BACKGROUND AND OBJECTIVES: Based on the theory of intertextuality, a text is formed in a complex interaction between other texts. The theory of intertextuality was first formally proposed by Julia Kristeve and then entered the field of structuralism with Gerard Genette. Genette declared that the text reveals its meaning through the relationship with other texts. The lyric poem of Khosrow and Shirin is one of the texts that rely on it to find many semantic signs in the implicit intertextual interaction in the poem of Weiss and Ramin. Therefore, the main goal of this research is to analyze the hidden and implicit intertextual relationships in the present text (Khosro Shirin) Nizami and the later text (Vais and Ramin) of Fakhruddin Asad Gorgani. METHODOLOGY: The research method in this thesis is descriptive-analytical based on library studies and document analysis and using the hidden (implicit) intertextual approach in Gerard Genette "s theory. The statistical community of the research includes two lyrical poems by Khosrow and Shirin Nezami and Weiss and Ramin Fakhruddin Asad Gorgani. FINDINGS: Research findings indicate that Khosrow and Shirin Nezami is an example of implicit and hidden intertextuality of Weiss and Ramin Fakhruddin Asad Gorgani, and Nezami has adapted different implicit and implied meanings from this poem. CONCLUSION: The results of the present research show that Khosrow and Shirin Nezami in the structure of the story includes initial components and propositions such as Tahmidiyeh and the main body, including the same role of Hormuz and Mobad, the social position of Shirin and Weiss, letter writing, false dreams, rival characters such as Maryam, Shekar., Gol, testing Khosrow and Ramin, the negative role of the nanny, the active role and activism of women as implicit intertextual expressions based on Genette "s theory have been influenced by Weiss and Ramin.

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.

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.

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.

“intertextuality” is one of the figures of speech in order to enrich Arabic literature poetry and prose to make their work eternal.The present article intends to study “intertextuality” in the poems of Mahmood Darvish (1964-1983) to understand the reasons of resistance of using this figure of speech in his poetry.

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.