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Non-methodological applying literary theory is one of the more important weakness’ of the literary studies in the Persian language. This weakness is more related to methodological wrongs of applying literary theory than to correct understanding of the one theory. Investigating the scientific research papers in the field of structural narratology, in this article, we aim to introduce and analyze the major drawbacks in applying to these theories and the causes and consequences of these drawbacks. The results of this research indicate that the nonchalance in applying to these theories lead to methodological wrongs in these articles. The most important of these wrongs are the educational and superficial approach to these theories, inattention to the basis of the theories, reductive approach to them. A Statistical investigating 90 scientific research papers, published from 2011 to 2017, in the end, we indicate these articles have no effective role in the process of forming the following ones.

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In a controversial decision, Louis Althusser classifies literature as the apparatuses through which the dominant ideology is disseminated. Yet, is it possible to place the works that explicitly expose State Apparatuses in such classification? Bozorg Alavi’s “Gileh Mard” uncovers power exertion of the dominant system on a character who has ignored and challenged class coalition. The powerful presence of Repressive State Apparatus, and to some extent Ideological Apparatuses, indicate the writer’s awareness of the functions of apparatuses in changing individuals into the system’s desired subject, and this portrayal is probably an indication of his inclination to dissect such power functions for his readers. This claim is supported by the fact that Alavi was self-consciously leftist in politics and realism in depicting social disorders was one of his writing styles. The question that arises is whether Alavi’s “Gileh Mard” is a literary product that shakes the pillars of ideology, or the short story itself becomes finally an Ideological State Apparatus, serving the dominant system? While the present research provides an Althusserian answer to this question through referring to Lenin and Philosophy and “A Letter on Art”, it explores the shortcomings of the Althusserian approach through the “aesthetic of reception”.

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Moral criticism is an approach to the literature presently discussed with a new view. Many contemporary behavioralists and authors didn't yet believe in the former dogmas (moralism and autonamism) but in the way of using art and ethics from each other.  In the past, ethics is defined not based on the emotions and sensations but the speech capability. In this view, literature served the ethics. Moral topics presentation methods in past advising texts were usually directly by relying on the news or compositionsentences or referring to the words of authors. T By appearing the sentimental approaches and paying attention to the role of imagination in sympathy, relation of literature and ethics changed. Nowadays, ethics is not only a collection of composition sentences reflected in the literature, and the purpose of literature is not the promotion of ethics. Literature, narrative and fictional texts promote our recognition and awareness more than others by partial recognition and direct expression of human experiences and emotions and search in the human being, being possible through our simulation with others by the imagination. This research analyzes the moral presentation methods in 20 Persian short stories. Consideration of the different forms of moral conflicts, presentation and description of details, use of objective and subjective point of view, use of metaphor, symbol or simile and ironic situations are the most important techniques of story writing in inspiring the moral message to the audience.
 

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Narrating as a third person, limited to the mind of the character, is one of the common methods in Golshiri’s works; (as in Shazde Ehtejab, parts of Christian and Kid, parts of Bare Gomshode Raii and some stories of daste tarik, daste roshan). Golshiri has proved himself as a specialist of this method. So, actualization of all the related facilities of Persian Language in narration is one of the most remarkable aspects of his privilege in fiction of 60s and 70s. Based on the coming up evidences and analysis, in this paper we have stated that in narrating Ayene haye Dar dar, Goshiri has stepped beyond Persian fiction and introduced a restricted narrator:  this restricted narrator narrates not only the main layer, but also the lower layers of the story and links all of them in a complex and multi-layered manner. In addition, all the signs of the presence of “hidden author” in the story is presented to the reader, mediated by this narrator. The whole research has been done to answer a fundamental question: in the midst of all these attempts to establish ties and proximity between these layers and the characters at each level (these characters are mostly writers), why Golshiri, using his restricted narrator, has attempted to draw a boundary –though very pale and not recognizable- between them to claim that they are close but not identical? This article answers this question, considering Golshiri’s theory on the model of  “aesthetic independence of the fiction”.    
 

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Nowadays, one of the most fundamental and controversial theoretical discussions in literary criticism is to evade meta-theory in literary practices. The prominent thinkers in this area, known as neo-pragmatists, include Terry Eagleton, Stanley Fish, Steven Knapp, and Walter Benn Michaels who emphasize that the course of theory and criticism has now been diverted from its original aim of advancing social justice in the early eighteenth century and has now become a fetish that solidifies and reproduces the hierarchical society. In 1980s, we witnessed the acme of theoretical discussions and practices in literary studies; yet, in this decade, anti-theory and anti-theoretical discussions come to their acme, knowing Knapp and Michaels’ ideas as one of their key manifestos. Knapp and Michaels believe that theoretical discussions have been the result of the separation of such inseparable terms as meaning-intention, language-speech acts, and theory-practice, leading to “theoretical enterprise.” These two critics argue that since authorial discussions are “empirical” issues, theoretical responses to them do not solve the problem; rather, they are merely a “theoretical temptation.” In this article, following a concise survey of thinkers in the realm of theory and related concepts, in particular anti-theory, meta-theory, and post-theory, we have attempted to explore the two’s ideas, review reactions to them and the errors in their argument, and finally investigate what message Knapp and Michaels’ article can have for our country’s literary society.

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In the literary tradition of Iran, literary criticism was never conducted in a systematic wayand what remains bearing the title of “criticism” is mostly the result of the critic’s impression of the text which, instead of having a scientific approach, relies mostly on their literary taste. Starting from the end of Qajar period and with the various cultural and social developments at the time, criticism also experienced changes and literary critics attempted to involve scientific perspectives in their criticisms more and to avoid impression-based and idiosyncratic criticism. A growing number of press were utilized by literary critics of the time to publish their critical articles. Literary critiques published in the first Iranian press can be classified into three categories, namely theoretical discussions about literary criticism, criticism of a literary genre or trend, and criticism of literary works. In theoretical discussions, the critics elaborated on the literal and terminological definition of literary criticism and its purpose, and, outlining the necessary characteristics of a literary critic, focused on the relativeness of criticism, explaining its types, and role of the press in promoting literary criticism. In articles that focused on a particular literary genre or trend, criticism of modernists as well as of the research into literary works, and discussion of the nature of poetry and novel are more prominent. In criticisms of literary works, in addition to the content and verbal and literary features of the works, the critics sometimes focused on the moral and personal characteristics of the authors as well.

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This paper is a comparative study of a modern Persian poet, Forugh Farrokhzād (1935-1967), and a Russian film-maker, Andrei Tarkovsky (1932- 1989). The works of two artists, from two different cultures, across time and space, have been chosen to demonstrate their morbid fear of death and their search for immortality. Following the postulates of comparative cultural studies, as developed by Steven Totosy de Zepetnek, the objective of this search is to find interrelations between two different production of art, namely poetry and film, as communicative acts. To quote Totosy in "the New Humanities," this study "is performed in a contextual and relational construction and with a plurality of methods and approaches…" (60).
Benefiting from the main tenets of comparative literature, cultural studies and psychoanalysis, this research show how the concept thanatophobia and the quest for immortality are treated in the artistic works of Forugh Farrokhzād and Andrei Tarkovsky. In Forugh's poetry, the focus would be on her last two collections of poems, Tavalodi Digar [Another Birth] and Imanan Biāvarim be Āghāz Fasle Sard [Let Us Believe in the Beginning of the Cold Season], in which she illustrates the temporality of life and the urge to be remembered. In Nostalghia, Tarkovsky creates characters like Andrei Gorchakov, the Russian researcher, and Domenicos, the Italian who wants to save the world by sacrificing. Andrei lives his death and joins eternity. This intercultural and interdisciplinary study shows how one can owercom the fear of death by substituting the moral time for the actual time.

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Studies of the reception of a writer in another culture primarily deal with the translation of the works into the target language. Such studies usually ignore the translation of the writer’s image. The present essay focuses on the translation of Walt Whitman’s image into a contemporary Iranian context. In this study, “image” refers both to visual representations, such as pictures or photographs, and the mental conceptions held in common by members of a group, such as is the subject of imagology.

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Emerson was the first American poet who introduced Rumi to American literary circles in the early 19th-century. After Emerson other American Transcendentalists e.g. Thoreau, Longfellow, Whitman began to study Persian mystical poetry especialy Rumi's poems. in 20th-century translators and poets like Martin, Duncan, Mervin, and Bly tried to re-intriduce Rumi to Amerian people. later, at the the early of 1980s Barks with the aid of Moyne, and based on Arberry and Nicholson scholarly translations tried his hand at re-translations of Rumi's poems. witout doubt, Barks renderings or re-translations made Rumi a very popular poet in America. In the present study the researcher tries to, on the basis of interdisciplinary studies, e. Cl and TS, investigate the reception of Rumi's poems, esp. Barks translations in America. Clearly, reception does not happen in a vaccume. liteary, cultural, social postions play a majoe rule. Rumi's reception in America revolvols on two sets of factors. The first series are related to the source text and the authour and the second series are concerned with the target text, transaltor, and the zeitgeist. One can refer to to the Rumi's universal and elegant themes and subjects, uncommom and bizare images and pictures on the one hand and factors like suitable room for eastern mysticisms, the selection of free verse for re-translation, and defamiliarizing Islam on the other hand.

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The concept of determinism has been studied in Hafiz poetry by many scholars. Some considered determinism, like many other concepts, as a means for literary creation, some viewed it as a justification for astute utterances, while others regarded it as the outcome of Hafiz’ own deterministic views. Though the first two accounts seem accurate, the third one seems imprecise. His literary creation style and worldview, indicative of his free will and open-mindedness, which was manifested in his poems, coupled with the inherent paradox between determinism and reformism, makes it hard to presuppose a relation between determinism and Hafiz’ worldview.
By employing an academic and methodological approach, while recognizing different interpretations, one can gain an understanding, which is closely related to Hafiz’ worldview, of deterministic propositions in his poetry. Following this approach, one should refrain from forming arguments on the basis of single verses. Therefore, the current paper has attempted to analyze deterministic propositions in Hafiz poems by applying Ernesto Laclau and Chantal Mouffe theory. Moreover, based on CDA’s presuppositions, language plays a major role in forming understandings and its means is not always clear. Hence, the paper was aimed at indicating that Hafiz’ use of deterministic propositions can be interpreted not as an indication of his worldview but as a method and medium to expand the discourse of astuteness and, at the same time, to undermine the hegemony of ascetic discourse, which had dominated the cultural atmosphere of Iran for centuries.
 

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Karbala has been a multiple and dynamic space and so the writers’ perspective on it was multiple and dynamic as well. Geocriticism is one of the new interdisciplinary approaches that focuses on space in postmodern era. Geocriticism investigates the relation between subject and space and studies the geographical space and the imaginary space of literary texts. The current study was aimed at investigating the effect of space stratification on readers in a selected number of poems. Such stratification was influenced by time as well, creating different layers of texts in space. The researchers tried to unfold the space-time layers in these poems that shaped the space of Karbala, based on the spatiotemporality principle of Westphal theory. The results indicated that poets would identify themselves with these layers of space, as they unveil the dialectic between the self and the other. Moreover, in this study the viewpoint of the Christian poet (exogenous) was studied against the Muslim poet (endogenous), by applying multifocalization principle of Westphalian theory. The principle focuses on different points of views being endogenous, exogenous and allogenous. The study reveals the convergence of selected poets’ perspectives

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Reading the critical views of poets with the aim of classifying and analyzing their approaches to literary criticism, while identifying their evaluation criteria in literary criticism, can be used as a criterion for evaluating their works. In addition to being a poet, Akhavān-Sāles had critical views in the field of literary criticism. The authors of this article, due to the special position of Akhavān-Sāles as a poet-critic, have classified and analyzed his theories based on Jacobson 's theory. Then the approaches and characteristics of criticism were discussed, regarding in his views. In expressing his critical views, Akhavān-Sāles emphasized the four elements of sender, receiver, context, and message. He considered successful poetry to be a poem arising from the poet's feeling (emotive function), of social and human subject (referential function), with literary language (poetic function) and the power to influence a wide range of receivers (conative function). In his critical views, Akhavān-Sāles has not fallen into the trap of pure formalism, nor has accepted non-literary poetry. As a result, it can be said that his thorough knowledge of the subject is positive and his subjectivity in criticism could be considered as a negative aspect of approach
 Keywords: Akhavān-Sāles, critical opinions, communication theory, critical characteristics, critical approaches

1. Introduction

Akhavān-Sāles is one of the most prominent contemporary poets who wrote numerous articles in defense of Nimā and poetry critique of different periods. The study is an attempt to answer the following questions: Which elements of verbal communication have been emphasized in Akhavan’s critical views and opinions?  What approaches did he use to critique literary works? What are the reasons for his inclination to such approaches and what are the characteristics of his critique and critical method?
In the research conducted by critics such as Barāheni, Zarrin-koub, Hoghoghi, Movahed, Shivā, Jabbāri-Moghaddam and others, some critical views of Akhavān-Sāles were examined and analyzed. However, the vacancy of an independent study that examines and analyzes the critical views of Akhavān-Sāles And to address its strengths and weaknesses encouraged the authors in this study to conduct the research.
2- Classification of the views of Akhavān-Sāles
Akhavān-Sāles did not have clear methods and principles in expressing his views and expressed his views in a scattered manner. Gathering his views, we found that his critical views revolved around the four axes of sender, receiver, message, and context. Therefore, in order to have a more coherent structure and classification, we classified his views based on Roman Jacobsen's theory of "communication".
  Sender
 Akhavān-Sāles considers the artist and the poet to be the most sensitive branch of the tree of humanity, whose poetry and art should express the pains and sufferings of the people and society. From Akhavān-Sāles point of view, the poet's feelings and perceptions must be born of this time, and this emphasis on the speaker's perceptions and feelings and the honesty in expressing feelings and emotions stem from the importance of the poem's emotional function.
Receiver
Akhavān-Sāles states that the criterion of good and bad poetry is the acceptance of the audience and its breadth, and considers the poet's success in communicating with the audience. Akhavān has considered the role of the audience as a determining factor in the poetic language and one of the reasons for the emergence of poetic currents (Akhavān-Sāle, 1348: 31-32) when he called poetry "grabbing and conquering the heart of the audience" (Akhavān-Sāle , 1382:56) he emphasizes on the emotive function of poetry.
Context
Akhavān considers one of the most important evaluation criteria for any literary work to be its social and moral content. Akhavān does not accept beautiful poetry devoid of meaning and considers a work valuable that "has social and human effects" (Akhavān, 1372: 355 and 252). Regarding the influence of the context of the text on the message, he believes in the dialectical relationship between literature and society, which is due to the importance of the referential function of the literary work in his opinion.
Message
Akhavān has a special emphasis on the literary aspect (poetic function) of the message and the literary work:
 A:  Music and rhyme
Akhavān believes that it gives rhythm to poetry and music and causes more impact, rhetoric and beauty.
B: Objectivity and subjectivity
Another feature of a valuable work of art from Akhavān's point of view is the aspect of objectivism and representation of things in poetry.
C: The language of poetry
Akhavān finds it difficult to find moderation in the use of new combinations, similes, new proportions and observations that lead to the richness of language and the value of speech, and moderation must be observed in this regard. He believes in the appropriateness of the language of poetry to its content and does not ignore the structure.
D: Imagination and ambiguity
 Akhavān considers the element of imagination as the special meaning of poetry, but does not consider any kind of ambiguity as a factor in creating the beauty of poetry. He considers the ambiguity caused by beliefs in classical poetry as its defect and considers the ambiguity resulting from literature and poetic forms of imagination as beautiful.
E: Innovative techniques
Akhavān divides innovative techniques into two types: universal and artistic poetry (similes, metaphors, ambiguities and repetitions in place) and other imitations and useless arrangements.
In general, Akhavān in his views pays attention to two aspects of the form and content of the literary work, which is influenced by two currents in his artistic life: familiarity and influence of Nimā poetry with political and social activities and the influence of ideologies of literary discourse and his interest in poetry and rhetoric of classical poetry.
3- Characteristics of Akhavān criticism
- The language of humor
 –The use of rhetorical science in criticism
- Mastery of the topic under discussion
 - Criticism of other critics
- Paying attention to the context and using a comparative approach
 - The use of myths and folklore literature
 – A combination of unscientific, scientific and constructive criticism
 - Scattering and eloquence
 - Contradiction in views
References
Akhavān-Sāle, Mehdi. (1348). The best hope (Behtarain Omid). Tehran: Mihan.
  ........................ (1372). The Privacy of Green Shadows (Harym-e Sayehāy-e Sabz) (Collection of Articles 1). Under the supervision of Mortezā Kākhi. Tehran: Zemestan.
.................... (1382). The voice of astonished astonishment  (Sedāy-e Hirat-e Bidār) (conversations of Mehdi Akhavān-Sāle). Under the supervision of Mortezā Kākhi. Tehran: Zemestan.

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The purpose of the present study is to investigate the sub-worlds in Werth's Text Worlds Theory (1999) based on Cognitive Poetics Approach. Upon analysis, the authors showed that up to what extent the writer of Blind owl has used the sub-worlds including deictic, attitudinal, and epistemic. The methodological nature of this qualitative research is descriptive-analytic. It should be noted that all the clauses have been examined. But due to the limitation of the paper volume, in only 20 clauses of this story, the three sub-worlds have been analyzed as one of the semantic layers in Werth's Text Worlds Theory. The authors sought to illustrate the representation of the three sub-worlds in Blind owl and the way the writer has used these three layers in the story. The findings indicated that the epistemic sub-world has been used significantly more than other two sub-worlds, i.e. deictic and attitudinal. Also, the results showed that most of the clauses are narrative and discursive, and the epistemic sub-world has been reflected widely in this story.
Extended Abstract
The Aim of Research: The purpose of the present study is to investigate the sub-worlds in Werth's Text Worlds Theory (1999) based on Cognitive Poetics Approach. With this investigation, the authors showed that up to what extent the writer of Blind owl has used the sub-worlds including deictic, attitudinal, and epistemic. The present study seeks to show that any text based on Text Worlds Theory in the cognitive poetics approach can be examined in the form of three layers of text world, discourse world and sub-worlds which the authors have tried to explore the three layers of the semantic layer of sub-worlds including, deictic, attitudinal, and epistemic in the story of Blind owl. In this regard, we try to use the theory of cognitive poetics to achieve a correct reading of these texts that is far from any personal interpretations. It is worth noting that showing different semantic layers and understanding them correctly is possible only by applying this theory.
Methodology: The methodological nature of this qualitative research has been descriptive-analytical. The authors collected data by reading and analyzing the text of the story of “Blind Owl” by Sadegh Hedayat. In reviewing the clauses of this story, due to the limited volume of the article, the authors considered 20 clauses of the story from the perspective of the three layers of the sub-worlds as one of the semantic layers in the theory of text worlds in the cognitive approach from the perspective of Werth (1999).
Theoretical Framework: The theoretical framework of this research is informed by the approach of cognitive poetics in linguistics and Werth’s Text World Theory (1999). What makes this theory unique is its comprehensive application of cognitive principles in analysis. Text worlds Theory is a discourse framework, in the sense that its attention is not only focused on a particular text, but also on the contextual context and its surroundings that influence its production and acceptance. The purpose of this theory is to provide a framework for studying discourse in which situational, social, historical and psychological factors are involved and play an important role in language cognition (Gavins, 2007). Werth’s book was published after his death by Short in 1999 titled Text Worlds: Representation of Conceptual Space in Discourse, that includes Werth's full account of this theory. According to Johnson (1987), the cognitive approach shows that language is a product that is not produced from a separate structural system in the mind, but from cognitive processes that enable the human mind to make perceptions of experiences which linguists call them embodied cognition (Freeman, 2000, p. 281). Also, Stockwel (2002) states a broader concept of cognitive poetics and introduces all approaches that provide a framework for describing literary texts based on the tools of cognitive science, with the label of cognitive poetics. Text worlds are mental structures that form conceptual representations of certain aspects of reality. Werth's model is based on the distinction between two prominent functions of language: the informative function and modal function. Werth considers the informative function as what is often called the propositional meaning.
Conclusion: In this study, we have examined and evaluated the story of Blind Owl, by Sadegh Hedayat, based on the theory of ​​Text Worlds in the cognitive poetics approach, and it has been determined how the writer of the story has acted in order to understand the reader. It is worth noting that the three sub-worlds of deictic, attitudinal and epistemic, represent an important part of the construction and formation of the worlds of the story text. In order to fully understand the text, one must describe and analyze a part of it in order to determine the idea of ​​the text through the text itself, and not through utterances that are formed outside the text. The theory of ​​text worlds based on the approach of cognitive poetics opens a new path in literary criticism, the discovery of how the mind works, the relationships between time, and anything else that helps to build the reader's mental representation. Hence, this approach is a bridge between literary studies and the field of cognitive linguistics. To answer the first question, it should be said that Sadegh Hedayat has used more narrative and discursive text in this story. Regarding the second question, it must be acknowledged that although the three sub-worlds of deictic, attitudinal and epistemic are observed in the Blind Owl, but the sub-world of epistemic plays a decisive role through conditional sentences, frequency adverbs, cognitive metaphors and repetition. The findings indicated that three sub-worlds including 29.63% deictic, 33.33% attitudinal and 37.04% epistemic, have been used in the story of Blind Owl. The results also showed that the epistemic sub-world has the highest usage and the deictic sub-world has the lowest usage in this story.
 

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1. Introduction

2. Review of Literature

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