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This article examines Wittgenstein's teachings on realism and anti-realism through the lens of his philosophy of language. Realism posits that every linguistic statement is either true or false, independent of human consciousness and knowledge. Consequently, the Principle of Bivalence—accepting only truth and falsity as semantic values—is central to this view. In contrast, anti-realism rejects this principle, asserting that the truth or falsity of statements can only be determined if empirical or epistemic evidence is available, and statements cannot be evaluated independently of mind and language. Wittgenstein challenges both perspectives by critiquing the foundations of language and focusing on its functions within various contexts of life. He views language not as a passive mirror of reality, but as a constitutive agent within which reality takes shape. This article elucidates Wittgenstein's arguments against the notion of realism and utilizes Dummett's analyses of meaning and truth to clarify the anti-realist foundations in Wittgenstein's philosophy of language.

The concept of translation encompasses a broad spectrum, including various forms of textual adaptation and adjustment that occur across languages and cultures. Within this spectrum, adaptation and imitation are also considered as part of the translation family. This study, conducted using a comparative, descriptive-analytical method, seeks to explore the issue of adapting a contemporary religious drama from Qur’anic narratives, employing Gérard Genette’s theory of hypertextuality. It examines the structural and thematic aspects of the hypertext in question—the television series Sahebdelan ( The Spiritualists ), directed by Mohammad Hossein Latifi (2006)—and its relation to its hypotext, the narratives of the Qur’an. The aim is to determine the extent and manner of the Qur’an’s influence on the adapted hypertext and to analyze the types of transformations that have occurred. The findings reveal that, based on Genette’s categorization of transtextual relationships, this form of translation from hypotext to hypertext constitutes a recreation of parts of the lives of certain prophets in the Qur’an in the format of a television drama. This recreation—shaped by filmmaking motives, media constraints, target audience, and the purpose of the series—has involved substantial changes to narrative elements such as characters, events, time and space of narration, and intertextual connections. These transformations have enabled the transmission of Qur’anic themes and messages in a contemporary and accessible language for today’s viewers. The impact of Qur’anic narratives in shaping the content and themes of this dramatic work has been significant, making it a prominent example of religious adaptation.