• Allen, G. (2013). Intertextuality. Translated by P. Yazdanjoo. Tehran: Markaz.
•Barthes, R. (1977).The Death of the Author. Translated by S. Heath. New York: Hill and Wang.
• Barthes, R. (2000). Camera Lucida: Reflections on Photography.Translated by R. Howard. London: Vintage books.
•Benjamin, W. (1969). The Work of Art in the Age of Mechanical Reproduction. H. Arendt (Ed). Translated by H. Zohn. New York: Schocken Books.
•Bhabha, H. (1994). The Commitment to Theory, The Location of Culture. London: Routledge.
• Calvino, I. (2002). If on a winter’s night a traveler. Translated by Golestan, L. Tehran: Agah.
• Clark, J. M. (2004). The Perfect Fake: Creativity, Forgery, Art and the Law. DePaul Journal of Art, Technology & Intellectual Property Law,15 (1). Available from: http://via.library.depaul.edu/jatip (Accessed 12 December 2017).
• Culler, J. (1975). Structuralist Poetics. New York: Routledge and Kegan Paul.
• Culler, J. (2001). The Pursuit of Signs: Semiotics, literature, deconstruction. London and New York: Routledge.
• Derrida, J. & Lacan, J. (2016). On the names-of-the fathe. Translated by M. Jafarisabet. Tehran: Chatrang.
Eliot, T. S. (1921). The Sacred Wood: Essays on Poetry and Criticism. New York: Alfred A. Knopf.
• Farahmandfar, M. & Nojoumian, A. (2013). Hybridization of Identity in Postcolonial Theory: The Case Study of Roman Polanski’s The Pianist. Honar-Ha-Ye-Zibas,Vol. 3(6): 63-73.
• Foucault, M. )2004). The Archeology of Knowledge, London: Routledge. Reprinted. Available from: https://thecharnelhouse.org/wp-content/uploads/2015/01/michel-foucault-the-archaeology-of-knowledge.pdf. (Accessed 19 April 2018).
• Goodman, N. (1976). Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Hackett.
• Groys, B. (2008). Art Power, The MIT Press Cambridge, Massachusetts London, England. Available from: https://archive.org/stream/BorisGroysArtPower2008/Boris%20Groys (Accessed 23 March 2018).
• Harper, P. (2017). Call us dull, call us sellouts, call us gentrifiers – just don’t call us copycats. Available from: https://www.dezeen.com/2017/07/18/phineas-harper-opinion-copying-originality-architecture-assemble-cineroleum/
• Habib, M. A. R. (2005). A History of Literary Criticism: From Plato to the Present. Oxford: Blackwell.
• Hick, D. H. (2010). Forgery and Appropriation in Art, Philosophy Compass 5-12,1047-1056). Available from: https://onlinelibrary.wiley.com/doi/full/10.1111/j.1747-9991.2010.00353.x. (Accessed 12 May 2018).
• Holquist, M. (1990). Dialogism: Bakhtin and His World. London: Routledge.
• Irvin, Sh. (2005). Appropriation and authorship in contemporary art. British Journal of Aesthetics 45 (2):123-137. Available from: https://philpapers.org/rec/IRVAAA. (Accessed 7 March 2018).
Jacob, S. (2016).The copy in contemporary culture is both despised and feared. Available from:
https://www.dezeen.com/2016/02/25/sam-jacob-opinion-column-copying-conservation contemporary-culture-queen-other-nefertiti/. (Accessed 12 February 2017).
• Kant, I. (1998). Kritik der urteilskraft [Critique of Judgment]. Translated by Rashidian, A. Tehran: Nashr-e Ney.
• Kipnis, J .(2013). A Question of Qualities, Essays in Architectur. London: MIT Press.
• Kristeva, J. (1980). Desire in Language: A Semiotic Approach to Literature and Art. Translated by L. Roudiez, Th. Gora & A. Jardine. New York: Columbia University Press.
• Kristeva, J. (1984). Revolution in Poetic Language (European Perspectives Series). Translated by M. Waller. New York: Columbia University Press.
• Lenain, T. (2011). Art Forgery: The History of a Modern Obsession. London: Reaktion Books.
• Lessing, A. (1965). What is Wrong With a Forgery?. In Arguing About Art, Contemporary Philosophical Debates (2008), In Neill.A and Ridley. A (Ed). Third Edition. New York: Routledge.
• Lessing, A. Dutton, D. (2010). What is wrong with a forgery; Artistic crimes. In Arguing about art : contemporary philosophical debates. Translated by Malek Mohammadi, N. Tehran: Art Academy Publishing.
• Levinson, J. (1980). Autographic and Allographic Art Revisited, Philosophical Studies. An International Journal for Philosophy in the Analytic Tradition, 38(4): 367-383. Available from: http://www.jstor.org/stable/4319427. (Accessed 23 February 2017).
•Maas, W. & Madrazo, F. (eds.). (2018). Copy Paste: BadAss Copy Guide. Rotterdam: nai010 Publishers.
• Meskoob, Sh. (2005). Dastan- e adabiat va sargozasht- e ejtema [The story of literature and the history of the community].Tehran: Farzanroz Publishers.
• Norouzitalab, A., Moghbeli, A. & Jodat, Sh. (2014). The Evolutionary Psychoanalysis of Painting and Architecture in the Historical Context of World War I to World War II. Bagh- e Nazar, 11 (31): 17-32.
•Radnoti, S. (1999). The Fake: Forgery and Its Place in Art. Translated by E. Dunai. Lanham: Rowman & Littlefield Publishers.
• Sanders, J. (2006). Adaptation and Appropriation. London & New York: Routledge.
• Samoyault, T. (2005). L’intertextualité. Paris: Armand Colin.
• Shore, R. (2017). Beg, Steal & Borrow Artists against Originality. Laurence King Publishing.
• Soltani, M., Mansouri, A. & Farzin, A.(2012). A comparative study on the role of pattern and experience-based concepts in architectural space. Bagh- e Nazar, 9 (21): 3-12.
• Weisberg, R. W. (2006). Creativity: understanding innovation in problem solving science invention and the arts. Hoboken, NJq: John Wiley & Sons. Inc.
• Ziapour, J. (1987). Vijegiha- ye honar- e dore- ye Eslami va naqsh- e Iran dar olgusazi- ye tamadon- e eslam [The Features of the Art of the Islamic Period and the Role of Iran in the Modeling of Islamic Civilization, speech at the Academic Complex of Islamic Art]. Available from: http://www.ziapour.com (Accessed 7 March 2018).
• Zeimaran, M. (2013). Mabani- ye falsafi- ye naghd van azar dar honar [Philosophical Foundations Criticism in Art]. Tehran: Naghshe Jahan Publications.