COMPARATIVE LITERATURE RESEARCH
Year:2019 | Volume:6 | Issue:4 (18)|Papers Count:10

The article investigates the adaptive method of Hayao Miyazaki in using Japanese narratives through his animation filmmaking based on James Dudley Andrew’ s theory. Qualitative research method has been applied owing to the nature of the content and the type of analysis. In line with the research aim, the main question is how Miyazaki has adopted Japanese narrative literature in making his animated films (the case). Miyazaki’ s admired animated movies were adopted from Japanese narratives. Accordingly, among which Spirited Away was analyzed as the case of the study. The results consist of fundamental points revealing his method of adaptation. Miyazaki has considered the full capacity of Japanese narrative literature and other adaptative approaches in developing drama, characterization, visual and audio elements of his films perfectly. Bringing up the ideas in this way, Miyazaki has created the main elements of narrative aligned with his cinematic expression. Not only did he adapt the texts of Japanese literature, but also benefited from the illustrations of the literary works. Miyazaki's style uncovers the various potentials of narrative sources for idea generation in storytelling, characterization as well as it reveals how to create successfully hit animated feature films. His method can be an effective strategy in making superior and adaptation Iranian filmmakers may consider in animation film production.

Sa'di’ s reputation has long crossed the borders of Iran. Among the masterpieces of Persian literature, which have been translated into other languages, including French, none has been as influential as Gulistan. This book, due to the translations made, has been a source of inspiration for the French, in particular for the European poets and writers who had a taste close to Sa'di’ s. In this article, after briefly reviewing the course of the acquisition of the Persian language and literature among the French, we dealt with the history of the translations of the Gulistan of Sa'di, from the beginning to our time; then, while comparing the examples of translators' works, we tried to demonstrate the qualities and flaws of each translation from a qualitative and a quantitative point of view. And finally, we examine this question that among the French translations of Gulistan, which is more faithful to the original book.

According to the intertextuality theory, each text is formed from the previous texts and cultures which are hidden in the present one and form its existence. Intertextuality theory is going to decode the presence of the previous texts in the present one. Based on this theory, this article wants to decode the Simultaneous presence of Quran and Kashf al-asrar (a translation and interpretation of the Quran) in Ahmad shampoo’ s poems. The importance of this subject is in its efforts to show the role of the Quran in the rhythm of Iranian contemporary Blanc poem. Authors in this article have tried to apply the theory without considering the intentions of the poet and his ideology. The results of this research show that the Intertextual relationships between these three texts have been seen in the levels like external and internal music of poem (meter, rhyme), rhythm, Structures of sentences, Quranic horizontal style of writing.

Whereas recognition of world epic works causes cultural relation and manifests cultural bases similarities and differences in comparison between our epic works with other nations, and conclusions to worldwide peace, in this essay exert by analysis statistical – content – qualitative method till in addition to critic some pundits concerning on epic characters and comparison the nine epic elements and thirteen motifs in Boezuname and Beowulf to answer this question: are alike or vary in source Borzuname and Beowulf that are from two various Iranian and Anglo – Saxon nations? Studies reason that epic elements and motifs are alike but in valuation on them and custom of demonstration in stories are different.

The purpose of this article is to investigate the capacities and trends of the literary text in the transformation into a computer game by analyzing the descriptive-analytical method by examining the part of inferno from the text of Dante's Divine Comedy and its adaptation game. The main question to answer is that the Ardavirafname of Persian classical literature, given the structural and content similarities with the Divine Comedy, will have the capabilities to reproduce in the form of a computer game. With this description, it is possible to conclude from the simultaneous review of the game and the text of inferno and to compare the artifacts with it, it can be concluded that the fictional framework of both the literary works is similar, and the narrative of the artifacts is also reinforced by the struggle, suspension, and complementary narratives, The ability to become a fitting story of the game is adapted. The heroes of both texts have common characteristics and, like the game of inferno, one can remove the characters in a descriptive way, and by turning the function and the active connections into desirable characters for an adaptation game. The space and place described in Dante's text and detailed in the adaptation game is faithfully reproduced, and in terms of both qualitative and symbolic expressions, the visualization function has the same capability and has the capacity to be amplified and expanded descriptions and spatial images are becoming an appropriate place to create a multi-stage adaptive computer game.

The purpose of this article is to investigate the capacities and trends of the literary text in the transformation into a computer game by analyzing the descriptive-analytical method by examining the part of inferno from the text of Dante's Divine Comedy and its adaptation game. The main question to answer is that the Ardavirafname of Persian classical literature, given the structural and content similarities with the Divine Comedy, will have the capabilities to reproduce in the form of a computer game. With this description, it is possible to conclude from the simultaneous review of the game and the text of inferno and to compare the artifacts with it, it can be concluded that the fictional framework of both the literary works is similar, and the narrative of the artifacts is also reinforced by the struggle, suspension, and complementary narratives, The ability to become a fitting story of the game is adapted. The heroes of both texts have common characteristics and, like the game of inferno, one can remove the characters in a descriptive way, and by turning the function and the active connections into desirable characters for an adaptation game. The space and place described in Dante's text and detailed in the adaptation game is faithfully reproduced, and in terms of both qualitative and symbolic expressions, the visualization function has the same capability and has the capacity to be amplified and expanded descriptions and spatial images are becoming an appropriate place to create a multi-stage adaptive computer game.

“ Kalila and Dimna” in Persian literature and “ Aesop’ s Fables” in ancient Greece are two examples of old works of the world’ s literature and are classified as works falling within the domain of “ animals allegorical fables” . In the present research, the application of satire as a genre of unserious speech which forms an artistic dimension of the two mentioned books is studied. For this purpose, allegorical narratives of the two books in terms of different techniques for creation of satire such as ethical-critical message, verbal satire, situation satire, specific meanings, characterization and … are studied, compared and clarified. The satire applied in “ Aesop’ s Fables” primarily focuses on demonstration of existing moral and social contradictions in society by profiting from metaphor and extension in verbal satire and situation satire which of course the brevity in length of fables and application of the brevity technique has helped eloquence and comical aspect of this type of satire. In “ Kalilah and Dimnah” too, moral and social contradictions have been given attention to by satirical expression and its narratives’ satirical strength is originated from a variety of themes, characterizations as well as situation satire next to verbal satire, with this difference that in “ Kalilah and Dimnah” with composition of Nasrollah Monshi, application of narrative-inside-narrative technique together with descriptions and metaphors and those groups of literally fineries which is characteristic to technical prose, made the narratives lengthy and decreased the effect of satire.

One of the goals of comparative literature is to explore the common layers of literary, cultural and social communities and nations. Comparative literature can also clarify the fundamental interactions with a community by examining deeper layers. Causal Layered Analysis in Futures Research Methodology as a new way in a future study at four levels analyzes the past, present and future effects: Litany level, Social causes, Structure, and the discourse, Metaphor and myth level. By providing a systematic way of extracting the myth from the text, in this research, the fourth layer, which is shared by the mythocritic of comparative literature, to analyze and understand of three narrative texts: the liberation of three hundred prisoners by Hallaj in Tazkerat ol Oliya of Attar, the liberation of men by Prometheus in Enchained Prometheus, and the liberation of Peter imprisoned by an Angel in The Bible. In the text of Peter, Peter does not receive any human help. A supernatural force helps Peter. It can also be pointed out that for the uprising and rebellion against the ruling power in a community in the West, the persecutor must have a holy color to be accepted by the community. In the event that, in the Iranian story of Hallaj, this man is responsible for his own destiny and is not waiting for another force, and the rebellious person must pass his life so that the rest follow him. In Prometheus, like in Peter, humans do not play any role.

Mithras is one of the oldest mythical, religious, and cultural characters of Indian and Aryan tribes. The god, expression of common beliefs in gods, before migrating Indo-European and long before the advent of Zoroaster were formed. On the one hand, religious texts and sacred hymns India and Iran represents the ideas and religious beliefs the land millennium BC. Mithras too one of the gods and common characters the two old people, which after the separation, his special position with both retained. The present study tries to study Mithras based on the oldest indigenous and Iranian populations and by direct reference to Rig Veda and Avesta, it seeks to stamp the role of the intellectual-cultural context of these tribes in determining the actions and characteristics of a mythical face. The findings show that the common actions and attributes of the goddess are rooted in the period of the unity of these tribes and the root of the differences in this mythical face must be found in the Iranian branch and after the physical and spiritual separation of the Indian branch. So, after ethnic separation, intellectual and cultural differences also appear in common mythical characters. These characteristics and influences have evolved or evolved under the influence of cultural context and social factors.