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MaqamateHamidi is a good example of a text, which has emerged out of the previous culture and literature. This book has turned into a broad site in which various texts have been mixed in such a way that it represents an extensive array of genres. The main purpose of this study is the discovery and analysis of the intertexual relations in Maqamate Hamidi. To achieve this aim, we investigated twenty three Maqams in this this book in the light of Gerard Jeant’s Transtexuality Theory. The results indicated that MaqamateHamidi is a good example of intertexuality in a sense that different allusions to the Holy Quran are made, and also Arabaic poetry is extravagantly is used. Moreover, Hamidi’s book is greatly modeled on Hamadani and Harriri’s works, which attest to the intertextual nature and diversity of voices within this book. This intertexuality reinforces the coherence of meaning in this text, which is in line with Gerard Jeant’s Intertexuality Theory.  

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Sa’adi’sBoostan is one of the books illustrated in different ages by different painters. The painting“Begging man in front of Mosque” is one of the maintained illustrations in Cairo library which is illustrated by Kamalodin Behzad. The basis of the Behzad’s illustration is the Sa’adi’s poem which in this story uses the Hadiths and storied and narrations and is expressed in a poetic manner. On this basis, it is assumed that Behzad also used the narrations, hadiths, and stories in order to illustrate the Boostan. Using novel techniques of the work reading which are conventional as intertextuality at present and codified in Janette’s thought in details, one can provide a comparative analysis of the textual references in an inter-textual manner. In this research, one of the Trans-textual Janette’s typologies is used in order to investigate how the painting“Begging man in front of the mosque” by Kamalodin Behzad is related to the Sa’adi’s poem“Love and Passion and Drunkenness”.This research seeks to find the answer of this question: what other sources did Sa’adi use in this and what text and references did Behzad use in illustrating this poem, in addition, to compare the painting with the poem. This research is theoretical and fundamental in term of methodology and this is conducted in descriptive-analytic procedure and the note-taking was used to gather information. The research findings based on the intertextuality discourses imply that Sa’adi used the narrations and Hadiths in writing the Boostan.In addition, Behzad also used these resources in illustrating the text as the main origin of the images and didn’t rely only on the mere reflection of the story.

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A critical analysis of reader-text, especially the sacred texts as the important topic of hermeneutic, is one of the focal points of attention among scholars of humanities. This paper, through a comparative study between the Bible and the Qur’an, concentrates on the image of woman in the account of creation. The paper first shows that there are deep differences between these two sacred texts concerning the image of woman. Then it argues that throughout the Judaea-Christian history and the Islamic traditions multi and contradictory interpretations and understandings of the account have been produced by religious authorities, scholars and critics. The main purpose of the paper is to show that despite the differences between the two texts, there is a common paradigm between Judeo-Christian and Islamic traditions regarding the image of woman. This paradigm is that the authoritative discourses of both traditions have used the creation story, as a theoretical tool to downgrade women. Certainly, many factors are influential in producing this paradigm including disposition of the authors, extratextuality (the context of reading) and intertextuality (relationship of texts). In this paper, the notion of intertextuality will be emphasized, as an important factor in bringing about this paradigm.