Even though the mirror has always born the connotation of truth telling in literature, there's no doubt that Jean Genet is one of the rare writers who introduces the mirror as an agent of illusion in his dramatic work. Genet's characters are always fleeing their true identity and in this endeavour, the mirror erases their daily reality by giving truth to their disguised appearances and thus, reinforces their wishes and illusions. The aim of this article is to underline the various connotations that the theme of mirror bears in Genet's work in order to see which outlook on reality makes their focusing point. We conclude that not only the mirror for Genet is not reality reflecting but it voids the reality from its true meaning and mutates it to a world in which no wish is impossibleand no illusion, an illusion.

BACKGROUND AND OBJECTIVES: Stories and stories, which form a large part of the works, create different semantic methods and sciences in their structure. Among these sciences, "narratology" is a theory that uses structural methods and principles to organize the components of the story until it reaches the author's goal; Fiction, therefore, is a platform for the creation of new methods of extensive literature. Amin Faghiri, one of the leading writers in the field of Persian culture and literature, using a variety of narrative techniques in the novel Dancers, succeeded in creating a work that is useful in communicating with the audience. The reader accompanies the author in the study of these stories and the use of these tricks is considered as an indicator of the author's abilities. The purpose of this study is to investigate and analyze how to use different types of narratives based on the theory of narration techniques "Geragent" French theorist. METHODOLOGY: This descriptive-analytical study examines a number of dancers' novel narratives based on the four topics of order, continuity, frequency and time, within the framework of narrative theory in the time of Gerard Genet. FINDINGS: A poor person breaks the sequences of time using artistic techniques. Time-lapse in the novel "Dancers" is retrospective and by using descriptive pause tricks and creating a scene, it has slowed down the narrative time routine and its negative acceleration. These patterns of chronological apricot complicate the narrative, and this has added to the novel's appeal and richness. CONCLUSION: In the novel "Dancers", this author narrates in a realistic way. Realism is the dominant element of his work, which apart from fictional elements has played a significant role in the process of his works to date. In this story, the narrator with the third point of view of the omniscient person, by confusing time in the narrative, associates the reader with a narration of people, places and events and shows the events. Using artistic techniques, he disrupts, delays, or speeds up sequence relationships.

In the history of Iranian art, Qajar painting has an important place. Royal portraiture school in the period of Fath Ali Shah Qajar is a prominent branch. In Royal portraiture, naturalization, abstraction and decoration are brilliantly intermixed. Mehr Ali was one of the painters of this period that created portraits of Fath Ali Shah and a number of Qajar women. The primary goal of this study is to investigate Mehr Ali's works based on visual features and their tie with traditionalism and the use of decorative elements. The important aspect of this study is the use of Gerard Genet's Transtextuality to read Mehr Ali's works. The main research questions include: 1. How did the decorative elements and traditionalism appear in Mehr Ali's works? and 2. How can we find visual counterparts in his artwork using the metamorphosis classification in Gerard Genet's theory? For this research we use descriptive-analytical methods as well as online and library resources. Our results indicate that Mehr Ali's works have explicit intertextual relations with the writings and poems of poets and writers and the sculptures from Iran’s past. His work has also an implicit and hidden intertextual relationship with ancient Iranian myths. Mehr Ali's works contain the Architextuality of the Qajar court royal portraiture style. All interpretations and critiques related to Mehr Ali's works are considered as Metatextulaity of his artwork. The propaganda works of Fath Ali Shah Qajar, such as sending portraiture paintings as a peace offering to the court of India and the Versailles palace, are the Paratextuality of Mehr Ali's works. Hypertextuality of Mehr Ali’s works is Fath Ali Shah Qajar, who commissioned the works, and the former style of painting in Iran. Mehr Ali's works are considered as Hypertextuality for the artists after him. Fath Ali Shah is considered to be a traditional legatee who has been familiar with the political ideas of the state from the previous era, on which he emphasized for direct political and cultural validity and legitimacy of the government, which directly and indirectly refer to concept of Price.Visual principles and structural fundamentals of the traditional Iranian paintings are influenced by mystical elements and their special reception from the philosophy of Eastern ontology. The Qajar artists, who were bombarded with the manifestations of European culture and civilization, inadvertently were fascinated by the visual elements of the works. Like other contemporary artists, Mehr Ali neither wanted nor could completely abandon the traditional values of the past. The Qajar era discourse along with two traditional and modern discourses of intellectual development are preceded by visual developments, but the Qajar era discourse of Fath Ali Shah, which can be considered as continuation of Khosravani tradition, the epistemic system of ancient Iranian thought, and the spirit of Aryan ideology, inspired by the Shahnameh of the community, is embedded in a long-lived tradition. In such circumstances, Mehr Ali could find a way out of the common manifestations of naturalism by creating artworks in Qajar portraiture style. Mehr Ali's works contain elements that code and have significant cultural connection with the literary narratives of poets, elements of former Iranian paintings, ancient sculptures, Iran’s mythology, heroic, national patterns, etc. In Mehr Ali’s paintings, Fath Ali Shah is glorious, magnificent, luxurious, and slim-waisted with broad shoulders who has a dagger, a golden sword and a luxurious garment full of patterns. The painting is also full of intricate jewelry. All these refer to the infinite power and wealth of the king. Using transparent colors, a cane with the symbol of the legendary chicken and the crown of the king, he has included symbolic meanings in his paintings .The use of symmetry is evident in the works of Mehr Ali. Folk elements in his work have been largely ignored, and by exaggerated usage of luxurious elements, he tries to depict Shah’s wealth. Because of their highly expressive capacity, Mehr Ali's works can be studied and analyzed by all five approaches of Gerard Genet's Transtextuality. Since Mehr Ali's works are considered adaptations, they are in the category of Inter-Semioism which causes the conversion and duplication of texts. It should also be noted that as a creative artist, Mehr Ali himself was the originator of visual themes and images of his works. Mehr Ali has used the hypertexualities from literature, elements of Iranian painting and miniature, surviving carvings from the historical past of Iran and so on. Mehr Ali has surpassed all other Hypertexualities in his works and he expressed his secrets in an innovative way and created hypertexual artworks. 

Despite the significance of contemplation in novel, most war novel writers have failed to deal with the philosophical aspect of death by overemphasizing the depiction of tragic scenes. Therefore, their novels are more of an event type. Most research works about war novels have studied them with an ideology-oriented approach and rarely attended to their philosophical aspects. In this search, by using Gerard Genet’ s narratology and a descriptive-analytic approach, the concept of death is examined in three war novels to understand how much war novels have been able to introduce the philosophical features of this phenomenon. As the results of this search show, the death event in these novels has repetitive frequency and is usually narrated with delay and details. The war narrators have put too much emphasis on heart-rending scenes of characters’ death so as to draw the attention of the audience to the oppression done to those characters. In other words, the emotional aspect of these novels speaks louder than their philosophical aspect. In the novel Chess with the Doomsday Machine, the writer deals with both the emotional and philosophical facets of the subject and places the major character in a struggle to choose between life and death. Therefore, as a pragmatic requirement of narration, it is necessary to notice the philosophical aspect of the narrated concepts.

Intertextual reading is considered one of the methods of new criticism that tries to relate the text with other texts and by considering the relationships between different texts and their influence on each other, to clarify a new approach to meaning. On this basis, this article intends to reread the Shams painting by Nasrullah Afjaei, read the written and visual signs in it, and answer the question of what each of these signs indicates. What hidden meanings can the relationships between them form? This research is qualitative and descriptive-analytical, and practical in terms of purpose. The subject of study in this research is a painting by Nasrullah Afjei, executed in 1359 with paint and oil technique on canvas. In the analysis method, the approach of intertextuality is described first, and among the theorists of this field, Gerard Genet’s opinions and the intertextuality process were discussed. Since this work includes two types of written and visual signs, written and visual cues are discussed, and then the interactive effect of written and visible text and their intratextual and extratextual relationships in intertextuality and hypertextuality is explained. The writing system includes Thuluth and Nastaliq calligraphy; One of the notable points in the work is that the frame of the work is considered part of the work; Master Afjehai wrote the translation of Surah Shams in Nastaliq script, and a frame maker carved them in relief on the width of the wooden frame. Based on this, the writing of Nastaliq and Tholut on edge is also among the written signs of the work. The symbolic system of the image also includes four parts: the portrait of Hazrat Imam Khomeini (RA), which is in graphic form; vertical lines covering the Imam’s face; The color of the work, and the decorative shapes around the writings of the wooden frame. It should be noted that the textual data of this research was collected in a documentary, fiche, and library manner, and image data was collected based on field research, photography, and direct observation of the work. The results of the study indicate the existence of solid intertexts in the fields of Iranian-Islamic culture, as well as the purposeful creation of the work based on hypertextuality relationships between the Tholut script, the Nastaliq script, and the image of Imam Khomeini (RA), which ultimately forms a position that, in addition to having an aesthetic dimension And adherence to the principles of calligraphy art represents the artist’s heartfelt beliefs about the most important historical development of his time. Also, this analysis showed that the relationship between the architextuality of the work depends on the Calligraphic painting. Its metatextuality is the type of confirmation and description, and the paratextuality of the work was formed through Ayatollah Taleghani’s interpretation of Surah Mubarakah Shams and caused motivation in the artist to create the piece. Written and visual systems complement each other and effectively form the final meaning. Explicit intertextuality in the use of the written Arabic text of Surah Shams and its Persian translation is shown in the frame. Its implicit intertextuality can be seen at the linguistic level, in the selection and writing of Surah Mubarakah Shams in Arabic and its translation into Persian, and at the paralinguistic level in Punctuation and typography tricks on a non-linguistic level, he investigated the cultural dimension and aesthetic codes of the two calligraphy of Thought and Nastaliq. The symbolic system of the Nastaliq text of Surah and Imam Khomeini’s image of intra-cultural intertextuality and the Arabic text of Surah Mubarakah Shams indicate the work’s intertextuality. Also, although the twisting of the letters of the Thuluth has an aesthetic dimension, it can mean the visual interpretation of the mention of the holy word in Islamic belief. The dark and light vertical lines created by the stretching of the letters Alef and Lam of Surah Shams, in addition to the decorative meaning, show the concepts of standing and clear victory over darkness, which, due to the content of Surah Shams and the hidden sense in its good verses, refer to resurrection, There is a national uprising in which symbolic meaning is formed between the portrait of the revolutionary leader and the importance of the sun, The audience is promised the good news of victory and the resurgence of Islam. Also, the work of Shams in the context of hypertextuality, in terms of function, has a serious role, and similitude (imitation) has a forgery similitude. The type of use of the Thuluth has formed the sameness of the pastiche. The image of the Imam’s face is a type of forgery. In reading transformation (change), there is also a reductive transformation in removing photo details, which also has a slightly increasing torque due to stretching the letters Alef and Lam. This work is because it is the first calligraphy painting in which the art of calligraphy is combined with the art of graphic portraiture and has an intermodal transmodalization aspect. It has been able to create a new form in the creation of works in the genre of calligraphy, which looks creative and original

The purpose in this research is to show the influences of Hafez on Parvin Etesami in terms of thought and language. The method of research is based on Gérard Genette’s rather descriptive and analytical, but actually intertextual approach. Intertextuality relies on discovering influences and effects of texts upon other texts. Based on this approach there are no unique, pure, or all- inclusive texts. All texts are influenced by texts that existed before and will influence other texts in the future and such relation is present in the conversations that exist among texts (Genette). The terminology of intertextuality was first introduced in the late 1960s by Julia Kristeva. Gérard Genette is among theorists that utilized intertextuality in a practical manner and called it transtextuality. Our reading of Parvin’s Qasidahs and Hafez’s Ghazals reveals to us the presence of metatextuality and paratextuality from Genette’s five categories of Intertextuality, Paratextuality, Metatextuality, Hypertextuality, and Architextuality. The relations of metatextuality in some of the poetry by Parvin & Hafez are telling of Parvin’s adherence to cultural and intellectual principles of Persian classical poetry and Hafez’s critical positions on these matters. 

Narratology is one of the methods of understanding the principles governing narratives. Many theorists have researched in the field of narratology. Gérard Genet is one of the most prominent structuralists in this field. Genet's theory focuses on how to look at the text and allows the reader to understand how texts are internalized in other texts. Accordingly, there are five factors to analyze the body of a narrative: continuity, frequency, order, face and tone – which are related to time. Interestingly one of the characteristics of the art of painting in Iran is its connection with poetry. One of the goals of painters has been to use visual themes and spaces in poems. The stories of Shahnameh have been illustrated many times by painters. These stories, in addition to entertaining function, have an educational and moral aspect. The story of chaining Zahhak is one of the stories of the Shahnameh, which has an educational aspect due to the dominance of light over darkness and good over evil. It has inspired the painters who emphasized the permanence of this part of the story, that is, to drawing oppression and darkness and portraying and narrating it in different ways in different periods and schools according to the characteristics unique to their time. The purpose of the present research is to analylze the visual narrative of the arrest of Zahhak in Baysunghur Shahnameh according to the factors describred in Genet's theory of narratology. The research method was descriptive-analytical, while describing the visual space, its interrelation with the verbal text has been explored. Visual and written data collection was desk-based. Consequently, questions have been raised: how can the narrative analysis of the mentioned image be based on Genet's theory? Also, how did the painter show the time in the picture? Due to the structural differences between the verbal text and the visual text, it is not possible for the painter to use the continuity of the image to show the events like the poet. By using the story and its features, the poet can follow the connection of events step by step and in this way use all the verbal capacities such as the orderly sequence of events, the repetition of story spaces and the continuity of an event. But this capacity does not exist for the painter. Therefore, he tries to break the time sequence of events and display image by connecting two or more events and in this way by intervening in things such as face, it draws new angles for the audience and makes the role of the audience more colorful from this point of view. It can be said that the painter's role is more colorful in tone as a visual expression and acts as an omniscient.

In the present study, the characteristics of genetic intertextuality in the textbook of foreign Persian students have been studied. These indicators are referred to as explicit, implicit and implicit intertextuality. The data of the experimental group in this study were collected from 20 essays of Persian students of Dehkhoda Institute. Participants in this study are classified into two groups: experimental and control. The subjects of the experimental group were twenty Persian students at the super level level and the members of the control group were two Persian level students of the superior level of this institute who were selected. The results obtained from the study of these data indicate the use of an intertextual index explicitly and to a lesser extent in the writings of these Persian students. In reviewing these data, we sought to identify genetic intertextual individuals in relation to educational resource skills. Efforts to change the way you teach reading skills in the control group and the use of educational materials in relation to your writing and speaking skills will be of great interest to you. The results of this study showed that the training in the control group led to the improvement of textual references in a special way and using the words and sentences taught in Farsi. Of course, due to the limited knowledge of Persian students in the educational resources presented, the explicit intertextuality index also remained only the index used in the writing productions of these Persian students.