in these works. This connection is more than the type of tragedy, and among Attar's Masnavis, Al-Tair, Elahinameh, Misibatnameh, and Asrarnameh, respectively, have the highest percentage of common anecdotes with Tazkereh al-Awliya.

Examining the interaction between texts is one of the ways to know texts accurately; hypertextuality is an approach to text reading that shows relationships between texts in a systematic way. Most of the anecdotes of Asrar Nama (composed by Attār of Nishapur) have their roots in previous works, but they have been changed and reproduced in this book very thoughtfully and purposefully. By using analytical-comparative method and based on Gérard Genette’s theory of hypertextuality, the present article attempts to investigate the relationship between the Asrar Nama and its subtexts. The findings of the research show that Attar uses subtexts in the form of explicit and implicit intertextual relationship in order to validate the narrative and confirm the content. The most type of hypertextual relationship between Asrar Nama and its subtexts is trigonomy or homogeneity in a quantitative transformation and pragmatic transformation methods. Processes such as transformation of motivation, transformation of value, qualitative transformation, amplification, expansion, cutting and summarizing the text lead to change the discourse of the stories, to highlight the content, to add fictional elements, to turn the text from a report mode into a narrative mode, to devalue or value the characters of the anecdotes and to adjust the goals in the Attār's narration. Hypertextuality in Asrar Nama is interpretive; it has played an effective role in explaining Attar's mystical views, expanding the themes, and symbolizing the anecdotes that are monosemantically and superficially narrated in the sources of Asrar Nama.

In addition to its various missions, literature is also responsible for social prophecy.  The creators of literary works view social political context of their time and are influenced by them.  Sometimes they are for and at times they are against the events that take place around them.  They show and represent their standpoint in variety of ways using different elements in their works. Calling forth epic mythological characters in novels is one of the elements that help authors achieve their ends.  Certain novelists depending on the favorable or unfavorable position they adopt, invite such characters not only to represent infra textual discourses but also to reinforce or weaken some dominant political social context discourses.  The present article seeks to find the answer to this question that how and why the author of Sohrabkoshan calls the epic characters to his work?  The results obtained by using the content analysis method show that the author brings the epic characters in his novel in order to weaken and marginalize the rival’s discourse and hence highlight certain dominant discourse of his time.  In other words, the author who is one of the activists in the social political context and is also a proponent of the dominant discourse by calling characters such as Sohrab and Rostam to his novel and by the transformation of their acts in the first place represent some intellectual foundations of discourses of his time, namely the discourses and type of approaches regarding women and the youth, and in the second place highlight the intellectual foundation of the discourse he had in mind that is reform, is accentuated to the point that he could marginalize rival’s discourse.

With the Mongol invasion of Iran, many of their words entered the Persian language. One of these words or compounds is "Teb tengri" which has been used in various texts as Bot Tengri. In this study, we use the descriptive-analytical method and  corpus stylistics (especially in the analysis of mentioned narration) to analyze “tengri” and “teb/bot tengri” especially in Mongolian and Chinese languages and the narrations related to these words. Then, we show that the first part of this word combination should be read as "teb", which in the Mongolian language is a prefix that means exaggeration and it can be seen in other words. The combination of "teb Tangri" is known as the special title of one of the Shamans with whom Genghis Khan strengthened the foundations of his power. When he seeks his share of power, he was killed by Genghis Khan. It can be said that among the Persian historical texts, the Vassaf’s history has presented a narration with the most elements related to the beliefs of the Shamans.Introduction The Mongol invasion, along with its very destructive effects, led to various exchanges, including cultural exchanges between East and West. From a stylistic point of view, the cultural effects of this incident are manifested in the first place in linguistic structures that are not normally separated from intellectual structures, especially in words and lexical structures. One of the salient effects of the Mongol invasion was the spread of the Turkish language, especially Mongol Turk, more than was common in the sixth century. Thus, some words found in Persian became so common that they are still used today.Among such words, the word "Tengri" can be mentioned This word, which has been used in some texts before this period, is not very problematic in terms of meaning. With the same structure, there is no special semantic ambiguity, but this word is combined with another part, which is the first part. It has been recorded in Persian texts in various forms, such as "Teb/Bot tengri", "TebetTengri" and "Teb". In addition, the exact pronunciation the word is not found in dictionaries. In addition to pronounce this structure, the narratives themselves have used "Teb Tengri or Bot Tengri" which are disturbed or repetitive.In this study, while paying attention to the readings of this word and its correct pronounciation, we have studied the first part of the composition and criticized its various forms according to some sources in Mongolian and Chinese. We have also examined the narrations that deal with the story of "Teb Tengri/Bot" in the form of historical figures, and have shown their metamorphoses.Materials and Methods   Using a descriptive-analytical method, the present study first examines the composition of "Teb Tengri or Bot Tengri" in Chinese and Mongolian texts from the perspective of phonetic and lexical structure. It then analyzes its application in various texts of Persian prose and poetry. Finally, it reviews and criticizes the narration related to this structure in six texts of Persian prose.Discussion of Results and Conclusions    In the famous book of Mongolian grammar, there are grammatical rules for some Mongolian words, which by exaggerating the teb (teb) as a prefix, the meaning of the word is exaggerated. In other words, the function of the prefix "teb" is to exaggerate the meaning. The "Teb" section in the word "Teb Tengri" is also subject to the same rule, which can be translated as "divine" or "drowning in God". Of course, the literal translation of Teb Tengri, according to the structural rules of the Mongolian language, can be considered a very wide and deep sky. In other words, the combination of "Teb Tengri", which is one of the two components of "Teb" for exaggeration in the Mongolian language, and "Tengri" meaning God and collectively meaning "immersed in God", in Persian texts is often referred to as "Tengri Bot". Based on linguistic and historical evidence, this usage is completely incorrect. Combining various texts, it can be said that the combination of "Tengri Teb" was the title for one of the famous Mongol shamans who was very deceitful and Genghis used his position and of course his deception in his participation in the government structure, with complicity. He draws a heavenly position for himself among the simple-hearted people, and Tengari Teb justifies his actions. But when he sees that Genghis does not involve him in the government and does not give him a share, he opposes him. Eventually, Teb Tengri is killed by Genghis Khan (son, brother, or one of his relatives). Among Persian texts, the narration of the Vassaf's History is considered to be the closest to the main narration due to having most of the features related to shamans.

One of the types of textual relations is Hypertextuality, which studies the relationship between two literary texts. This relationship is based on adaptation and does not address the element of intertextuality. According to Genette's view, the adaptation is divided into two parts: imitation and transformation. The transformation means to change something in a different way, while an imitation is to say something in a similar way and Its purpose is not purposive change. The extension of meaning in the hypotext has been done through transposition, which is a serious change. Frequency or Number of times an event occurs in the story and the number of times it is mentioned in the narrative in hypotext and hypertext implies a serious change or transformation. As regards the novel Frankenstein in Baghdad by Ahmed Saadawi was inspired by the Frankenstein by Mary Shelley, This descriptive-analytic and comparative study analyzes the transformation in the frequency of events between the two novels and changes in the the number of times it is mentioned in the narrative. The study of types of frequencies, especially repeating singulative narration and repeating narrative, is  objective examples of transposition in hypertext.

The Masnavi Ma'navi is one of the most outstanding works of Persian literature in which many manifestations of our culture are featured. The origin of some Masnavi's anecdotes is in verbal literature, which has appeared in literary works for a long time. The expression of contemporary verbal narrations adapted from some of the Masnavi's anticathodes represents the repetitive stories which have been frequently recited in our literature and culture. The transformation of Manavi's stories in verbal literature is a matter for which studies have not been yet conducted by scholars. The difference in the form and structure of the stories, the clear change in the characters and the different interpretations are some of the transformations that have distinguished the verbal narrations and the narrations of Masnavi. The three anecdotes that have been selected as the basis for the work for exhibiting the transformation between the stories of Masnavi and the verbal narrations are: Three Travelers: a Moslem, a Christian, and a Jew, Nakhjirans' Reliance, and the Fool Who Trusted the Bear. The data indicate that Rumi presents many high mystical concepts in the form of narrations and textual codes, but most of the verbal narrations are presented for entertainment. Also, the verbal narrations tend to be reasoning-based ethics, whereas Masnavi's anecdotes are Rumi's specific individual ethics

The Tales of Mashdi Galin Khānom, compiled by Laurence Paul Elwell-Sutton, includes 110 folk tales of the Iranian people. The present article tries to show the remnants of myths in some of these folk tales and also to compare the myths with Shāhnāmeh and other mythological books. In these stories, there is no mention of Zal and Simorgh, but the hero is raised by a bird, and the seahorse and the horse help him by pulling a few strands of hair from their mane and giving it to the protagonist. The present study, by using descriptive-analytical method, shows that some folk tales are modified myths that have been reflected in stories and legends over time. The presence of myths in folk tales and legends has led to their survival. The content of the tales may not have all the characteristics of myths, but they are modeled on one or more myths or events of Shāhnāmeh. By analyzing some of folk tales of  The Tales of Mashdi Galin Khānom, the authors have attempted to study the effect of myths in some of these stories and to explain how they were transformed.

The present study entitled: "Transformation" and "Destruction" in Jalaludin Mohammad Balkhi’s (Rumi) Poetry intends to analyze two of the most common and prominent mystical terms that are "transformation" and “destruction”, in his Masnavi and Divan Kabir, through untying the meanings of these two terms. It also intends to explain the meaning of pieces of verse that are related to these two themes to the reader. What is concluded from this study is that the mentioned terms have symbolic meanings in Rumi's poems and should be studied with regard to their intuitive and mystical senses and interpretations thereof. These two terms, the first of which indicating the beginning of an internal revolution in order to destroy the earthly and human characteristics, and the latter the manifestation of a vital and spiritual life, are essential to the poet’s thought and they are interdependent. It is found that these two states do not necessarily lead to spiritual and personal growth and excellence separately; while sometimes it happens that the seeker of spiritual or mystical truth remains in the stage of "Transformation" and doesn't succeed in reaching the stage of "Destruction".

Tahereh Saffarzadeh was born in 1936 in Sirjan. She learned to recite and memorize the Qur'an in the local school at the age of six and ended her primary and secondary education in Kerman. She composed her first poem, "Poor and winter", at the age of 13, which was written on the school's wall newspaper. She received a bachelor's degree in English language and literature from Shiraz University. It was during this period that she realized that this field of study is not practical for the present and future of Iranian students. Shortly after her son's death, she went to England and then to the United States of America to continue her education. At the University of Iowa, she was accepted in the International Writers' Group and obtained MFA degree, which is a PhD-independent degree awarded to the undergraduate and graduate writers and artists who volunteer to teach at university in a literary or artistic field of study. Following acquisition of a special poetic language, and as a result of continuous study, she succeeded in new definitions and theories in the field of art, especially poetry. The first examples of such poems made her famous, respected among poets and writers of different countries of the world, and created mutual literary connections between her and poets and artists of other countries. On her return to Iran in 1970, the authorities agreed to hire her at the National University (Shahid Beheshti). Dr. Tahereh Saffarzadeh is the founder of translation education as a science and the organizer of the first workshop of "Practical Critique of Translation" in Iranian universities. After the victory of the Islamic Revolution, her book "Principles and Foundations of Translation" was selected as a lesson book that was useful in understanding the theories and practical critique of translation, especially for students majoring in translation. This book was used in translation workshops and played an effective role in the Iranian translation scene. A few years later, a book on this field was published in England. Tahereh Saffarzadeh also succeeded in introducing a new language and style of poetry due to her literary studies and research in the field of poetry which she named it "Resonance Poetry"; an intellectual whisper that, without worrying about weights and meters, triggers a movement in the reader's mind with clear metaphors. Knowing the cultural gap of the Islamic Movement, at the beginning of this movement, with the help of well-known and committed Muslim writers, she established a center called the "Cultural Center of the Islamic Movement". After the victory of the Islamic Revolution, Dr. Tahereh Saffarzadeh was selected by her colleagues at Shahid Beheshti University as the dean of the university and head of the faculty of literature. At the age of 24, she published her first work, "Rahgozar Mahtab" (The Moonlight Passerby). Her second collection of poems, entitled "The Red Umbrella", was published in English in the United States of America by the International Department of Writers at the University of Iowa, School of Literature. Then, with the publication of the collection of poems of "Resonance in Delta", "Dam and Arms", "Fifth Journey", "Movement and Yesterday", etc., she composed a special songs for the music of the contemporary Iranian poetry. She wrote poems with religious and anti-western plots in the Iranian literature. Her poems seem frozen at the beginning and they are devoid of softness for words, but for the person who contemplates on the words, they can be seen as the blossoms behind the spiritless words. Saffarzadeh wrote weightless poetry. She believes that insensitivity and vapidity of this period is the product of the false civilization of this century. Commitment, conceptualism, thought-oriented and religious beliefs are the main components of her poetry. In addition to being a poet, she is proficient in writing, researching, teaching, and translating, as she has translated the Qur'an into the three living languages of the world. Another fact is that Saffarzadeh is known as the founder of the "Scientific Critique of Translation" and the author of the "Specialized Translation" theory in Iran. Meanwhile, Saffarzadeh's name has been registered as one of the initiators of "religious modern poetry" and also one of the founders of the Islamic Propaganda Organization's artistic field in the history of the literature of the Islamic Revolution of Iran. Possessing literary knowledge and insight, familiarity with the millennial history of Persian literature, writings in the contemporary literature, complete mastery of English and familiarity with world literature have made Saffarzadeh popular in the minds and languages of literary society from the 1960s to the present. She has also gained the attention of the world literary and academic associations. In the two collections of "Allegiance to Awakening" and "Meeting with the Morning", Saffarzadeh achieves an independent and coherent style of language and simplification. In turning the poet away from complexity and tendency to the natural tone of speech in this period, perhaps components such as the Islamic Revolution have been influential. In a general sense, Saffarzadeh's poetry can be divided into three periods. Three periods that, although sometimes close to each other, are fundamentally different from each other. These differences are sometimes so obvious that it is felt that the poet is different.
The first period begins with her introduction as a poet with the book "The moonlight passerby" in 1962, and continues until the publication of the book The Fifth Journey"." The second stage of her poetry often addresses the common people of the society. She wants to say words that are no longer complicated, but they convey a simple meaning. In the third period, she reports on religious and moral concepts. But it should be added that her statement is significantly different from the previous period; he writes many poems with great care and obsession. She does not have any excitement or emotion, and she uses her former techniques in writing the poems. Saffarzadeh becomes somewhat relaxed in the third period of her poetry, she does not have the restlessness of the first period. In the third period, she achieves a kind of calm, neither the restlessness of the first period nor the excitement and sensuality of the second period. During this time, she allows herself to be more rational than anything else. She deals with issues as they exist.

This study has selected the novel "Rud e Ravi" written by Abu Torab Khosravi as a model of traditional totalitarian society and "Mortelle" written by Christopher Frank as a model of totalitarian society in the modern era. The research method is based on the opinions of thinkers who have studied the individual / subject relationship with the system of domination and objectification methods. In explaining the political function of totalitarian systems on individuals, it has used the views of thinkers such as Michel Foucault, Hannah Arendt, Rigel, Haywood, and in classifying body types as objects of power, has been based on the views of Cregan and Le Breton.The study of the “Rud e Ravi” shows that the process of depersonalization and homogenization in a traditional society takes place through torture and display of it, And in the “Motelle” the totalitarian system in the modern age, along with the torture and persecution that usually takes place in non-public places, transforms the thoughts and transforms them into a general identity. But torture in sectarian-traditional systems has more doctrinal and religious functions and in the totalitarian system of the modern period, it is done for political purposes. What both novels have in common is the inviolability of principles, the loss of privacy, the confrontation with love as a manifestation of individuality, and in a word, the removal of any manifestation of individualism and the transformation of individuals into object bodies, And what distinguishes the two novels is the degree of objectivity and subjectivity of the individual in the world of novels.

By selection, Ferdowsi collected most of his earlier narrations, which were narrated in books such as Sir al-Muluk, Khodaynameh, Shahnameh of Abu al-Muayyid Balkhi, Shahnameh of Abu Mansouri (prose), and Goshtasbnameh (Daqiqi), and later, the main reference of people and epic Readers. The composition of the Shahnameh created three waves of imitators or followers, lovers and admirers, and finally opponents. Mokhtari and other epic poets after Ferdowsi tried to narrate stories that Ferdowsi did not include in his great Shahnameh or ignored their length and detail and brought only a part of the story or made references to it. Stand at the foot of the epic palace. Of course, Iranshah (Iranshan) Ibn Abi al-Khair and Asadi Tusi are successful followers of Ferdowsi. The importance of Osman Mokhtarichr('39')s work is due to the fact that he is in the circle of the opponents of Shahnameh, that is, those affiliated with the Ghaznavid court. This research has tried to examine the position of Shahriyarnameh and Osman Mokhtari in the epic by describing and analyzing and intertextual view and textual effect on another text, and then, briefly compares Shahriyarnameh with Shahnameh in terms of literature, language and thought. In this way, explain how the Shahnameh affects the Shahriyarnameh. The findings show that Mokhtari, in order to get rid of the apprehension of influence, has made changes in the form, structure and content of his work compared to Shahnameh, which has caused his work to become popular.

Gérard Genette considers hypertextuality as a type of transtextuality. Hypertextuality focuses on adaptation and is divided into two categories: imitation and transformation. In this approach, the hypertext as the affective element and the hypertext as the practical elements are very important. The hypertext by imitating or transforming the pretext makes the original text preserved or changed. The transformation means changing something differently, while imitation is saying something similar. Transformation leads to transposition, which is a severe change in the hype. Saadawi, who belongs to the new generation of novelists, makes significant changes in the speed of hypertext by placing Frankenstein in a new literary space and a different environment. Studying the change in the speed of the novel in the hypertext shows Saadawi's creativity in deepening the narrative is a clear example of transposition of narrative duration and pause. Substitution in form and meaning makes significant changes in the text and narrative speed or duration is one of the changes. Studying narrative speed in hypertext is implying changes in narrative speed by transposition. Duration or speed results from comparing the speed of the story to the speed of the event. Ahmed Saadawi’s Frankenstein in Baghdad was inspired by Mary Shelley’s Frankenstein. This descriptive-analytic and comparative study analyzed the transformation in the narrative speed of the two novels and changes in positive and negative speed according to transposition. The results show that changing poetic style, dynamic description, implicit ellipsis, and inner speech in hypertext leads to transposition in narrative duration. In such a way mental action in the hypertext, unlike the hypertext, causes vertical movement in the text and progress in the mental world of the characters.