نشریه پژوهش های ادبی
پیاپی 38 (زمستان 1391)

Keikhosrow's story is one of the significant narratives in Iranianmythology. This analysis can demonstrate clear image of the conceptof "identity" and the "power" in the aspect of its material and spiritualand mythological/ religious cultures of ancient Iran. This imagereflected in the process of intellectual and ideological Islamic period,As well as present in terms of mythological and cultural icon inIranian narratives. Shahnameh is the best plan to achieve the semanticcultural geography.In this article, with such motivation and importance ofKeikhosrow’sbig battle,I make use the approach of discourse analysisto examine the layers of story and discourse semantic systems. In thefirst section of the article, I briefly review power / truth form onKeikhosrow’s story. Next, I examine some of the issues in discoursewith three sections (determined conflict space, semantic conflict,determined times and place).Finally, I closely examine the results ofdiscourse analysis focusing on the Keikhosrow’s big battle.

Since the history of film adaptation in storytellercinema goes backto its earliest days, many film critiques have compared the adaptationsto their literary sources. Such researches are also conducted inuniversities of Iran and in the previous decade, and some critiqueshave viewed it in retrospect, that is they considered the potentiality ofa literary work for adaptation. With this approach at hand, we canstudy the function of metaphor in the images used in Persian poetry.Following Aristotle, traditional rhetoric defines metaphor as a wordwhich is used in place of another word on the basis of similarity. Thisdefinition which emphasizes word, and in greatest extent sentence, isdifferent from the definitions which are influence of by the platonicromantic views; since metaphor in such views has a organic relationwith the whole language, and is the generator of an active imaginationwhich should transfer meaning from an object to another one. Withthe expansion of this theory in twentieth century and its detailedformulation at the hand of structural linguists, metaphor is believed tobe a process which essentially is carried out in language, and not onlytransfer meaning but it creates meaning by causing interactionbetween two things which lead to the creation of a third thing.Comparing literary metaphor with cinematic metaphor on the basis ofan Aristotelian view is difficult, because metaphor in this view isbased on word, and word is the building blocks of spoken languagewhich is essentially different from the audiovisual media of cinema.But if we consider metaphor in whole and as the basic element ofthought, spoken language and non-spoken language can reestablishedtheir relations. In this view, the interaction of literary metaphor ofPersian poetry and cinematic metaphors is defined through the processof "transformation of aesthetic elements" and with "findingequivalents for stylistic elements" in two medias.

Intertextual links in the formalism theory, intertextuality theory ofKristeva, Trans-textuality theory of Jennet and the theory of Bloom'sanxiety of influence, are some of the new approaches to reading andliterary criticism Under these approaches, none of the text isindependent of others, and each text is an intertextual derived fromearlier texts that will be present in the later texts as well.Gérard Genette, one of the theorists in the field of intertextuallinks, has classified his trans-textuality theory into five dimensions,one of which is the intertextual axis. He divided intertextuality intothree types intertextual links i.e. open-intention, hidden-intention andimplicit and has defined and assigned conceptual realm of each of thisinterpretation.Considering the fact that the outcome of teaching poetic art led toembodiments of intertextual links in Islamic, Persian and Arabicrhetoric, this paper using descriptive-analytic approach, makes acomparative study of three-dimensional intertextuality of Janet andparts of Islamic rhetoric theory. The research results show that someliteratrary components, such as guarantee, allegory, resolution, andadaptation as well as some of literary robberies in Islamic rhetoric areconsistent with models from three-dimensional intertextual patterns.

The Jung’s criticism is real area of mythological criticism. Whenthis criticism focuses on the archetypal deep structures that alsodescribes the "archetypal criticism". In recent decades, with thegrowth of postmodern philosophy and with the influential of theoristssuch as Lacan about language and unconsciousness, Jung’s criticismtoo was affected from post-modern views. Post- Jung criticism whichpossesses three approaches and eight main schools was abstractedfrom this main approach. Among areas of Post- Jung criticism, one ofthe most widely applied theories in the field of literary criticism is thearchetypal criticism that is both inclusive and pluralist. In thisapproach, internal and external elements of texts are interpretedthrough deductive method.In this paper, in order to examine the methodological approach ofarchetypal criticism, we have explained the quality of critical theory inthe text. Then, with the classification of various texts, we tried apractical approach to the textual analysis to show how the theoryattempted to extend the area of operation.

A structural insight to literary elements in order to studyintratextual aspects and their relationship patterns, leads to find morepositive ground from the literary essence. And, showing methods forbetter literary work creation can help develop the literary process. Agroup of structural critics has focused on structural forms of narrativeand story elements and their compound rules; Claude Bremond bydeveloping a system based on narrative forms proposed a scheme thatis based on a relationship between the smallest units. In this paper,using pattern and sequence of Bremonds, we have studied andanalyzed two stories from Saadi's Boostan or Garden. The aim ofchoosing this subject is the conformity of this theory with the structureof two narratives of Saadi.

Based upon the major events of the past decades in the field ofcomparative literature, there seems to be a need for a new definition ofcomparative literature and comparative criticism. In this essay, thenew characteristics needed for the new definition of comparativeliterature and the approaches and methods of comparative criticism(especially interdisciplinary approaches) will be outlined. Theresearcher believes in order to understand these new characteristics,one needs to analyze and re-read the concepts of “the other”, “border”and “identity”. With the advent of translation theory, semiotics,narrative theory, postcolonial theory (especially diaspora theory) andcultural theory, there appeared drastic changes not only in the field ofcomparative studies but also in the methodology of comparativestudies. Therefore, the challenge we face at the moment is theexplanation of the approaches and methods based upon the newdefinitions. Consequently, three major theories and methodologies areproposed and it is claimed that the intertextual theory and methodsmatch best with the new definitions of comparative literature.

The first generation of intertextuality was developed with Kristevaand Barthes and expanded with the second generation theorists’particularly Jenny and Rifatterre and has been used as a means ofartistic and literary studies. Then, Gerard Genette with transtexualitydesign makes a huge leap in the field of the study. Transtexualityfocuses on possible relationships existing among the texts and is offive types: Intertextuality, Paratextuality, Métatextuality,Architextuality and Hypertexyuality. The Subject of literary-artisticgenrologie is one of the five topics of interest in transtexuality wherearchitextuality is one of its five kinds and dedicated exclusively to thistopic. However, in the hypertexyuality too, a substantial portion hasbeen discussed in genrologie with a specific name called " hypotextualgenrologie ".The text explores the hypotextual with the study of two text wherepresence of first text is attached to the second text. Hypotextuality isstudied with the review of variety of texts that have dérivationrelationship i.e. the second text is taken from the first text. In thisrelationship, Gennet identifies six basic types of hypotextual: Pastiche,Charge, Forgerie, Parodie, Travestissement and Transposition(permutations). The six types are divided into two major categories ofImitation and Transformation. The current article attempts to brieflyintroduce these kinds of genrologie. The aforementioned genrologiecan be helpful in literary researches especially Persian literature.