This study is intends to describe and Presents a new theory of translation based on the "INTERTEXTUALITY" unlike the Translation theories that presented to date, what all are based on the principle of "Equivalence". Our theory is based on the examples of Arabic poetry translated into Persian poetry. The major findings of this study show that the INTERTEXTUALITY can serve as a link between the original text and the target. it can also interact with other texts is the translation result in the target language, Which is the book of poetic eloquence is addressed and was mentioned Literary robbery.

In addition to structure, Kristeva emphasizes the two components of subject and language to obtain meaning. Based on these two important components of Kristeva’, s thought, which form the basis of the formation of INTERTEXTUALITY, the discussion is examined in two axes. Considering that the meaning is the result of cooperation and connection between language and subject, what is the purpose of understanding the meaning of religious propositions and basically the language of religion in both written and spoken forms? Does INTERTEXTUALITY provide a way to understand the meaning of the language of religion? As a result, we realize that the use of INTERTEXTUALITY in the field of religious language cannot achieve a single meaning due to the dynamics of the language and the subject of Kristeva’, s thought.

The present paper is an attempt to investigate the concept of intertexuality in Sharyar Mandanipour’s Sharghe Banafshe, which is attained with the analytic reading of the text along with the concepts that this work shares in common with the other texts, demonstrating the fact that these similarities have been deliberate, intending to achieve a mystical purpose. The contemporary thinkers are on the belief that each text incorporates in itself the sources taken from various cultures and is replete with the signs leading to the process of text creation. They further believe that no text is created in isolation and that we cannot interpret and read it without considering its connection to other texts around. Accordingly, in Shahryar Mandanipour’s Sharghe Banafshe, the traces of other texts are present. In fact, in this work, the author utilizes the signs by which one can find INTERTEXTUALITY in the text. The followings are some of the features that Mandanipour’s Sharghe Banafshe has in common with the other works of art: the same plot, common mysticism, belief in being within nothingness, and the path of annihilation. Investigation and analysis of these similarities existent in this work with the other works is the achievement of this essay.

INTERTEXTUALITY is a theory that was proposed in the end of 1960s by J.KRISTEVA. This term used by J. KRISTEVA in 1965, indicates unlimited relationship between one text and others. INTERTEXTUALITY was a new type of look at text that led to a new meaning. Symptoms of INTERTEXTUALITY with Quran in Ahmad Matar 's poems are found. The role of Quranic texts in his poems is obvious but sometimes not obvious, sometimes it agrees with Quranic texts sometimes it is in contrast. We can say that signs of INTERTEXTUALITY in his poems are in the use of words, verses, expressions, and Quranic music and Quranic events wich have particular role in production of his texts.The poet sometimes uses a part of absent text in his text and sometimes a part with that meaning. So, in some points, he has made a dialoge with absent text. All of these cases indicate a strong link of his poetry with Quran and his high perception of this heavenly book.

The present research tries to evaluate the Khaghani’ and Hafiz’s lyric poems (Ghazals) based on the existing similarities between them in the INTERTEXTUALITY critique perspective. Nowadays, the study of viewpoints and relationships between the poets has been dramatically paid a significant attention in the literature. More explicitly, this significance can be exactly highlighted in the matters of the affectability of every poet from other poets.Similar contents and interpretations as well as rhythmic lyric poems with the same beats available in the poems of these two poets all have smoothed the grounds to conduct the present study. Based on this, the form and content instances relying on some concepts in the mysticism and deep images have been debated in the poetries of Khaghani and Hafiz. Finally, some debates in the area of study of music in the poetries of these two poets are studied too.

Considering the effect of western Asian mythology on the foundation of Iranian and Indian mythology, this article aims to compare the myth of Tapehgoz with Zhak's in Ferdosi's epic. Tapehgoz is an invulnerable and cannibal monster of the eighth story of Dadehghot's collection, one of the most Oghuzlar's ancient epic works. This story bears a lot of similarities and congruities with Zhak's. Comprehensive studies are executed on the INTERTEXTUALITY of characters and stories of Ferdowsi's epic with other nations' myths it seems no article has yet investigated the INTERTEXTUALITY of Zhak and Tapehgoz. The present research compares and analyses the congruity of events with theories of Julia Kristiva, Mikhail Bakhtin, Ronald Barth, Harold Bloom, Genet, and Tzvetan Todorov.

The Arab poetry has adorned different types of INTERTEXTUALITY which include: mythical, historical, and religious ones. Abundant use of this phenomenon, especially what is called koranic INTERTEXTUALITY, led to the review of this phenomenon. For this means one must identify the strengths and weaknesses imposing a framework for it. Considering the interaction of poet with the holy Koran INTERTEXTUALITY is divided in to several types such as: total and partial INTERTEXTUALITY, referential INTERTEXTUALITY and conceptual INTERTEXTUALITY. Some of these give abeautiful forms to the poetry and some are ugly and unacceptable, because they do not preserve dignity of Koran.It should be noted that the overall shape and detailed koranic INTERTEXTUALITY is more susceptible to error, while the conceptual and referential formsare less affected by slips. This research criticizes and studies koranic INTERTEXTUALITY in modern poetry of Iraq.

Objectives: One of the major approaches prevalent in recent decades regarding literature is intertextuaity studies. Intertexulaity indicates that there is a correlation between texts. Knowing about these interrelationships opens a new chapter on reading texts. As a prime example, we can refer to “Majma-al-Bahrain” by Nasif Al-Yaziji, contemporary writer and poet. This research attempts to study this book’s allusion on INTERTEXTUALITY in comparison with the Holy Quran.Method: The paper has been conducted in an analytical-descriptive method based on the Quran verses mentioned in “Majma-al-Bahrain”.Conclusion: The purpose of this research is to identify and introduce the impact of the Holy Quran on content and terminology of Nasif’s works. There are many books available on INTERTEXTUALITY as well as Nasif’s works, but INTERTEXTUALITY regarding the Holy Quran needs more attention at present time. The most important achievement of this research is that Quranic issues form a major part of Nasif’s works. It is more interesting when we considerate he is a Christian. Applying common parables and referring to events, Quranic stories and characters are all examples of INTERTEXTUALITY in Nasif’s works. By evaluating the issue of INTERTEXTUALITY in Majmaal- Bahrain and the Holy Quran, we understand that while the existing correlation seems like a parallel or partial negation, it is indeed a general negation.

INTERTEXTUALITY points to the fact that any text at some point in time, has been under the influence of earlier works and through changes in previous works, it has found textual identity. If we analyze the new text meticulously, we will clearly see references to earlier works. In other words, in the essence of all writers' thoughts and ideas one can notice ideas and thoughts of other writers, men of letters and poets. This is called INTERTEXTUALITY based on which every given text is given birth from the ideas and thoughts available in previously existing texts. Harold Bloom writes, in this regard, that the artist/author is always feeling the anxiety of influence of the former artist/author lest his work become a mere copy. Many poets and men of letters while applying concepts, thoughts and anecdotes, put all their efforts in using Qur'anic words, combinations and phrases. Saa'di, a highly skilled writer, extensively used Ayahs and Ahadith from the Qur'an and the Nahj al-Balagha in his ever-pleasant Gulistan. This study aims at revealing Qur'anic and the Nahj al-Balagha INTERTEXTUALITY in Gulistan in order to familiarize readers more with the Qur'anic color and the sayings of Imam Ali Ibn Abi Talib (UHBP) in Sa'di's Gulistan.

Literary criticism, text analysis and their effect on the world literary and art creativity, texts relationship or intertextual topics from the view of literary critics and thinkers, since the twentieth century have become very important and have had different reflections in the cultural world. Some experts believe that all the texts are somehow related and no new text will come into existence without any relationship to previous texts. They think the individual knowledge and awareness is the product of the group knowledge and awareness.The meaning of any literal text, either prose or verse, cannot be fully understood without being aware of the governing traditions over the previous related texts. In other words, all the texts, including literary and nonliterary texts do not have an independent identity. This process which is called INTERTEXTUALITY, deals with the presence of a text in another text and with the omission of some concepts such as author, history and society, it studies the text independent of the author but dependent on other texts. However, in intertextual relationship studies finding these traces are not enough and we should see what the author has done with the elements taken from other works. This article tries to investigate the intertextual relationship in subversions and commercials.