Following the pragmatist perspective regarding the development of sociological approaches, Lucian Goldman's Theory of Generic Structuralism analyzes literary texts as a social institution. According to this theory, the work of a writer, in the final analysis, is primarily the result of the desires and aspirations of a social class. In Goldman's view, a literary text, in dual function, is influenced by a variety of economic, social, and ideological HYPERTEXTs, and on the other hand, with respect to the contradictions in objective reality, it affects the HYPERTEXT. Proverbs, especially with regard to the historical-class experiences and their longevity, are a sound basis for literary exploration with a Generic Structuralism approach. This study, bearing a descriptive-analytical approach, examines proverbs and has shown the validity of this theory in a number of literary propositions. The study, as one of the first attempts that has taken the theory from the field of one or more coherent works into the historical-applied range of literary proverbs, shows how proverbs in terms of its concise and affective nature, are used by both the upper and lower social classes, and act as a means of achieving interests. The study reveals the link between HYPERTEXT and form, the expression of two types of HYPERTEXTs, and the examination of conceptual contradictions even in a historical period.

Background and Objectives: As more various types of Computer Assisted Language Learning (CALL) programs have been incorporated into language classrooms over the past five decades, it has become more important to find a clear answer to questions such as to what extent, and under which moderator variables CALL programs can yield more effective outcomes as compared to traditional language instruction. The present meta-analysis is a comprehensive investigation to determine the extent of the effectiveness of HYPERTEXT annotations on the learners' vocabulary learning. Moreover, the study aimed at identifying the moderator variables that influence the heterogeneity of the effect of various studies. Methods: The statistical population of the present study consisted of all the studies conducted in the past related to the effectiveness of HYPERTEXT annotations on learners' vocabulary learning. To this aim, an exhaustive research of the multiple electronic databases was carried out in order to identify all the studies examining the relative effectiveness of CALL on enhancing learners' vocabulary learning The main criterion for selecting the studies to be analyzed in the present research was their publication in journals or proceedings of conferences during the period between 1950 to 2014. Concurrently, the experts in this area were also consulted for articles that had not been identified in the primary search. Eventually, the search process resulted in the identification of 132 articles of potential relevance to the present meta-analysis. In the next stage, all studies were investigated more carefully and examined based on the checklist which was the criterion for the final selection of those studies that should be included in the present meta-analysis. Finally, a total sample of 36 studies met the required criteria and selected for the final analysis. Data analysis was performed using Comprehensive Metaanalysis Software (Version 2). Findings: With respect to the overall effect size of the HYPERTEXT annotations on the students’ vocabulary acquisition, the results of 36 study in the present meta-analysis revealed that HYPERTEXT annotations had a large, positive, significant effect on students' vocabulary. Acquisition (+140). In addition, there was a highly significant heterogeneity in the distribution of the effect sizes in the meta-analysis under investigation. To further explore the sources of the heterogeneity between the effect sizes across studies, moderator analyses were administered in terms of six variables (research design, sample size, proficiency level, age, duration of the program, year of publication). It was found that the variable of the sample size had significantly affected the inconsistency of the effect sizes across the studies under investigation to the extent that studies with a sample size of more than 60 individuals produced a large effect size, whereas studies with sample size of less than 60 individuals generated medium effect size. Another significant finding was that the mean of the effect sizes statistically differed across different duration levels of the teaching program. That is, studies with a higher duration of teaching program had a larger mean effect size than those with a lower duration, indicating that the learners' vocabulary achievement enhances significantly as the length of the teaching program increases. Moreover, the results revealed that publication year was also a significant moderator variable so that the studies published in the recent years had a higher effect size as compared with those published in earlier years. Other findings revealed that the dissimilarity of the effect sizes in the present meta-analysis was not influenced by the differences among research design, proficiency level, and age of the language learners. Conclusion: Based on the findings of the present meta-analysis, it is necessary to integrate CALL into traditional language classes in order to reach better learning outcomes. With respect to future research, the researchers are recommended to provide more details of the study so that it could be possible to confirm or reject the factors that are effective in the role of computer in second language (L2) learning.

Referral theory addresses the intertextual and transactional reading texts. Based on his theory, the literary works refer to other texts and transcripts. Or the audience can the understand and receive the texts by referring to objective instances, or by referring to other texts. In this study, the allegories of Saeb have been chosen from the perspective of this theory. Because in each allegory; Saeb has referred the audience to a text or an external. The authors have tried to describe and the texts and transcriptions that Saeb has used in making allegories in a descriptive-analytical way؛ the results of this research show two important points. First, the allegory has a referential basis; the poet has refereed the reader to a parable in order to support each claim. The other is that these parables are based on intertexttual or translated text referrals. The Quran, hadiths, and prophets the prophets of the most important texts, social and natural are also the main transcripts that Saeb has used in his paraphrasing. The selection method is to collect and categorize the Saeb allegories based on types of referrals. 1. Introduction: Cross-referencing in literary texts is the central idea in the intertextual approach to literary criticism which has its roots in the works of Saussure and Bakhtin. For Saussure, “ a sign can be imagined as a two-sided coin combining a signified (concept) and a signifier (sound-image)” (Allen, 2016 [2000]: 21). Bakhtin, however, believes that “ the abstract linguistics of Saussure strips language of its dialogic nature, which includes its social, ideological, subject-centred and subject-addressed nature” (ibid.: 36). In this context, two general views were formed in intertextual criticism about cross-referencing in literary texts: “ reading” and “ referencing” . The main difference between these two is that reading takes place when the reader, whom Barthes considers as “ a collection of texts” (Modarresi, 2011: 68), reads a text in the context of his previous knowledge of texts. In this definition, language “ refers to other texts instead of the reality and society” (Namvar-motlagh, 2016: 166). This can be illustrated by the use of literary tropes like metaphor, metonymy, and analogy which do not conform to ordinary language usage; that is, their signs cannot refer to the objective and conventional instances. To understand literary language, therefore, one should seek instances other than ordinary reality and significance. This is why Riffaterre developed his ‘ theory of reading’ and proposed two types of reading: mimetic and semiotic. “ Mimetic reading refers to the formal comparison of the text with external, real sources” (Namvar-motlagh, 2016: 236). In this type of reading, the text represents the real world and its linguistic instances can be interpreted by reference to the reality. According to Riffaterre, the problem of this type of reading is that only the superficial meaning is noted, thereby reducing a poem to unrelated bits and leaving its usually ungrammatical aspects unresolved (Selden and Widdowson, 1392: 85). Semiotic reading, however, is defined on the basis of the associations of the text with itself and other texts (ibid. ). In other words, the text is perceived and understood by referring to instances in the world of texts rather than in the real world. It is only at this level that the reader can surmount the mimesis hurdle (Allen, 2016: 16) and analyze as well as understand the ungrammatical mysteries of the text. This second type of referencing is the one that is prevalent in academic research and makes use of both visible and hidden devices in the text to refer the reader to the absent texts. Analogy, which is a kind of intertextuality, has always been widely used by literary authors for the purpose of providing evidence, argumentation, and persuasion. In analogy, a similar experience that is often rooted in the reader’ s knowledge is referred to for proving an epistemological, intellectual, moral, or any other claim. Importantly, the realistic nature of analogy readily lends itself to an interpretation based on mimetic reading. In addition, it can also be approached through semiotic reading due to its poetic manner of expression. The present study intends to analyze the analogies of Sa’ eb Tabrizi, which are of a great number and variety, from the viewpoint of both types of referencing. Sa’ eb has both made extensive use of analogies to create texts and HYPERTEXTs and referred the reader to numerous texts and HYPERTEXTs to persuade, witness, and argue on a more solid basis. There are three research questions: 1) Can we analyze Sa’ eb’ s analogies on the basis of the theory of referencing? 2) What are the main texts and HYPERTEXTs which Sa’ eb has referred to in his analogies? 3) Should the reading of these analogies be mimetic or semiotic? 2. Research Method: Based on a descriptive-analytical method, this study seeks to introduce and analyze the texts and HYPERTEXTs that are the point of departure in Sa’ eb’ s analogies. For this purpose, analogies were extracted from Sa’ eb’ s ghazals and classified according to their religious, intellectual, cultural, social, and natural background. The analogies were then analyzed in terms of intratextual and extratextual references as well as mimetic and semiotic reading. 3. Discussion: Sa’ eb’ s skill in creating analogies lies in his use of numerous texts and HYPERTEXTs which is manifested in intertextual and HYPERTEXTual modes of referencing. In terms of intertextual referencing, which denotes “ one text referring to another” (Namvar-motlagh, 2016: 51), Sa’ eb mainly touches upon four sources, i. e. the Quran, hadith, religious law, and historical anecdotes (usually those of the life of prophets). These types of analogy can be analyzed through three approaches. The first one is intertextual referencing which means that these analogies link the text to other texts. The second one is mimetic reading because texts like the Quran, hadith, and historical anecdotes tend to put emphasis on the reality instead of imaginary aspects. The third one is semiotic reading because the analogies are narrated within a poetic context. In terms of HYPERTEXTual referencing, which denotes “ one text referring to the world outside the text” (Namvar-motlagh, 2016: 52), two umbrella HYPERTEXTs which form the basis of a large number of Sa’ eb’ s analogies are society and nature. He has made use of the capacity of nature and society to create relevant analogies and support his claims. These types of analogy can be interpreted with reference to both mimetic and semiotic reading because they chiefly rely on the realities of the nature and society. Furthermore, due to the poetic expression of these realities, a deep understanding of the analogies requires semiotic reading. 4. Conclusion: Sa’ eb pays so much attention to analogy and is so skillful at creating analogies that some scholars consider it as the dominant technique in his poetry. With the help of his dynamic imagination and creativity, this famous poet of Hindi school has made extensive use of intertextual and HYPERTEXTual contexts to create analogies. There is a realistic tendency in his analogies in a way that he moves from depth to surface in an attempt to objectify abstract concepts by translating them into their sensual equivalents. These sensual equivalents, or analogies, are mostly based on shared religious and historical knowledge and collective experience which is concrete and noticeable the context of nature and society. References, therefore, are mostly made to objective instance in the real world, or to categories that are taken for granted among the audience groups. Thus, they can be approached through mimetic reading. On the other hand, since all these realistic notions are expressed in a poetic language, their mysteries should be discovered by semiotic reading. The main sources involved in Sa’ eb’ s analogies are the Quran, prophet’ s hadith, and historical anecdotes. The main HYPERTEXTs are the realms of society and nature. Being aware of these sources, the reader can come to an understanding of the cultural and intellectual roots of Sa’ ed’ s analogies and interpret them at a mimetic or semiotic level. Furthermore, this awareness can also act as an inspiration for other literary authors because the great variety in Sa’ eb’ s poems is due to his effective use of major religious, intellectual, and cultural sources as well as his close examination of the nature and society.

AbstractTazkereh al-Awliya, which is the most important work of Attar's prose and one of the greatest texts of mystical prose, has great potential for intertextual comparisons with other mystical works as well as Attar’s Masnavis. This descriptive-comparative study aims to show the textual relationship of 51 joint anecdotes of Tazkereh-al-Awliya and Attar's Masnavis with the HYPERTEXT approach, one of the five pillars of Gérard Genette’s theory of transtextuality. The results of the research show a broad relationship between Tazkereh Al-Awliya and Attar’s Masnavis. Both types of HYPERTEXT (i.e. homogeneity and tragedy) are observed in these works. This connection is more than the type of tragedy, and among Attar's Masnavis, Al-Tair, Elahinameh, Misibatnameh, and Asrarnameh, respectively, have the highest percentage of common anecdotes with Tazkereh al-Awliya.  IntroductionThe term intertextuality was first coined in the 1960s by Julia Kristeva, a Bulgarian-French post-structuralist theorist. The concept was further discussed and developed by other famous literary critics including Roland Barthes, Jacques Derrida, Claude Levi-Strauss, Philippe Sollers, Michel Foucault, Jacques Lacan, and Julien Greimas. Finally, Gérard Genette proposed the term transtextuality to refer to all the relationships between two texts. Concerning this term, he writes in his Palimpsests: Literature in the Second Degree: “Today, I would like to say that, in general, it is the issue of transtextuality or textual transcendence that I have previously defined generally as the fact that any hidden or obvious thing can put the text in a relationship with other texts” (Namvar Motlagh, 2007, p. 86).  Genette divides transtextuality into five subtypes: intertextuality, paratextuality, metatextuality, architextuality, and HYPERTEXTuality.“Attar-e Neishaboori is a well-known mystical figure who made extensive use of stories and anecdotes in his works. He would combine all his mystical or moral issues with anecdotes to leave a greater impression on the audience’s mind. This is why the analysis of the components of his anecdotes is important” (Ashrafzadeh, 1994, p. 31).  Tazkirat al-Awliya is one of the most outstanding works of Persian mystical literature that has great potential for intertextual comparisons with other mystical works as well as Attar’s Masnavis. Attar sometimes repeats one of the anecdotes of Tazkirat al-Awliya in his Masnavis only thematically without mentioning proper names. Conversely, he sometimes takes a very brief and ambiguous anecdote from Tazkirat al-Awliya and expands it in his Masnavis. “Like intertextuality, HYPERTEXTuality also refers to the relationship between two literary or artistic texts; but the HYPERTEXTual relationship, in contrast, is based on adaptation rather than co-presence. In other words, HYPERTEXTuality deals with the effect of one text on the other instead of its presence. Of course, it can be easily imagined that there is an effect in every presence and a presence in every effect. In HYPERTEXTuality, however, a broader and deeper effect is emphasized. More clearly, intertextuality focuses on giving presence whereas HYPERTEXTuality focuses on the general impression and inspiration” (Namvar Motlagh, 2007, p. 94-95).  Materials and MethodsBy looking at Tazkirat al-Awliya as a HYPERTEXT and Attar’s Masnavis as hypotexts, this study attempts to investigate the relationship between these works through the framework of HYPERTEXTuality and a descriptive-comparative method. Finally, the differences, similarities, and changes in the anecdotes that are in common between Tazkirat al-Awliya and the Masnavis are explained. 3. Results 1. Similar Anecdotes of Attar’s Tazkirat al-Awliya and MasnavisName of MasnaviNumber of anecdotesNumber of anecdotes in common with Tazkirat al-AwliyaPercentage of similar anecdotesMosibat-nameh356185%Elahi-nameh251178.6%Mantiq al-Tayr185137%Asrar-nameh9733% 3.1.1. HYPERTEXTualityGenette defines HYPERTEXTuality as, “any relationship uniting a text to an earlier text upon which it is grafted in a manner that is not that of commentary” (Genette, 1977, p. 5). In other words, HYPERTEXTuality refers to any relationship that unites text B with text A. Therefore, “HYPERTEXT is a text that has been derived from an earlier text through a transformative process” (Namva Motlagh, 2007, p. 95). Genette divides HYPERTEXTuality into two general types: homogeneity (imitation), and transformation (change).The highest percentage of character homogeneity was 83.3% and the highest percentage of place homogeneity was 33.3%, both belonging to the similar anecdotes of Tazkirat al-Awliya and Mosibat-nameh. After Mosibat-nameh, the anecdotes of Elahi-nameh have the highest frequency in terms of homogeneity with the anecdotes of Tazkirat al-Awliya, although the anecdotes of Mantiq al-Tayr have the highest place homogeneity with Tazkirat al-Awliya. It seems that place is not of importance in mystical anecdotes due to its abstract nature. The third work with the highest homogeneity with Tazkirat al-Awliya is Mantiq al-Tayr and the fourth one is Asrar-nameh. It should be noted that place is mentioned in none of the similar anecdotes of Tazkirat al-Awliya and Asrar-nameh, and this indicates the low importance of the notion of place. 3.1.1.1. Transformation (Change)Changes to a HYPERTEXT can be small or extensive. “Transformation can be of different types. In fact, changing a text to create another text can result in different types. This transformation can be viewed through different lenses and with different criteria in mind, based on which the different types of transformation can be distinguished” (Namvar Motlagh, 2007, p. 97).  Transformation has been classified from quantitative and content-related perspectives. The former refers to reduction and addition, and the latter refers to substitution. 3.1.1.2. SubstitutionThe intertextual relationships between Attar’s Tazkirat al-Awliya and his Masnavis have been well maintained in terms of events and thematic content. The most prominent substitution in this process is the conversion from poetry to prose or vice versa. The substitutions occurring between Tazkirat al-Awliya and the Masnavis can be analyzed in terms of characters, places, wordings, and sentence types. 3.1.1.3. ReductionFrom among 51 similar anecdotes, 42 anecdotes show a reduction in the Masnavis in comparison with Tazkirat al-Awliya. In 12 anecdotes (anecdotes 2, 3, 4, 14, and 15 from Elahi-nameh, anecdote 5 from Mantiq al-Tayr, and anecdotes 7, 8, 9, 10, 14, and 15 from Mosibat-nameh), only the versions in Tazkirat al-Awliya begin with the phrase “it has been said that”, but the anecdotes in the Masnavis repeat the content without this phrase. 3.1.1.4. AdditionGiven the nature of poetry, many of the anecdotes in Attar’s Masnavis include additions in comparison with Tazkirat al-Awliya.  Discussion and ConclusionOverall, there are 51 anecdotes in common between Attar’s Tazkirat al-Awliya and his Masnavis. To put it exactly, Tazkirat al-Awliya has 17 anecdotes in common with Elahi-nameh, three anecdotes in common with Asrar-nameh, 13 anecdotes in common with Mantiq al-Tayr, and 18 anecdotes in common with Mosibat-nameh. Among Genette’s five types of textual relationships, intertextualiy and HYPERTEXTuality are more tangible and concrete. Assuming Tazkirat al-Awliya as the hypotext and Attar’s Masnavis as the HYPERTEXT, we studied these works through the framework of HYPERTEXTuality. Attar has made use of both types of intertextuality (i.e. homogeneity and transformation), which consist of substitution, reduction, and addition in the textual relationships of Tazkirat al-Awliya and his Masnavis.In the similar anecdotes of Tazkirat al-Awliya and the Masnavis, it seems that Attar has not deliberately created fundamental changes and the majority of these changes are due to the inherent stylistic differences between prose and verse. In prose, for example, creating atmosphere is more sophisticated and resembles dramatic literature, but Attar’s adherence in his Masnavis to literary devices and the poetic as well as the limitations of rhythm and rhyme prevents him from paying due attention to atmosphere. Additions in the works of verse, or indeed reductions in Tazkirat al-Awliya, are sometimes exaggerated in poetic descriptive elements such as adverbs and adjectives. Although not too frequent, the frequency of such additions is higher in Masnavis, which is quite natural. On the other hand, the poet is sometimes compelled to use redundancy or even words that are not mentioned in the original anecdote, thereby creating a longer version than the prose text.Given the nature of the poem that is based on imagination or, according to Nezami, based on the belief that “the most beautiful poem is the most untruthful one”, Attar does not emphasize realism in his Masnavis. In Tazkirat al-Awliya, however, which is based upon verisimilitude, he tries as much as possible to verify the authenticity of the anecdote. This is why phrases such as “it has been reported that...” are quite common additions in this text. In both the Masnavis and Tazkirat al-Awliya, Attar gives priority to the thematic content. In all the similar anecdotes in these works, therefore, the events and themes are identically repeated. Nevertheless, for certain reasons, he sometimes changes characters, times, or places that appear to be unimportant or even mentions them only ambiguously. It seems that, except for certain cases such as characters and places or phrases like “it has been said that” that is specific to prose as well as descriptions, exaggerations, and verbosity in some Masnavis, the anecdotes have not been fundamentally transformed during the transition between prose and poetry and their thematic content has been transferred almost completely. In fact, Attar does not intend to create purposeful changes, at least in these common anecdotes. For example, some proper nouns from the Masnavis are mentioned indefinitely in Tazkirat al-Awliya (e.g. “a mystic”, “a person”, “a place”), and vice versa.The highest percentage of character homogeneity is 83.3% and the highest percentage of place homogeneity is 33.3%, both belong to the anecdotes of Mosibat-nameh. Next are Elahi-nameh, Mantiq al-Tayr, and Asrar-nameh. The greatest amount of substitution has occurred between Tazkirat al-Awliya and Asrar-nameh. The highest percentage of word substitution is 47% that has occurred in the similar anecdotes of Elahi-nameh and Tazkirat al-Awliya. Next are Mantiq al-Tayr with 23% and Mosibat-nameh with 11%. No occurrence of word substitution was observed in the similar anecdotes of Asrar-nameh and Tazkirat al-Awliya. From among the four mentioned types of substitution, the highest percentage belongs to character substitution. The findings of the study suggest that the transformation occurs less frequent than homogeneity in the anecdotes that are in common between Attar’s Tazkirat al-Awliya and Masnavis. Furthermore, Mosibat-nameh has the most points of commonality with Tazkirat al-Awliya.

The hunting motifs of Bahram Gur's painting are considered as the themes with "religious" and "mythical" essence in "Iranian painting". Despite numerous researches on paintings related to Bahram Gur's hunting, these works have so far been less studied in terms of the possibility of representing religious concepts and mythical beliefs. These works are mainly based on literary texts related to the Islamic period, especially "Ferdowsi's two narrations" in "Shahnameh" and Nezami in "Haft Peykar" and some lesser-known sources. These sources have narrated events related to "Bahram Gur" in the context of history, but not exactly in accordance with historical facts. The reason for this is the influence of the literary texts of the Islamic period on the literary features and Sassanid historiography, that is, "mixing with Iranian myths and legends and magnifying the heroism". This means that the efforts made in the historical and literary texts of this period can also include an indispensable part of life and events related to Bahram Gur. Therefore, it is expected that in illustrating the works of the "painting in question", in addition to historical narratives in related events, the manifestation of his religious aspects and myths in the structure (form and content) can be observed and followed in a more specific way. Therefore, the research has been done with the purpose of filling the gap of existing studies and giving insight into the relationship between the religion and myth with the selected paintings. The research questions are: 1.what is the relationship between "religious concepts and mythical beliefs" as a pretext, with "hunting motifs of Bahram Gur" in "Iranian painting" as the "final texts". 2. Which of the possible pretexts, religious or mythical, had a more important influence and place in the formation and richness of the theme of Bahram Gur's paintings? In this research, relying on the descriptive method using the "HYPERTEXTual" approach, the position of "religion and myth" in the content of selected works has been analyzed. Data collection was also done using library studies, documents and visual study of selected paintings. The combination of seven selected works in the present study includes: two works taken from Shahnameh by Ferdowsi, two works taken from "seven figures" by Nezami, one work from the history of Balami, one work from the collections of Amir Alishir Navai and one work from an unknown source. Results of the studies have shown that: Religion and myth have effective relationships in the formation of hunting motifs of Bahram Gur during the Sassanid period and then in the reproduction, and the continued presence of these motifs in Iranian painting. In the context of HYPERTEXTual and intertextual relations, the existing conditions have moved towards the transformation in religious pretexts and in mythical ones. Religion in concepts and generalities and myths in the form and descriptions of paintings, and in some cases with overlap, have provided the means to improve the quality of the works. According to the HYPERTEXT theory, the relationships towards transformation or homogeneity can never be considered as "absolute". For this reason, based on the studies conducted during this research, the general and "relative"  type of HYPERTEXTual relationships in the selected paintings  was determined, which were studied and summarized in the form of "tables and analyses". The divisions made in this table show that although religion and myth have each had approximately the same requirements for the effect (presence) on the examined final texts, in this case the transformations and effects of the presence of religion tend to decrease or even eliminate. This is the case, if the elements, concepts and beliefs related to myth, while expanding and increasing in the final texts, have shown a more noticeable and effective presence in the paintings. In addition, the study of visual elements and qualities in the selected works shows the attractiveness of the topic and the existence of repetitive elements and motifs related to this character. Repeatable patterns have formed a kind of uniform visual pattern by which the form and appearance of these works became closer to each other.  These features can provide the grounds for considering them in the form of generalities of thematic art in the forthcoming studies; that the religious and mythological foundation and essence should be sought in its components and elements.

1. Introduction: Romances, like love poems, are full of elegance, beauty, and literary and cultural highlights. A scientific view of sweet Persian romances convinces any fair viewer that in such stories, there is a value far beyond fiction. Except through scientific attention to such tales, it is impossible to get acquainted with some of the characteristics of Iranian society in the dimensions of anthropology, sociology, mythology and historiography. Many Iranian stories are inspired by popular Indian stories. A large number of Persian tales from the Timurid period onwards, has been written in India. Some of them are the art of Iranian writers. A brief look at Indian love stories is a clear proof that apart from the content of some stories-in which the influence of Indian rituals can be seen-the deep influence of Persian literature and culture is abundant in these stories and poems (Zolfaqari, 2015: 56). . .

Combining the word “Habl” with other words, especially “umm,” has led to relatively critical metaphorical interpretations in the Arabic language and the narrative literature. Achieving the exact meaning of these narrative allusions is complex for the audience, and sometimes, the apparent meaning of the phrases is unusual. Therefore, we should choose the correct semantic equivalent of these interpretations. This study aimed to find the modern match of the phrase "هَبِلَتکَ أمُّک" (habelatka ummuk) and “similar meaning,” by examining the ancient Arabic texts, scholars’ views, the discourse space of earlier texts, the issuance contexts of narrative texts, and analytical comparison of data. The results indicated that using these terms in Arabic literature is different from common languages such as Syriac, Aramaic, and Hebrew, the monopoly of this interpretation in curse and guilt is not prevalent, these metaphorical interpretations have various uses, different expressions of wonder, warning, praise, benevolence and reprimand instead of guilt and curse in the narrative conceptology are applicable.

BACKGROUND AND OBJECTIVES: The blessed Surah Taha in the whole Quran, in terms of dealing with prophecy as one of the main religious topics of Islam, having structures as well as a common structural axis and matching with the praise poems of the Holy Prophet (PBUH), being the same name with that Prophet, the coherence of the verses in terms of balance The phonetic with the name Taha, which is the cause of exaltation, has unique characteristics. The structures in this research are categorized concepts that have been selected from the Persian praises of Rasool Akram (PBUH) and adapted to the structures of this surah in a polytextual way. METHODOLOGY: Qualitative and theoretical study for the formation of this article has been done by library method and content analysis. FINDINGS: The structures of "monotheism, praise, condemnation, admonition, forgiveness, supplication, boasting, thanksgiving, lamentation, oath, prayer, expectation, hope" are part of the literary-religious structures of Surah Taha, which are based on the concepts of this Surah and shared with the poems praising the Prophet. Akram (PBUH) have been diagnosed. The structure of "admonition" is the common axis of the structures of the praise poems of the Holy Prophet (PBUH) and Surah Taha. CONCLUSION: In the poems in praise of the Holy Prophet (PBUH), from each of the thirteen structures mentioned, there are verses that have a HYPERTEXT relationship with some verses of Surah Taha that have the same structures. The type of correspondence between the literary-religious structures of Surah Taha and the praise poems of the Holy Prophet (PBUH) has led us to a new method for researching the structural correspondence of poems and verses of the Holy Quran.

The purpose of the present article is to investigate Peter Carey’ s Jack Maggs (1997) within a theoretical context set by Linda Hutcheon’ s definition of parody. In Hutcheon’ s view, parody is a repetition with critical distance. Hucheonian parody allows the adapted work to challenge and ironically transform the form and the content of the hypotext in order not to ridicule but to create. The central questions of this research are: How does Jack Maggs employ Hutcheonian parody within the broader postmodern narrative discourse to view its source text with a critical distance? And, how does Hutcheonian parody engage Jack Maggs in contemporary social debates? In order to answer these questions, the research applies various aspects of Hutcheonian parody to Carey’ s novel. The present paper demonstrates that Carey’ s Jack Maggs recontextualizes Charles Dickens’ Great Expectations (1860) in a new Australian setting. It also argues that the novel, which has mostly received positive responses and reactions from both literary critics and general readers, illustrates Carey’ s parodic attempt to revisit one of the most renowned novels of the Victorian era. The present research contends that Jack Maggs is a critique of nineteenth-century realism and, more broadly speaking, of master narratives.

This article studies HYPERTEXTual and paratextual relations-two components of transtextuality-in Iranian cinema. By analyzing cinematic adaptation, we can realize how a movie text draws on other literary or nonliterary texts. One of the basic issues in this research is to study various forms of cinematic adaptation. In paratextual relations the text is placed on the threshold of the other text and It seems that its ratio to the release time is the most important issue in this regard. This paper introduces a model of intertextual relations which specifies types of adaptations and temporal, paratextual relations in Iranian cinema. Accordingly, after a review of literature on intertextuality, HYPERTEXTuality, and paratextuality, we distinguish intertext from intertextuality. Finally, we study some of the movies belonging to Iran’s cinema in 1370s and 1380s in order to achieve an understanding of HYPERTEXTual and paratextual relations.