Abstract
Intertextuality studies are as one of the significant approaches in literature and art. This term for the first time was proposed by Julia Kristeva 60s and later it was expanded by persons such as Roland Barthes, Gerard Genette & et al. Nowadays we are living in a world which is full of texts and these texts are born in it, grow and finally give their place to other texts but they aren’t disappeared. These texts are knotted to each other with intertextuality rules and they have interaction with each other. They sometimes deny or confirm each other but any way they influence on each other. In fact existence of sign world and existing texts and their effects in creation of each artistic effect are inevitable.This paper intends to consider the applicable studies of intertextuality in Iranian community art by concentrating on Qajar era painting. And it refers to the role of intertextuality in producing and reading the works by studying the case samples.The methodology in this research with review of art history and due to the analyses done on the works (sample to sample) will be analytic-descriptive according to the allegorical method.
Highlights
Intertextuality reminds this point that all texts in potential, pluralistic and returnable form are exposed to the special presumption of reader without clear and defined borders and always involved in expression or suppression of conversation tones existing in the community
Intertextuality studies in this research have three features: firstly, it is a practical and applicable sample; secondly the study body is from Iranian culture; thirdly this cultural body is from Iranian art domain
In this article, we studied the existence of signs world in intertextuality and its effects on creation of painting works existing from Qajar era
Summary
Intertextuality reminds this point that all texts in potential, pluralistic and returnable form are exposed to the special presumption of reader without clear and defined borders and always involved in expression or suppression of conversation tones existing in the community. Human utilizes of both previous and contemporary texts, second, referring to the past texts is sometimes receivable obviously and explicitly, but sometimes this referring has been in non-explicit form and for recognition of borrowed element, we need to be more precise and think more. Another important point is that the researchers often know the intertextuality limited to the literal issues while this study in different domains of art like cinema, theatre, music, painting and etc is thinkable. Intertextuality studies in this research have three features: firstly, it is a practical and applicable sample; secondly the study body is from Iranian culture; thirdly this cultural body is from Iranian art domain
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