نشریه پژوهش های بین رشته ای ادبی
پیاپی 6 (پاییز و زمستان 1400)

Rewriting texts that are very important topics and connect culturally different generations. The activity is scientific-creative rewriting; Know that in order to perform a successful rewriting, the headquarters had scientific aristocracy over the ancient text and in the rewriting process, scientific principles must be considered. The importance of this model and its sensitivity is doubled when the target audience of the rewrite is children. Unfortunately, such a model has not been presented in this regard so far, and this is probably why there are various shortcomings in the rewritten texts. Using the topics and theories of educational sciences and literary sciences, this article has tried to design a step-by-step model for rewriting Masnavi for children aged 7-12years. The basis of educational science This model is based on the views of Montessori.Extracting the main intentions of Rumi from composing Masnavi from reliable and scientific sources, understanding the context and position of the story in Rumi's words, using the weight of Masnavi, deleting sub-stories, using a second-person narrator in terms of perspective, etc. are among the topics that are considered. The uniqueness of Masnavi and especially the rewriting of Rumi's Masnavi is considered as one of the elements of Persian order and is one of the achievements of this research. In the end, based on the presented model, one of the stories of Masnavi has been rewritten.. This research has facilitated and explained the implementation of rewriting principles for children in the form of a methodical model and using Montessori educational perspectives.

The category of adaptation as one of the branches of comparative literature is an attempt to create new texts based on the construction and content of previous texts.. Regardless of comparative literature, this topic communicates between literature as speech and writing and cinema, theater and painting as image with an intertextual view and attempts to discover the relationship in these areas. The sampling is based on the stories of Sheikh San'an, Bersiesa, Jorayge, Faust, Antoine Saint and Ta'iees.Primarily, the problem of this research is the study of the structure of stories and the discovery of similarity and difference of them; then, the processing of such stories is done based on Joly Sanders's theory of adaptation. The discovery of the transformation of characters and the different destiny of the hero is the result of the first problem and the discovery of the influence of ideology on the process of adaptation of the director, the painter and screenwriter, as well as the use of the elements of these stories on the basis of time and audience needs, is the result of the main problem of this research

Cypress image is one of the most widely used in Iranian literature and art. This special place is related to its ancient history, which is rooted in the mythological, religious and mystical texts of the world. The list of symbolic meanings and concepts of images can be found in dictionary of symbols and in many books But often there is no specific criterion in determining which meaning and concept in a particular work is intended.In this essay, we intend to show the role of Context of situation and the role of Syntagmatic and paradigmatic relationship in identifying the semantic meanings of cypress image based on one of the theories in linguistics presented by Saussure.The study of dozens of images, showed that cypress has concepts such as uprightness, purity, immortality, holiness and greenery and resistance in the Syntagmatic relationship with humans, sun and Simorgh, trees and animals. Also, cypress image alone has concepts such as immortality, mourning and death and connection to the sky according to the context of the situation. This multidisciplinary research in the field of linguistics, literature and visual arts has been done by descriptive-analytical method and at the end, suggestions for better understanding of the concept of images are presented.

Mehdi Hamidi and Shamloo are poets with a style of contemporary literature; The psychological characteristic of irresistibility is reflected as a dominant thought and form of expression in the poems of these two poets; In the face of difficulties, these artists, in addition to equating their talents and abilities with mythical characters, in the face of difficulties, have strongly bowed down to great subjects such as law, politics, sacred things, etc. The mentioned psychological dimensions are also related to some spectrums of narcissism. In the present study, using psychoanalytic theories, the internal causes of composing arrogant poems were identified. The research seeks to answer the question of whether the psychological phenomenon of indomitability has significantly influenced the quality, quantity and style of literary imagery of these two poets or no. The research method is descriptive and analytical. In the end, it was concluded that all kinds of irrevocable manifestations have played a significant role in the selection of literary industries, quantity, advancement of the artistic aspect of the themes and value of the works of these poets and therefore can not be ignored.

This paper will study the concept of American exceptionalism which defines America as an exception to the rest of the world has been depicted in different novels and media in two different American novels. The analysis based on the actantial Discourse which is a semiotic one could shed more light on this concept in the contemporary American literature .According to this concept, America is exceptional in life style and it can be considered as a role model politically, economically, artistically etc. for the rest of the world. Therefore America will be a symbol of free and prosperous life and democracy. This American exceptionalism could be followed in two novels: Terrorist (2006) by Updike and Expensive People (1972) by Oates. Although these two novels present American exceptionalism in two different perspectives, the basic concept can be traced in both novels. This paper will read two novels through semiotic analysis of the actantial Discourse in a broader concept in literature.

A Dance of the Forests (1960) and Death and the King's Horseman (1975) are two plays by the Nigerian Nobel Prize winner, Wole Soyinka who has gained a large amount of reputation for his idiosyncratic expression of abhorrence towards Western colonialism through depicting native people's life situations and their conflicts with the Western colonizers. He also repudiates nostalgic view of the past and in A Dance of the Forests revealed his premonition of the forthcoming internal colonialism which was a consequence of exalting the past in a prejudicial manner. Frantz Fanon, the influential French psychiatrist and political philosopher, put colonialism under scrutiny in his writing and analysed its various political forms and psychological consequences. This article gives the two aforementioned plays of Soyinka a close reading through the eye borrowed from Fanon to detect in the relation of these two texts and the existing post-colonial conflicts and ambivalences in them.

One Thousand and One Nights is one of the Jameulhekayat and complicated writing in Persian folk literature which its basic tale is based on storytelling of “Shahrzad” and there's a bunch of tales together around the core of center. This Semiosphere is a common with other historical texts of ancient Iran. This research has a descriptive analytical approach based on the same texts and Yuri Lutman's theory of cultural semiotics: Study of bilateral and calico relationship between different sign systems, exploring the origins cultural signs and it’s consanguinity with Isomorphic texts in the semiotics of Persian folk literature. it from the Cultural semiotics of “One Thousand and One Nights” And the study of the ideas of scholars on the basis of its fundamental tale, and the similarity with the same texts concludes: Structure and translation and reproduction of meaning and its contents is shaped in the Semiosphere of cultural and Iranian identity; It reflects social and cultural ties and It is the Iranian supplier's position; “self” Iranian with “another”culture is shaped in the discourse of cultures.

The utopian idea The political thought in two stories 'Noon wa Al-Qalam' by Jalal Al-Ahmad and Rahla Ibn Fatumeh by Najib Mahfouz is based on the negation of the status quo, the existence of a crisis, and the attempt to idealize things. In both stories, using symbolic language and Sufism, writers are trying to present an image of an ideal society. They both believe that utopia can be achieved but the main obstacles on the way are the rulling of government and the seizure of power by certain individuals. Both writers use a symbolic language, with the difference that the noble language of the Arabic work is the literary language influenced by the classical works of Arabic literature, while al-Ahmad has chosen folk language for his narrative. Al-Ahmad's story, in its narrative, uses a type of Sufism whose social aspect is strong and its followers, or Qalandars, seek power but having faced with its difficulties, they resort to the way of the former power-owners but are defeated by them. Although seeking martyrdom, the protagonist of the story is eventually exiled. But Najib has applied a specific aspect of Sufism in the story, namely, the cutting off from the material world and its defects and the discovery and intuition of meditation and austerity. The main character of the story explores various lands in search of a way to solve his own homeland’s problems. He ultimately finds the way to prosperity in Sufism.

The famous German sociologist Max Weber, by introducing the theory of social action, simplified the study of the degree of rationality in social actions. Weber and later his followers and like-minded people, by examined and categories of the four social actions, determined level of rationality in these actions. Iranian playwright Akbar Radi in "Staircase" play examines a part of this theory called goal-oriented action. The theory of social mobility or the ascent of a person from one social stratum to another is also explained by showing the life of Bolbol, a traveling fruit seller. In this play, the Bolbol becomes a wealthy construction contractor by resorting to theft, lying, breaking the covenant, forming a pressure group, bribery, and even unintentional murder. In the process of this social mobility, in addition to elements such as culture, alienation and the desire for promotion, and struggle and competition, phenomena such as suicide, dictatorship, migration and workers' strike are also discussed. The protagonist of the play of Akbar Radi, although he manages to improve his economic position, but due to abnormal social behaviors cannot change himself cultural position.

Sadegh Hedayat is one of the most important figures of the westernist intellectual current in twentieth-century Iran and one of the most famous modern Iranian novelists. Among his many works, historical writings have a significant place and, more importantly, the historical attitudes of this author who has been the motivation and motivation for writing many of his works. This research has tried to provide an analysis of the historically valuable works of this author, to recognize the historiographical understanding and historical attitudes of Hedayat and seeks to find answers to these questions: What is the place of history in Hedayat's works? And what are the most important components in their historical attitudes?; Therefore, these works are classified in three main forms of historical dramas with the theme of ancient frustration of Iranians subjugated against non-Iranian attacks, correction, and translation of Pahlavi historical texts from the Sassanid era and works with the anthropological theme. Analytical knowledge of these works, which is provided by the descriptive-analytical method and conceptual study of his literary works, shows that nationalist attitude, historical antiquity, and Zoroastrianism, and racist enmity with non-Iranian elements are the main components of historical attitudes. Make up the lead.

AbstractFilm adaptation from the literary works has nearly existed since the advent of cinema. Hamoun; a movie directed by Dariush Mehrjui, has also been made based on the well-known novel Boof-e Koor (the Blind Owl) written by Sadegh Hedayat relying on adaptation. The main objective of this study is to express the content common point and to compare the element of time in the novel Boof-e Koor (the Blind Owl) with its adapted cinematic work that is the movie Hamoun. The research method employed in this study is analytical-descriptive founded on description of the statement and the research is written based on Gerard Genette Narratology theory. This comparison has been made regarding the theme and overall content of the two works. Moreover, it is specifically based on Genette`s Narratology theory with three core concepts of order, duration and frequency and the initial results indicate that:1. In transferring Boof-e Koor to Hamoun the director has taken a moderate stance emphasizing the authenticity and independence of both adapted work and the source work.2. In the theme part the two works correlate strongly with each other since both narrate the life of an isolated person fed up with his surrounding people and environment who takes refuge in the unconscious mind.3. Both works do not follow a specific chronological order and are narrated in an anachronistic way.

Reason and love are two abstract nouns and like lots of this kind of nouns have been a kind of elastic concept. For longtime this resiliency have caused vast discussions concerning their essences and limits of meanings. Philosophers, mystics, and intellectuals have commented in some way for their demarcation. The great Persian poets have also used and introduced these concepts in different ways. This article is to follow the course of semantic changes of these two words in Shahnameh, Panj Ganj, and Masnavi. We found that Ferdowsi has used these two words in the meanings close to their usual applications; Nizami has represented romantic love at its most exciting level and has also had some primary and raw remarks about the transcendental reason (Aghl-e Kolli) and reason derived by revelation. Mowlavi has been in an outstanding manner as a groundbreaker in changing the implications of the concepts and attributed such spiritual and mystical meanings to them that they reach the borders of homonyms. That is why Mowlavi’s conceptions of reason and love, because of their untenable method were limited within a discourse of spiritual aristocracy while usual and practical usage of these words remained close to the approaches and symbols of Nizami and specially Ferdowsi