نشریه پژوهش های تطبیقی زبان و ادبیات ملل
پیاپی 8 (تابستان 1396)

We believe that narrative practices have undergone a transformation in fictional literature in moving from classicism to modernism and postmodernism. Although the classics adhere to the sequence of events on the axis of time in the story, modernism has largely dissipated this commitment, so that this inconsistency of sequence of events focuses on time is seen obviously in modernism story writing. One of the ways of modern narrative is “analeptic Narration” method which has been shown in two forms, "Circular Narrations" and "analeptic Narrations". Alaa Al Aswany (1957), a contemporary Egyptian writer, has narrated two novels "Chicago" and "Jacobian Mansion" with a focus on "analeptic Narratives". This article refers to the methods of analeptic narrations in the two mentioned works in a descriptive-analytical manner using library resources.

Persian playwriting, which was the result of Iranian acquaintance with Western literature, and most importantly, French and English, grew rapidly and people such as Sadeq Hedayat, Bahram Bayzaee and Hassan Moghaddam are the leading figures in this kind of literature whose works, although somewhat late, have been so widely accepted in the Arab world by translators. The present study seeks to assess the process of translation of Persian literature plays in the Arab world from Damascus and Egypt to Iraq and Kuwait with a descriptive historical method and offers a clear picture of the efforts of Arab translators in these plays as well as this article intends to review and critique them by looking at the translation of the titles. The findings of the present study indicate that the translation of Persian plays into Arabic does not have much history and it began in 1988 with the translation of "Time’s Cloud and Zulf’s Cloud" by Dr. Mohammad Islami Nodoshan, by Ibrahim al-Dussouqi Shta and continued with the translation of "Sheikh Sherzyn's Petition" by Bahram Beyzaee in 1994. Of course, at the same time, many famous Persian plays or drama have been translated into Arabic. The translators have also chosen the word translation method in the translation of the titles and have tried to maintain the structure of Persian titles in translation.

Naghma Samini, one of the researchers in thousand and One Nights, along with Hassan Fathi has written Shahrzad’s screenplay. The series does not claim any adaptation of the thousand and One Nights, but by watching the series, the effects and inspirational sparkles of thousand and One Nights are seen in the series. Undoubtedly, Ms. Thamini's symbiosis with thousand and One Nights is one of the reasons for Shahrzad's secret intrusion is in the Shahrzad series. This research puts two works against each other to discover the effects of a thousand and one nights in this series, especially in the character of Shahrzad. Effectiveness and adaptation of the series from the collection of the story were in both obvious and hidden forms and it has been found most of all in the main character of the film, Shahrzad. The obvious form of it is in the naming of "Shahrzad" and in the main role played by Shahrzad in the series as a story and it is also seen in the storytelling of the main character of the woman. Its hidden form is also seen in functions, personality and implicit and obvious meanings of the work. Shahrzad in the series represents Shahrzad in a story with a new discourse and style. She has sacrificed for her expediency, like her legendary example, plays the role of a liberating myth for her family and she takes Shahrzad's functions in the story. Other serial characters such as "Aqha Bozorg", "Ghobad", "Shirin", "Shahrzad's sisters", "Shahrzad's father" have a similarity in the story And the filmmaker has been inspired by a mythical and legendary method of Thousand and One Night’s Writer in the arrangement and setting up characters, themes, and implications.

Semiotics is one of the sciences that emerged from semantic science. The main purpose of this science is to study the mysterious concepts of literary works. Barthes is among those who have been active in this field by presenting a complete definition of signs in the context of today's mythology. With this approach, it is possible to explain this kind of attitude of the signs position and their mythic states in resistance poetry and this can also be institutionalized in the form of "Form and Concept" Barthes theory. It seems that Samih al-Qasim and Neruda have tried to give some kind of sustainable themes in their poems with a variety of signs and leave a lasting form. The main purpose of presenting Barth's theory is that we can use this method and the comparative result to find a comparison of these concepts and the depth of their content in their poetic themes and it is necessary to analyze the signs and myths used in the poetry of the poets in the form of the linguistic form and concept of Barth to achieve remarkable results.

One of the characteristics of comparative literature is the possibility to study literary work from a cross-sectional perspective. Thus, a literary work such as Short Story can be adapted to a visual work such as painting and we can analyze them in a specific framework. One of these frameworks is the comparison of two works based on artistic-literary schools. Ismail Fasih (1313-1388) is one of the most prolific writers of contemporary Persian literature that is the result of about forty years of his writing is twenty-five novels and four short story collections. "Love" is one of the stories of the second short story collection, “The Birth / Love / Marriage / Death” (1351), is realistic like most his stories that the author focuses on those characters from among the underdogs of the community and He speaks in them of poverty, disease, ignorance, superstition and death. He also reminds the artist of the need to address this stratum of society. This story is in some ways similar to the famous banners “A Burial at Ornans” by French painter Gustave Curbe who founded the literary school of realism. In this short story research, Love is analyzed in the framework of the rules of the school of realism and its common themes are also mentioned with the Gustave Curbé tableau.

From the viewpoint of Al-Tnats (intertextuality), there is no independent literary work in the vast literary world and each work is influenced by pre-texts and in the context of intertextual relations. These relationships are so intertwined that in the present text, in addition to intellectual and literary relations, there is also a deep cultural and religious connection. The praise the Prophet of Islam (pbuh) is one of the subjects in which we can see the axes of harmony in addition to the common themes of religion. Bordeh by Bosiri is the Arabic verse in the recent issue that as a pretext, it has been followed by Muslim poets such as Hatef Esfahani. A descriptive analysis with the intertextual approach of these two verses shows that Hatf Esfahani has taken a look at Bosiri’s Bordeh in structure, lexical style and Applying for the purpose of praise, but in the process of the subject, he is influenced by the Shiite worldview and the sublime soul of Iranian mysticism and has acted independently.

Ferdowsi's Shahnameh has influenced the literature of other countries, including Kazakh literature. The effect of Shahnameh on Kazakh poets and writers can be examined in two parts. Some of them referred to the themes of Shahnameh and others, imitating their stories and their form, and compiling prose drafts and shahnamehs; because the courage of the heroes of Shahnameh resembles the epic and poetic traditions of the Kazakh people. Hence, the narrative and written narrations of Shahnameh among the Cossacks have a high reputation. This research seeks to study the relation and influence of Ferdowsi's Shahnameh on Kazakh literature through the introduction of several Kazakh poets and writers who are interested in Shahnameh. The paper is descriptive analytically and written using library resources.