Document Type : Original Article
Authors
1 Master’s degree in Persian language and literature, Faculty of Literature, Shahrekord University. Shahr e Kord. Iran,
2 Assistant Professor of Persian Language and Literature Department, Shahrekord University. Shahr e Kord. Iran
3 Assistant Professor of Persian Language and Literature, Shahrekord University, Shahrekord, Iran
Abstract
Introduction
Picture books, by conveying concepts through images, play an important role in education and training, as well as in the formation and development of children's mental and personality dimensions. With the help of images, these books give children the opportunity to experience and understand aesthetics and teach them how to use the power of imagination to broaden their vision and understanding of the universe and thus free themselves from the pressure of undesirable realities (Najafi, 2010: 3). Nikolaeva and Scott believe that in books where words and images cover each other's gaps, there is no room for the reader's imagination; but according to Nodelman, nowhere in the book do they provide a reason to present such a seemingly scientific and objective list to praise or condemn some examples (Nodelman, 2014: 53). Nodelman believes that images play an important role in strengthening children's imagination and imagination; because the text engages the child's and adolescent's minds with the future, but the image stops the child in the present and makes him understand that he must look at something that is happening now. In fact, the image has a static state for young children, and this has a psychological and developmental reason, because young children cannot perform mental operations that follow logical rules.There is much debate about the importance of images in children's imagination. The aim of this study is to examine and analyze the images of the rewritten stories of the Shahnameh narrated by Salehi and Fattahi based on Perry Nodelman's theory of image and text and to answer the following questions: 1. To what extent do the images of the rewritten stories correspond to Nodelman's six components of image? 2. Which component of Nodelman's six components is seen in the images of the rewritten stories? 3. Which narration's (Salehi or Fattahi) rewritten images correspond more to the six components?
Materials & Methods
The research method in this study is content analysis and the method of data collection is also a review of library documents. After reviewing and explaining the theoretical concepts of the research (the dimensions of Nodelman's text and image theory), the rewritten stories of the Shahnameh narrated by Atousa Salehi and Hossein Fattahi are evaluated based on Nodelman's six components of text and image. The illustrations of Salehi's stories were done by Niloufar Mirmohammadi and the illustrations of Fattahi's stories were done by Mohammadreza Dadgar, Morteza Sahi and Farhad Jamshidi.
Discussion & Result
Based on Nudelman's theory of text-image correlation, six types of relationships can be considered for text and image. In this section, the goal is to evaluate the images of the stories in the two collections based on the six components of Nudelman's theory to find out which rewrites the images are more consistent and consistent with this theory. To this end, by mentioning each component, we examine the images related to it in both collections and finally present the information obtained in the form of a table. The style chosen by the illustrators in Fattahi's collection is not very suitable for the epic and mythological stories of Shahnameh, which has caused; in addition to reducing the level of correspondence between text and image information, the illustrations also perform very poorly in adding to the text information.
Conclusion
By examining the number of images that correspond to the third to sixth components, it can be concluded that out of the 7 images in the story "Zahak and Kaveh ", only 1 image corresponds to the fifth component and none of the images are able to correspond to the third, fourth and sixth components. Out of the 5 images in the story "Gordafarid", none of the images correspond to the third and sixth components and only 2 images correspond to the fourth component and 1 image to the fifth component. Since the illustrations of Fatahi's stories were designed by several illustrators, each illustrator has a different style and perspective; and this different perspective and style has created various illustrations; while the illustrations of Salehi's stories were done by one illustrator. This has been effective in using a style and method.
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