rewriting

 The aim of the current research is to investigate the deconstruction of the narration of women's characters in the Shahnameh and the rewritten texts narrated by Atusa Salehi. In deconstructive analysis, rewriting presents a new and fresh narrative by changing the center and centrality of the construction of the old work. In this research, it is shown how the presence of the omniscient and omniscient narrator in the rewritten stories is pale and a kind of change and deconstruction in women's narration is created through shifting the centrality and axis of the narration. The most important issue for deconstructive analysis is the use of contrasts hidden in the text; the contrast of love and affection with epic and war is one of the most prominent contrasts of this rewriting. The research method is descriptive-analytical and the method of collecting information is the examination of library documents. The results of the research showed that Salehi presented a different narration of the women of Shahnameh and new dimensions of their personality with a creative narrative and using the contrast of epic, war and love. Where characters such as Gordafarid, Manijeh, Jarireh, Shahrnaz, etc. have a more effective and prominent presence in the narrative than in the original text, and their emotional and peaceful character prevails over their warlike and epic spirit. This new dimension and reading is suitable for the mood and personality of the teenage audience

The rewritten works are basically old texts that have been adapted for today"s reader in terms of language and content. As one of the most precious literary works of Iran, Shahnameh has been rewritten many times and in various forms. In most of these rewrites, the image accompanies the text. In this article, while introducing the styles of illustration in rewritings of the Shahnameh for children and teenagers, the types of interaction between text and image in each style are also described and criticized.

This research was written based on library sources and descriptive-analytical method. The studied society is the rewriting of the Shahnameh.

Although it is expected that in the depiction of the Shahnameh, as an ancient text, more of the traditional style has been taken care of, the findings show that the styles of depicting the Shahnameh include a wide range that the actual methods and new styles (including expressionism, cartoon humor, surrealism, and cubism) are also included.

From the examination of these texts, it can be seen that the realistic style and under it the comic strip has been gradually forgotten and instead, following cartoon and abstract styles has become a kind of tradition. This change of approach is also evident in the verbal aspects of the rewrites; In this way, parallel to the distancing of the images from the reality, the rewritings have also tended towards adaptation and re-creation, and the relation of similarity between the text and the image has given its place to a decreasing and increasing relation.

Based on qualitative-explanatory research grounded in the concept of "rewriting" within the "School of Manipulation", this article  demonstrated how Fitzgerald rewrote the poem of Jamī based on the two types of poetic and ideological rewriting. The former followed the rules of the era, while the latter referred to the role of supporters among others. The findings showed that Fitzgerald's numerous manipulations were due to not only facing linguistic and poetic differences, but also adapting to the culture and ideology of his time. The most important results included representation of Iranian cultural and literary elements, particularly those related to Sufi literature, in Fitzgerald's rewritings. He created a different and sometimes imaginary representation of Iranian culture and literature, which was more in line with Western expectations. Additionally, Fitzgerald rewrote the text to conform to the cultural capital in English networks and social circles. These adaptations included selecting new words, changing sentence structures, and even deleting or adding parts of the original text to make the final product more appealing to English readers. The overall conclusion was that Fitzgerald's rewritings of Jamī's poems were not just simple translation, but a complex process of cultural rewriting and representation that involved ideology, poetics, and social expectations. These findings helped to better understand cultural interactions between East and West in the modern era and demonstrated how literary translations and rewritings could be a means of cultural transmission and transformation.

One of the most prolific writers in the field of rewriting ancient literary texts is Mrs. Mozhgan Sheikhi, who has rewritten a number of stories for children such as Golestan, Bostan, Kalileh and Damaneh, Qaboos Nameh,Mantiq-ut-Tayr,etc. This article examines the structure of this author's rewritten stories from Golestan Saadi's six children's stories and compares them with the original text using a descriptive-analytical method and using library information collection tools. The findings of the research show that there is no noticeable change in the general framework of the work, but the range of rewritings has become wider than the original text. Describing the performance and appearance of the characters, increasing the dialogues, and in some cases, internal expression is among the rewriting techniques to make the story more interesting. The tone of the dialogue has changed from literary and poetic to a simple tone that matches the characters to some extent. The point of view in all rewritten texts is the omniscient narrator. In some stories, rewriting brought the point of view closer to the dramatic point of view, but did not change the content and theme. Sheikhi was not innovative in naming people and used common names in the original text. The language in the transcript is simple and formal. But sometimes difficult words, long sentences, incorrect omissions, and excessive use of the conjunction "and" between sentences have harmed the simplicity and fluency of the text. In all the stories, common terms and ironies are used significantly, some of which are incomprehensible and difficult for the target audience. Although the rewriter has sometimes achieved success in rewriting the work, there is a need for his rewrites to approach Saadi's artistic subtleties and tricks..

Ancient anecdotes and stories (Kelileh and Demneh) are considered to be very suitable resources for training, nurturing and flourishing the talents of children and teenagers due to their educational capacities and excellent and pure educational themes. The purpose of the current research is to analyze the rewritten stories of Kelileh and Demneh based on the types of adaptation. The research method is content analysis. While examining the definition of adaptation and its types, the authors have presented various strategies and criteria to carry out a creative and suitable adaptation. Choosing a suitable and creative title, using white writing techniques and telling gaps, creativity in the beginning and ending of stories, expanding the story and old stories through increasing the number of events in the story, increasing conflicts, etc. are important. It is the most important component of a creative and free adaptation of ancient texts, including Kelileh and Demneh. The results of the research showed that among the reviewed works of four rewriting groups, despite the fact that all four groups did not use creative rewriting criteria much; But Davoud Lotfollah and Mozhgan Sheikhi, according to the average that was obtained, compared to the other two rewriters, namely Mehdi Azar Yazdi and Reza Shirazi, have used more features of creative adaptation in their stories.

Mehdi Azaryazdi is known as the father of the Persian Child Literature. Amongst his works, the "Good Stories for Good Children" book series have gained a lot of popularity and are considered as the most widely circulated work of child literature in Iran. Through the present study, in order to find the pattern of understanding (i.e. hermeneutical orientation) of Azaryazdi, a comprehensive sample of 121 rewritten stories of his collection are reviewed. Then their differences with the original (i.e. ancient) stories are classified. Hereby, seven categories of changes are identified. These seven types of changes are conclusively the outcome of author’s understanding of A) ancient texts, B) his own mission and duty, and C) the audiences (i.e. children).According to the research findings, in each of these three stages of understandings, Azaryazdi believes in A) Possibility of objective understanding, B) Complete and true understanding, and C) Just one single true interpretation of texts, contexts, or whatever which is the subject of understanding. In his view, the meaning and function of words are permanently fixed. Though, by emphasizing on moral concepts, he does not allow his audiences to have a different or opposite understanding of the purpose of his writings. Therefore, it is concluded that the pattern of his understanding is matched with the traditional hermeneutics; particularly harmonized with Schleiermacher's style.

Mulana Masnavi is one of the important books that due to its educational goals, has a greater share in rewriting and recreating works of ancient literature for children and adolescents. But sometimes we see that rewrites, in language and content, have weaknesses in terms of style compared to the original narrative and the appropriate language of the audience.

In this article, using the library method and comparative analysis of the content of the rewrites with the original story of Masnavi, the collection of rewritten books in the center of intellectual development of children and adolescents has been reviewed from a stylistic perspective in terms of language and content. . The statistical population of the research is a 12-volume collection of Masnavi anecdotes "from Neistan" for the use of age group "D" which was published in 2007 on the occasion of the eight hundredth anniversary of Rumi"s birth, for children and adolescents to get acquainted with Mulana, for use in cultural and artistic centers.

Choosing meaningless ancient words, quoting Masnavi verses instead of a part of narrative, ancient grammatical structure, slang words and terms at the linguistic level and not paying attention to Rumi"s educational content and inappropriate changes in the original content of anecdotes, from The main disadvantages of rewriting Masnavi are in these books.

Comparing the transcripts with the original anecdote, Mulana purpose and language appropriate to age group "D" shows that in some cases due to lack of understanding of the content, lack of attention to the appropriate language of the audience, change of content and lack of attention to Rumi"s message, linguistic and intellectual slips And have strayed from the goals of intellectual education, which is the main mission of the center.

Marzbannameh ,one of the most valuable works of classical texts, Includes stories and tales that in addition to its educational and moral value, the reflection of our ancient Iranian culture and civilization. The expensive and instructive tips of this book can be from the child to the ages of all classes of society but Technical prose and to a certain extent its artifacts are a major obstacle to achieving those concepts Which has drawn the attention of the replayers to this book. In this research, three rewritten works by Mehdi Azarzadi, Maryam Lotfali and Abdolmajid Najafi have been investigated and while measuring these works, we tried to evaluate their story elements and the origins of a creative rewrite As a result, it's a good idea to rewrite this awesome book. In these works sometimes the rewriters have been able to amplify narratives and personalities. They also changed the tune to the audience. There is no particular change in the angle of view and inside - except in rare cases. From these rewriters, Maryam Lotfali's text with the least creativity is most similar to the original text And the text of Mehdi Azarzadi and Abdolmajid Najafi have been more successful in updating the story in order of importance.

The present study investigated the book Maqamat-e Hamidi by Hamid al-Din Balkhi in order to find the possible signs of the native ideas of the translation technique. The history of translation studies is divided into three periods: pre-linguistic (literal), linguistic (linguistic), and post-linguistic (cultural). Given the recent period (linguistic or cultural), it is now thought that cultures translate according to their needs. Given that the findings of the present study trace the existence of this idea in the preface of Maqamat-e Hamidi, it should be noted that Hamid al-Din Balkhi referred to multilingual and cultural issues in translation centuries before current scholars. In the post-linguistic stage, cultural expectation determines which text to be translated, why, and how and these elements moved the translation activity from lexical, meta-lexical, and textual levels to rewriting and recreating the translator’s ideas. In order to implement the idea of a translator-author, Hamidi, based on the principles of comparative literature, rewrote and recreated the Maqamat of Hamedani and Hariri’s ideas in Persian based on the principles of comparative literature. The present study is descriptive-analytical in terms of the method and nature, respectively. The results of the study showed that Hamidi in the introduction of his Maqamat has proposed the idea of discarding faithful translations in order to satisfy the users of the target language and to strengthen the language and literature of the target community. In this way, he paved the ground to rewrite and reproduce the source texts in the target language. It should be noted that the introduction of Maqamat-e Hamidi is based on the fundamental idea that the components of a literary polysystem are in constant competition for a dominant position in language and literature. Therefore, this system is always witnessing constant challenges and tensions between the center and its peripheral environment. In other words, literary genres that are located in the periphery of this literary polysystem are constantly trying to reach a dominant position in the center of the polysystem and other literary genres that are in the center of this system (in the face of rival species) are trying to establish their dominance. On this basis, so-called less valid genres such as translated literature can be considered effective factors in the dynamics of the literary system. Translated literature can help to invent new literary techniques in the target community and this is one of the main reasons for recreating Maqamat in Persian. Finally, it is necessary to ask a key question and answer it: What were the decisions made by Hamidi in rewriting and recreating Arabic Maqamat in Persian? His decisions and actions can be classified into the following categories: 1) Innovation in choosing the title of Maqamat; 2) innovation at the beginning and end of Maqamat; 3) innovation in the illustration of the narrator and the hero of Maqamat; 4) innovation in the journey of the hero of Maqamat; 5) innovation in the structure of Maqamat with extensive use of debates and arguments; and 6) innovation in the content of Maqamat.

Ancient Iranian literature, is an inexhaustible source for creation of diverse cultural products for all age groups, but the way that authors narrate this enduring source is very important. Education has always been one of the primary concerns of human beings and basically it is the mission of the prophets and their role in the human life is achieving to this goal. Gradually with the emergence and evolution of literature and its division into different types, many scholars decided to combine literature and didaction in order to pave the way for achieving this, and thus didactic literature was formed. Didactic literature believes that human felicity lies in improving morality and focusing on cultivation of the spiritual powers and moral education of man. The content of this literature is moral, social or scientific educations and is aimed on education. Whereas Iran is the cradle of dedactic literature, and Children's literature follows this approach, many writers from the past to the present and based on their literary taste, mentality and imagination have used ancient texts as the basis and standard of their work. They re-created it or rewrote that ancient work in modern and appropriate language for the age of their audiences, Children and adolescents. while retaining the linguistic characteristics and tone of the original work, a new recreation of the texts will be offered to their audiences. Qaboos nameh and Siasat nameh are of the prominent and important books containing dedactic and advisory books, which were recreated and rewrote several times. Present article is going to observe the statistics of the recreation and rewriting of these two books during the sixties to nineties, then examining the uniformity and impact of the recreations.

Classic literary texts are of special cultural importance. Although Persian speakers still can read and understand these old texts after hundreds of years, for the younger generation and recent Persian learner is hardly possible due to lexical and slightly syntactic changes. Therefore, many of these texts have been simplified for children and even adults. This research tries to compare some stories of Kelile and Demne with their simplified versions to examine the changes of the literary text through the process of simplification, and at the same time, to extract patterns of simplification. The reason for picking up Kelile and Demne is that on the one hand, it is one of the technical and ornate literary texts in Persian, and on the other hand, it is recurrently simplified. In this research, changes have been classified in four levels of morphology, syntax, lexicon and text. As result, three different approaches to the mechanism of simplification of old literary texts of Persian were observed: The tendency to keep both the content and the form of the original text The tendency to keep the content unchanged, but manipulate the form of the original text The tendency to manipulate both the content and the form of the original text Thus, the form has been always under change. The maipulations can be grouped into four levels of lexical, morphological, syntactic and textual changes.

Ibrãhym al Shüarãby was the first Arabic translator to translate Hãfiz's lyrics and he became well known with the song of Shiraz and the lyrics of Hãfiz Shirãzy. This prose work, which also includes a poetic composition in the translation of some lyrics, such as the 10th lyric, is influenced by the limitations that translator André Lefevere says in her rewriting view. In this view, he considers translation as a kind of rewriting in which extra-systemic and intra-systemic limitations, ideology and poetics are effective. With a descriptive-analytical approach, this research tries to study the Arabic translation of the poem and prose of Shüarãby from the 10th lyric of Hãfiz due to Lefevere's intended limitations. The final result of this research, on the one hand, shows the effect of Lefevere's ideological limitation in Shüarãby's translation, with his mystical attitude in rewriting this lyric and equating monastic symbols, “pyr”,“miykhãnih”,“kharãbãt”, ”khãniyh khammãr” and on the other hand, he expresses poetic limitation which leads Shüarãby to conceptually rewriting and manipulate sound, music, and the literary tools. The manifestations of Lefevere's view can be seen in Shüarãby 's rewriting in the form of separate translations of poems and prose, increasing and decreasing some words, inverting the use of structures, the shape and material of pronouns, and inverting the pseudonym or omitting it. Shüarãby is both affected by the mentioned limitations and by choosing special strategies in his rewriting, he appears as a controlling factor.

Kalile va Damne is one of the valuable texts of the past and any attempt at displaying its hodden capacities can make the young generation more acquainted with the various values of this text. In this study, Kalile va Damne is approached through a new perspective so that its capacities for being re-written be partly represented and a method be suggested for selecting old texts, methods based on theories in young-adult literature and able to make their works more comprehensible and enjoyable for its readership. The purpose of this study is to realize the capacities of Kalile va Damne for being rewritten and recreated.this study has also aimed at examining decentration as an aesthetic factor by recognizing the techniques of decentration in the tales of Kalile va Damne and their effect on children’s self-fulfillment. The findings of this study show that out if the 21 techniques of decentration that Khosronejad and Moradpour have found in tales, eleven are found in Kalile va Damne. The function of some of them in this oeuvre is similar to their function in tales, and that of some others is new and different, in which case it develops that technique. The decntration techniques in common between tales and Kale va Damne include: exhibitionism, narrator’s intervention, tale in tale, displacement of the protagonist, debate, surprise, exaggeration, white-writing, metamorphosis, inversion, and simultaneous scenes. Six new techniques were found in Kalile va Damne, that can be added to the previous ones: awareness of the ending ,Inner textual, changing the narrator (if accompanied by changing the point of view),Compound characterization, tale-to-tale, and poem, verse, Hadiths in prose text.

Rewriting and recreating are among the methods employed to make classic Persian literature accessible to contemporary readers. Garshasb Asadi Toosichr('39')s letter is one of the prominent literary texts in the field of Persian literature that has been rewritten and recreated in recent years. In the current study, the content of reproduced works was analyzed against Garshabname under two separate sections of rewriting and recreating, to assess manipulation both qualitatively and quantitatively. The results showed that the authors of these stories used the script of Avesta and other Pahlavi scripts along with Garshasbname and by adding to the number of characters and conflicts and combining the events from different sources, have rewritten and recreated stories based on Garshasb’s character.

Discussing second language teaching, the issue of transferring the culture of foundation society to objective society has always been considered by the teachers and even some instructors have considered that the transfer of culture as the fifth constituent after reading, writing, speaking and listening, in teaching language as effective. In this research, we discussed the importance of teaching classical literature as the transmitter part ofculture to non-Persian speakers and also the rate of using prose literary texts in booklets of teaching Persian language to non-Persian have been discussed. The chairs of Persian language in foreign countries have been reviewed and 10 booklets that are taught in these chairs reviewed due to the high value of ancient prose texts, and finally three texts selected from Golestan, Kalila and Dimna, and contemporary literature. Then a questionnaire designed to evaluate the rate of non-Persian students’ interest to ancient Persian texts. The statistical society consisted of 100 language learners who were taught Persian language in teaching centers in Iran and also 30 instructors completed the special questionnaire for themselves. The data were used to access validity and reliability of this research. The results of this research indicated that advanced learners are interested in the literature of 7th and 8th century AH, especially Golestantexts, and presentation of simplified texts helped them to understand their contents.

The purpose of this research is to compare the story of good and evil in the military seventh with the narration of its rewriting in Bakhtiari culture, to show that the type of attitude towards the child and his expectations in this culture had an effect on the rewrite. Accordingly, the narrative elements in these two stories, such as start, suspension, knitting, ending, personality, angle of view, time and place were investigated. The results of the research show that, according to Bakhtiari culture and attitude towards children, changes It was created in rehearsal tale. Family acceptance and trust in others, including values ​​and hurricanes that have to be learned in the Bakhtiari culture, children, and emphasized in the rewritten story. The negative attitude to violence has made the story a happy ending. Inappropriate knowledge of the theme of love for children has led to a very brief account of this scene in the rewritten story. The importance of the children's biological experience and the principle of conceptualization has changed the time and place of the story into the Bakhtiari nomadic zone, and changes have been made in the age and role of the characters, or the attention given to the issue that, in the Bakhtiari culture, children should In solving life problems, characters play an active role in Bakhtiari's narrative, contrary to the deterministic attitude in military narrative.

Ancient literary stories must be told in a simple and fluent language in order to be compelling and comprehensible to today's audience. The process of narrating these tales in contemporary language should be in accordance with the principles that have two main axes: First, maintaining the structure of the story and the style of the author, and second, its conforming to the audience’s language and understanding. In this regard, rewriting and returning the stories of Shahnameh to prose, in addition to paying attention to the level of the audience, also requires knowledge about Ferdowsi's style and expression. On the other hand, attention should be paid to summarizing and simplifying stories. Each of the Shahnameh's rewrites has some degrees of summarizing and omitting story or artistic effects. But the omission of some sections damages the original structure of the story, does not reveal Ferdowsi's art in composing stories for the audience. There are several ways to convey these points and the story to the audience as completely as possible. Considering the linkage of the Shahnameh headers with the structure of the story, our suggestion in this article is to use this manuscripts of the Shahnameh based on their headings. As a notable example, we have used the Florence version, which is the oldest available version of the Shahnameh and while reviewing some of the problems in rewriting this work, we have provided solutions for more accurate rewriting.

The free flaunt of translator’s language and applying rewriting elements is one of the most important reasons for the emergence of  authorship translation approach in Persian literature and classic Arabic. In this approach, just like free and communicative method, translators avoid equal, equivalent, and parrot-like translation which is mostly inexpressive and incomprehensible. Rewriting approach was widely used in old Persian translation from Arabic because of not regarding rules and scientific standards of translation and idealistic goals. And relaying on rewriting issue and its mechanisms the translator would deal with lots of changes in translated texts compared to the originial without considering custody. The present research tries to study the concept and rewriting aspects in four episodes of Bal’ami’s history (the killing of Siavash, the making of Kavous’s Palace, Kavous’s ascending to heaven, abandoning sovereignity by Kay Khosrow) considering André Lefevere’s rewriting discussion in order to achieve aspects and functions of rewriting approach in Bal’ami’s translation. The results indicate one of the reasons of Bal’ami’s translation durability, which is known as the translator not the writer, is due to the successive aspects of rewriting concept. And the translator has created a rather different work than Tabari’s by using techniques uncluding adaptation, structural adjustments, delete and compression, and sometimes verbiage.

This paper is a study of principles and criteria of rewriting in children and young adult literature in Shahnameh's rewritings. To this end, some books and articles on language learning and stages of child's linguistic development, as well as psychology of education, developmental psychology, elements of fiction and story-writing for children were studied in order to gain information about needs and interests of children and young adults. Some criteria were identified and defined in three parts: linguistic, content (educational) and technical (story-writing methods). Then, the rewritings published based on Ferdowsi's Shahnameh for children and young adults were selected and analyzed based on the above- mentioned criteria. The obtained results show that in the linguistic area, writers have simply focused on simplifying the language of the original text without considering the language features and abilities of their readers at different age groups. In the content area, most of the writers have focused on the mental, emotional and social characteristics of their readers, but technically, there is less creativity in rewritings considering the original text. The writers have rewritten the stories based on the original text and just in simple language.

The present article is the outcome of a library research made in order to promote the quality of the rewritten texts drawn from epic works with emphasis on the cognitive, emotional, and social development parameters for the child and adolescent. The first step towards achieving this aim is to present the theoretical basis of rewriting the epic works in child and adolescent literature and then the brief history of the rewritten works as far as national interests is concerned with particular emphasis on Shahnameh is investigated. Next the characteristics of the child’s development in different ages are classified and based on that information the general and specialized regulations for rewriting the ancient epic works are evaluated. Based on this analysis, the ideal parameters for choosing a story and rewriting epic works compatible with mental capacities and different cognitive abilities addressed at child and young adult in different ages are suggested and summed up. Finally, to show the matter in practice examples of these ideal parameters in comparison with their inefficient adaptations of Shahnameh stories are provided. The present research is a scientific method for presenting ideal parameters for story selection in other literary genres too.