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. 

The main purpose of present article is studying Tehran billboards based on Halliday’ s functionalism regarding social semiotics. Communicative and functional roles are the main roles of language in functional approaches. Advertising billboards are tools trying to communicate and transfer messages to audience. They try to communicate with the audience and convey meaning and message through a variety of multi-layered texts. Each billboard image is sometimes a text that contains different elements such as color, shape, line, and speech, and there are always different linguistic and extralinguistic factors involved in conveying commercial messages. In this paper, an attempt is made to represent the three experiential, interpersonal and textual metafunctions in the image and speech of advertising billboards from the perspective of Halliday’ s functional approach and to determine how to convey meaning through semiotic mechanisms. Therefore, in order to accomplish the objectives of the paper (representing the metafunctions in images and speeches of billboards), the topics of social semiotics, semiotics of images, metaphor, action and tension processes of discourse are also discussed to explain how to convey meaning through verbal and visual signs. The main assumption is that advertisers have been able to convey and express meaning through words and images by using theoretical mechanisms and metafunctions of Halliday’ s functional grammar and its connection with the field of special discourse. Therefore, in order to conduct the research, during a simple random sampling with a free subject, billboards in Tehran were photographed and then the research data were analyzed by analytical research methodology. Billboards containing visual and textual texts have been analaysed in accordance with theoretical mechanism of systematic grammer in terms of ideational, interpersonal, textual metafunctions and semiotics to achieve semiosis methods. Findings confirmed the desirable performance of this functional theory in the field of advetising billboards. Results of this study indicates that Halliday functional approach with its sociological semiotic features is an ideal model for achieving and gaining means of expressing meaning and can well be the basis of classifying, analyzing and explaining words as well as image. In these billboards textual texts have informative function and visual texts have expressives function. The current article shows that interpretation of meaning is done in different methods in multi-layer texts of billboards and the manifestation and embodiment of mentioned metafunctions are indicative of the fact that each advertising billboard is in fact a unitary and integrated text and the coherence resulted from aggregation of verbal and visual layers, provides a suitable basis for the semiosis of the various concepts and transmission of it to the audience.

Being fundamentally different and sometimes in the state of confrontation, with traditional and classic aesthetics, 20th century was the realm of new aesthetics in art. Artists, especially the genuine and reflective ones, intentionally and consciously violated the principals of previous periods. An important form of new aesthetics is the “ collage Intertextuality” . The number of prominent artists and the amount of influence this approach of artistic creation has had, led collage to become an important research and aesthetic subject for many scholars. The present paper aims to focus on this specific realm of contemporary aesthetics; i. e. “ collage aesthetics” . Fore so through defining and a typological study of “ collage Intertextuality” , this study answers the question of how each type of mega-collage types (cohesiveness and inconsistency) makes signification.

One of the approaches considered in the study of the science of semiotics, intertextual studies reminiscent of texts interact with each other. This type of research is to explore and analyze the symptoms of the interface between the texts, the researcher also helps having a better understanding of the text, read it again to achieve.Through the study seeks to identify and analyze the analytical method and the effect of the Qur' an refers to the content of the prayer books of Imam Sajjad (AS) as a precious legacy of their Shia. After presenting the theoretical reason, to analyze the text of the Qur' an as intertextual text books with missing text, is discussed. Research findings suggest that the interaction, rather a parallelogram and negation of negation part and only in rare cases, it is used in a general denial. There are so inextricably Quran and the sayings of Imam (AS), in addition to the words of the Quran, the interactive consciously, in many instances, the content of the verses have also benefited.

This article aimed to study National Library Websites (NLW) using webometric methods. The in-links and co-links to national library websites were analyzed to study: firstly, the visibility of these National libraries on the web Secondly, the collaboration on national and international level amongst the studied national library websites. This study found that according to the in-link count of 38 national library websites, 3 were extremely popular and we can call them the most visible national library websites as they come below: 1. United States of America (http://www.loc.gov) 2. Australia (http://www.nla.gov.au) 3. United Kingdom (http://www.bl.uk)The results of the study also showed that, there were 5 clusters (2 cross continental and 3 international) in the studied national library websites. On the other hand, the multidimensional scaling map showed 7 major collaboration clusters: 2 cross national (both European) and 5 international (European, Asian, American, Australian). African national library websites were not seen in these clusters. It means that, African national libraries have a little collaboration with others through their websites. An interpretation on causes for collaborations between these national library websites are provided in this study. Webometrics offers an evaluation measurement that is not available in bibliometrics when an institution is the analytical unit. Nevertheless, webometric research must be conducted with caution because both the data source. (i.e., web-based data) and data collection instrument (i.e., web search engines) have obvious deficiencies.

This article examines the intersection of translation, intertextuality, and identity construction through the lens of Ali Asghar Hekmat’s domesticating translations of Shakespeare during the nationalist Pahlavi era in Iran. Drawing on theorizations of intertextuality, the study analyzes how Hekmat strategically severed Shakespeare’s English textual connections and wove the plays into a new Persian intertextual fabric to advance ideological narratives of ancient Iranian identity. Contextualizing Hekmat’s works within the prevailing ancientist discourse reveals his radical efforts to thoroughly recast genre, rhetoric, and discourse to align Shakespeare with Iranian literary tradition. This instrumental domestication served to legitimize Pahlavi nationalism by appropriating foreign cultural capital. However, Hekmat’s extensive rewriting problematically erases Shakespeare’s essence to promote ideological motives, raising vital ethical questions about the limits of translation. The analysis illuminates the profound impact of sociocultural context on intertextual mediation in translation and its entanglement with identity construction.

This article emphasizes and focuses on this verse: “O sweet fountain! from the modesty of thy sweet lip (the stream of divine grace), Now, steeped in water and sweat (of toil of search), a piece of sugar (the illusory beloved)- is not, that is not” to review hidden semantic layers of text based on Hermeneutic-Intertextual analysis approach of Michael Riffaterre. The basis of this Hermeneutic structuralist approach of Riffaterre is that Intertextual aspects of poem will be unlocked by help of non-grammars (literary non-normalities) passing through first layer of meaning (linear reading) to underlying and deep structure level of poem (non-linear reading). In his view, allusion or quotation is a hypogram which is activated previously in another text and current text is discovered due to the kind of reading of audience, recovery and its implications. The result of applying theoretical framework of Riffaterre is that Hafiz intellectual matrix in this verse is lyric and romantic and its hypogram is totally congruent and correspondent with criteria of this matrix. Reader uncovers hidden underlying layers of text from obvious Intertextual level of Khosru and Shirin poem of Nizami (Cliche and descriptive hypogram) with help of presuppositions and his mind meaning hypograms. It seems Hafiz wants to represent the kind of communication and love affair with his ideal beloved through deconstructing semantic substructure of text by using all capacities of meaning-creation of ambiguity and magic of lexical collocations.

Both interexuality and intermediality are discursive phenomena that impact the semiotics by defamiliarization or interaction of the media and the text.Intertextuality function since its appearance could be seen only in the literature and its contrast was only with multi-media novel. In various arts, especially in the cinema, theatre and cyberspace, it seems that they could not achieve to prove the transdiscursive technical and media situation - particularly in the criticism area-until intermediality is discussed. The intermediality shows interaction of various characteristics between different mass media next to each other keeping all characteristics of its signs. It has then a transposition by which the primitive characteristics are suspended and differentiated. The most important aspect of this media conflux is to establish a material and a form of expression next to another material and form. The purpose of this research-besides studying intermediality discourse-is to consider its function in the semiotics and arts as well. That is why having the intertextuality reread, the borders between text and media and, finally, the effects produced by interaction of the media are regarded to gain a proper theory about intermediality.

Intertextuality is one of the most important theories in comparative literature, because it deals with effectiveness of literature, just like comparative literature. The theorists believe that any text is the result of absorption and transformation of another text. The Maqama technique has had a great impact on European literature in terms of fiction writing and has technically inspired Picaresque Narratives through its realistic nature. However some critics have rejected this kind of impact and inspiration. Through an analytic-descriptive method, based on library and documentaries, the authors of present essay have comparatively and intertextually studied Picaresque Narratives using some instances. The study shows that the structure superimposes of these two literary genres, in two different cultures and inevitably in two different languages stands on different positions. Their common prepositions imply their certainty of intertextuality and being informed and confirm the Maqamat's effectiveness on Picaresque Narratives.

The visual and content features in the treasure of the rules and cultural and social traditions that exist in the minds and minds of the author and the audience are pre-existing,creating the effect, and on the other hand, repeated reading of the works of art by the audience. Interpersonal reading by focusing on the audience is the approach put forward by Roland Barth, a cognizant and theoretician of cultural studies, and introduced it into a new area of meanings,instead of examining and introducing texts that At the time of the creation of the work, they have played a role in creating it, looking at the texts that are involved in its reading. In this essay, based on the interpersonal nature of Barthes’, s reading, three works from the compositions of Manusur Ghandriz’, s compositions, which have been dealt with a far-fetched, objective, and mythical mentality, have been read. This collection of Ghandriz’, s works, based on the author’, s information, has never been thoroughly examined, and the artist has been exposed by the collection of works of Tabriz (with people in rural clothing) and most notably with the collection of works of his so-called “,Recognize that Reading each image is based on the writer’, s view and author’, s chosen statistical society by discovering the basis of the images and returning it to the structure of the elemental elements and recognizing the content and content of the original and presenting the pre-texts in the works. In fact, what matters here is not the pretext of creating works based on the views of the author and the creator of the work, but the preconception of the mindset of the audience, on the basis of which the readings are affected. The main purpose of this research is to first examine the possibility of using the intertextual method in reading works without any referential resources, and secondly, knowing how much and how to use intertextual relationships and explicit reference to other texts is different from the audience with the statistical community. As a result of this, although these works have not benefited from the two aspects of reading the visual effects in an intertextual way, namely, collage and text, sometimes color and texture, but because of the visual and symbolic features as well as the spherical space Ruling on the image, there are different readings. B) Many audiences, combined with syntax, simultaneously use a variety of textual, intertextual, and textual methods. C) Analysis of readings revealed that the close relationship between the cognition and the subtextual contours of each individual with his intertextual reading there is. Based on this, the audience cannot be categorically divided into textual, intertextual, and textual audiences, and it can be said that textual reading, universal reading, and intertextual reading relate to individuals with knowledge and mental pretexts. This suggests that there is a relatively close relationship between specialized education and intertextual reading,In other words, there is a proximity between the level of knowledge and the subjective preconceptions of each individual with his intertextual reading.