Repetition often makes poetry more ornate, bestows an orderly structure to it, and gives poetry its musical quality. In drama one can observe repetition in the structure of the dialogues and words. In prose, journalism and story writing, repetition is used to add to the rhythm of writing. Rewriting of the text is also an intertextual repetition through which myth and legends are revived; and adaptation are made from the structure of ancient poets. As a result innovative literary works are created.

The book “ Making a Good Script Great” aims to help its readers develop their skills to express a dramatic story. In this regard, the author, by explaining story structure based on the three-act structure, turning points, climax, and creating characters, introduces the reader the fundamental issues of rewriting the script. But, the author’ s main intention is commercially oriented. . Her evaluation system is purely based on selling movies and Hollywood. Besides, reviewing American cinema is not seen in the book. Reducing the whole world of cinema to the Hollywood, putting the three-act structure as the basis, and the ignorance of any other alternative structures in all affairs of script, are considered content problems of the book.

This paper is a study of principles and criteria of rewriting in children and young adult literature in Shahnameh's rewritings. To this end, some books and articles on language learning and stages of child's linguistic development, as well as psychology of education, developmental psychology, elements of fiction and story-writing for children were studied in order to gain information about needs and interests of children and young adults. Some criteria were identified and defined in three parts: linguistic, content (educational) and technical (story-writing methods). Then, the rewritings published based on Ferdowsi's Shahnameh for children and young adults were selected and analyzed based on the above-mentioned criteria. The obtained results show that in the linguistic area, writers have simply focused on simplifying the language of the original text without considering the language features and abilities of their readers at different age groups. In the content area, most of the writers have focused on the mental, emotional and social characteristics of their readers, but technically, there is less creativity in rewritings considering the original text. The writers have rewritten the stories based on the original text and just in simple language.

The Shahnameh of Ferdowsi, which contains the Iranian and human identity and character, is one of the most important works that has been the focus of most rewriters and re-creators. The aim of the present study is to examine the deconstructive narrative of women's characters in the Shahnameh and the rewritten texts narrated by Atusa Salehi. In the deconstructive study, the rewriter presents a new and fresh narrative by changing the center and centrality of the old work. This study shows how the presence of the absolute and omniscient narrator in the rewritten stories is weak and a kind of change and deconstruction in the women's narrative is created by shifting the center and axis of the narrative (from the classical and action-oriented system to the emotion-oriented system and discourse). The most important issue for deconstructive study is the use of hidden contrasts in the text,the contrast of love and emotion with epic and war is one of the most prominent contrasts in this rewriting. The research method is descriptive-analytical and the method of data collection is the study of library documents. The results of the research showed that Salehi, with a creative narrative and using the contrast of epic, war and love, has presented a different narrative of the women of Shahnameh and new dimensions of their personalities. Where characters such as Gordafarid, Manijeh, Jarireh, Shahrnaz, etc. have a more effective and prominent presence in the narrative than in the original text, and their emotional and peaceful nature prevails over their warlike and epic spirit. The characters' discourse in the rewritten text takes on an emotional dimension, and the text moves from the sign of classical and action-oriented semantics to the sign of Sheveshi and emotionoriented semantics

The rewriting of ancient literary texts for children and adolescents is one of the concerns of authors in this field. The creative rewriting of these texts encourages the reader to read the original text, but the questions that seem to be of importanc in this regard are what criteria are there for simple and creative rewriting of texts? and which one of the studied texts in this study is considered as simple or creative? The present study aims at investigating and rewriting the stories of Khosrow and Shirin, Weiss and Ramin, Lilly and Majnoon from classical romantic texts to answer the mentioned questions. The rewritten stories have been analyzed in terms of their simple and creative patterns. The method of the research is a qualitative analysis conducted through analyzing the content of fiction. Data collection was done through library work. The most important rewriting patterns discussed in this study are: creativity at the beginning and end of the stories, reader participation in the story through the technique of white writing and the tell-tale gaps, polyphony in the text, imitation of the pretext, hidden or overt theme, suspense, expectation, space creating in the texts and excitement. The results of this study demonstrated that, based on the above-mentioned patterns, among the rewritten texts, the story of Khosrow and Shirin is a creative paraphrase due to the use of tell-tale gaps, space creation in the texts, polyphony in the text, hidden theme. Also, the rewritten stories of Lilly and Majnon and Veis and Ramin are considered as simple ones.

The current research aims to investigate and criticize the rewriting texts of Kalileh wa Demneh - a case study of rewriting Mirzarzaei - based on Newmark's cultural theory, using the analytical descriptive method, in order to determine how much the components that Newmark enumerated at the extralinguistic (cultural) level can Obstacles for message transmission are considered in rewrites of Kalileh wa Demeneh. To achieve this goal, in the first step, Newmark components were identified in the original and rewritten text, and in the second step, the amount of information that should be transferred from the linguistic structure of the original text to the rewritten text was extracted, and in the final step, this information was compared and analyzed with the rewritten text. The findings show that in most cases, the transfer of social and cultural information of the original text based on what Newmark mentioned, was not possible for rewriting. It seems that one of the significant obstacles for conveying the message of the original text is the translation of this type of vocabulary and structure in the rewritings of Kalila wa Demeneh.

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.

Rewriting of the old literary works has considerably flourished in the recent decades. That many literary texts have been rewritten for different age groups of children and young adults testifies to the significance of these texts for these age groups. In rewriting, “after selecting the original old text and simplifying it, fictional spaces are created by establishing elements of time and place for events, and then, new structures are built for the stories by expanding the plot” (Najafi-Behzadi & Safari, 2015: 72).It is not easy for young adults to read the intricate tales of Mathnavi and understand the protean thoughts of Mowlana; therefore, writers of children and young adult literature undertake the task of rewriting the long stories of Mathnavi in the form of independent shorter stories to help readers find their way in the intricate tales (ibid, 72).Seyed Ishaq Shojaei has rewritten one of the tales of Mathnavi, “The King and the Maid”, with the new title “Love’s Alchemy” in his collection of stories, The Ladder of the Sun.