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Postmodernist Takes by Claudia Palmarucci and Soodi Sharifi from Kamal o-Din Behzad’s "Harun the Caliph in the Bath"
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Nastaran Nowroozi   |
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Abstract: (1961 Views) |
One of the most important features of postmodernism is a return to the past and the deconstruction of its literary and artistic texts. It is on this basis that many contemporary postmodern artists have created texts having their takes and adaptations from past works. Behzad's painting "Harun the Caliph in the Bath", depicted for the Timurid version of Nezami’s Khamseh (Pentalogy), is a text interpreted by contemporary postmodern artists Soody Sharifi and Claudia Palmarucci, with both of them having created their adaptations. This has caused textual and discursive associations between Behzad's painting and works of Sharifi and Palmarucci despite them stemming from different discourses. The present paper is a discursive study of these texts and their interdiscursive relation.It tries to answer the questions of what discourse each of these texts reproduce, and what is the interdiscursive relations between them? The research is descriptive, analytical and comparative and is based on the discourse analysis model of Fairclough and the interdiscursive approach. An extra-textual and discursive study of these texts showed that they reproduce three discourses: those of past mystical-Islamic, cultural-critical (of Iranian-Islamic culture) and contemporary cultural-European; and thatthe three topics of the artist’s nationality and his/herhistoric background, cultural and artistic traditions, as well as the society and the context of producing the text, have played important roles in shaping the meaning of these texts, their links and their discourses.
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| Keywords: Postmodern, Discourse Analysis of Fairclough, Inter-discourse, Kamal o-Din Behzad, ", Harun the Caliph in the Bath", . |
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Full-Text [PDF 480 kb]
(1556 Downloads)
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Type of Study: Research |
Subject:
General
Received: 2019/07/7 | Accepted: 2019/09/4
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