ژرار ژنت

As an emerging area in literary criticism, the study of narrative time has attracted narratologists’s attention since the 20th century. One of the figures focusing on the analysis of time in narrative is Gerard Genet, who believes that the time of story and narration are not parallel but different, due to three reasons; order or chronological sequence, duration or temporal continuity, and frequency or repetition. The Translation of Tārīkh-e Yamīnī is one of the old texts in the field of historiography, which chronicles the events of Samanid and Ghaznavid eras. As it is written in the form of successive narrative fragments, with the author employing various techniques of temporal manipulation, it can be analyzed in terms of narrative time. This study examined the use of time through an inductive reasoning approach, focusing on order, duration and frequency. The result demonstrates that, although this work falls into the category of realistic and historical writings, the author has skillfully employed various narrative time techniques. Its refined prose style ensures that prolonged descriptions remain engaging rather than tedious. Moreover, the author’s seamless blending of historiography and realism is evident.

Due to its inherent repeatability and transcendent nature, the myth, as a metaphorical construct, has always been reproduced in literary works, and poets have utilized this device to enhance the semantic and aesthetic development of their works. Many characters and narratives of the past epics have their roots in myths; they have been transformed into epics in the past ages and have undergone changes. Since the reproduction of mythological-epic symbols in the poetry of Afghan women is worth studying, this article attempts to examine the reflection of mythological-epic elements in the poetry of Afghan women using a descriptive-analytical method based on the intertextuality of Gérard Genette. The findings of this research indicate that contemporary Afghan poetesses have recreated mythological-epic elements through implicit, metaphorical, and referential intertextuality, employing functions such as making patterns, bolstering war-like spirits, expressing grandeur, description and spatialization, admonition and reprimand, ideological expression, expression of significance, imagery, and thematic creation. These poets have reflected social, ideological, and romantic concepts with the aid of mythological-epic elements, depicting political tyranny, and describing the social conditions during periods of civil war.

"What time is it in your world?" Produced in the first years of the nineties, it is the first feature film of Safi Yazdanian, a documentary maker, in the romance-social genre. Although this film has faced numerous journalistic criticisms, it has not been analyzed through the lens of any theory. The value and centrality of time, as well as the duality of worlds, are depicted in this film in different ways. Due to the importance and central role of the element of time in the cinematic narrative and in order to describe and analyze the film methodically, in this research the component of parallelism is analyzed from the point of view of Gérard Genette, a French thinker.This article seeks to answer these questions; What systems and time components are represented in this film and how these components play a role in the relationship and relationship between the narratives of the film. The purpose of this research is to present a systematic model of time lapse, to show the application of hindsight and foresight components, and to explain parallelism in film sequences. The results of the research indicate; The final product of the filmmaker to show two different worlds is a film with complete and multifaceted time-lapse characteristics, which, while using a combination of time-lapse components, has the characteristic features of the parallelism component.

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.

The present article is devised on the basis of a descriptive-analytical procedure and is based on the theory of Genette, with the aim of identifying the types of time lapses in the narrative and the cause for their use in the novel; “Game Rules.” Furthermore, it is to examine different forms of acceleration and frequency and their impact on the process and attractiveness of the aforementioned novel. The content of the novel is the rule of the psychoanalytical and philosophical game. Zonouzi has set up a well-considered structure for better transmission of this content. In the concept of order, the findings indicate that a high percentage of the text has anachronism of lapse in past time. By objective correlative, the narrator breaks the timeline and expresses his mistakes in past. These past tendencies have created suspense of the work. The narrator's internal monologue and expression of ideologies have created negative momentum; but considering that Zonouzi's goal is to deal with the character's story, its acceleration is completely appropriate and natural. The highest frequencies are dedicated to the repeated ones. By doing this, he has caused a better transfer of confusion, psychosis and narrator's complexes and recounts the effect of those events on the narrator's psyche. In this work, there is, not only no inconsistency among the components of Genette’s theory, but also an effective connection and interaction among the components. The techniques used in the narration of this work are appropriate, and the structural study of this novel has led to the understanding of its complexities.

Intertextual relationships have been a prominent topic in recent decades, with many researchers exploring this subject. Among them, Gérard Genette has examined it more extensively through his theory of transtextuality. This article analyzes Arash Abbasi's play Anna Karenina in comparison to Tolstoy's novel Anna Karenina using a descriptive-analytical and comparative method based on Gérard Genette's theory of transtextuality. The main objective of this research is to discover the various transtextual relationships between Abbasi's hypertext (the play) and its hypotext (Tolstoy's novel Anna Karenina). The research results indicate that Abbasi has consciously established an intertextual connection with Tolstoy's Anna Karenina in his play, while maintaining independence from the original written text. He has utilized various types of transtextual relationships, including: explicit intertextuality (quotation) and implicit intertextuality (reference, allusion, and irony) in various ways; paratextuality by choosing the title of the hypotext; metatextuality through his interviews, emphasizing the contemporary nature of the Anna Karenina play; architextuality by selecting the romantic genre of the hypotext; as well as hypertextuality in two forms: 1- homogeneous hypertextuality by adopting the realistic style of the hypotext 2- transformative hypertextuality from two perspectives: a) quantitative transformation in the form of reduction b) internal transformations (deletion, addition, and substitution).

Gérard Genette’s theory of transtextuality is a prominent approach in intertextual studies that examines the relationship between a hypotext (the source text) and a hypertext (the new text derived from the source). Ferdowsi’s Shahnameh holds a significant place in Persian literature and has been frequently analyzed through the lens of transtextuality. It maintains intertextual connections with older texts, such as Avestan and Pahlavi works, and has served as a hypotext for many subsequent artistic creations, including miniatures. This article investigates the transtextual relationships in the narrative of Afrasiab’s death in Shahnameh and addresses the following questions: What are the key narrative elements of Afrasiab’s death in Shahnameh? What similarities and differences exist between Shahnameh and other texts on this subject? How are these older texts used as hypotexts in Shahnameh? To what extent are the miniatures depicting Afrasiab’s death influenced by Shahnameh? The findings reveal that ancient Iranian texts serve as vital hypotexts for Shahnameh, and itself has had a substantial influence as a hypotext on the creation of various miniatures related to Afrasiab’s death.

Text is an immediate reality, a reality in which thoughts and fields of knowledge can only form and take shape. Changes in the perspective and reading of works, especially those that are pioneering or represent the peak of a literary genre, help us better understand their true significance and identity. Intertextuality involves the production of text through interaction with previous or contemporary texts, with these texts contributing to the target text explicitly, implicitly, or tangentially. Gérard Genette is one of the leading scholars in the field of intertextuality, focusing much of his research on the nature of narrative discourse. This study, conducted through a descriptive-analytical method with a focus on rational argumentation, evaluates Awarif al-Ma'arif by Suhrawardi as a pretext and Dastur al-Jam'oor by Sheikh Khorasani as a posttext in terms of intertextuality. The analysis reveals that Sheikh Khorasani was influenced by Awarif al-Ma'arif within an esoteric and intellectual context.

Qabus-nameh, one of the prominent works of Persian didactic literature, holds a central position among Persian literary works owing to its formal elegance and diverse themes. This text plays an integral intertextual role in the realm of Persian language and literature by facilitating the acquisition and dissemination of religious, social, and educational teachings. The profound wisdom and educational counsel from the elders of Islamic-Iranian Sufism represent invaluable legacies that have been passed down to significant Persian works through Qabus-nameh. A detailed intertextual examination of Qabus-nameh alongside Sufi elders' sayings can illuminate the influence of mysticism and Sufism on the educational framework of Unsur al-Ma'ali Keikavus, the book's author, and provide insights into the intertextual dynamics of Qabus-nameh and its intellectual sources. The findings of the present study, presented in a descriptive-analytical manner, underscore the prevalence of both implicit and explicit intertextuality in Qabus-nameh, highlighting its rich literary and aesthetic merit. Furthermore, the abundance of social and religious educational themes, as well as the emphasis on linguistic and behavioral decorum, underscores the significance of social connections and interactions within Unsur al-Ma'ali Keikavus's worldview and the intellectual landscape of Sufism. The attentiveness to the teachings and conduct of the venerable figures of Islamic mysticism indicates Unsur al-Ma'ali Keikavus's steadfast commitment to drawing educational insights from the key sources of this spiritual tradition.

Alexander Pushkin, the renowned writer of the 19th century and the golden age of Russian literature, has presented original and unparalleled works to world literature with his unique literary style and language. In the present study, after elucidating the theory of intertextuality by Gerard Genette and considering the requirements of this theory and employing the method of content and thematic analysis along with comparative reading of narrative elements, the famous tale “The Dead Princess and the Seven Knights” by Alexander Pushkin, the illustrious poet of the 19th century Russia, has been scrutinized and critiqued. The analysis indicates that Pushkin's tale has intertextual relationships with numerous texts including three tales: “Sleeping Princess” by Vasily Zhukovsky, “Snow White and the Seven Dwarfs” by the Brothers Grimm, and “Sleeping Beauty” by Charles Perrault. In other words, it serves as an echo of its predecessors. The comparative critique and analysis of these tales, besides confirming structural and narrative similarities among them, suggests that they all share a common underlying theme despite their Russian adaptations: a beautiful girl cursed by envy or revenge falls into a deep sleep but is ultimately rescued and the tale ends happily. The intertextual relationships between the tales leave no doubt about their intertextuality for Pushkin's tale, although Pushkin, by adhering to Russian narrative traditions, has deviated from mere imitation and infused the Russian spirit into this tale.

Myth is the poetic expression of great landscapes of nature and mysterious directors of natural and supernatural phenomena, which justifies the origin of human emotions with poetic vision and has rhetorical value with imaginative action. For this reason, myth, with its intertextual nature, has always been reproduced in literary works and has played a prominent role in the semantic, rhetorical, and aesthetic development of literary works. From the distant past until now, Persian language poets have paid attention to all kinds of myths, including Greco-Roman mythology, and have benefited from the diverse functions of these myths in the application of various concepts. Afghanistan's contemporary poets have reflected different concepts and benefited from the capacity of these myths, considering the reproduction of Greco-Roman mythology. Therefore, the current research, using a descriptive-analytical method, based on the intertextuality theory of Gérard Genette, examines the rhetorical effect of Greco-Roman mythology reflection in Afghanistan's contemporary poetry. The results of this research show that Afghanistan's poets have often reflected Greco-Roman mythology in the form of implied intertextuality. These poets have re-created myths to reflect social, romantic, mystical, didactical, resistance, and ideological concepts, as model, idealistic, and charismatic characters, in declarative and imperative sentences.

A narrative is a fundamental plan to connect human events and actions. Narrative inquiry/research utilizes the narrative elements to study that fundamental plan. A historical novel describes the ontology of people in a specific period of history based on the events during that period. It reflects people’s emotional and psychological characteristics and rebuilds the social and political situations of the historical period that it narrates. 20th-century philosophical theories cast doubts on the existence of an only truth and a single possible narrative. According to the changes in the definition of history, the meaning of a historical novel would be automatically changed. As an example, these shifts could lead to the existence of plural narratives. This study demonstrates that by changing the definition of a historical novel, its visual and conceptual attributes will also be transformed. Based on Hayden White’s (An American historian and philosopher) Metahistory approach and Gerard Genette’s (A French linguist and literary theorist) narratology theory, this study has redefined the historical novel description. The redefinition of a historical novel presented in this research has spotted three types of historical novels during four decades since the Islamic revolution and studied their structural and conceptual shifts. The narrative and structural characteristics of the researched novels include anachronism, non-linear narrative, a first-person narrator, retrospective narrative, external focalization, multiple personas, the role of the characters in the events, and a new approach to the elements of time and place. Historical novels after the Islamic revolution have often been created around the concept of forgotten history, reflection of individual and collective identity, and critical thinking of history.

Paratextuality is one of the types of Gerard Genet's transtextuality. The French theorist, with the theory of transtextuality, examines every form of communication of a text with other texts in a broad and structured way; in this theory, the text is examined in five dimensions: paratextuality, Intertextuality, hypertextuality, metatextuality, architextuality. This category includes any relationship of a text with a non-self-contained text; the relations of a text with its surrounding elements, relationships based on coherence, criticism and interpretation, longitudinal and genre relations, and relationships based on adaptation. In this regard, the elements of the paratextuality are all elements that, although they are not part of the text, are present in the text, they surround it and accompany it and affect the reader's reading; elements such as: the cover design, the author's name, the publisher, Introduction, posters, promotion posters, presentations, etc. In this research, we try to rely on this theory to examine the elements of the pre-roman novel of the teenage novel "This Weblog Is being turned over" by Farhad Hassanzade and identify its functions. It is worth mentioning that the elements of paratextuality are widespread in this novel, and because of the special way of narratives of this work, it is present on all pages, thus helping and guiding the text with the reader.

Following Julia Kristeva who first coined the term intertextuality concerning the relationship among different texts, a new wave of critical approaches and notions to text analysis was formed among which was Gerard Genette's idea of 'transtextuality' that was the result of his investigation of all possible intertextual relationships. An important category of transtextuality is extratextuality which is concerned with the relationship between two literary texts from a certain perspective. The present paper is an attempt to examine extratextual relationships between Najmud-din Razi's treatise "At-toyour" [The Birds] and some of the previous literary works. The findings suggest that, in composing his treatise, Razi mostly made use of some of the treatises of Ikhwan As-safa, Sanaee's "Seyr-ol Ebad El-al Ma'ad" [People's Journey toward God], and Suhrawardi's "Ghesse-ye Ghorbat-e Gharbi" [The Story of Western Solitude]. He also touched upon Nezami's poetical narratives. The most important reasons for the extratextual changes in his book include the specific role of the audience, Razi's authorial style, and the dominant trend in Persian prose of the time.

One of the special features of oral narratives is the element of "time" as the most basic characteristic factor that represents it, i.e. "language" and what is revealed, i.e. "story". ", is studied in the narrative text. In this research, according to the approach of "Gérard Genette", who presents his theory in the three axes of order, continuity and frequency, the category of "time in the narrative" with descriptive-analytical method in the three novels of "Mohammed Hossein Mohammadi" ", the Afghan and immigrant writer was investigated. Since the time of narration is of special importance in Mohammadi's stories, which are written in a realistic style, "Mohammadi" tried to apply this narrative method in his narrative statements in all his works. Based on the timing, he narrated his stories with negative acceleration. Novels in which the narrator or in other words the main character of the story are women, have a negative momentum. The tense and hindsight are seen with the same frequency in male and female narrators.

Transtextuality is an approach that examines possible relationships between the text and other texts. Gérard Genet, a famous French literary theorist, and semiotician (2018 AD - 1930 AD), divided transtextuality into five categories: intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality. Gérard Genet’s precision regarding the description of the characteristics of hypertextuality and intertextuality in literary texts provides the possibility for researchers to distinguish these types of texts with a high degree of confidence despite the apparent similarity of poetic evidence-- something that might not have been possible without this theory. Based on an analytical-descriptive research method, the study compares Hossein Monzavi’s ghazals with those of Hafez and Saadi firstly, to explain the extent of his affectedness from their ghazals, regarding each of the above types, and secondly, to reveal the methods that Monzavi noticed in each employment of the classical poets’ ghazals. As the results show, hypertextality is the main arena of Monzavi’s works and performances, especially its transformation type. Then, implicit intertextuality and internal authorial paratextuality are more important.

Film adaptations are one of the most significant branches of comparative literature studies and are of great importance to the field. The concept of film adaptations, which are so-called transpositions, is a component of Gérard Genette’s theory of hypertextuality, a subset of the broader theory known as transtextuality. Pedro Almodóvar is one of the few filmmakers whose work exhibits a unique affinity for literature. This article analyzes the adaptation process of the film “The Skin I Live in” (2011), directed by Pedro Almodóvar and adapted from the novel “Tarantula” (1984), written by Thierry Jonquet, by addressing the question, ‘How did the adaptation process work in “The Skin I Live in” based on Gérard Genette’s theory of hypertextuality?’ Here, the literary work is studied as the hypotext and the film as the hypertext. This paper employs the descriptive-analytical method. Considering that transposition occurs due to the change of medium, it first defines the terms “adaptation” and “transposition” as well as explaining Gérard Genette’s theory of hypertextuality. It then analyzes the transformation of the text during the process of adapting the novel into the film. The findings show that “The Skin I Live in” is a transposition in the sense of its hypertext due to the various transformations made, with an emphasis on excision, concision, extension, and substitution in this adaptation.

Qaboosnameh is a rich treasure of ethic-educational knowledge and experiences. Onsorolma?ali paid attention to all individual and social aspects of human beings in addition to his needs. So he has benefited from various Islamic sources, especially Qur'an, and Hadith. He has explained them in coherent and simple language with a high scientific and literary proficiency in his educational book. The intrusion of holy Mohammad’s ethic-educational linguistic and intellectual elements in different ways within Qaboosnameh indicates their indisputable intertextual relationships. This paper has studied the textual and content representations of the Prophet (PBUH)’s wise speeches in Qaboosnameh by descriptive-analytical method and based on Gerard Genette's theory. It concluded that the ethic-educational teachings of Islam’s prophet which have been presented implicitly, explicitly, and covertly in Qaboosnameh, play a fundamental role in the intellectual and educational framework of the book. In terms of the subject matter, these teachings include a wide range of individual, social, religious, and economic issues. The high frequency of the Prophet's (PBUH) social teachings in Qaboosnameh is in accordance with the social nature of Islam and the Prophet's (PBUH) emphasis on Muslim unity. The macro relationship between Qaboosnameh and Prophetic Hadith in an intertextuality approach is the continuation and attraction of these teachings in order to complete the ethical, educational, and literary dimensions of the book.

The Il fallait inventer la mer (We had to discover the sea) play from Jean-Pierre Spilmont is one of the most successful adaptations from The Language of the birds of Attar Neyshaboori. Spilmont has tried to make some adjustments to the work of Attar, given the theatrical requirements of his adaptation, while staying true to the main storyline of birds’ travel toward Simorg. The most prominent changes made to the story line in this adaptation are as follows: the number of the valleys of love has been reduced to four, some of the birds’ character have been omitted, and finally the manifestations of Simorg’s character have been altered . In other words, given his worldly view point, Spilmont has presented a unique work adapted to the expectations of contemporary audience. This article attempts to answer the following questions while employing the intertextuality theory of Gerard Genette: Has Spilmont been successful in conveying Attar’s universal message in form of a contemporary play? and can contemporary audience relate to this work?

Narratology, a field within literary studies, focuses on analyzing narratives, narrative systems, story structures, and storytelling techniques. It aims to uncover the more profound meaning embedded within texts and enhance our understanding of narratives. Postmodern literature often challenges conventional notions of time and narrative in prose fiction. Nader Ebrahimi's "A Quiet Romance" exemplifies this type of narrative. This descriptive-analytical study examines "A Quiet Romance" through the lens of Gérard Genette's theory of narrative time. Genette, a prominent figure in structuralist narratology, emphasizes the significance of order, duration, frequency, focalization, and voice in describing and analyzing the structures of literary texts. The research findings reveal that "A Quiet Romance" exhibits strong coherence. However, deliberate temporal disruptions in the events add artistic depth to the story. These temporal disruptions are prevalent throughout the novel, with frequent shifts between the past and the present. The initial chapter primarily focuses on the past, incorporating retrospective elements contributing to a slower pace. In terms of duration, the surface layer of the novel follows the passage of days, creating a sense of positive acceleration and time omission. Conversely, the content layer of the story conveys a negative sense of acceleration. Dialogues, predominantly conveyed through the emotions and beliefs of the character "Gile Mard," form the narrative's core. The story often includes extended descriptive pauses, contributing to a slower narrative progression. Repetition and recounting are also prominent features of the narrative. Regarding focalization, the story utilizes two perspectives: an omniscient narrator and a first-person narrator, with the majority of the novel adopting the first-person viewpoint while the third-person perspective is sparingly employed.