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

In art education, there are always fundamental issues that artistic understanding in any subject depends on. One of these issues is the teaching of art history, the teaching method, along with the media or means of its transmission, has been one of the most controversial issues in this field in recent decades. In this study, the effect of the visual medium in teaching art history to adolescents is examined with the theoretical approach of Gerard Genette's intertextuality and hypertextuality in reading two works by Fausto Gilberti, a contemporary writer and illustrator. The main question raised in the study is what effect visual capabilities have on the transmission of art history concepts to adolescents by applying Genette's intertextuality and hypertextuality approach in their reading. In order to answer the research question, after reviewing Genette's transtextuality theory, a reading model according to the selected approach has been presented and study samples have been analyzed based on it. The results indicate the existence of explicit and implicit intertexts, as well as the purposeful creation of images based on hypertextual relationships of the sameness and transsimilarity type between the symbolic system of writing and image, and ultimately create works that, while simple, have an aesthetic dimension appropriate to the adolescent age group, a humorous and sometimes enigmatic expression in order to communicate with the audience and their participation in conveying the concepts of contemporary arts.

Narratology is a field of study that focuses on the examination and analysis of the structure and components of narrative. Gérard Genette is widely recognized as one of the most influential theorists in this subject due to his structural investigation of the element of time. He assigns three levels to narrative discourse: voice, tense, and mode. Genette studied the differences between story time and narrative time. Hence, in order to gain an understanding of the structure of time in the narrative, Genette analyzes the three elements of order, duration, and frequency. This allows for the specification of different types of flashback and flashforward narratives, anachrony, and types of time accelerations that result in different rhythms in the dramatic narrative. Dramatists have been studying the narrative structure since Aristotle's Poetics, and they can use the examination of its elements as a practical benchmark. Theorists who specialize in narrative and dramatic works, like Fludernik, Rimmon-Kenan, and Chatman have developed Genette’s ideas on fictional and dramatic narration. The comparative of one of the narrative elements, such as time, in the texts of two Persian-language playwrights makes the classical pattern of drama and its use in Iranian plays, as well as its comparison with the traditional and narrating pattern of this play, to be researched. The present research uses analytical-descriptive method of written sources and books to compare the structure of time in the dramatic narratives of two prominent Iranian dramatists, Bahram Beizai and Akbar Radi, with a look at the plays Afra and Khanomche va Mahtabi. This research attempts to explain how, in contrast to one another, Beizai and Radi brought the temporal structure of the narrative into the field of writing, and how they used it dramatically. The purpose of this research is to study the narrative time in the dramatic texts of two Iranian dramatists from structural aspects, relying on Gérard Genette's opinions. The findings of this article emphasize how flashbacks and anachrony have had a substantial impact on the play’s narrative flow and temporal structure. Additionally, temporal duration and frequency have also been involved. This anachronism has caused both texts to find a format close to the Iranian dramatic tradition in terms of the connection between the events and other narrative elements such as characters, theme, plot, etc., which is more significant in Afra in terms of the narrative style. However, the dramatic and conversational elements of Khanomche va Mahtabi are more closely associated with the temporal fractures in the narrative structure. Through the use of dramatic devices like sound or the removal of dialogue, as well as story techniques like the use of a narrator and narrating the past story in the present tense, both authors have attempted to employ other modes of narrative time. The timeline diagram of events in both plays includes discrete forward lines with flashbacks occurring during time breaks, as well as the direct course of those dialogues that review the present time.

In the history of Islamic art, artists have consistently used religious and mystical themes as the basis for their creations. The depiction of the Prophet Muhammad's ascension (Mi'raj) is one such subject. Existing works on the theme of ascension, considering various stylistic characteristics and influenced by the intellectual conditions of their time, have similarities and differences in terms of method and execution. The ascension miniatures in Nizami's Khamsa and four wall paintings in Guilan shrines are among these works. The main objectives of this research are to gain a deep understanding of the ascension miniatures and to discover the relationships between the elements of the two visual texts, as well as the extent of the influence of the Khamsa ascension miniature on the wall paintings of Guilan shrines. This research seeks to answer the following questions: 1- What similarities and differences exist between the ascension miniatures in Nizami's Khamsa by Sultan Muhammad and the wall paintings of Guilan shrines in terms of visual and structural elements? 2- From the perspective of Gérard Genette's hypertextuality theory, to what extent has the Khamsa ascension miniature influenced the wall paintings of Guilan shrines? This research adopts a descriptive-analytical approach based on Gérard Genette's theory of hypertextuality. The method of collecting data is the library method and the analysis is qualitative. The results of this research suggest that while drawing from and being influenced by the visual characteristics, concepts, and themes of some past or concurrent and parallel artistic movements, the shrine painter has been able to create a novel combination of a distinctive folk style. Also, in the Ascension of Sultan Muhammad and the murals, even though both paintings have a similar meaning in terms of subject and content, the use of visual elements and visual arrangements is not in the same form considering the context and background created. Both visual works show a different way of narration and artistic quality.

The photo collage "Martyrdom" by Soodi Sharifi is a manifestation of Western art in the context of Iranian art. This work is taken from the painting "Shirin’s Suicide" of Khamseh Nezami in 886 AH. In the era of post-structuralism and the era of forgetting Iranian paintings of past ages, Sharifi has created an adaptation work by choosing and changing some special symbolic systems in the pretext. The problem is the reason for changing the signs and the artist's use of them, which leads to a different meaning in the adapted work. This research tries to answer two questions: 1. In this process of extraction, what symptom systems have been changed or removed that have led to a change of meaning? 2. What are the differences between these two effects? The goal is to achieve and to recognize the type of changes in the noble text. Therefore, the study of this work along with the existing pretexts can fill the gap in studies in this field. The research method is descriptive-analytical and comparative and the two considered effects of Gerard Genette's transtexual approach have been examined. The method of collecting information relies on library (filing) and interviewing the artist. Based on the obtained results and using sign systems, the duality of meaning was observed in a noble effect. In this work, a kind of comparison between the literary subjects of the past centuries of Iran and contemporary events can be seen. In other words, the "Shirin’s suicide" of the Nezami is considered symmetrical and opposite, honoring the issue of martyrdom in the Iran-Iraq war and the statue of Pieta by Michelangelo, and the death of Christ. The changes brought about by this shift from Islam to Christianity and vice versa have changed the gender and nature of the painting. The most important change, made in the dominant type, is a permutation, because, without the replacement of some elements, the new creation would not have taken place in Sharifi’s work. In this study, with the help of the typology of transtextuality, among the five types introduced by Genette, two types of hypertextuality and intertextuality, that deal with the relationship between artistic texts, are diagnosed. Hypertext is present in both cases under investigation. Thus, the relationship between the poetic text of Khosrow and Shirin by Nezami and the visual text of Soodi Sharifi is based on hypertext, and the interdisciplinary relationship between poetry and photography is seen. Duality of meaning was observed in the Sharifi’s work due to the replacement and change of some sign systems. The artist has achieved a dual identity through his adaptation by simultaneously incorporating symbols of Christianity and Islam. By doing so, Sharifi has used Nezami’s work and created a new piece to direct the semantic path of the Khamseh’s image towards contemporary issues; this is Genette's definition of parody, which has a different meaning. He has achieved his goal by bringing several semiotic factors; including 1- Bringing the key which is the way to enter sky or heaven and to return the young man. 2- Bringing Islamic clothing for women. 3- Renaming the Nezami’s work from "Shirin’s Suicide" to "Martyrdom". Examining these cases has revealed that Sharifi intends to refer to the Iran-Iraq war and to criticize the current situation in psychological and expressive ways, but other layers of belief have been brought in his work, which may have originated from the artist's living environment. Despite spending most of his life in a Christian community, he also depends on several religious affiliations in Iranian society. Therefore, this can be one of the reasons for combining and then replacing this work with the work of Pieta by Michelangelo, and the sculpture of Pieta, as a prelude to Sharifi’s work, itself has semantic independence. Another reason is the similarity and substitution of martyrdom in Islam with the ascension of Jesus in Christianity, which exists in both ascension and entry into heaven, so among the different motives of the artist, we reach semantic diversity in Sharifi’s work. In general, Sharifi's work shows a kind of symmetry between the literary subjects of past centuries in Iran with contemporary events. In other words, the suicide of Nezami’s Shirin is considered symmetrical and opposite concerning the issue of martyrdom in the Iran-Iraq war with the statue of Pieta of Michelangelo and the death of Christ. The changes made for this turn from Islam to Christianity and vice versa have altered the gender and nature of the image, that is, there has been a shift. In between, some elements of the image are completely identical in the work of Sharifi with the picture of Nezami, and there is intertextuality of the quotation type with direct or explicit reference. Therefore, Sharifi’s work has been expanded and changed both in terms of the external structure of the work and in terms of qualitative content towards the image of Shirin’s suicide.

In the wake of the great change in the governing discourse of the postmodern era and the emergence of an eclectic perspective, polyphony and heterophony gained prevalence in works of art, and theories of artistic reproduction based on pluralistic identities became increasingly established. The body of texts expanded massively as a result of referencing the past and connecting with each other through processes such as adaptation, imitation, appropriation, etc. This led scholars to utilize the intertextual approach to examine the interactions and relationships among texts, delving into the concealed connections within the newly constructed systems of meaning in works of art. This is a descriptive-analytic study on Bahman Jalali’s photo series “Tasvīr-i khīyāl” (Image of Imagination), using intertextual comparison according to the theory of transtextuality proposed by Gérard Genette. It attempts to explore and decode the intertextual relations and to examine the types and functions of the relations among the texts, based on the assumption that the series is adapted from photographs of the Qajar era merged and transformed to create contemporary works of art. The research concludes that alongside reviving part of the cultural history of the Iranian image, Jalali has been able to reveal the hidden layers of Iranian identity through a contemporary approach in his artistic expression. Also, a hypertextual reading of these works shows that the relations between texts belong to the category of transformation according to their type and to the categories of parody, travesty and transposition according to their function. By employing parody inside travesty, destroying and deconstructing his examples in pretext and unsettling the gender evaluations of the pretexts as well, Jalali introduces and feigns transgenderedness and transvaluation in the hypertext. Furthermore, his work displays diachronicity and the conflict between modernity/traditions and also the conflictual relations of gender and the status of man and woman. This is achieved through distanciation in recounting the intended narrative and employing intersemiotics.

Analyzing the narrative structure of texts greatly aids in understanding the various layers of the text. The two key elements of the narrator and the listener in the novel can enhance the comprehension of the characters and the truthfulness of narrative propositions. Authors of war novels and stories strive to depict the events of war in a manner that is more comprehensible for the audience.Consequently, examining the narrator and their tone, along with the focalization of the narrative, provides a clearer depiction of the combatants and other characters, and can lead to an understanding of the author's perspective on this issue. This article investigates the concepts of tone and mood in The Pol-e Mo’allaq Novel (The Suspension Bridge).From the narrator's perspective, "The Suspended Bridge" features an omniscient narrator who, with knowledge of all times and places, recounts the story and its characters, being the sole entity through which the narrative's knots are resolved. The narrator in this novel aims to convey what aligns with the author's views. Given the nature of the narrative, we encounter a monophonic text that solely reflects the viewpoints of the author/narrator, with no presence of diverse thoughts within the text. From an ideological standpoint, at the end of the story, we witness a shift in the main character's mindset from death to life. This transformation is prompted by love, a theme that resonates throughout the novel and does not contribute to the creation of a polyphonic texture in the text.

How to reflect the motifs of works left over from ancient Iran in the texture of contemporary Iranian painting according to Gérard Genettete's intertextuality approach is the main issue of this research. Gérard Genettete is one of the researchers who investigates any relationship between the text and other texts in a wider and more systematic way than Kristeva. Unlike Kristeva, he is also explicitly looking for relationships of influence and impressionability and puts any relationship that a text can have with other texts under the theory of transtextuality. Genette examines any relationship between texts, this examination includes all the details and dependents of the text. He studies the relationships of texts from the perspective of transtextuality in five subgroups, which include paratextuality, intertextuality, metatextuality, sertextuality, and hypertextuality. Gérard Genettete's theory of intertextuality as a subset of metatextuality; It is about the relationship of each text including artwork or other texts and its borrowing from previous texts and their reading. The influence of texts on each other has long been the concern of researchers in various fields, and sometimes the issue of plagiarism has also been raised, but in the present era, special attention is paid to the influence of texts on each other, and this acceptance of influence is not a reprehensible thing, but It is considered inevitable. In the current era, the text is neither a self-sufficient unit nor the result of the author's invention, but it has a plural nature that originates from other texts. So, with these words, in every text, traces of other texts can be observed and it can be accepted that every text is the passage of contemporary or previous texts, so paying attention to the intertextual nature of the texts and examining its predecessors can give us an accurate reading of the text. Genette used the term Kristeva to examine the impact relationships of texts. with the difference that Genette's intertextuality is more limited and practical than Kristeva's. He reduces intertextuality to the simultaneous presence of two or several texts and the actual presence of one text in another text. Genette's intertextuality is based on copresence; that is, if a part of a text appears in another text, either implicitly or in the form of a copy, it is considered intertextual. It has been said about several details that Genettete's typology of intertextuality is difficult because he never addressed it directly. In a work dedicated to intertextuality, Piquero has examined Genetteic intertextuality in four types, which include; Quoting, referring, stealing and hinting. Quotation is a perfect example of objective and obvious copresence of one text in another text. From Genette's point of view, the most explicit and literal form of intertextuality is quotation. That is, the text should appear in the second text exactly as it was in the first text. The second is referral. Citation often comes with documentation and means mentioning the sources that part of it is used in a work. In this type of intertextuality, a part of the pre-text is not present in the text, but sometimes this copresence is done by referring to the name of the work or its author. Plagiarism, which is the third type of intertextuality, is a less explicit and less formal form of intertextuality. In this type of intertextuality, a person tries to hide this copresence. Among the types of intertextualities that were expressed, hint has the least clarity in the copresence of texts. A hint is a relationship between two texts, one of which is obvious and the other is hidden. In most cases, an allusion is not a word but an image that refers one text to another. The purpose of this research is to pay attention to the capabilities of texture in the identity of contemporary Iranian painting. In this research, after introducing the concepts, the study of national and ancient textures and the presentation of statistical results have been done. The types of intertextuality are examined in them and the first text is also introduced. In this research, each and every painting has been carefully studied and their relationship with the previous paintings has been carefully examined. This research shows that artists are more inclined to prehistoric artworks in reflecting ancient motifs. The influence of Iranian painting from the contemporary art movements of the world has sometimes led to distance from Iranian culture. A part of identity building in contemporary Iranian painting is the responsibility of texture, which seems that artists have been oblivious to the capabilities of texture in reflecting national tradition and culture. The reflection of national and traditional culture in the texture of contemporary Iranian painting can play a significant role in enriching the works. The traces of the national and traditional art and culture of Iran in the texture of the paintings entered into the 8th painting biennial can be seen from three perspectives; Using the geometry of motifs and pillar design, using the texture of traditional arts in paintings and using ancient motifs in their texture production. Also, the multi-text analysis carried out in this article indicates that the texture in these works has been recreated by changing the pre-text. These changes and transformations, which indicate the metamorphosis of polytexts, are mostly based on their aesthetic and structural characteristics, which are related to all kinds of cultural, narrative, temporal, symbolic, environmental and Internal changes include deletion, addition and replacement and have led to maintaining the structure and creating changes in the texture of the polytext compared to the pre-text. In fact, the contemporary painters of Iran have achieved the creation of national and ancient textures by creating different types of distortions and changes, which, in addition to preserving the structure of the motifs, have changes in the style and type of execution compared to the original. This research inclines the view of artists to the national and ancient textures that have not been paid enough attention to, which determines the necessity of conducting the above research. The method of conducting this research is descriptive-analytical, the data collected through litreture review and the research analysis method is quantitative (with the help of Excel software) and qualitative. In the paintings of the 8th biennial of Iran, the pre-text of ancient motifs has been well used to create texture. The use of silk and Susa terracotta patterns, Parthian plasters, Sassanid period patterns and repetition of rhombic patterns, broken lines, circles, squares and triangles have created a powerful visual texture in the works. For example; In her work, Shahla Habibi used pre-texts from Susa pottery motifs in order to create texture, besides that, there is a great similarity between some of the overtext works and the pottery motifs of Persepolis. It should be noted that ancient motifs have special semantic characteristics. These features include different fields of vision and worldview. Considering that all the studied texts are related to a biennial and on the other hand, their pretexts are directly selected from Iranian culture, several points can be pointed out. First, due to the time gap of several centuries between pretext and hypertext texts, their influential relationship is longitudinal and temporal. Another point is that the cultural origin of multi-text and pre-text is the same. And another, based on the inherent nature of patterns, the rules of seeing the real world of patterns are different from physical quantities. Therefore, the multi-text works produced based on them will have an aesthetic system with the same principles and rules. Patterns do not have light by nature; therefore, their reflection through the repetition of motifs, as the visual texture of contemporary painting, has been successful. It shows the relationship of excitement and passion between them along with a little change and transformation. This means that the pre-text has undergone a transformation in the process of becoming a hyper-text, and therefore this relationship is of the type of tragonism. On the other hand, since multiple texts do not refer to only one pre-text, they do not have an exclusive pre-text; Except for a few works such as texture paintings by Shahla Habibi and Sima Shahmoradi, which are exclusive. In addition, the formal structure of polytexts is completely consistent with the pre-texts and has not had much effect on the process of becoming a polytext. By using national culture, textures have a good ability to create identity in contemporary Iranian painting. Due to being hidden in the visual memory, the national textures have caused the re-creation of the audience's collective memories, which leads to the painting effect becoming more tangible and creating a better interaction with the audience. One of the ways to create national textures is to use ancient motifs. This research dealt with the extent and manner of recreating ancient Iranian motifs in the texture of contemporary Iranian painting, relying on the theory of intertextuality and the hypertextual approach of Gérard Genettete.

Legends are a large part of Iranian culture and art, and they are a good source for anime production mainly due to their coherence and suitable structural elements. Utilizing the capabilities of anime to convey the concepts in legends by using methods such as adaptation and re-creation creates an effective connection between the present and the future. Turning a legend or text into a Picture will make it easier to understand, and in addition, the animation of these Pictures helps the audience to relate better to the work of art. Today, the legends and t traditions of a society have become universal data for the production of artwork, in such a way that an artist can, in addition to relying on his cultural supports, be inspired and use different adaptation techniques to benefit from the works of other societies. It can be said that there is an intertextuality connection between the produced work and its pre-texts. Using this type of communication in anime production will provide a suitable platform to make the audience think. Of course, the type of adaptation and the amount of use can be different. One of the amines directed by Noriyuki Abe is called Arslan Senki. This work is based on a Japanese novel of the same name by Yoshi Ki Tanaka. As it is evident from the title of this work, it originated from a completely Iranian pre-text, but it was reproduced in a format specific to Japan. Therefore, to test this anime, the question raised for the researcher is as follows: what kind of intersexual communication can be seen from Gerard Genette's point of view in the Pictures of the famous Japanese anime by Arslan Senki, which also has an Iranian theme? Therefore, the purpose of this research is to study the intertextuality of Japanese anime pictures by Arslan Senki with an Iranian theme from Gerard Genette's point of view. This research is done using a descriptive-analytical method library and internet tools are utilized and Arslan Senki is watched and analyzed as the case study. The necessity of conducting this research is to examine and read works of art with Iranian content that have been produced in other societies. As a result, both the gap and the discontinuity of foreign Artworks as well as the capabilities of the pre-text or legends can be identified. The intertextuality of Japanese anime Pictures with Iranian content has not been analyzed before. To analyze and examine the visual content of the anime in question, Gerard Genette's intertextuality approach has been used.

Monotheistic and Abrahamic religions have promised their followers the Day of Resurrection, which is the time of reckoning for all. In the holy books of these religions, there are many verses and propositions about the manner of resurrection and the quality of reward and punishment, as well as the details of the resurrection of humans on the Day of Resurrection. The story of the dead coming back to life, the resurrection, and heaven and hell are among these themes. In the Christian religion, in different eras, this event has been tried to be depicted in different ways based on the religious texts in the Bible and the interpretations of the elders of this religion. However, in the Islamic world, such an approach has been more limited, and only in a few famous paintings resurrection scenes have been depicted following the verses of the Holy Quran and religious traditions. The following article examines and compares two works with the theme of Doomsday. The Mahshar Desert (Doomsday Desert) painting by Tahmasabi's Falnameh is based on Quranic verses and Islamic and Shia traditions and the painting of The Last Judgment by Fra Angelico is based on the themes of the Bible and Christian beliefs. Falnama Tahmasabi's Mahshar desert painting and Fra Angelico's painting of the afterlife judgment are two examples of similarities in terms of the system of visual signs and the history of their creation. The above-mentioned Falnama painting is the only work among Islamic works with resurrection themes, similar to the paintings of the Christian world. On the other hand, each of these works was created based on the religious texts present in their religion, and here, between these texts and visual works, there are hypertextual relationships that can help to investigate the reasons for these similarities.The hypertextuality approach is a part of Gérard Genet's theory of transtextuality, which examines the influence and inspiration between a text and an earlier text. A hypertext is a text created from a previous text (pretext) during a transformative process. According to Gerard Genet's multitextual approach, verses of the Qur'an and Shia traditions, as well as statements from the Testaments about the resurrection and the day of resurrection, are considered as the pretexts and important sources of the mentioned paintings.The Mahshar desert painting is one of the 50 horoscope paintings available in the Dresden library. This work was created in the Qazvin school in the 16th century by the order of Shah Tahmasb Safavid and in the royal workshops. Horoscope books became widespread with the rise of the Safavid dynasty in Iran, especially Shah Tahmasb, along with the expansion of Shiite thought, and several prominent fortune-telling books were also illustrated . In this painting, Prophets and divine saints are drawn at the top of the image, next to the Tuba tree and the water fountain, watching the Day of Judgment and the establishment of justice by God's will and by Prophet Muhammad(PBUH) and Imam Ali (SAW). The close angels are also holding this scene; from the angel carrying the scales and the one playing the trumpet, to the agents of doom. On the left side of the picture, you can see heaven and heavenly homes, and at the bottom of the picture, hell is drawn, and in the middle of the picture, people are waiting for divine judgment with their deeds. This picture is unique because it includes all the parts of the resurrection.The second work is the Last Judgment painting by Fra Angelico, which was created between 1432 and 1435 and is currently kept in the San Marco Museum in Florence, Italy. This painting was created for the Camaldolese Convent Santa Maria del Angeli monastery in Florence. In this painting, the mighty judge invites the believers with his right hand and guides them to heaven, and with his left hand, he rejects the damned and shows them hell. Three rows of angels surround Christ. Below his place, an angel is holding a cross and two other angels are playing trumpets. The Virgin Mary, John, the apostles, and fourteen other saints are placed in two rows on both sides of Christ, like the assessors of the judge. In the lower part of the painting to the left of Christ, the cursed people are driven to the seven pits that correspond to the seven deadly sins. Deep in the abyss, a demon named Lucifer devours three damned souls. All the inhabitants of hell are naked, but the damned who have not yet crossed the threshold of death are clothed. On the right side of Jesus, the redeemed are seen, some kneeling and giving thanks, others being greeted by angels.the research questions of the present study are: 1- What are the similarities and differences between the two paintings mentioned with different pretexts?  2- What role did different pretexts have in creating two paintings with a similar theme? The current research aims to analyze the two mentioned artworks, based on the degree of influence of their pretexts, using the theoretical foundations of Gérard Genet's Hypertextuality. This analysis will lead to a recovery of the scope of the influence of the two Islamic and Christian arts on each other. The lack of attention to the religious concepts in the works of art and the similar themes among the artistic representations of Abrahamic religions indicates the necessity of conducting this research. The current research is descriptive-analytical with a comparative approach and data collection was done through a library.By comparing the textual symbolic system with the visual symbolic system, between the studied paintings and their textual and verbal pretexts, it is obvious that the mentioned paintings, in most parts, follow their pretexts exactly. In a few parts of Falnameh's painting, some text topics have been transferred to the image in a transformed form. In addition, the visual signs of these two works were matched based on the equal verbal signs in the pretexts, as well as equal visual elements. These tables provide the possibility of evaluating the existence of a relationship or the impact of one of these works on the other.The results of the investigations show that despite the existence of many similarities between the mentioned paintings, due to the similarities of their pretexts with each other, it is not possible to issue a definitive verdict about the influence of these two artworks on each other.What shown on the comparative tables illuminates that in each of the two works considered in the current research, the hypertext is relatively consistent with its verbal and cultural pretexts, and both works adhere to their religious foundations to a large extent. On the one hand, there is a lot of correspondence between the visual signs of the Mahshar Falnameh desert and the last judgment of Fra Angelico, based on the verbal signs in the pretexts. On the other hand, the elements and signs in the two works are in complete agreement with each other and there is merely a slight difference between the composition of the two works of art. In addition, the presence of a Tuba tree above the work of the Mahshar desert, and the way the judges, Prophet Muhammad(PBUH) and Ali(SAW), stand in the middle of the painting is different from the painting by Fra Angelico.In the comparative studies that took place in this research between the hypertexts and their pretexts, it was found that despite minor differences, the many similarities between the works show the similarity of the narratives of these two religions about judgment in the afterlife. Paying attention to comparative studies between works of art with common religious themes can be of interest to art scholars in future research. The results of these studies can lead to the discovery of intertextual relationships and artistic influences, in addition to emphasizing equal pretexts.

The relationship between cinema and painting has long been considered a subject of interest. Pedro Almodóvar is a prominent and progressive filmmaker in new Spanish cinema. His movies are marked by a distinct style and an idiosyncratic aesthetic expression. Frequently, Almodóvar has acknowledged being influenced by various sources. Almodóvar should be counted among the filmmakers whose films have a strong connection to the art of painting. He is one of the directors whose works are fundamentally based on an aesthetic framework of painting. The use of paintings as part of the cinematic mise-en-scène and the recreation of famous paintings within the cinematographic frame are considered to be the primary relationships between Almodóvar's works and art. However, sometimes these connections transcend facile associations and require greater effort to sufficiently be comprehended.Almodóvar employs various techniques of reference for oeuvres from classical painters such as Diego Velázquez, and Titian; modern artists like Salvador Dalí, René Magritte, Edward Hopper, and Picasso in addition to even the abstract painters like Piet Mondrian and Mark Rothko. This feature places him among the directors exhibiting a unique knowledge of painting in their films. The present research conducts a qualitative analysis of paintings in Almodóvar's films. This study aims to examine painting in Almodóvar's cinema by posing the question of how Pedro Almodóvar's films have been influenced by painting. This developmental research utilizes a descriptive-analytical, comparative methodology and a theoretical framing approach to study the modes of cinematic allusion based on Gérard Genette's intertextuality theory and Linda Hutcheon's theory of parody. Case studies include the prominent works of this filmmaker from the 1980s.The findings indicate that the cinematographic frames in Almodóvar's films have been transcribed from painting in various ways. In the first case, the relationship between the cinematic frames and the paintings is a simple intertextual allusion, whereby the filmmaker, inspired by a painting, recreates it in the cinematic frame, known as tableaux vivant. At times, these allusions transcend a simple association and take on a metaphorical quality, forging a particular connection with the world of the film's characters. In some cases, the intertextual relationship leads to a multilayered connection that generates a new texture of allusion and trans-contextualizing occurs, a concept derived from the theoretical dimensions of Linda Hutcheon's parody, which is perceived as a significant feature of modern art. In some instances, the relationship between Almodóvar's cinematic frames and paintings follows an ironic inversion, whereby a form of allusion and imitation is observed but with a repetition that contains differences, possibly employed for purposes such as critique or recreation. In some cases, Almodóvar uses the frame as a painter's canvas, employing cinematic techniques to create scenes reminiscent of abstract paintings.

The studies on Persian miniature have been mostly on old and traditional paintings and there has been less attention to the contemporary miniature. The study of paintings based on new theories is very novel and there is still much work to be done. Gerard Genette's theory of transtextuality, although not primarily related to the field of art and only concerned with literature and linguistics, is one of the theories that can be used to analyze and read visual works more carefully. It examines the influences that texts can have on each other to create a new text.Expanding intertextual studies conducted initially by Kristeva, Genette presented a more systematic and practical theory that is called transtextuality which covers all kinds of relations between texts. He divided the types of relations between texts into five categories, including intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality. Each of the categories is based on a specific intertextual relation. Intertextuality is based on co-presence relations, paratextuality on advertising relations, metatextuality on critical or interpretive relations, architextuality on stylistic relations, and hypertextuality on derivative relations. One can use transtextuality to analyze different types of literary and artistic works to achieve a more accurate reading of the works.Among the contemporary painters, Master Mohammad Ali Rajabi is one of the painters who expresses his opinions and views as an original and creative artist without harming the coherence of the artwork while using various pre-texts.Therefore, in the present research, the painting "Safinat al-Najat", Mohammad Ali Rajabi's work created in 2009, has been analyzed based on Gerard Genette's theory of transtextuality to examine the painting more carefully, discover the hidden layers of meanings, and find out the types of intertextual relations and pre-texts the artist has used in the painting. The present research has been conducted using the descriptive method of content analysis and a comparative approach, and can be considered as qualitative research. Data have been collected using the library research and observation.The findings of the research show that the painting includes all five types of transtextual relations, although it does not include all the subcategories of the types of transtextual relations. In addition to using various pre-texts such as the Quran, Hadith, Ferdowsi's Shahnameh, etc., the artist has added some items to his work to enrich meanings. While using written pre-texts, he has also used visual pre-texts, the most important of which is the painting of "The Words in the Praise of the Prophet" in the Shahnameh of Shah Tahmasb. Besides traditional painting methods, he has also employed the painting techniques of Master Farshchian, indicating the artist's mastery of traditional and contemporary painting that has made him able to display the power of the brush and skill in this way and transform the work from a narrative image to a new hypertext that is faithful to the previous texts while having a message beyond them for the present era.

Pedro Almodóvar is a renowned and influential director in contemporary Spanish cinema whose works have a unique style and aesthetic presentation. Almodóvar has frequently stated that his films are inspired by various sources. This Spanish director drew inspiration for his works from various movies, TV programs, paintings, and literary works. Meanwhile, film references and scripts play an important role in his works, and he is one of the directors whose works incorporate a combination of such texts. Thus, “intertextuality” is one of the topics that can be properly examined in this Spanish filmmaker’s works. This research investigates intertextuality in Almodóvar’s works and answers the following question: “How are Pedro Almodóvar’s films created through their intertextual links with other films?” A descriptive-analytical method and comparative method were used to address this question. In addition, Gérard Genette’s theory of intertextuality has been used to analyze and categorize such intertextual relationships. The statistical population of this research consists of Almodóvar’s feature-length films produced during the 1980s, which are regarded as his most renowned works. The results demonstrate that the various cinematic texts mentioned by Almodóvar, such as cinematic excerpts, script titles, and cinematic allusions, within Genette’s theory take on the roles of para-texts, quotations, cinematic references, and inter- and intra-authorial allusions, which, in addition to their conventional functions, have a metaphorical function.

The house of Akhawan-e-Haghighi in Isfahan, which is a building belonging to the late Safavid to early Qajar period, contains a significant collection of wall paintings. Monochrome azure paintings on the plaster surface, which is one of the traditional examples of wall painting of the Islamic period, can also be seen in this building. Both in terms of amount and size and in terms of the subject, the azure paintings of the Haghighi house are remarkable and unique. The similarity of the use of azure color on a white background in European pottery with azure color wall paintings on plaster surface can be a key in finding new hypo texts for this type of wall painting. This research aims to show the impact of imported pottery from Europe on Iranian art, especially in this case, trying to reveal the content and basis of other murals of this kind found in the cities of Isfahan, Kashan, and Shiraz, and furthermore to examine the intertextuality relationship of these motifs with tiles and pottery. It also reaches one of the less mentioned sources of the influence of Western art on Iranian art, that is, the pottery exported from Europe to Iran. In this research, an attempt is made to answer the question of what are the hyper textual relationships of these paintings by examining the intertextuality of this type of wall paintings in a descriptive-comparative way. And can the so-called Dutch blue-white porcelain of Delft be considered the hypo texts of the wall paintings of this house? In this research, by examining the homogeneity of the form and content of the wall paintings of the Haghighi house with the assumption that the European pottery is the hypo texts of the azure paintings of the Haghighi house, the main question addressed in this study is whether the intertextual and hyper textual relationships of these motifs can be based on theories of Gerard Genette’s hypertext? Then, executive, reduction, displacement, deletion, thematic, thematic, hypo texts and text content are examined. As a result, with the help of Genette’s theory of intertextuality, the place of the Dutch blue and white pottery motifs is revealed as one of the hypo texts of the wall paintings of the Haghighi house, and the relationships of transformation and homogeneity between the hypo texts and hypertext are investigated.

Adaptation is a kind of interpretability of art or a way to be influenced by it in which the artist recreates a new work of art by interpreting another work or following it; in this case traces of the previous works can be seen. Comparative studies of adaptation is a branch of comparative literature that deals with the relations between the two media. Adaptation has a special place in cinema and most of the prominent works in the history of cinema have been adaptations of literary works. The importance of plot and storyline was evident from the first films made and shown by the Lumiere brothers. This research studies the adaptation in cinema using Gerard Genette's theory of hypertext and tries to scrutinize the issue of communication and interaction between two popular media, namely literature and cinema, by examining a recent example of contemporary Iranian cinema and literature. Yadollah Samadi's "Father of the Other" is an adaptation of a novel of the same name written by Parinoush Sanei in the field of fiction with a psychological and educational approach. This study, while drawing upon the theoretical framework of Gerard Genette's views, deals with quantitative and pragmatic changes in the intertextual interaction between the book and the film. The study and categorization of various applied (in terms of motivations, values and visual representation) and quantitative changes (addition of events and characters decreasing or increasing the narrative) shows that the film has facilitated the comprehension of the main work and has been able to establish itself as an independent work by interacting with the original text through eliminating the flaws . In other words, the series of events that were not justified in the chain of cause and effect or were not in line with the plot's progress were logically removed in the film. The most considerable transformation of the film is related to the value and motivational transformations, which is through the change of the mother's outlook and worldview towards her personal and family life and the removal of those moral characteristics of the father's character that are  not in harmony with the film's atmosphere. In conclusion, it can be said that the film is a faithful adaptation of the novel, with the difference that it has proved more sucessful than the book in terms of characterization.

One of the types of carpets produced in the Safavid era is niche carpets. What makes these carpets different from other types of rugs is the presence of many texts in a small handwoven rug. The weaving of this typeo of carpets continued in the later periods, especially in the 19th century (AD), even more so in Herekeh (Turkey). Nevertheless, there are examples of these carpets in Qajar era in Iran, whose general structure is equal to the carpets of the Safavid era.Niche carpets of the Safavid era in the 19th century are considered as a precursor to other styles of carpets in Iran and Herekeh. Since the evolution of carpet design cannot be possible without a history, Safavid era rugs’ influence on the design and style of later era carpets cannot go unnoticed, therefore, the relation between these texts is not considered co-present, but Derivation.It seems that in these derivations, the style is the same but the themes are different,therefore subject and thematic transformations are apparent. The verbal text in most of the Safavid carpets is taken from Quranic verses, but the verbal text in the carpet in the Dafineh Museum from the Qajar era mostly includes lyrical and didactic poems. This carpet is very similar in structure and appearance to the Safavid era carpets. It also consists of a wide margin, two narrow margins around and four inscriptions in a small frame around the writings. This rug contains several colored pieces in the Corner part, and the strip around the niche is also decorated with inscriptions. Also, the textual drsigns in this carpet are mostly taken from the poems of Hafez and Saadi; while the niche carpet of the Safavid era is full of Quranic verses and hadiths. The questions that arise re as follows: 1. Why was the carpet of Dafineh Museum influenced by the structure of the carpets of the 16th century? 2. What is the relationship between the carpet of Dafineh Museum and previous samples and how can this relationship be explained? Therefore, since the relationship between the two existing texts is a Derivation, this research attempts to analyze the images using the trans textuality approach and based on the type of hyper textuality. The purpose of this research is to analyze the textual imagery of the carpet of Dafineh Museum by relying on the hyper textuality of Genet, and considering that this carpet is a derivation of the carpets of the Safavid era. In order to reach a suitable answer by using the hyper textuality approach and descriptive and analytical methods, the conclusion that was reached was that  the Derivation in the overall shape of the carpet is a type of Imitation and pastiche, but the Derivation in the textual elements is of the type of transformation and transposition.According to this contradiction, it can be said that the transformation in hyper textuality is more emphasized on the theme, because these texts express a different theme of conduct, survival and destruction in the name of God, and criticize the state of the society during the era and a reminder of the peace and tranquility during the Safavid period.This research is descriptive-analytical based on its modality and analyzes two niche rugs with the multi-textual method. Therefore, this study can be considered a comparative study. The research is time-oriented;comparing two works from the Safavid and Qajar era. This study is not focused on the similarities and differences of the two works, but on the influence of one text as a pretext on another text as a hyper textuality. What is important in this comparison is the relationship between the texts. This research is qualitative and fundamental in terms of its purpose; due to its analysis of the relationship between two rugs based on the poly textual method.The hyper textual example is the niche carpet of the Dafineh Museum in the Qajar era and the pre-text sample is the niche carpet from the Safavid era. Gérard Genette believes that there is no text that does not evoke another text (Genette,1982A:18).Therefore, in "Trans textuality", he expresses the relationship of one text with other texts. From Genette's point of view, Trans textuality has five types; which includes intertextuality, super textuality, Para textuality, met textuality, hyper textuality (Namvarmotlagh, 2013: 139). In the meantime, Genette's hyper textuality has taken a large volume of his research. Also, due to the fact that the relationship between two texts examined in this research is of a derivative nature, the hyper textuality in the samples is examined.From Genette's point of view, hyper textuality, is re-reading of a pre-text, that is, writing new content and reading pre-text creates a new text (Genette, 1987:5). The pre-text is the first text which is considered as a source of inspiration. Hyper textuality is also the second text derived from the pretext. Genette considers two big categories of similitude (imitation) and transformation (change) for most of the text.Similarity or imitation: In this regard, the author's goal and intention is to preserve the original text in new conditions.2- Transformation or transposition: "In transformation, hyper textuality is created by the change and transformation of the pre-textuality" (Namvarmotlagh, 2008: 96).Also, Genette considers three main conditions for hyper-textuality: the textuality of the subject, subject containing two or more texts, and an established and apparent relation between the pre-text and the hyper-text (Namvarmotlagh, 2013: 141). After dividing hyper textuality into Imitation and transformation, she divides them into six main types: pastiche, charge, forgery, parody, travestissement, and transposition.According to the passage, if the carpet is examined as a whole, the overall style of the Dafineh Museum carpet is the same as the niche carpet, and its style can be considered imitation, and, it can be classified under pastiche. However, if the textual imagery of the carpet of the Dafineh Museum are compared with other carpets, a change in style can be observed. Because there are Arabic verses or narrations in the beginning of the text, but most of its text is devoted to lyrical and didactic poetry. Also, the theme in the first carpet conveys a kind of pilgrimage and ascension, and each verbal text in the margins specifies a path of pilgrimage. But in Hyper textuality of the beginning of the Border or the first margin, refers to the bad state of present and the reminiscence of the past, which is a repetitive theme throughout the work. Considering that the carpet of the Dafineh Museum is a derivation of the Safavid carpet and referring to the name of Shah Abbas in a place where in the past there were important zikrs such as Tasbihat-Arbaeh, it seems that parody and transformation prevail here, because the situation is expressed with bitter humor. Therefore, it seems that the weaver tried to represent the Safavid era artistically by using the structure of Safavid rugs and imitating the general style. The weaver has tried to recreate a work from that era by imitating the style, but with a twist in the texts with a change and transformation of the theme, he refers to the unfavorable conditions of the Qajar era and wishes to return to the period of Shah Abbas. Therefore, in all the margins, he uses verses that express this matter in the best way. Since the carpet was woven in the Qajar period, criticism of the status quo and complaints about the current period, that is, complaints about the Qajar period, and considering the name of Shah Abbas and references to him in other texts of the Qajar period, it is implied that his rule and period was considered ideal for the artists.According to Genette's statements, there is no text without a pretext and the texts influence each other. Therefore, one of the ways to read the carpet of the Dafineh Museum is to study the pre-text (text A) and its connection with text (B). Using this approach, at first glance by just considering the appearance, it looks like a prayer rug, because the style of both is the same, and the similarity can be seen in the creation of the new text. However, by deeply scrutinizing the written elements and examining the relationship between them, unlike the general style, we can see a lack of clarity in the written text. This transformation has more of a whimsical element, also in this transformation we can see changes in the shape and theme of the carpet. The most important change in the appearance of the verbal text is the removal of the inscription under the forehead of the niche. Since in text A, the final collection takes place under the forehead of the niche, therefore, there is no need for such a text to be present in the carpet of the Dafineh Museum, which complains about the current situation. Also, since the structure has been preserved, it can be reminiscent of a text from the Safavid period. The main change in the content of the verbal text is from verses to poems, which does not refer to fate and death, but to the oppression of the times and the desire to return to the time of Shah Abbas, that is, the time in which the pretext matter was woven.

Duplication in the tradition of Persian painting, which was mostly created for educational and skill-learning purposes, could be one of the best examples of Genette's hypertextual relationship. Also, one of the most significant examples in this field was the painting "Seated Painter" in 892 AH /1487 AD. (Freer Gallery of Art 32.28) by Kamal al-din Bihzad, which was a sketch of Bellini's work "Seated Scribe" in 886 AH/ 1481 AD. (Gardner Museum P15e8). On the other hand, hypertextuality was one of the types of transtextuality in Gerard Genet's system, which emphasizes the derivation and overlapping of works from each other. In this type of relationship, attention was not paid to the partial inspiration and influence, but to the overall influence of one text on the other one. Based on Gentet’s theory, the aim of this study was to know how a non-Persian hypotext (Turkish-European) was related to a Persian hyper-text. And it is atempted to answer these questions: Behzad's copy of Bellini's painting belongs to which type of hypertextuality? What changes were made in the copying process in Behzad's painting?This study is developmental research and has been carried out by the descriptive-analytical method. The research samples included two works, "Seated Painter" by Bihzad, and another "Seated Scribe" by Bellini, which has been considered hypertext and hypotext respectively. The method of selecting samples is "non-random" and purposeful and the observation is desk-based. The method of qualitative data analysis was Genet's hypertextual approach.The results showed that Bihzad's duplication of Bellini's painting was in the "transposition" category (Changes with a serious function) based on Genet's typology of hypertextuality. The changes made in the hypertext included formal changes, thematic changes, compositional changes, and color and light changes. In Bihzad's design of a non-Persian work and in the process of creating hypertext, due to the difference in cultural, artistic, and social background, the pre-text had changed and Bihzad did not just do it imitatively. The changes made in Bihzad's painting, in addition to creating a new and independent work, also created a hypertext related to Persian art and society. In some parts of the painting, Bihzad mentioned the cultural-artistic and social characteristics of his society, for example, the lack of attention to naturalism in the design of the figure's hands and face, or the lack of use of light-dark (chiaroscuro), which shows Bihzad's loyalty to the aesthetic system of Persian painting. Also, the color of the figures' clothes and the motifs used in them were directly related to the background and social context of Ottoman Turkey and Iran. As Mikhail Bakhtin considers transtextual relations, especially cultural and social relations, as a type of text in which the artist creates his work with them; Therefore, there is a logical connection between the artist's text and his society.

One of the materials used in compiling the history of   Iranian art is Murraqa. Started from the primitive forms, these Muraqqas  have gradually become specialized, and, in particular with the addition of the preface, have played an important role in drawing aspects of Iranian art history. Bahram Mirza’s Muraqqa (951AH) is one of the prominent works in this regard; a collection with an important preface, and impressive images, calligraphy and embellishments. This research aims to classify visual genres in Bahram Mirza’s Muraqqa, and to describe the features and the functions of the social archigenre and its distinctive themes. The analysis is concerned with such questions as which of the genres is the dominant one, and how the style and the themes are related. It is hypothesized that the social archigenre dominates Bahram Mirza’s Muraqqa which is consisted of the themes of the court, prominent figures and their social status. Based on Gerard Genette’s theory, the paintings are of epic, social, and lyric archigenres. The article, focusing on the themes of the social archigenre, tries to show first the importance of these images and then their distinctive features. Examiantion of the content and form of these paintings shows that changing social context and possibly the tastes of the patrons of the works has inclined the painters to show   “ humans” of various social classes. The analysis of these paintings demonstrates some of the relations and aspects of the social life in the court. Moreover, it reveals parts of the ups and downs of the painting tradition of that time and its connection with the naturalism of the next generation. In Bahram Mirza’s Muraqqa, such social classes as rulers, courtiers, warriors, and servants with realistic details of their own are identifiable through visual evidence provided by the social archigenre. Methodologically, this basic research includes description, analysis, and evaluation processes which have been overlooked in some respects in previous researchs.

Texts reading reveals their multiple meaning layers and informs audience from the connotation of the text. For this purpose, in the last hundred years, different text reading approaches have been developed; from formalist reading in early twentieth century to new historicism in its late years. The origin of most of these theories is verbal semiotic system, but art critics have used them as an approach to read visual texts. The main issue of the present article is to explain the implementation process of hypertextuality reading visual texts; a theory which has verbal origin and is used to read visual texts. To answer the question of how a visual text is read by hypertextuality, the logo of Islamic Republic of Iran Airline was chosen as study body and hypertextuality as reading approach. In this approach, by following the intertwined relations of text networks, the meanings of the text are revealed and different layers of implicit meanings are explained. Gerard Genette is from the generation of intertextual reformers; a theory previously proposed by Julia Kristeva. According to intertextuality there is no text without hypotext; so every text is in fact a combination of different texts. Genette theory in intertextuality is known as transtextuality. Genette describes transtextuality as all that sets the text in a relationship whether obvious or concealed, with other texts. Transtextuality include a varieties types of text relationships: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. Intertextuality is as a relationship of copresence between two texts or among several texts. As said in this kind of text relationship, copresence is the main condition of intertextuality. It means in this text relationship some elements from text A will be in text B, but this copresence is not basic but partial. A tittle, a subtitle, intertitles, prefaces, postfaces, notices, forewords and etc. are Paratext. In this type of relationship, in fact, the paratexts contains the main text and help to produce new meaning in texts. For instance the title of a book is its paratext.  Metatextuality is the relationship most often labeled commentary. There is two types of metatextuality: to criticize and interpret. In first one the text is criticized but in second one the text only interpreted and will be explained as we see about holy texts. By Architextuality Genette means the entire set of general or transcendent categories types of discourse, modes of enunciation, literary geners from which emerges each singular text. Although architextuality itself is not a text, it contains many texts. For instance Dada is an architextuality that contains all art works which they are made in Dada style. The focus of the present article is on the fifth type of text relations was proposed by Genette. He calls it Hypertextuality. In this approach, the transcendence of the text is a derivation of hypotext. Genette in Palimpsests: Literature in Second Degree explains in detail about this type of relationship and its different types. His examples in this book are often selected from the written text while in this article it is explained using a text body. As usual theorists often propose the basic concepts of a theory, and it is the critics who must derive the implementation process of the theory from the basic concepts. In this paper, a six-step process for reading visual texts based on Genette hypertextuality is suggested as follows:- Investigating the hypertextual relations of the study body: At this stage, the hypertextual relationship of the study body is examined. If the hypertextuality relationship of the study bodies is confirmed, we will enter the next stage. - Study body analysis: At this stage, the study body is analysed into its constituent elements. -  Description of hypertextual relationships: In this step, according to Genette’s hypertextuality the relationships of study bodies are described. - Explain meaning significations: At this stage, the meaning significations of study body are explained by following intertextual and hypertextual relationships. - Technical tips: At this stage, regardless of the hypertextual theory and also based on the cognition that the hypertextual reading has provided to the critic, points should be made about the visual text. - Conclusion In this step, the contents of the previous steps are summarized with general statements. This article is descriptive-analytical in terms of method that its data were gathered by documentary method. The results of the article showed that hypertextuality is one of the practical approaches in reading visual texts and in this regard, a six-step process was presented.

Sophocles’ Ajax is among the most significant plays in ancient Greek literature, and William Faulkner’s The Sound and the Fury is an important modern novel. This study considers these two works using Gérard Genette’s Focalization term in Narratology theory. Focalization is a feature of the point of view in narrative and is described by characters’ action, emotional reaction and speech. This study investigates the narratives of the main characters in both works based on Genett’s theory. The main point in comparing these two works is how focalization is formed in each text regarding the narrative of each character, emotional and cognitive conditions in which characters consider the event and what kind of action do they take based on that conditions. This paper uses qualitative research method and is based on library research and record keeping. It analyzes the written resources using content analysis and descriptive method, while exploring both texts comparatively and applicably. The results show that focalization is transferred from one character to another in both works and both can be compared based on the resemblance of the narrative’s direction.

Although the term and metaphor of narratives are widely used in museological literature, there are still very few studies about what and how narrative is and the existing approaches, especially in cultural studies, have dealt more with critical aspects. The methodology of this research follows a descriptive-analytical approach and is situated in the framework of "narrative theory" based on the views of Gerard Genet. It addresses the question of how and by what techniques a chain of narrative units or events are presented through the formation of narrative discourse in art museums. And in this regard, by analyzing one of the main categories of literary narratology, namely the time in narrative and especially with a comparative study of the category of "order" or "anchronies" for the museum exhibition, how to achieve a way to analyze the museum narrative and its installation based on the theory of narrative?
After reviewing the previous approaches experienced in the installation of the National Gallery of London and analyzing the "Sainsbury Wing" section as a case study, it was concluded that aesthetical and practical principles in architecture and implementation of composition and visual aspects in the installation create the same narrative anachronies that we know as one of the literary tools in the narrative.
In designing the architecture of this section of the National Gallery, Robert Venturi, with a functionalist approach to provide space for a real experience of seeing paintings that goes beyond just a museum visit, has been able to present the museum chronological narrative, and by creating several windows and suspensions, through spatial relationships and through what has been identified in this study from the perspective of narratology as types of external analepsis and prolepsis, has achieved narration in this museum. Therefore, although Gerard Genet considered narrative to be more specific to literature, this study shows that the main components of narrative discourse analysis, such as time and order in his views, can be applied to exhibition narrative.