MaqamateHamidi is a good example of a text, which has emerged out of the previous culture and literature. This book has turned into a broad site in which various texts have been mixed in such a way that it represents an extensive array of genres. The main purpose of this study is the discovery and analysis of the intertexual relations in Maqamate Hamidi. To achieve this aim, we investigated twenty three Maqams in this this book in the light of Gerard Jeant’s Transtexuality Theory. The results indicated that MaqamateHamidi is a good example of intertexuality in a sense that different allusions to the Holy Quran are made, and also Arabaic poetry is extravagantly is used. Moreover, Hamidi’s book is greatly modeled on Hamadani and Harriri’s works, which attest to the intertextual nature and diversity of voices within this book. This intertexuality reinforces the coherence of meaning in this text, which is in line With Gerard Jeant’s Intertexuality Theory.

From an early age, Barres had familiarised himself with the works of Chateaubriand. Through the works of this writer an enthusiastic reader discovers unknown worlds, whether on the earth, or inside his own being. In fact, the reading instructs and encourages him to travel, or carries him to different places, a kind of journey in depth of one's soul.With admiration for his master, Barres embarks on journeys before presenting the “itinerary” of his own travels. Elation, and disillusion are in a sense always hand in hand. In this article, odyssey of Barres will be followed whilst outlining the specific role of Chateaubriand: fromadmiration and imitation to abandonment and reconciliation before succeeding to create literature in his own turn.   French: Barres et Chateaubriand: du dialogisme a l’intertextualite Des son tres jeune age, Barres se familiarise-t-il avec les livres de Chateaubriand. Fervent lecteur, il decouvre au travers des pages de cet ecrivain des mondes inconnus, soit sur la terre, soit a l’interieur de son etre. En realite, la lecture l’instruit, l’incite a se deplacer physiquement ou bien le transporte dans des endroits differents, une sorte de voyage dans les profondeurs de son ame.Par admiration pour son maitre, Barres entreprend des voyages avant d’offrir lui-meme son propre (Itineraire). L’exaltation et la desillusion sont, en ce sens, toujours au rendez-vous. Dans cet article, nous suivrons le parcours barresien tout en soulignant le role determinant de Chateaubriand: de l’admiration et de l’imitation a l’abandon et a la reconciliation avant d’arriver a son tour a la creation. Notre objectif est alors de pouvoir regrouper les entrecroisements, les incorporations ou tout simplement les dialogues entre les ecrits de ces deux ecrivains. Pour ce faire, on souligne notamment le long cheminement des ecrits barresiens, l’histoire de ses productions, de sa genealogie et les relations qui nouent les textes du disciple a son maitre a tous les niveaux.Keyword: Dialogisme, Intertextualite, Lyrisme, Engagement, Romantisme

The present paper starts with a rereading of the theory of ' intertexuality' and goes on with tracing it back to works of Bakhtin, Kristeva, and Barthes.The findings indicate that an acceptation of intertextuality, even though from a non-radical standpoint, would have some implications for both the theory and the practice of translation among which are "uncertainty of meaning and non-originality of the source text", "putting emphasis on the importance of contextual elements", "putting emphasis on the role of translation in the text survival process" and as a result, "raising the translator' s professional position", "posing again, the dialectic of {non} translatability problem", "the necessity of adjusting the translation terminology" and finally, "the demand for doing a typological analysis" prior to translation.

Most researchers of intertextuality consider Bakhtine’s view, especially his polyphony and dialogism, as the point of departure in their discussions. This owes to the fact that it was Bakhtine’s ideas which paved the way for Julia Kristova, as the founder of intertextuality, and resulted in a new approach in literary and art theorizing and criticism. Bakhtin confronted at least three dominant movements in his time; movements attributed to linguists, formalists and literary critics, all of which, despite their differences, shared common views on textual studies. Bakhtine believed in the hyper-linguistic and intertextual relations, specifically social hypertexts, and knew that they had a significant effect on literary texts. He had diverse and thorough ideas, yet in this paper, we are only trying to focus on the ideas which are related to intertexts, namely Dialogism and Polyphony. Therefore, this paper is trying to address one major problem and that is “the study of the relationship between Bakhtine’s Dialogism and Kristova’s Intertextualism and the impact of the former on the latter”.

Comparative study these days has opened investigating in order to illuminate and crystalize the range of relationships between cultures and also to show the originality and richness of one literature in comparison with the other.Comparative analysis between Freedon’s tragedy and King Lear shows the interlocking relationship and arrangement between these two texts in the bedstead of two unlike and completely dissimilar cultures and different historical contexts and also with two kind of languages. Although mapping out the conscious or unconscious trace and impact of these texts over each other is completely impossible but the high level of intersexuality between the two texts is obvious, so that this relationship and affiliation could not be ignored.“Resemblance of plot”, “being tragically”, “impulses”, “familiarity of two texts”, “dividing of kingdom”, “presence of destiny”, “parallel of characters”, “conflict”, “prediction” and “chorus” could be accepted as issues, which are convinced common points between the two texts. The analysis and survey toward understanding the equivalence between the two texts by the help of comparative literature is the fundamental question, which has been followed by this paper.

Intertexuality is one of the modern theories in literary Textualization. According this theory there is no free text and texts is always in an intertextual relationship. Each text of is affected by previous texts and at the same time affects the recent texts. Contemporary Persian poets also have a wide intertextual relations with past texts and classic persian poets, and each of them has dealt with intertextual relations with the past within a specific framework and related in the context of worldview. In the present study, with a method descriptive analytic, the intertextual relationship between Ebtehaj, Monzavi, Shafi’, i Kadkani and Aminpour has been compared and analyzed. In the beginning, the Diachronic and Synchronic intertextual relationship of these poets has been studied, and in the second step, the frequency of intertextual relationship of these poets with past poets and texts and contemporary texts and poems has been studied and analyzed. the debate about the Three types of intertextuality, implicit, explicit and tacit Intertextuality in there poems. At least, the involvement of each poet's worldview in the field of intertextual relations with poets and past texts has been studied. The results of study show the extensive Diachronic intertextual relationship of Ebtehaj and Manzavi with tradition and the balanced Diachronic and Synchronic relationship between Shafi’, i Kadkani and Aminpour at the same time. also the limited range of traditional poets in Ebtehaj and wider poetry in Manzavi, Shafi’, i Kadkani and Aminpour. The worldveiw of each of these poets have also been influential in their intertextual relationships.

Immortality of didactic poems of Hafiz lies in its irrefrangible relation with Quran and Hadith. He does this usage so artfully that arouses emotions of readers and provokes them to contemplate on these Quranic-Hadith doctrines. He intended to immortalize poems through the use of these Hadith and Quranic usages. Since intertexuality, or the theory of interaction of texts, is of most important theories for structural and post structural scholars and it delves into the similarities and differences oftext, in prose and poetry, and literary men should have a good knowledge of contemporary and ancient texts, we try to read poems of Hafiz in the light of intertexuality and its theorists like Bakhtin, Cristova, Barth, Michael Riffaterre, Laurent Jenny. The purpose of this survey is to expound Hafiz’s usages of Quran and Hadiths. His poems have been analyzed in an analytic- descriptive method and in the light of theorists of intertexuality to show the consistent structure of the poems and its musical language, and furthermore, to identify the literary innovations by which he has incorporated Quran and Hadith.

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.

The writers of this article present an intertexual analysis of the story of a Zaatal- Sowar" castle according to Christeva's concepts surface text / generative text and symbol/sign. The analysis presented in the present article, clarifies the "otherness" of the text and challenges the structural meaning of the text.

Sa’ adi’ sBoostan is one of the books illustrated in different ages by different painters. The painting“ Begging man in front of Mosque” is one of the maintained illustrations in Cairo library which is illustrated by Kamalodin Behzad. The basis of the Behzad’ s illustration is the Sa’ adi’ s poem which in this story uses the Hadiths and storied and narrations and is expressed in a poetic manner. On this basis, it is assumed that Behzad also used the narrations, hadiths, and stories in order to illustrate the Boostan. Using novel techniques of the work reading which are conventional as intertextuality at present and codified in Janette’ s thought in details, one can provide a comparative analysis of the textual references in an inter-textual manner. In this research, one of the Trans-textual Janette’ s typologies is used in order to investigate how the painting“ Begging man in front of the mosque” by Kamalodin Behzad is related to the Sa’ adi’ s poem“ Love and Passion and Drunkenness” . This research seeks to find the answer of this question: what other sources did Sa’ adi use in this and what text and references did Behzad use in illustrating this poem, in addition, to compare the painting with the poem. This research is theoretical and fundamental in term of methodology and this is conducted in descriptive-analytic procedure and the note-taking was used to gather information. The research findings based on the intertextuality discourses imply that Sa’ adi used the narrations and Hadiths in writing the Boostan. In addition, Behzad also used these resources in illustrating the text as the main origin of the images and didn’ t rely only on the mere reflection of the story.