نامه فرهنگستان
سال هفدهم شماره 4 (بهار و تابستان 1398)

Intertextuality theory, one of the new approaches to literary criticism in the twentieth century, suggests a way of analyzing literary texts based on the comparison. Michael Riffaterre, one of the theorists in this field, tried to explain the types of relations that one text may have with other texts. Accordingly, this paper intends to examine the intertextual link between the two novels of Heart of a Dog by Mikhail Bulgakov and Frankenstein in Baghdad by Ahmad Saadawi, adopting the intertextual theoretical views of Riffaterre. The findings of this study show that there are several textual and narrative similarities between these two novels in characterization, theme, and narrative. They rooted in the same allegory used in these two novels to reflect the political and social situations. According to Riffaterre’s theory, this can reveal the similar views and reactions of Mikhail Bulgakov and Ahmad Saadawi in response to the political and social currents of their times.

The character is one of the most essential features of the novel, which in conjunction with other features forms the novel. The female characters and their concerns, problems, physical and spiritual aspects have been taken into consideration in the writings of many novelists, and depending on the political, social, and cultural conditions of each country in different periods of time, several images of women have been illustrated by novelists. Accordingly, Amir Hassan Cheheltan and Ali Badr, two Iranian and Iraqi novelists, have portrayed pictures of the women of their communities. This paper tries to compare female characters and to study their similarities and differences in Chehletan and Badr's novels, based on American and Slavic schools of comparative literature. Servant women, political and social activists, academicians, and victims are the most prominent female characters in both authors' novels. The study examines the similarities and dissimilarities of the characters in many aspects, such as servants' bonds with masters, education and carrier, and levels of political and social activism, rooted in similar social and political conditions in both Iran and Iraq.

In ancient Iran, the five extra days of the twelve thirty-day months (in English: Epahomene) was named Panjeh, Behizak, Andargāh, Panjeh Dozdideh for Iranians, and Khamseh Mostaraqeh for Arabs. Iranians and Arabs were holding many feasts and rituals on this occasion, mostly forgotten now, and merely through historical accounts or the ancient poetry we can find their names. One of the rituals practiced in Iranian Epahomene during the early Hijri centuries was a type of dance named “Dastband”, which means hand-in-hand, and apparently, it was the most significant part of these rituals. There is almost no trace of this dance in the Persian texts or ritual books; the dancers held each other’s hands to perform this dance and danced together in a circle to the music of the instruments. In Arabic dictionaries, other names such as “Fanzaj”, “Banjakān”, “Daʻkaseh”, “Mehzām”, and “Nazawān” are mentioned for this dance, which easily connote “Dastband”. This paper first examines the texts in which the word “Dastband” has appeared, and then refers to other synonyms used by the lexicographers. Results show that the dance was gloriously performed in various cities of Iraq during the first centuries AH. Some texts referred to the synchronization of this dance with Iranian Epahomene on the eve of Nowruz; conceivably, that is why the dance was called Panjeh.

Montherlant is one of the greatest French literary figures who has been greatly influenced by Persian literature, specifically Saadi’s works. His two significant works, The Iron Fan and Another Moment of Happiness are a reflection of the thoughts of the great poet of Shiraz. In the first work, Montherlant talks about his knowledge of Persian literature, and in the second work, he combines what he grasped from Iranian writers with his genius to create one of his most significant works. The fluent and ornate style of Montherlant is reminiscent of Saadi’s style. He also seeks to convey the greatest meaning with the fewest words. However, the resemblance of Saadi's literary creation to that of Montherlant is not limited to stylistic features. There are also similarities in the subjects of their works; for instance, love, women, and travel are among the common subjects of both writers.

Since literature and painting, like other forms of art, are not created in void, an inquiry of their interaction with the historical context reveals that there is a mutual influence between literature and painting with the socio-political and historical discourses of their time. This study indicates that how changes in American painting style in the nineteenth century were under the influence of literature. Moreover, it discusses how it could challenge the dominant discourse of that time by raising issues which were marginalized in the dominant discourse. It also examines the interactions of contradictory subcultures against the dominant ideology, with the help of the cultural materialism approach. The findings indicate that whereas European romanticism and the concept of sublime enhance the dominant element of development in nineteenth-century industrial Europe, American transcendentalism is considered as a dissident ideology opposing this progressive culture, to indicate how the dissidence influenced nineteenth-century American painting style. As a result of this influence, a different style of landscape painting emerged that was different from the common European styles, not only in technique but also in the choice of subject.

Luigi Pirandello, one of the avant-gardes of modern drama-writing, has an important place in cinematic studies for two reasons. The first reason is attributed to the theme of his works, based on searching for the concept of reality, the boundary between reality and imagination, and the proportion between these two. The second reason is the impact and influence of his plays and films on cinema. Influenced by the intellectual foundations of Pirandello’s works, Woody Allen has made The Purple Rose of Cairo (1985), which has got elements in common with Six Characters in Search of an Author. The challenge between reality and imagination, which is the main subject in these two works, resulted in similarities such as play within a play; the contradiction between the characters in films and the real ones; war-induced regression, and using comic language in the plays. The present study investigates the fundamental intellectual roots of Luigi Pirandello’s works and their influences on contemporary cinema. Moreover, the similarities between The Purple Rose of Cairo and Six Characters in Search of an Author and the impacts of Luigi Pirandello’s mindset on Woody Allen’s works, especially The Purple Rose of Cairo, are identified and discussed.