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A Typology of Forgery According to Genette: A Critical Analysis of Iranian Painting
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Manizheh Kangarani   |
| art academi |
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Abstract: (12 Views) |
| constitutes a foundational domain within literary and artistic studies. Each typology is characterized by its specific indices and focal concepts, which distinguish it from other classificatory systems. In his theoretical work, the French literary critic Gérard Genette delineates a framework of six distinct hypertextual relationships. This typological formulation can prove instrumental in the analysis of a significant corpus of Iranian literary and artistic works, facilitating the decoding of transformative relations between texts. The present study, while introducing Genette's hypertextual typology, concentrates specifically on "forgery" as one of its constituent modes. By applying the principles and concepts of this mode—which are originally rooted in a verbal semiotic system—we aim to investigate the pictorial system with a specific focus on Iranian painting. Forgery, as one of Genette's six hypertextual modes, is defined by the operations of completion, continuation, or extension. This concept pertains to works, whether incomplete or already complete, that are subsequently finalized or expanded upon following a temporal hiatus. Employing a descriptive, analytical, and applied methodology, this research examines the modalities of completion and continuation manifest in Iranian paintings. It is posited that a profound comprehension of artistic texts and their pluralistic layers of meaning can be achieved through the identification of various forms of derivation and adaptation and the elucidation of their intertextual dynamics- |
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| Keywords: Hypertextuality, Derivation, Typology, Forgery, Iranian Painting |
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Full-Text [PDF 4667 kb]
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Type of Study: Research |
Subject:
Special
Received: 2025/10/2 | Accepted: 2025/10/12
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