جستجوی مقالات مرتبط با کلیدواژه "متن" در نشریات گروه "هنر و معماری"

In this article, we will first explore the concept of a photograph as a text and its linguistic and semiotic dimensions. In this regard, we will draw on Roland Barthes' theory and the concept of punctum, as Barthes is the only philosopher who specifically addresses the concept and characteristics of a photograph as an artistic text. In the next section, we have utilized the theories of the renowned structural linguist Roman Jakobson, as he has valuable practical theories regarding the message as the central communication link between the text and the audience, which aids us in advancing our understanding of the text. Furthermore, the article delves into the notion of photography as a form of discourse, which is the product of a particular type of communication and nature. Additionally, by employing the concept of hermeneutics, we discuss the role of the audience in the interpretation and decoding of photographs as linguistic texts. In this context, we have drawn on the theories of two important and influential philosophers of hermeneutics, Paul Ricoeur and Hans-Georg Gadamer, who have significantly contributed to the extension of hermeneutical approaches to non-textual materials. The research aims to explore how viewing a photograph as a text provides an approach to semiotics, linguistics, and hermeneutics in the production of meaning in photography. This research was conducted through library research and descriptive analytical methods. It appears that the interpretation and understanding of the meanings of photographs, as well as any other artwork, rely on multiple factors, including culture, cultural background, personal experience, and individual knowledge.Keywords: Photography, Semiotics, Linguistics, Hermeneutics, Text

Hermeneutic theory and criticism are one of the important theories and criticisms of art and literature. The term hermeneutics or the science of interpretation and interpretation has entered the field of visual arts from the field of literature. The polysemous of this word indicates the types of uses that this word has been used for. Hermeneutics is defined as an attitude, knowledge, method and art that deals with the understanding of the world, human and text. Texts and works of art are open to interpretation, and the goal of interpreting and understanding works is to reach their true meaning. The science of hermeneutics was first used in the interpretation of the holy books and then entered the literary and artistic fields. From the point of view of this science, understanding and interpretation of phenomena are inseparable from each other, texts and works of art are opened in interpretations and their hidden aspects are revealed by interpretation. The purpose of interpretation is to understand the works and obtain its true meaning; Therefore, achieving meaning is associated with the process of understanding.As an interpretive creature, man also tries to communicate with phenomena by understanding and interpreting them. (These phenomena can be the holy texts of the books of the prophets or books of philosophers or works of art.) But in reality, what is the ultimate goal in interpretation and hermeneutics is to achieve the true meaning of the phenomena. Shapes, images, signs, social customs and in general any phenomenon that is made by nature or man are placed in the position of interpretation and understanding. For understanding the world made up of forms and colors that are constantly changing, transforming, giving birth, expanding and transforming, man gives meaning to them or he discovers their meaning. So, the act of interpretation is done with the significance of the phenomena. The meaning is hidden in the text and the work, and the interpreter is required to find the hidden meaning in the work. The works and texts guide the commentators to understand the interpretation methods.Therefore, the text and artwork have always been the subject of interpretation; And man as an interpreter is always interpreting the phenomena around him; But due to the existence of different understandings in a person, there have always been multiple interpretations of a work. Therefore, the important question raised here is what is the position of the text or the work of art or even the creator of the work in hermeneutic science? Are the interpretations as countless as the number of people, and it is the audience of the work of art that determines the meaning of the work? Or that the author or the artist is the main pillar in the interpretation and the interpretation is formed based on their thinking. Can the text or artwork determine which interpretation is valid and which is not? What is the validity of these valid and invalid interpretations? Is it possible to determine a certain basis for the interpretation of works of art by summarizing the opinions of different thinkers during different centuries and classifying them? Therefore, the purpose of compiling this research is a critical and analytical reflection on the opinions of hermeneutic thinkers and the bases of achieving the true meaning of the work.The purpose of this research is a critical and analytical reflection on the opinions of thinkers about hermeneutics, its role and place in the interpretation of phenomena and especially works of art. Therefore, firstly, the works and ideas of the first thinkers in the field of hermeneutics are investigated and a brief history of hermeneutics and its types are introduced. Then, by dividing hermeneutics into two historical periods, classic and modern, the theorists have been categorized. Hermeneutics has been examined in terms of the subject and its types, and by summarizing the opinions of theorists, an attempt has been made to reach a certain basis in hermeneutic criticism, so that with its help, a criticism appropriate to the work can be presented. After summarizing and classifying the opinions of thinkers and examining the science of hermeneutics in the world of art, it has been tried to present specific models of hermeneutics and its criticism in the field of visual arts. Research shows that hermeneutics, as a knowledge in obtaining the meaning of phenomena, always plays an important role in determining the meaning of works of art. But paying only to each aspect of the author, the audience and the text in hermeneutics reveals only a part of the meaning of the work; Therefore, despite the modern hermeneutics that determines the meaning only in the interpretation horizon of the interpreter, the text and the author also have a central role in determining the meaning of the work.

Knowing the music of the past of Iran or Persian- Islamic tradition is only possible by studying the texts, since old music is not available to us and cannot be heard today, so the only way of studying old music is studying musical texts. As music is a cultural phenomenon interwoven in the vast network of cultural phenomena, knowing music requires knowing culture in all its aspects; therefore, relying only on the technical texts about music theory is inadequate and deficient. Most of the musical texts, nowadays, are limited to the music theory books from Peripatetic school and Systematic school and other texts types that contain valuable information are neglected and because of that historical musicology is limited to the technical aspect of music theory and chronological approaches to the Maqams, Iqas, Lahns. The present study is about the typology of musical texts and attempts to explain what a musical text is, and which texts are musical; in other words, which type of historical texts can be regarded as musical texts, and each type of musical text is related to which aspect of music as a cultural phenomenon. This study introduces eight types of texts and shows what aspects of music as a cultural phenomenon are illustrated by each type. These types include: 1- music theory books with mathematical- philosophical approach, 2- musical texts in practical context and biographies, 3- religion and jurisprudence books, 4- books of Sama, 5- history books that contain general history and travelogues, 6- literary books, 7- scientific books such as those related to medicine and astronomy, 8- texts about visual arts including miniature, ancient instruments, pottery paintings and reliefs on the walls. These eight types are first layers of cultural texts that can be considered to be musical texts and each of them can shed light on some aspects of music.

Time and its concept, understanding and expressing is one of the significant subjects in the human thought. The way of theorizing about time, has caused different opinions about its quiddity. The artists in the Qajar dynasty had gotten newer experience in drawing than previous eras. Developments in various fields have affected to them. The artists in the face of phenomena such as time represented it based on their subjective and objective world and the carpet capacities. The research problem is the time interpretation and understanding in the Qajar carpet as a text medium. It is based on the “understanding” proposition in Gadamer’s philosophical hermeneutic approach. The purpose is the time identification, quality and its kinds of identity in Qajar carpet. How does the time representation is in Qajar carpet? How does the understanding of time and its kinds of identity explain in Qajar carpet based on Gadamer’s hermeneutic? They are the most important questions in this research. The five sample of the Qajar carpet pattern had selected at random. They studied with quantitative content analysis method. It is basic research into the qualitative research form. The method of data collecting is documentary – library and artworks observation. Data gathered with card research, pictures and new scanning tools. Results show the time has recorded in qualitative and quantitative forms with related signs in Qajar carpet. The fore-understanding about time in Qajar carpet are: ritual events, mythical thoughts and stories, various writings, creating movement and time sequence by locative oppositions, visual elements, texts reading, planning the artwork, narratives and its elements and using of referable symbols to time are preconceptions about time. They trying to cause the mental association and intuitive understanding of time in the carpet by denotation, connotation, and reading-out of the texts absent in artwork.

Interaction between the literary texts and illustrations has been considered as an important issue for miniaturists from a long time ago. Although miniaturists were mostly dedicated to the text in their work, sometimes it happened that illustrations were accompanied with exaggeration in epic and lyrical scenes. The Qarachqāy-Khān Shahnameh, as a case in point in this respect, is a renowned Safavid illustrated book of kings not considered seriously. The present research aims at studying the visual features of one the most well-known epic-lyrical stories in the Ferdowsi’s Shahnameh, Bijan and Manijeh, from the viewpoint of interaction between the images of this story with the text of the book. Bijan and Manijeh in the Shahnameh is a romantic narrative mostly been illustrated by miniaturists and illustrators, especially the episode in which Bijan is entrapped in a deep well and freed by Rostam, the epic hero of Shahnameh. In spite of the domination of epic elements in Shahnameh illustration, the mentioned story during the Safavid era is displayed by adopting new visual approaches in showing feelings and expressions, moments, and different aspects of nature and life. There are five separate images in relation to this story in the Qarachqāy-Khān Shahnameh. Regarding the traditional connection between Persian miniature painting and literary texts in Iran, the present research is to study the dominant visual elements in the illustrations of Bijan and Manijeh story in Qarachqāy-Khān Shahnameh, as well as to examine the quality of illustration such elements in the related images of the narrative. The main question to consider in this respect would be as follows: What are the visual features of Bijan and Manijeh images in the Qarachqāy-Khān Shahnameh and how are the story elements been illustrated in such images? Adopting a descriptive method, the research will analyze the images on the basis of four main elements, including the illustration of events, characters and their role, setting, and the written poem (visual verse). To achieve better results, the essay has been divided into two parts. The first part is introducing the story of Bijan and Manijeh in Shahnameh besides its narrative elements, and the second one will analyze the illustrations and their manifestation in Qarachqāy-Khān Shahnameh. The results of the research, besides indicating perfect harmony among such elements and the text, show as well the illustrators’ attention to the lyrical aspects of the story, which could be regarded as an innovation in this Shahnameh. Furthermore, the present study shows the subtler aspects of life, such as displaying men and women’s relations, mutual affection, and feminine beauty. Regarding the romantic theme of the story, images have gone beyond the common features of a brave, elegant warrior, as seen in most illustrations of such books. The presence of Rostam and his heroic enterprises is also a part of this romantic story, being in conformity with the conclusion of the story.

The long affinity between “literature” and “painting” in illuminated manuscripts has had an old and deep effect on the form and structure of Persian Painting. In the middle of the Safavid era, creating single-leaf miniature expanded increasingly. It seems that in this era, the connection and struggle between the medium of painting and literature found a new form; Therefore, examining the works of Mo’in Mosavver, as the last real representative of the Isfahan school of painting, is of great importance in this regard. Research

The purpose of this study is to show how the historical connection between “literature” and “painting” evolved in at the later years of the Isfahan school of painting through a formal and structural evaluation of the relationship between “image” and “text” in the works of Mo’in Mosavver.Research

In this study, the paintings of Mo’in Mosavver were examined using an analytical-comparative approach and the findings of this analysis were interpreted with a historical approach in the evolution of Persian painting in the middle of the Safavid era.

The image of the “pregnant moment” in the illuminated manuscripts of Mo’in Mosavver represent a type of “implied temporality” that reminds us of the sequence of verbal narrative actions. also in single-leaf miniature of Mo’in Mosavver, a higher level of homogeneity can be observed between the medium, the content and the method of perception, since, apart from the narration, these works are limited to the arrangement of objects and beautiful figures. The traces of aesthetics deepening based on these works can be recognized in the miniatures of that era. These traces are seen where the number of figures and narrative micro-scripts are reduced in the images of these paintings and the painting focused more on illustrating the “pregnant moment”. As a result, it seems that in Mo’in Mosavver’s works, the connection and struggle between the text and image can be considered as a movement from “text” towards “image”, his movement, which is also seen in the Isfahan school, found more chance for growth and expansion outside the court’s conservative taste to create glorious and elegant illuminated literary manuscripts. This led to the creation of paintings with mimetic and stronger sensory aspects. At the time, this was reflection of a movement towards independence and further separation of the painting medium and from verbal narration.

From a linguistic point of view, the city can be seen as a text, consisting of different components and structures being related to each other beyond a sentence. Looking at the city from this point of view, what establishes a syntactic relationship and cohesion and coherence of the components of the city as a common language is called the syntax of the city. Linguistic study of the text of the city requires a branch of linguistics called text linguistics including linguistic rules and elements beyond the sentence. Every literary text arises from the joining of a set of sentences; the relation of these sentences is not just as random as the components of the city text, but the set of all elements and components in a regular relationship creates a structured and coherent whole and provides a harmonious continuum based on certain principles and rules. The combination of these sentences in the city follows both syntactic and semantic rules. Using the principles and rules of linguistics, this paper introduces a methodology for physical and content analysis of the city applying this method for the study of Sar-Tapulah neighborhood of Sanandaj, which is one of the most important neighborhoods of the historical core of this city, in order to evaluate and analyze the criteria of its textuality using urban design techniques and tools. Applying a pathological approach towards this area the paper aims to come up with the strengths and weaknesses of Sar-Tapulah neighborhood based on the textuality criteria. Therefore, the textuality test has been done in this neighborhood based on seven textuality criteria (cohesion, coherence, intertextuality, acceptability, informativity, intention, situationality) using selected urban design techniques and tools. The research findings show Sar-Tapulah neighborhood weak in terms of textuality criteria, and this weakness is due to the deterioration of the neighborhood fabric and lack of attention to the structure of the neighborhood and textuality criteria in its related renovations.

For archaeologists, historical texts are important in several ways; first, the written texts and second its examination in an archaeological context, along with other material of its context. In fact, the importance of the context is that the cultural material (here the text) is evaluated based on its social and historical context. Historical texts along with other facts, are important evidence to archaeologists. In the slave system of Qajar-era, servants were primarily a form of consumption and not an element of production.  A group of servants who served in the houses of the wealthy, included maids, gholams, and Khawjas. The black slaves were African, and they were traded through the Persian Gulf, and the white ones were of various ethnicities who were provided through trade or captivity in wars. The way this class was treated was often accepted by the community. The maids either entered the harem as a monk or a permanent wife, or to do housework for the elders' wives. The gholams were also employed in various fields of the military, domestic services, security, agriculture and irrigation, fishing and scuba diving (in the south), and achieved high administrative and military positions if they had the ability and expertise. Therefore, in this article, the Qajar slavery system, in two areas of south and southwest of Iran, were investigated by studying documents, written sources, and photographs of the Qajar period as text and cultural material through archeological approach and content analysis.

The creation of understandable and readable urban space is very important. In fact, humans interact with the environment when the received message from the environment is recognized in their Semiosphere. This indicates that paying attention to cultural meanings of environmental design is essential. Accordingly, this research aims to develop the production process of such a space, based on the linguistic paradigm. Despite the importance of this issue, there has been a decline of meaning in the modern era. Therefore, theorists criticize the modernist approach and try to find different solutions to this problem. Thus, in the transition from modern theory to postmodern theories, a wide range of theoretical paradigms have been recognized that are classified in the categories of phenomenology, linguistic theory (including semiotics, structuralism, post-structuralism, deconstructionism), Marxism, and feminism. Among these paradigms, linguistics has been developed in relation to the category of meaning. In fact, the revival of thought in the form of linguistic paradigms changed the postmodern cultural criticism. Meanwhile, semiotics, structuralism, and post-structuralism have been effective in the re-development of many disciplines, especially critical actions. These paradigms have once again focused simultaneously on meaning and symbolism in architecture and urban planning. This paper aims to develop the step-by-step process of designing readable urban spaces and identify the factors influencing the creation of such spaces based on linguistic theory. This paradigm was selected due to its ability to solve the problems caused by the perdition of meaning in the field of architecture and urban planning. In this paper, translation studies have been used as a knowledge related to the selected paradigm. In fact, this paper aims to achieve the ultimate goal of the research by using, scrutinizing and understanding the theories proposed in translation studies. The present study is an analytical study according to its purpose. This study uses the meta-theoretical approach as a type of Meta-Study approach. Therefore, historical and comparative methods are used in scrutinizing the theories proposed in translation studies. Having carefully examined the theories proposed in the field of translation studies, the authors have described the process of creating readable spaces according to the research purpose and problem. Meanwhile, the inefficiency of the traditional translation theories has been studied in creation of readable urban spaces. Eventually, the reasons for using modern translation theory and the application of this process have been explained using logical reasoning. The results of the meta-theoretical analysis show that the modern theory of translation and the cultural translation approach that leads to communicative translation is a desirable approach in producing a cultural text in the city. Finally, the process of creating readable urban spaces have been developed by adapting the modern theory of translation to the process of designing meaningful urban spaces. Accordingly, the urban designers should identify the metalinguistic realm of space and the city, and analyze the source of the language. Having applied the filter of culture and the discourses of power and ideology, the designers should identify the hidden and understandable signs and meanings of space and translate them in a process-oriented way. In other words, the cultural translation model is used as an optimal model for creating readable urban spaces. Thus, that the signs in the source text (from Lotman's point of view) represent the cultural identities. This means that the cultural text is produced in the semiosphere. In fact, semiosphere is a center in which texts are produced, and out of which chaos and disorder threaten the inside of the semiosphere. This issue is also important in the target text; meaning that the consideration of signs in the source text in the translation process should pass the filter of culture in the target text for producing a cultural text. Accordingly, in this process, the urban designer should use the signs in the semiosphere to provoke the continuity of meaning and create a cultural text. Otherwise, the produced text will have non-cultural and non-encrypted meanings for the users. There are semiospheres of other cultures within the semiosphere of any culture that interact and communicate with each other. This means that in the process of intercultural communication, some of the signs and meanings outside of the culture may be accepted.

During the recent years, despite the suffusion of the globalization discussions and expansion of the relationships in the virtual world, the place and sense of place are still in the focal point of the attention in many of the theoretical and empirical studies. The importance of integrating the objective and subjective approaches into these concepts underlines the balance and equilibrium in concomitantly dealing with the physical properties of the places and the social and cultural values of the society. In this regard, narrating the society’s stories, including memories, beliefs, values and myths in the urban space, would be effective in the strengthening of the bond with them. This is while the majority of the prior stories and events are neglected in dealing with urban spaces and places. Thus, it is necessary to deal with the society’s narrations in the text of urban space as the factor connecting the individuals to their living environments. The present article investigates the role of the society’s stories and their narrations in respect to the fortification of the sense of place. The main question is that how the sense of place can be reinforced and continued by the assistance of the narrations and readings of the society’s stories in the urban spaces? To do so, use has been made of a descriptive-analytical method to firstly review the texts and theories related to this issue and explore the experts’ concepts and notions; then, the primary concepts’ interrelationships are explicated and analyzed. Based on the positive and corroborating effect of the narrations of the place stories on the sense of place and within the format of the layered semiotic approach, the urban space will be introduced as a text and its stories are consequently considered as the textual layers. In order to preserve the coherence of the place’s text in whole, the role and value of the various layers of the place’s text- activities, form and imaginations- should be aligned with and strengthening the value and role of the textual layer of the place’s stories. To display the stories, it has to be specified within a context that which stories are of greater importance to society. Then, the physical and non-physical methods and elements showcasing them should be determined.

The criticism of photographs as material objects expands their indexicality. </span>Once considered as objects, </span>photographs connect with other senses thereby strengthening their bonds with the concrete material world. </span>This indexicality does not merely belong to the image, </span>and is also dependent of the materiality of the photograph. </span>In this sense what grants meaning to the photograph’</span>s materiality is in fact the bond between the photograph and the world turning them from merely materialist objects into emotional, </span>historical, </span>documentary …</span>etc. </span>objects, </span>occasionally causing pleasure whilst at other times bringing about awareness. </span>Leaving photographerly productions behind just because of material damages is a reminiscent of an old creature which is not abandoned as a lot of concepts are invested in it, </span>through which meanings are prioritised over matter yielding identity. </span>Among most important in the genre is portraiture, </span>as these works not only document the appearance of the subject, </span>but also occasionally cast light on their inherent, </span>internal features.</span></span></div>

In classical hermeneutics, the process of understanding is a mental operation realized the live human experience by it. Understanding opens our world and to us. According to Heidegger, understanding is the power to understand one’s own possibilities for existence and in the context of the global environment which the man lives in. The achievement way of the understanding, understanding layers and the issue of circularity of understanding are the concerns of the hermeneutic and ontological theologians. In this regard, Roland Barthes1, in his latest book, "Camera Lucida", in an understanding achieved from the photo as a text, considers the entities of the photograph context in a rotating circle of the audience and the life context and the dialectical relationship between the particular audience of the photo, the context of the photograph and the tradition in which the audience and the photo have raised. The circularity of understanding is one of the important issues discussed in the hermeneutics of Schleiermacher that today it is known as hermeneutical circle. In the history of the philosophy, Schleiermacher2 has remembered as the father of the modern hermeneutics. He has delivered the circularity of understanding to describe the understanding the text. While the later, Martin Heidegger3 and his student, Hans-Georg Gadamer4 , in his hermeneutical theory, did not dedicate this issue to the understanding and they developed and expanded this circle to the fundamental principle of human understanding on the nature and his state. Hermeneutics circle, totally, describes this issue that how the component and the whole, in the process of understanding and interpretation, are related to each other in form of a circle: understanding the components is necessary for understanding the whole, while understanding the components, there should be understood the whole. Our understanding of photos depends on the current situation of the interpretation and the interpreter and also the interpretation of photos is related to the world that the photo describes it. The appearance of such understanding circle can be observed so well in actions and reactions of the photography and in the conditions of the truthful sight. This paper, based on the text "Camera Lucida", has investigated the nature of hermeneutic circle of understanding on the interpretation of photographic works and has attempted to explore the representations of the understanding circle in the context of the photo.

What we know today as architectural semiotics sub-field of semiotics and art in its shadow, no independent representation. Based on the theoretical concepts of architecture and alignment with the ideology of linguistic and semiotic need to explain the evident architectural semiotics explains. In this paper we analyzed the relationship between architecture and semiotics. Each social context (such as architecture), which carries a set of messages and relationships within the text by codes transmitted to the audience. These symptoms are encoded by the creator and reader (audience) on the basis of the social contract, subjective perception and point of view to decode the meaning of the text (Architecture) tries. Structuralist and post-structuralist semiotics provides two views. Signs to direct structural relationship between text and meaning are known. In contrast, post-structuralist semioticians, indirect relationship between text and knowledge and to explore the implication of their relations; in this paper, theories of semiotics, reading Architecture (text) from two perspectives about the analogy has been mentioned. The main focus of research on the meaning of architectural representation, which is composed of multiple layers of meaning, is. Meaning layers of float design and metaphorically, ironically, reflections and so on are intimate. Semiotic reading of architecture, to reproduce plan is based on the relationship between film and audience perceptions are based.

One of the main problems which have been considered during recent decades in architecture is symbolization and in general, meaning- making in architecture which depends to how understand the process of the meaning interpretation in architectural works. Due to this problem, there are some important questions in the theory field of architecture such as can we assume a final meaning for an architectural work or not or can we present a certain framework for discussing among architectural work, its architect and its audience or not? During this research and according to Islamic teachings, for responding to these questions, a new approach will be theorized which will conclude a new theory about the problem of this research which is named “text/architecture semantics based on Islamic teachings”. Preliminary purpose of the explanation of this theory is to achieve a model of artistic interpretation that is consistent with Islamic teachings to guarantee the appropriateness of the appearance and conscience in meaning-making process. Based on this model, it will be specified that during the process of interpretation of architectural works, what components are effective and basically, audience how and during which process would deduce the meanings of architectural works. It is clear that the function of this model is too important for symbolization and meaning-making in architectural works.

Although the cities give the vast number of urban images to the books but they are the books who can display mythical profundity of the human spaces. (Olivier Rolland)
The city¡ as the most basic demonstration of the creative spirit of man¡ has always found its meaning in association with human creations such as art and industry and is reborn as the result of different studies. Presence of the cities in literature not only is used to fulfill the required spaces of narrative elements but also¡ with creating the memoirs in the heart of urban spaces¡ it will convert these spaces to the myths displaying the dominating spirit of the society. Literature¡ as one of the primitive painters of the city¡ has pictured city even sooner than cinema¡ visual arts¡ and other arts. It has created memoirs and ancient patterns in it. In the contemporary age¡ with increasing urban spaces¡ literature is paying more attention to the city and external spaces in such a way that the characters of the story seek their identity in city spaces. Even city is presented by itself as a principle character and hero (antihero) of the story. In between¡ the authors like Francois Bon¡ approaching the forgotten spaces of the city present another aspect of city. Bon with the scene dramatization of the rejected spaces like suburbs gives a new image of living in the contemporary urban spaces. Occasionally¡ these spaces play the role of destructive factor of identity and memoirs of an individual. Therefore¡ the present study with the aim of this kind of memorization at the level of urban landscape and with focusing on the viewpoints of the thinkers like Reine Vogel and Michel Collot¡ regarding the reflex of the life world in art¡ especially in the literature¡ is trying to answer these two questions: «How the image and the memories of the contemporary city is formed in these two novels of François Bon¡ Factory Exit and Cement Décor» and «Which landscape of that contemporary city space is represented?» The questions that will finally discover the present city space of them like a non-place¡ with presenting the images and memories of lost spaces in theses novels.

The motivation for creating images in fictional books needs to definite the meaning of “imagination” in text and image. Here imagination is synonymous with the image. So, understanding the relationship between “literary image” and “visual image”, based on meaning