لیندا هاچن

Parody is considered to be one of the most important literary genres that has undergone significant semantic changes over the years and has been incorporated into various forms of art, including cinema. Pedro Almodóvar is among the filmmakers who have utilized this concept in their works. This research aims to analyze the use of parody in Pedro Almodóvar's films. The theoretical framework of this study is based on the views of Gérard Genette and Linda Hutcheon. The research question is, "How has parody been embodied in Pedro Almodóvar's films?" To answer this question, a descriptive-analytical and comparative method has been applied. The films "What Have I Done to Deserve This?" (1984), "Women on the Verge of a Nervous Breakdown" (1988), and "Talk to Her" (2004) have been purposefully selected and analyzed as case studies based on the theories of Gérard Genette and Linda Hutcheon. The findings suggest that certain sequences in Almodóvar's films align with the dimensions of parody according to the perspectives of both thinkers.

Historiographic metafiction, as one of the postmodern writing styles, reminds the readers of its being fictional as it does not claim of any representation of reality and thus it challenges the historical truth. In fact it presents history in a slightly different manner than how it actually happened or conceived. Linda Hutcheon, the Canadian critic, as one of the most significant postmodern theoreticians, defined hysterographic metafiction as works which use historical background while having some postmodern techniques. This study applies her theory to The House of the Spirits by Isabel Allende. Using techniques such as intertextuality, parody and irony, Allende has rewritten turbulent Chilean history in the twentieth century and especially the events before, during and after President Salvador Allende’s time in office and the 1973 coup. Meanwhile she casts a doubt on the truth of some historical events, which establishes the work as a historiographic metafiction rather than a purely magic realistic text.

Since images have moved beyond the text in this work and it has worked beyond the text, it can be concluded that this work is a combination of verbal and visual adaptation, from the type of saying and verbal text and from the type of showing and visual text. In case we consider the interaction in comprehending the hidden meaning as a contribution to the text, we sometimes observe involving that is of the interactive one. Text and image are along to one another in order to create a new and multi-layer work, a work that heeds both the original text and the novelty and independence of the text. As Hatchen believes that adaptation is a collaborative work and it comes true through group collaboration and contribution, the success of this work is attributed to the companionship of the text and image along to one another and the multi-layering of the text. This is exactly what Hatchen calls it "adaptation as adaptation". The writer of the story has narrated the journey of Rostam's Haft Khan in separate and brief parts. The addressee puts these sections together and he can comprehend the concept and implication of the work with the contribution of images. In case the addressee is alert and he knows the text previously, he can enjoy the repetition and be astonished by differences. He can even step forward and explore the hidden meanings in the underlying layers of the text or he can achieve his own interpretation of the text and this is nothing but contribution to text.

One of the areas of research in comparative literature is the study of the relationship between literature and cinema. This research analyses the adaptation process of “Lonesome Trees” (by Houshang Moradi Kermani) in its cinematic adaptation (directed by Saeed Ebrahimifar), from the perspective of literary adaptation. The goal of this paper is to study and analyze the changes that have taken place during the adaptation process. The theoretical framework of this research is based on A Theory of Adaptation by Linda Hutcheon. Hutcheon believes that adaptation is an active and meaning making process in which the adapter interacts with the text as a reader. The result of this reading is a creative interpretation which is the product of the adapter’s mindset. Therefore, loyalty is not the evaluation criterion for a cinematic adaptation. In this paper, we demonstrate how and why, as a director and an adaptor, Saeed Ebrahimifar creates a unique narrative independent from Moradi Kermani’s “Lonesome Trees” a work which has significant differences from the original text.

Postmodern novels are a specific kind of contemporary novels. They are based on a wide diversity of tendencies which, albeit subsumed under some common aims and objectives, brought about profound novelistic differences among them and attributed them such different titles as Syberpanic novels, magic realism, metafiction, historiographic metafiction, etc. Basically, postmodern novels are oriented to one of such tendencies. However, the primary concern of the present article is the study of a Persian novel entitled as Sooratakhaye Taslim by Mohammad Ayoobi whose postmodern features are multilateral and based on a variety of tendencies. Whereas in some aspects the novel is magic realist, in some other it is a metafiction and also in some other, thanks to its historical orientation is a historiographic metafiction. In this context, the present research, highlighting the magic realist and metafiction aspects of the novel, focuses on one of the postmodern aspects of the novel which is based on the manipulation of history and the parody of what is called the historical facts in the novel. The research is written in applied form and in the light of Linda Hutcheon’s theory. The research demonstrated that there are such features in this novel as specific novelistic techniques, multiplicity of points of view, unreliable narrator, fake history, anachronism, intertextuality, irony, discrediting history, challenge the dominant historical discourses and highlight its historiographic Metafictional aspect.

Linda Hutcheon points to the formation of a new genre in postmodern literature which is called "historiographic metafiction". In this writing method, narrative techniques such as introspection, irony, anachronism, and intertextual references are challenged to ensure the history and feasible narrations replace dominant narrations. This writing apparently supports the thought that the existence and nature of realities and not a reality itself should be accepted, and the term "reality from other's point of view" can be used instead of “unreal”. In reading out mythical history of Iran, Bahram Beyzai in the same way attempts to paraphrase and then recreate the text to crash the strong internal foundation of the story. Beyzai believes that myths do not have a solid form. Beyzai's Three Recitations try to readout three mythohistorical stories. The second recitation is related to Arash. Although the exact historical origin of Arash the Archer is not clear, he has been presented in a two-thousand year period of myth/history of Iranian beliefs and writings. The purpose of this comparative study is to find special literary techniques of historiographic metafiction in Arash recitation. Findings obtained from analysis show that Beyzai has removed mythical aspects of this story by critical political-class point of view and by utilizing postmodern literary tricks and then has given new roles to them through a new narrative arrangement. In this study, the mythical and historical importance of Arash in pre- Islamic writings and its effect on the Islamic era literature is studied after investigating the historical identity of myth in Barthes' semiotic system and postmodern literary features from Hutcheon's point of view, and, after that, Arash's recitation is analyzed by relying on intertextual references, differences in versions of historical resources and utilizing historiographic metafiction narrative techniques.