LITERARY CRITICISM
Year:2019 | Volume:12 | Issue:47 |Papers Count:7

One of the areas of research in comparative literature is the study of the relationship between literature and arts. Hezaro Zek Shab is one of the works that have had a dramatic effect on various arts, including performing arts, and perhaps less literary work can be similar in this regard. Dudley Andrew believes that there are three basic relationships between the adaptive cinematic effect and the literary text: borrowing, convergence and conversion and loyalty. This research, in a comparative approach based on Andrew's theory of adaptation, seeks to prove the hypothesis that Shahrzad's film has been influenced and adapted from the space of one thousand one nights. The research concludes by proving this hypothesis that Shahrzad's film is more adapted to the type of "borrowing" because the filmmaker has taken the ideas and thematic or textual contributions to the text of the Hezaro Zek Shab. This book is exactly the same as those literary texts in this type of adaptation; in "borrowing, " the filmmaker is looking for a text that has a reputation as a myth and an ancient role of the pattern in the mind of the audience.

Among the plays of Rezā Kamā l, three works, Shab-e Hezā r-o Yekom, Abā seh Khā har-e Amir and Aziz-o Azizeh, are known as his adaptations of One Thousand and One Nights stories. These works aim to introduce a new appraoch to thetrical expression by utilizing the potentialities of the orginal texts. The present study reads Kamā l’ s adaptations of One Thousand and One Nights stories in the light of Linda Hutcheon’ s adaptation theory in order to show the extend to which his plays provide theatrical affordances in the dramatic texts. As a result, the study shows how far these adaptations have succeeded in articulating the requirements of the stage while being in conversation with the original text.

This paper is a comparative study of a modern Persian poet, Forugh Farrokhzā d (1935-1967), and a Russian film-maker, Andrei Tarkovsky (1932-1989). The works of two artists, from two different cultures, across time and space, have been chosen to demonstrate their morbid fear of death and their search for immortality. Following the postulates of comparative cultural studies, as developed by Steven Totosy de Zepetnek, the objective of this search is to find interrelations between two different production of art, namely poetry and film, as communicative acts. To quote Totosy in "the New Humanities, " this study "is performed in a contextual and relational construction and with a plurality of methods and approaches… " (60). Benefiting from the main tenets of comparative literature, cultural studies and psychoanalysis, this research show how the concept thanatophobia and the quest for immortality are treated in the artistic works of Forugh Farrokhzā d and Andrei Tarkovsky. In Forugh's poetry, the focus would be on her last two collections of poems, Tavalodi Digar [Another Birth] and Imanan Biā varim be Ā ghā z Fasle Sard [Let Us Believe in the Beginning of the Cold Season], in which she illustrates the temporality of life and the urge to be remembered. In Nostalghia, Tarkovsky creates characters like Andrei Gorchakov, the Russian researcher, and Domenicos, the Italian who wants to save the world by sacrificing. Andrei lives his death and joins eternity. This intercultural and interdisciplinary study shows how one can owercom the fear of death by substituting the moral time for the actual time.

This paper discusses the prominent position of Arnold's cultural adaptation of the compelling story of Rustam & Sohrab in Shahnameh in the Victorian literary poly-system in England. According to the poly-system theory as proposed by Even-Zohar, the translated literature can typically have primary /central and/or peripheral/marginal positions in the target culture, depending on whether the target culture is young, weak, or in crisis. Meantime, the faithful translation of Shahnameh seems to occupy the peripheral position in English translation, but Arnold’ s adaptation has typically exceeded the adaptive effect and obtained the proper position in the literary poly-system of the Victorian. This paper aims to peruse how Arnold's cultural adaptation of Shahnameh’ s passionate story has marked a primary position in the English literary poly-system of the Victorian era. To this aim, Firstly, Arnold's position as an interpreter/adaptor is sketched out. Then, having compared Arnold’ s adaptation with the primary sources to which Arnold has typically had access to become familiar with the Persian native story, mention is reasonably made of the marked differences between the two Persian and English literary poetics under the umbrella of poly-system theory as proposed by Even-Zohar. Due to the innovative way (s) Arnold has uniquely adapted, recreated, and re-written the native story with specific regard to the peculiar features of the literary tradition of the Western poetics, it seems that the local story of Shahnameh has found the prime position in the Western literary poetics of the Victorian.

Practicing Ecocriticism, this research attempts to study a movie, Pear Tree, by Dariush MehrJui, adapted from the short story by Goli Taraghi with the same name. Ecocriticism tries to highlight the interrelations between culture and nature in literary texts. This approach tends to analyze texts by studying the importance of the environment in them. In other words, the subject of this approach is surveying the importance of the space in the process of signification. In the movie Pear Tree characters have close relation with the nature or urban spaces, while in the story the main character is mostly drowned in his thoughts. In this study, we try to find the connection between the characters and the space, the conflict between the past and the present, time and space’ s gender, and the function of memory. The contradiction between nature (feminine) and culture (masculine) is what actually gives meaning to both texts. The characters cannot be analyzed without considering their relation to the nature (Damavand Garden) or urban places.

Any discourse constitutes of several propositions and discursive formations that are created by focusing on the political, cultural and social conditions of each era. During the rule of Fath-Ali Shah Qajar (1772-1834), the dominate literary review discourse; which is considered the very traditional discourse, was formed based o the perception system that was governing an era in which, the royal court was recognized as the producing institute of the mentioned discourse. The main purpose of this study is to investigate the role of the literary discourse of return in images specific to Fath Ali Shah Qajar with regard to the political, social, epistemic contexts and the system of knowledge or spirit of the time. If we admit that until then, Iranian painting and Persian literature have been more or less intertwined; it must be said that as the literary discourse of this period was formed, visual norms in FathAli Shah’ s portraits also changed and new features emerged that were not unprecedented in past centuries. In the present study, the authors have attempted to examine how literary discourse led to the formation and influence of king's icons in court, based on Michel Foucault's theory of discourse as a methodological model and an interdisciplinary approach. Studies show that during this period poetry and poetic descriptions continued to be a source of inspiration for painters. Therefore the images of the King became more unrealistic and his aura of holiness grew larger. The king's body also became more intangible and metaphorical.