Undoubtedly Ismail Fassih is one of the mostwidely read writers in contemporary literature. However, his name generallyis not considered in the field of the great contemporary fiction writers. His writing style, which is derived from Persian colloquial; and the detective fictionplot, the vivid and fascinating characters of his fictions has lead the literary critics to classify his works in the subgroup of folk literatureor paraliterature. But the new tools in the literary criticism have let us to reveal a so far hidden heritage in one of his most famous novels: Winter 62. The novel's narrator frequently mentions Waiting for Godot, Samuel Beckett's masterpiece, and makes a subtle but illustrative link between what is read and what is narrated. This article, with rely on the intertextual links between the Winter 62 and the Waiting for Godot, has tried to use a new approach for looking at the Fassih's novel. French: Relire Fassih a la lumiere de Beckett Les fonctions de l’intertexte dans L’hiver 62 Esmail Fassih est indubitablement l’un des romanciers iraniens les plus lus et les plus celebres de l’epoque contemporaine. Pourtant, quand on veut mentionner les plus grands romanciers, son nom ne figure presque jamais dans la liste de ceux qui font l’honneur de la prose romanesque persane. Son style, proche du persan parle, ses nombreuses intrigues policieres1, et ses personnages hauts en couleur font que les critiques rangent volontiers ses oeuvres dans la categorie de la “litterature populaire” ou de la “Paralitterature”. Toutefois, les outils fournis par la nouvelle critique nous permettent de deceler dans son roman le plus celebre, L’Hiver 62, un heritage litteraire jusqu’alors insoupconne. Dans ce roman, le narrateur cite sporadiquement le chef-d’oeuvre de Beckett, En attendant Godot, sans toutefois laisser apparaitre un quelconque lien, entre ce qu’il lit et ce qu’il raconte. Cet article a pour but de devoiler les liens intertextuels qui rapprochent le roman de Fassih de celui de Beckett.Keywords: Esmail Fassih, Samuel Beckett, Intertextualite, L’Hiver 62, En Attendant Godot, Parodie

From the very beginning, Chris tianity, as the divine religion, opposed the mys terious and blasphemous mirrors of its age based on bloodshed and pleasure, demanding the return of all to the one God. The resurrection and return to divine jus tice finally brought death to Chris t on the cross. Chris t welcomed it and, by sacrificing his body, caused the sins of the human race to be forgiven from the beginning. By the resurrection, he hoped the path of forgiveness continues. He revived the heart of his nation. Most of Chris t's audience was illiterate, and on the other hand, the religion of Chris t faced many difficulties and oppositions from the beginning. Many of these motifs have been used on church wall surfaces to sanctify places and teach religious teachings to believers. The Church of the Holy Stephen is located in the Aras Free Zone, 6 km from the village of Darreh Sham, 15 km wes t of the city of Julfa, in a place called Ghezel Vanak (Red Monas tery) in East Azerbaijan Province. The church was built on the banks of the Aras River on a hillside called Maghard, which is why it is mentioned in Armenian written sources as "Deir Maghard". St. Stephen is one of the seven pious people who were ordained by the apostles of Jesus Chris t and became missionaries of Chris tianity. Stephen is mentioned as the first martyr of Christianity in the Old Testament. The Jews of Jerusalem accused him of speaking agains t the Jewish law, arres ting and s toning Stephen. In Chris tian symbolism, the church building has different meanings. Its original meaning is the house of God, but in some cases it has been compared to the lifeless body of Christ on the cross. The sacred building is primarily the image of Chris t as the essence of divinity manifes ted in this soil, and in fact the plan of the cathedral is like the image of Christ crucified. Symbolic images served as a way to hide and spread Christian holiness. St. Stephen's Church in Julfa, Tabriz, is one of the buildings whose maximum external and internal surfaces are decorated and sanctified with various decorations. The exterior and interior surfaces of this beautiful and magnificent building are covered and decorated with various reliefs, paintings and sculptures. The interior walls are decorated with plaster painting techniques, and the exterior and exterior walls of the church are decorated with a variety of reliefs and small sculptures. Exterior wall motifs and decorations include written inscriptions, small sculptures of sacred animals and birds, various crosses, abstract inscriptions, and human motifs. The face of Chris t is explicitly and symbolically depicted in four main directions on the outer walls in human reliefs and is painted several times inside the main church, but the face of Stephen is explicitly depicted in only one inscription, in which the last moments of Stephen's life are the time of the stone. His starling is depicted. The abundance of reliefs and beautiful decorations of this building engages the mind of the viewer and keeps the main inscriptions of two colors, however, with a careful examination, five inscriptions can be separated from the other reliefs. These inscriptions are approximately equal in height on the walls on all four sides of the church in four main directions. These inscriptions are very similar in terms of form and content, and their virtual arrangement correctly and in line with each other evokes a single meaning and formally resembles a cross hidden from the minds and eyes of viewers. Among many decorations, several inscriptions similar to the church's icons, with a specific composition and dis tance, are placed on the church's outer walls in four main directions. By virtually connecting these inscriptions, a unique and meaningful form is formed, forming a cross in form and having a lot of semantic connection and entanglement in terms of content. The horizontal axis of the virtual cross consis ts of two inscriptions. The firs t inscription is symbolically drawn at the end of the southern part of the horizontal axis of the cross with the theme of the election of Chris t as the chosen one and sitting on the throne. The second inscription is drawn at the northern end of the horizontal axis of the cross with the theme of Chris t's resurrection. The vertical axis of the virtual cross consis ts of three inscriptions, two of which are the tes timony of the enemies, the crucifixion of Chris t and the s toning of St. Stephen, and the other one is the salvation of Chris t. These inscriptions were created under the influence of common sacred icons in the church. These few inscriptions are secretly ins talled among the wall decorations of the church, specifically in connection with each other and with a predetermined intention. This cryptography and secrecy of the cross through inscriptions among the multitude of reliefs necessitates this research to analyze and s tudy its form and content and is the main issue of the present s tudy. Accordingly, firs t, the meanings of the symbols in the inscriptions were analyzed, then the analysis of these inscriptions is based on intertextual views from Gerard Genet's point of view in order to read the relationships between the inscriptions in terms of form and content relationship to confirm the form of the virtual cross. Any relationship that is formed based on co-presence between two or more texts is called intertextuality. Intertextuality is formed when two texts have a single element or elements. The presence of one element of a text in another text or the presence of several elements of one text in another text or the presence of several elements of several texts in a specific text is the main type of intertextuality. Genet intertextuality is divided into two major categories (1-explicit and explicit 2-implicit and hidden). In explicit and explicit context, the author does not hide the reference of his text and the elements of the first text are seen and identified quite clearly in the second text. Implicit and implicit intertext indicates the secret presence of one text in another. In this type of intertextuality, the second text is influenced by the pre-texts and places elements of it in its heart that remains hidden from the viewers' mind and eyes. Implicit intertextuality, unlike explicit intertextuality, does not disclose its reference and tries to conceal it. This research is considered qualitative, and the method of data collection in this research is library s tudies, field research through objective observation. The research method is descriptive and analytical and seeks to answer the following ques tions: 1-Is the selection, composition, arrangement, and concealment of these inscriptions conscious? And does their virtual connection to each other form a virtual cross in terms of form? 2-What is the relationship between these inscriptions in terms of form and content, and is this conscious choice made in the cross's horizontal and vertical axes? In terms of content, do they emphasize the formation of a virtual cross? The hidden cross in the heart of the church, using five inscriptions in the four directions of the church, is installed on the church's walls, which depicts the theme of the life and salvation of Christ and finally St. Stephen. This research s tudied and analyzed the placement of each of these inscriptions, the relationship between them, and the symbolism of their elements. The symbolism of the elements was done using religious sources and the analysis of the relationships between the inscriptions was done using Jargent's intertextual theory. The main direction is the formation of a virtual cross. Further, according to the symbolic meaning of each of the inscriptions, in the horizontal and vertical axes of the cross, separately and together, and in the whole virtual cross set, the secrecy and structure of the cross are considerably conscious.

Mahmoud sami baroudi, a celebrated Egyptian poet was a pioneer of innovation. He could bring back the beauty and freshness to the Arabic poetry. Since he was brought up in a religious family and since he considered moral refinement as an output of literature, he tried to teach principles of Islam in his poetry and to propagate social, religious, and moral values among people such as: romise fulfillment, virtue, orayer, trustworthiness, liberality, bravery, and so on.This paper will try to discuss some of these values in the poet's works.

This article studies hypertextual and paratextual relations-two components of transtextuality-in Iranian cinema. By analyzing cinematic adaptation, we can realize how a movie text draws on other literary or nonliterary texts. One of the basic issues in this research is to study various forms of cinematic adaptation. In paratextual relations the text is placed on the threshold of the other text and It seems that its ratio to the release time is the most important issue in this regard. This paper introduces a model of intertextual relations which specifies types of adaptations and temporal, paratextual relations in Iranian cinema. Accordingly, after a review of literature on intertextuality, hypertextuality, and paratextuality, we distinguish intertext from intertextuality. Finally, we study some of the movies belonging to Iran’s cinema in 1370s and 1380s in order to achieve an understanding of hypertextual and paratextual relations.

According to the theory of intertextuality, every text is formed on the basis of its previous texts, and no text is produced or received completely independently, and the previous texts always play a fundamental role in it. According to Julia Kristeva's interpretation of intertextuality, the military text itself is not enough, and it is impossible that it has no connection with the previous texts, and they are definitely in dialogue with the previous texts. Therefore, in this research, the aim is to examine the pre-texts in the motifs of Lorestan pins as a land of bronze based on Julia Kristeva's theory. The motifs used in Lorestan headpieces are a collection of human, animal motifs, etc., which have been discovered from graves or religious places and temples. Based on this fact and in this research, Lorestan pins are classified into two groups: rod and pinhead. The pins with pin heads are also in three groups; They are classified as molded, meshed and with a page head. In this research, 20 pin heads with round plate heads, which were in the National Museum of Iran,( The National Museum of Iran is a collection of historical and prehistoric treasures of Iran located in the city of Tehran) were selected as case samples and analyzed. The research method used in this article is descriptive-analytical with a historical approach, and its purpose is to examine the pre-texts, commonalities, and how to be influential in Lorestan's pin head motifs based on Kristeva's theory. The central question is: in examining the pre-texts, commonalities, and processes of influence and interrelation within the motifs of Luristan pinheads, which cultural-artistic domain do they most closely align with? Based on Kristeva's theory of intertextuality, we can conclude that these motifs were more influenced by Mesopotamian art, as they are from different periods of Mesopotamia, such as: Sumer (Uruk period, Hassunah, Jamadt period) Nasr and Samaria), Babylon and Assyria, also influenced by the Neolithic period, the civilization of Upper Egypt, Mitani and Elam.

Among the mystical prose texts, Baha valad is considered a unique literary text. This book differs from other works- includes burble of Baha-e valid.With a quick look at the discontinuous parts of this book, only presences of Quran’s verses seem to be frequent and continuous.This investigation is started with a brief review of the genre and summarized with a looking at language and content.Baha valad has innovations in Quran’s verses comprehension and if we assume that the most important feature of baha walad’s prose is expression techniques of Quranic analysis does not seem far-fetched.The first study is linguistic examining thatis introduced as poetic language heading. The second study is contentual examining to find techniques of baha valad text. At The last report the Ash’ari ideology of baha valad is considered important. By presenting of this brief evidence; the writer has attempted to open a new window into the world of this dramatic text.

According to the intertextul approach there is no text that is selfsufficient; rather,in this approach, it is supposed that every text is an intertext from previous texts and for following texts. In this essay, first different aspects of text and intertextuality are explained and then, a tale from Marzbanname is analyzed according to this approach. At the end,it has been shown that as Barthes, Bakhtin, Keristova, Genette, Todorov and other adherents of Intertextulity approach have emphasized, there is no authentic and original text; therefore, the mentioned tale from Marzbanname, like other texts, is a retelling of previous texts.

Although committed to Christian principles, Elisabeth Schü, ssler Fiorenza seeks to provide a different interpretation of the sacred texts by presenting her seven hermeneutic paradigms,the hermeneutics of Experience, Domination, Suspicion, Critical Evaluation, Creative Imagination, Re-Membering and Reconstruction, and Transformative Action for Change. By employing the hermeneutics of Suspicion, she casts doubt on the androcentric reading of the sacred texts. Then she reveals the rhetorical features of the misogynistic texts and strives to restore the transformed writings to their original version. Furthermore, Fiorenza employs the hermeneutics of the Proclaimed to reveal the omitted, distorted, or altered facts. Then, using the hermeneutics of Remembering, she narrates all applicable past experiences, to infuse creativity. Throughout these seven hermeneutics, Fiorenza insists on the necessity of the transition from the concept of the archetype to the prototype, to dislodge the sacred text and its interpretations, permitting new readings. In addition, the gender dominance system (Kyriarchy), throughout the pyramid of power should be scrutinized and simultaneously, after deconstruction, it is necessary to consider rhetoric reconstruction to make women aware of the “, false consciousness”,embedded and internalized by the patriarchy in the androcentric text and help them in their efforts to free themselves from it.

In his theoretical and personal approach, Hannibal al-Khaz has tended to express in its general sense or a range of expressionism (as a style), symbolism and neo-realism. He creates new works of art with mythological features by adapting ancient stories and myths or by changing the fundamental themes of myths and historical elements. Due to his belonging to the Assyrian culture, Hannibal Al-Khaz has always tried to use the artistic heritage of his people in a modern format and at the same time, use different Iranian and Western sources and schools in his work. Intertextual thinkers, by introducing a new understanding of the concept of text, presented the achievement that no text is self-sufficient and that any text at the same time will be both an intertext of earlier texts and an intertext for later texts. With the expansion of the concept of text, texts other than writing, such as the visual arts and painting, are considered as text. Because contemporary painting constantly relies on recognizable images from past classical paintings. The question that arises is what is the intertextual reading of special paintings and the role of themes in the meaning of special works? In the present article, the descriptive-analytical method and in particular the interpretation of intertextuality by Julia Kristova and Roland Barthes have been used to read the paintings. The results of this research show that special paintings have a kind of figurative narration and different themes taken from previous texts based on a face-to-face relationship form the text of the work. Numerous themes in these works have produced implicit meanings due to the interaction and intertextual relations, and these meanings have been different in each reading, which is the meaning of Barthes. These visual themes, along with their special style, narrate semantics such as inducing a sense of anxiety and worry about fate with the passage of history and the change of religions and cultures in the contemporary era

Sa'dallah Wannous is a great Syrian play writer who has made great endeavor to flourish and help make Arabic playwright shine. His works have an elevated position among original Arabic dramas the one being Al-Malek -ho- Al-Malek which is the most prominent sample of contemporary dramas. This work focuses on everyday problems of Arabs and reflects realities of Arab society and their rulers.Tanas (intertextual) is a prominent term in modem Arabic criticism and is an outcome of a French term 'intertext'. This term means connection and intermittence of a text with other. This term possesses different rules and forms. Sensational play and its high level of acceptance among Arabs motivated the authors to consider it from new point of view.Contemporary creative play writer in order to make their works forceful could interpolate old invaluable heritage with them. Sa'dallah Wannous are one among those who in his work Al-Malek -ho- AI- Malek effectively took help of fables and stories of renowned Alef Laila (Hazar-o- Y ek Shab).Taking into account intertextual phenomena, the current paper tries to evaluate the proposed playwright and highlight different forms of intertextaulity in two fields i.e. story and technocal method.