نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری مطالعات هنر و فارغ التحصیل کارشناسی ارشد رشته سینما از دانشکده هنرهای زیبای دانشگاه تهران
2 دانشیار گروه هنرهای نمایشی و مویسقی، دانشکده هنرهای زیبا، دانشگاه تهران، ایران.
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
Intertextuality is rooted in twentieth-century linguistics, especially the well-known Swiss linguistic theories of Ferdinand de Saussure (1857-1913). Explaining the linguistic sign of cognition, he presents a detailed discussion of the concept of "sign" and considers language as a system consisting of signs that have no positive meaning at all, that is, they have no meaning in themselves but they gain their meaning through their differences and similarities in the language system. The sign of Saussure's founding difference paved the way for the concept of intertextuality, as the sign becomes possible in relationships. Therefore, this ruling can be extended to literary works. The literary tradition can be seen as a system of synchronicity. Thus, the signs in each literary text do not refer to any subject in the world, but to the literary system in which the text originated. Narrative can be traced back to most cultural discourses that are a chain of events in different spaces. Different forms of narration have an effect on each other, which leads to the creation of the intertextual relationship between them. This article examines Gérard Genette's theory of hypertextuality, which is a subset of his theory of Transtextuality. Since the adaptation works are placed under this theory, the process of adapting the film Tranquility in the Presence of Others by Nasser Taghvai from a story of the same name by Gholam Hossein Saedi is discussed in this article. Gholam Hossein Saedi wrote this story in 1346 in the collection of stories of Nameless and Elusive Apprehensions in ninety-seven pages, and Nasser Taghvai adapted this story in 1349 and made a film for one hour and twenty-five minutes. This article tries to analyze the process of this adaptation and describe its intertextual features according to the intertextual approach and its branch, which is the concept of hypertextuality from Gérard Genette's point of view. The paper aims to provide an overview of the concept of Genette's hypertextuality by analyzing the "B text, that is, the film" from "Text A, the story," and then analyzes the intertextual relationships between the two works. The article is written in an analytical-descriptive way and assumes that the type of this hypertextuality is a transposition. The paper first introduces a brief definition of the narrative structure and its elements, as well as Gérard Genette's theory of hypertextuality, and then describes the film's reduction and expansion process in adapting the work by analyzing and explaining its narrative structure. In the analysis of these two works, the theory of Gérard Genette's narrative relationship and the elements enumerated for narrative analysis are used. Therefore, the description of the film's significant adaptations from the story and then the effect that these adaptations have on the film and the meanings will be analyzed. In conclusion, the film Tranquility in the Presence of Others, due to serious changes and the creation of a new style in the process of adaptation, is a work of the type of Transposition in the sense of hypertextuality.
کلیدواژه‌ها [English]
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