Faculty Member of the Institute for Humanities & Cultural Studies, Tehran, Iran.


The present article tries to study the story Ašghālduni (Dustbin) by Gholāmhossein Sā’edi and the adapted movie Dāyere-ye Minā (The Cycle) by Dāryuš Mehrjuyi with a view to new adaptation theories. Of course, these theories have not yet been consistent and well-established; but its literature is going to evolve, especially its essentials are discussed in the study method of narratology. As an example, this proposition is discussed in theoretical subjects of adaptation that even in the loyal adapted movies, in which the structure of the literary story and the sequence of events in the movie are preserved, some of the semantic functions change because of story entry into the cinematic discourse along with the needs of medium of cinema. For example, the figurative aspect of Sā’edi's story in its adapted movie has been influenced by the scheme and sometimes realism dominates symbolism. Mehrjuyi has organized the events in the discourse of classic cinema in order to encourage the reader to persist the events during a certain time period. The way of timing a movie in terms of a three-screen structure encourages the spectator to follow the events and causes the "scheme" to dominate the "idea". Since the dominance of either scheme or idea creates different themes, it can be said that the very structural change leads somewhat to semantic change. Similarly, the change of Sā’edi's open ending narrative to a close one prevents the audience to participate in re-making the fictional fate of Ali; the sort that exists in a literary text.


Main Subjects

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