Literary interdisciplinary research
Sadeq Rashidi; fatemeh azimifard
Abstract
The present article, as a qualitative research, has been written with an analytical approach and aim to explain the concept of adaptation from the perspective of intertextuality theory, and has examined intertextuality theory and several other key concepts. It seems that the concept that is presented ...
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The present article, as a qualitative research, has been written with an analytical approach and aim to explain the concept of adaptation from the perspective of intertextuality theory, and has examined intertextuality theory and several other key concepts. It seems that the concept that is presented in the performing arts as an adaptation is in fact a traditional preparation and technique and idea about the meaning of taking from previous texts, which can be explained basically by the theory of intertextuality. The concept of adaptation traditionally emphasizes a kind of omnipresence and explicitly highlights an aspect of the broad and complex dimensions of the various relationships between texts. In general, one of the most important consequences of the development of intertextuality theory and intertextuality theories has been the gradual dissolution of the concept of text as a coherent and autonomous semantic unit, which in turn has led to a shift from a single, independent and mythical text to a new concept of it. That is the way in which texts are related to other categories and texts. Therefore, explaining the nature of adaptation and its relevance to intertextual theory requires our familiarity with some important theoretical concepts proposed by Genet under the theory of hypertextuality, which we have examined in this article.
Mina Behnam
Abstract
The category of adaptation as one of the branches of comparative literature is an attempt to create new texts based on the construction and content of previous texts.. Regardless of comparative literature, this topic communicates between literature as speech and writing and cinema, theater and painting ...
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The category of adaptation as one of the branches of comparative literature is an attempt to create new texts based on the construction and content of previous texts.. Regardless of comparative literature, this topic communicates between literature as speech and writing and cinema, theater and painting as image with an intertextual view and attempts to discover the relationship in these areas. The sampling is based on the stories of Sheikh San'an, Bersiesa, Jorayge, Faust, Antoine Saint and Ta'iees.Primarily, the problem of this research is the study of the structure of stories and the discovery of similarity and difference of them; then, the processing of such stories is done based on Joly Sanders's theory of adaptation. The discovery of the transformation of characters and the different destiny of the hero is the result of the first problem and the discovery of the influence of ideology on the process of adaptation of the director, the painter and screenwriter, as well as the use of the elements of these stories on the basis of time and audience needs, is the result of the main problem of this research
reza mobini soochelmaii; Monireh Farzishob
Abstract
AbstractFilm adaptation from the literary works has nearly existed since the advent of cinema. Hamoun; a movie directed by Dariush Mehrjui, has also been made based on the well-known novel Boof-e Koor (the Blind Owl) written by Sadegh Hedayat relying on adaptation. The main objective of this study is ...
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AbstractFilm adaptation from the literary works has nearly existed since the advent of cinema. Hamoun; a movie directed by Dariush Mehrjui, has also been made based on the well-known novel Boof-e Koor (the Blind Owl) written by Sadegh Hedayat relying on adaptation. The main objective of this study is to express the content common point and to compare the element of time in the novel Boof-e Koor (the Blind Owl) with its adapted cinematic work that is the movie Hamoun. The research method employed in this study is analytical-descriptive founded on description of the statement and the research is written based on Gerard Genette Narratology theory. This comparison has been made regarding the theme and overall content of the two works. Moreover, it is specifically based on Genette`s Narratology theory with three core concepts of order, duration and frequency and the initial results indicate that:1. In transferring Boof-e Koor to Hamoun the director has taken a moderate stance emphasizing the authenticity and independence of both adapted work and the source work.2. In the theme part the two works correlate strongly with each other since both narrate the life of an isolated person fed up with his surrounding people and environment who takes refuge in the unconscious mind.3. Both works do not follow a specific chronological order and are narrated in an anachronistic way.
ZAHRA HAYATI; HOSSEIN SAFI; FARNOOSH MIRZAIEE
Abstract
In this research regarding Gerard Genette’s theory, the inseparable element of narrative, which is time, is studied and for this purpose the adapted film “Shohar-e Ahoo Khanom” and its fictional source are studied and compared to each other in order to analyze the performance ...
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In this research regarding Gerard Genette’s theory, the inseparable element of narrative, which is time, is studied and for this purpose the adapted film “Shohar-e Ahoo Khanom” and its fictional source are studied and compared to each other in order to analyze the performance of the common narrative element in the literary and cinematic discourses in which there is adaptation. In discussing about narrative chronology according to Genette’s point of view, three features are considered to be analyzed: a) Order of events: event sequencing in narrative discourse. b) Frequency of events: the proportion between the number of reappearances of an event in narrative discourse and the probable times of occurance of the same event in the storyworld. c) Duration of events: the amount of time allocated to each event in narrative discourse.The results of the research show that: 1. The presentation of film events is strongly influenced by the book and there is no creativity in this field. All story events are briefly selected and displayed in the same natural order. 2. In the story, the frequency of events is often single-player (that is, the number of occurrences in the world of the story), and this topic Because of the nature of the story (novel), but in the film, the frequency of some events is decreasing; 3. According to the volume of the book of the husband's husband, the narrative beat in the book is slow, while the narration in the film, Due to numerous removals, it has been steadily rising and even occasionally contradicting narratives.
