A Comparative Study of the Narrative Elements of Adapted work (Franny and Zooey and A Perfect Day for Banana fish) with the Adapted film (Pari Movie) Based on the Grimas Narrative Model

Introduction

Structuralism means the study of the interrelationships between the components of an object or subject. Narratology as a gift of structuralism; It is one of the most important theoretical areas. Many structuralist scholars have tried to provide basic rulings on the various narratives so that they can fit all narratives into a particular format. Algeria  Julien  Grimas With the publication of his book, Structural Semantics (1966) he tried to achieve the general grammar of the narrative language by presenting the pattern of action and chains of narrative and to analyze each narrative with its narrative structure. The aim of this study was to identify and study the change of narrative line from source to adaptation and to study the narrative processes of conversion of source to adaptation as well as theory. Grimas suggested that the general classification governing all narratives should consist of only six roles or commonalities in three two way    confrontations. These categories are: subject / object, giver / receiver, helper / adversary. In Iranian cinema, the Pary film  (1995) is based on the novel Porridge Vesuvii and the short story "A Good Day for  the FishFish" by Jerome David Salinger.
 
2.Methodology
The research is done in six stages. In the first stage, gathering library information, completing theoretical foundations, reviewing the research background, studying the adapted literary works, studying the adapted screenplay and watching the selected film are done. Then a comparative study of the narrative components obtained in the source and the adaptation effect is performed. In the next step, the narrative techniques used by the filmmaker in changing the narrative line of the story to the film are studied. (Output of this step: tables of classification of narrative elements of the source (story text) and adaptation effect (film) to classify and facilitate comparative study between the two) and finally information analysis and conclusion is done.
 
3.Discussion
Structuralism is a method that systematically studies phenomena in the field of humanities. Grimas, considering Saussure's system of confrontation, believed that all narratives could be adapted to a system of common signs.
Mehrjoui in the cinematic translation of films from adapted sources of processes such as changing the text-to-film narrative system, deleting, adding, reducing, expanding, repeating, generalizing, highlighting, replacing images, interfering, thematic diversity, changing crisis and story climaxes, changing In the nature of the characters, change in the beginning and end of the story, change in the social position of the characters and objects is used.
The present study, in parallel with studying the changes in the narrative line from source to adaptation, also studies these changes.
 
4.Conclusion
The present study was conducted to study the process of adaptation in two selected works of Dariush Mehrjoui based on Grimas's narrative model (syntactic rule and active patterns). Comparative study of how the narrative line is adapted and the study of narrative processes in converting the source into an adapted work were among the issues that the researcher sought to find answers to in the study of the adaptation process.
The questions raised in this research are: 1) What changes has the narrative line of the story from the source to the adaptation effect during the adaptation?  2) What narrative processes has the filmmaker used in converting the narrative line of the text of the story into a screenplay?
In answer to these questions, it must be said that the structural pattern of Grimas actor is a good pattern for examining stories. In order to complete the studies, and since the statistical population is in addition to the story (writing system), there is also a film (visual system), the episodes obtained from the stories, which are logically classified according to structuralist patterns, can be the focus of technical study.
The first finding of the research is that the narrative line in the film has not changed much compared to the sources. A more accurate explanation is that in the middle episodes, the similarity in the narrative line of the episodes between the source and the adapted work is close to eighty percent 80%. This is while the two initial and final episodes show a zero matching percentage. This means that the filmmaker has added two episodes and in the other cases, with a percentage of nearly eighty, has moved in line with the narrative line of the source. However, and given the debatable point that artistic adaptation should be seen and studied as a whole in the realm of literary art criticism, attention to the details of the change and transformation from source to adaptation in orded to emphasize the process. It is an adaptation and does not mean confirmation and emphasis on the method of detailed study in the phenomenon of adaptation.
In response to the second question, narrative processes in source-to-effect adaptation were studied in each episode, and the results were summarized in a table. Among the narrative processes, increase, deletion, and highlighting have the largest share. However, other psychological tricks can also be traced.
Finally, it is necessary to explain that Grimas's activist paradigm was created at a time in Grimas's intellectual life when he emphasized the logic of structuralism. After this period of thought, he conducted newer studies. In future research, these findings should also be studied on stories.
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