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For some time hermeneutics has been posed as a competitor for positivism in the field of cognitive and human sciences and has almost prevailed.The field of literature and interpretation of literary texts is one of the fields this branch has influenced.The aim of this article is to examine this subject , coin the term "Literary Hermeneutics" and explain how to apply it for interpreting literary texts,especially novels.To do that,we first define hermeneutics and then literary hermeneutics and its different circles and in the conclusion mention the obligations resulting from selecting each of these circles for interpretation.

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Qazieh is comic literary style, which was created by Hedayat in his book “Vagh Vagh Sahab”. Beside its application in comic, Qazieh has not been recognized and followed strongly yet. In Qazieh, we confront with Naghizeh style, but features of language, form and content, make it outstanding. Two aspects of Qazieh that bold its prominence are: First confronting poem in a folksy style, and demolishing rhythm and intentionally. In addition, criticizing the hidden social, cultural, and literal problems of the society makes it unique. This essay re-analyzes Qazieh in Vagh Vagh Sahab, and indicates the methods that Hedayat uses in creating Qazieh.

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Literature is one of the most important factors of cultural transferring for every nation and has elements and components as complex as life and culture. If we consider criticism as a tool of leading literature to creativity, then we will perceive its crucial situation among the societies because the alive conscience of literature releases it from self deception. Critics select different procedures in the frame of their proficiency and interest in this way. Moral criticism, social criticism, psychological criticism, historical criticism, aesthetic criticism and comparative criticism are of the most important branches of literary criticism that besides merging with other sciences, they prove the dependency of literature on science from one hand and on the culture of society on the other. This research, using an analytical approach to social criticism, aims to reach a kind of convergence beyond the different and sometimes contradictory ideas in this field, while explicating the foundations of social criticism in literature. Therefore, to assume the society as the subject of a writer's thoughts instead of his/her source of thought, defining the individuality of an artist or a writer (which helps to distinguish his/her point of view and accepting the artistic aspect of literary works as the distinction between science and art) removes a lot of challenges in this field.

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Among the various critical approaches to literary works, psychoanalytical criticism is of special eminence. Freud, the founder of psychoanalysis, was able to introduce a new reading of literary and mythical texts as well as art works to his readers, based on his new and innovatory perception of human mind and his discoveries of new aspects of human existence. His tendency to analyze the author's psyche through his/her work(s) is his greatest achievement in this field. After him, psychoanalytical criticism was subject to many developments. Jung, Adler, Ernest Jones, and Erik Erikson were amongst those whose activities have had magnificent effects on the development and evolution of this critical method. As a result of these developments, the practice of analyzing the characters of a literary work from a psychoanalytic perspective was pursued by Freud's pupils, and in particular by Ernest Jones and this critical approach became one of the most remarkable methods of literary work analysis.Due to its dynamic and structured nature, the method still remains a pre-eminent and well-known trend in modern psychoanalytical criticism. Thus in this study we have tried to analyze and scrutinize the character of "Zal" in Ferdowsi's Shahnameh from a psychoanalytical viewpoint in order to shed light on his psychic features. We have chosen Alfred Adler's psychoanalytic speculations on the inferiority complex, superiority, and compensation as our methodological guideline.

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English

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Taheri.Gh. ,PH.D
Abstract:
 
If we regard Mashroote revolution and especially Nima Yushij's untraditional works as Iran contemporary poetry origin, it has experienced so changes to 70 decade and some methods of the moderate to radical poetry have been examined. After Islamic Revolution, following the political, social and cultural changes, the young poets doubted in last aesthetics principles and new styles and researches were made. Therefore, most of the young and old poets dispensed with the style of pre- revolution famous poets like Nima, Shamloo, Akhavan , Foroogh and Seprhti. The postmodernism poetry current along with the others recently emerged currents have been completed from the beginning of 70 decade and continued yet. If we regard the new style seeking will of the poets such as Mohammad Moghadam, Houshang Irani, Yadollah Royaee and Ahmad Reza Ahmadi as the radical steps in radical poetry and Iran contemporary poetry, the experiences by Postmodernism poets in 70 decade should be regarded as the second step of the same movement. The poets of the mentioned movements are now experiencing new styles through the west literature related opinions and full separation from local and literature classic and contemporary experiences. as the stylistic and formic changes are as the result of fundamental social changes, continuation and stabilization of this current is ambiguous. Analyzing the social causes of this current, this article is an attempt to clarify the basic characteristics of the related poets on critical view points.
 
 

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One goal of comparative studies of literature is to search for the human “truth” that has appeared as archetypes in the literature of all nations and all times. In this paper, the author draws an archetypal comparison of romantic love in the French story of "Tristan and Iseult" and the Iranian epic romance "Samak-e-‘Ayyar". It starts with explaining the Jungian concepts of mother and father archetypes, anima and animus, conscious and unconscious, as well as collective conscious and unconscious. Since individuation process in the Jungian psychology has to do with the connection between the conscious and unconscious, the tale romantic love could be seen as individuation process in which each lover seeks to connect to his/her anima (feminine unconscious) and animus (masculine unconscious), based on his/her gender. After providing a synopsis of each story, the author explains the archetypal roles and symbolic meanings of kings, queens, heroes, witches, and princesses in each story using Marie-Louise Von Franz’s methodology for the interpretations of fairy tales. It then compares romantic love in each story by analyzing its characters, functions, and events, and explaining its similarities and differences. Since archetypal literary analysis reveals the attitude, outlook, and behaviors of the people that the myths are originated among them, this comparative study aims to answer to a rather broad question: How is it that in the French story of the 12th century, romantic love ends with death and tragedy; however, in the pre-Islamic Iranian tale, it ends with the :union: of lovers?  

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 GholamHosseinZadeh.Gh,PH.D.

                                                                  

Abstract:
 
The character, as a major element of storytelling, has many varieties. One of them is the historical character. The Masnavi contains many historical characters, but since historical stories are different from “historical accounts”, and historical accounts are not the same as “historical events”, the historical characters included in the Masnavi are different from their story versions. One of them is the chief of the Khorasan mystics, Ibrahim Adham, whose abandoning of power (emirate) is well known.
   Although there is not much historical information available on the life of Ibrahim Adham, one may find tales about him in some stories from the Central Asia; however, these are mixed with fiction. There are also various accounts of him abandoning the emirate which come under three major titles, namely “the camel, the caravanserai, and the hunt.” They feature different events but share the same beginning, end and storyline. Molavi has chosen the camel story and put it in his Masnavi. There are also others who have related the same story and who are temporally and intellectually close to Molavi, among them Attar, Shams, and Sultan Valad. Although the quartet(3+1)’s narrations are considered similar and put in the same group, they are characterized by different storytelling and dialectic techniques. Upon analysis, it turns out that the narrative technique of Shams excels those of the rest, better conforming to storytelling principles.
 
 

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Gholam-Hossein-Zadeh.Gh., ,PH.D.

Taheri,Gh., PH.D.

Rajabi.Z., PH.D.

 
Abstract:
 
Molavi is one of the greatest mystical storytellers in Persian literature who has adopted storytelling to convey didactic and mystical notions. Molavi’s Masnavi remains a well-known work throughout the world thanks to his intelligence in understanding the concerns and dimensions of human soul as well as to his grasp of the social traits of the readership, plus his superb skills in applying the delicate techniques of storytelling. It is quite surprising that he had such a mastery of storytelling techniques some seven centuries ago, while critics have only recently discovered its subtleties and techniques. Among these techniques is the skillful use of the time element in narratives. Over the past decades, a French researcher has elaborated on temporality in narratives, presenting his views under three topics – order, continuity, and frequency. His theory is well known.
   In this paper we will try to show, based on the French scholar’s theory, how Molavi has utilized the time element in the tale “The Tribal Arab Dervish and His Wife”. We will also attempt to understand how and to what extent he has made choices in temporal and actual terms, moving from chronological time to textual time. These choices and the particular type of temporality Molavi has applied in the said story are analyzed to see if they have a direct and meaningful relationship with the theme of the tale.
 

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H. Hasanpour Alashti.PH.D
I. Amankhani
 
Abstract
Amongst different philosophical thoughts, existentialism has had a special influence on the 20^th century literary criticism and it has paved the way for the formation and development of literary theories. Sartre wrote the twentieth century’s most influential manifesto on  literature of faith and commitment entitled “What Is Literature?”, while Heidegger led hermeneutics into a new path. In Heidegger's Hermeneutics, unlike the traditional hermeneutics, the text loses its final meaning. What is so striking is that; these two existentialists, however, had some different and at times opposite viewpoints. This difference can be traced in Sartre’s Descartesian attitude and Heidegger’s anti- Descartesian philosophy.
In this article after pointing to the backgrounds that have led to the two different perspectives within an identical philosophical thought, we survey the statue of the two major philosophers and theoricians of this school-Heidegger and Sartre- in the contemporary literary flow. The Final issue discussed is; how they influenced the Iranian poets, writers and theorists such as; Shamloo, Al-e-Ahmad, Sharia'tti, Khanlari and Dariush Ashuri.
 
 

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A.Khaefi, Ph.D.
J.Feizi Ganjin
Abstract
As narratology has been known as a field of scientific study since a few decades ago, the narratologists have made an attempt to define specific narrative patterns. As a result they can analyze and interpret all the narrative structures through these patterns in both the old stories and the new modern novels. Many attempts took place in this field, but Vladimir Propp was ahead of others in his own time, and so his theory provided and caused a huge evolution in the science and field of narratology despite all its shortcomings and deficiencies. Propp focuses on the description of stories on the basis of their constructive elements and their mutual relations in his book entitled as “The Morphology of Fairy Tales”. After analyzing about 100 Russian stories, he obtained 31 conclusions. He believes that even the folk tales and the romances can be analyzed and interpreted within the framework of this pattern.
The Tales of Sam’ak A’ayar are long Persian folkloric stories composed in the pre-Islamic era and finally developed in the sixth century.
This paper intends to reveal Propp’s pattern, considering the Tale of Sa’mak A’ayar and then it compares the outcomes with Propp’s analysis and interpretation. In other words the present paper intends to study the Tale of Sa’mak A’ayar through a morphological approach. Although Propp’s theory is about the fairytales, still it enjoys a high potential for the Iranian stories; including the story of Sa’mak A’ayar. Many of the functions and the pragmatic studies made on the Tale of Sa’mak A’ayar are quite similar to Propp’s theory on morphology.
 

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نوشتار پیش¬رو به معرفی و نقد مقالۀ «جنسیت، قدرت و کاربرد زبان از دیدگاه تاریخگرایی نوین در گلنگری گلن راس اثر دیوید مَمِت» نوشتۀ فاضل اسدی امجد و یاسر ذوالفقاری (فصلنامۀ نقد ادبی، سال دوم، شمارۀ هفتم، پاییز 1388) می پردازد و تلاش می کند از این طریق به برخی از چالش های پژوهش های نقد ادبی به طور کلی و رویکرد تاریخ¬گرایی نو به طور خاص اشاره کند. گرچه این رویکرد چندان نو نیست و زمان قابل توجهی از پیدایش آن می¬گذرد اما در ایران رویکرد تازه-ای به شمار می¬رود و برای بسیاری از پژوهشگران پدیده ناآشنایی است. یکی از دلایل این ناآشنایی عدم وجود منابع فارسی –اعم از تالیف و ترجمه- در این حوزه است که همت اساتید و خبرگان فن را می¬طلبد. این ناآشنایی به همراه برخی پژوهش¬های غیراصولی به برخی کج¬فهمی¬ها در مورد این رویکرد دامن می¬زند. در این نوشتار، مقالۀ مذکور از چهار دیدگاه نقد شده است: نظری، کاربردی، ارتباط عنوان مقاله با موضوع مورد پژوهش و معادل¬گزینی واژگان.

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Qodratollah Taheri,PH.D
 
 
Abstract 
 
The Persian tradition of literary criticism believes that through Sanayi Qaznavi, the Persian poetry penetrates through the strict and narrow borders of nobility and pleasure-seeking materialism of the courts; stepping towards the modern domain of wisdom and intermingling with the public. It also seems that Sanayi Qaznavi’s role is considerable in the elaboration of the poetry’s principle regarding experimentalism; that is in addition to creating a serious change both in the content and approaches of the Persian poetry. Such issues are usually neglected in our literary criticism. While Sanayi revolutionized both the content and motif of sonnets, he also directed it towards achieving experience. In this relation he created sonnets that possessed his own mystical and inspirational insights which as a matter of fact blocked the path of imitation and repetition in the Persian sonnet. In this way Sanayi became a successful pioneer for the next great poets who appeared after him, such as; Attar, Sa’adi, and Hafez. The author intends to survey the principle of experimentalism in Sanayi’s sonnets in order to show his originality in poetry and sonnet in the domain of verses’ structural cohesion and unity of meaning; the mentioned cohesion is created through maintenance of inspirational experiment and its recreation in the poetic language.
 
 

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Criticizing and Rethinking of Periodization in Literary History Abstract In historical and literary studies, periodization is a regulative idea for classifying the literary and historical information in diachronic axis but its application in literary history has been subject to some critiques. This article is to study the critical debates about periodization in literary history and the rethinking of the concept. We can divide these critical debates in two groups: some critics call the very notion into question and refer to as invalid concept. Instead, others engage in rethinking and revising the concept for appropriate application in literary history. Imposition of a static framework on cultural and literary dynamics, averaging effect and contrast with uniqueness of literary works, combining histories of different literary genres, lack of conformity with reality, artificial homogeneity and consistency of change and evolution schemas, problems of terminology and descriptive, anachronism, lost years and centuries, ignoring the distance between literary production and literary reading, logical sequence, ignoring ethnic and gender groups and dominance of period concepts on critical thought are some critiques against periodization and its application in literary history. Rethinking of periodization, being based upon new historical and literary findings and sometimes focusing on redefinition of temporal limits of periods, is current in different frameworks: feminist approaches, according to ethnic and gender groups, and redefinition of literary periods based on new critical concepts. Keywords: literary history, theory of literary history, periodization, literary criticism, literary theory.

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Masoud Rohani,PH.D.
Mohammad Fayazi
Abstract
Nowadays one of the diverse approaches to literary works considers both form and content simultaneously; avoiding the extreme borders of followers of formalism and content-based theories. Individuals such as Bakhtin and Goldman had based their research methods on such an approach. In this approach, it is believed that there is a tight and strong relationship between the work’s content and the concealed insight in it with the text of the work. The analysis of Sohrab Sepehri’s poetry can prove the appropriateness of this approach; because one can connect Sepehri’s anti- Custom contemplations and his norm-avoiding language.
The study of Sepehri’s poetry shows that his anti- Custom thoughts influenced his language as well. Several instances of norm-avoiding and norm-breaking characteristics observed in his poetry prove this point. The interesting point is that among the high variety of norm-avoiding types (semantic, lexical and epochal), he has mostly used semantic order-avoiding ones such as identification, paradox, application of new images and compositions, symbols and intertwining of sensations; using the other order-avoiding devices less. The reason for this issue should be sought in Sohrab’s particular thought system and mind; which on one hand seeks to pay more attention to meaning and presentation of mystical motifs and thoughts; while on the other hand it negates any kind of approach to the past and constantly looks for innovation and purification of the universe. As a result, one cannot expect him to utilize epochal norm-avoiding devices which oppose to his intellectual and rational system.
 

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Writing, along with fiction, editorial, translation, and writing research papers and critical literary career jamalzade forms. Impact on language practices jamalzade fiction writing and literary issues as one of the main themes, the author of a literary privileged position makes. Major topics include literary criticism, review and introduce new fiction writers have noted that different motivations for jamalzade were sent. . Critical jamalzade impressionistic style in these letters (Tasrgra) and is a hobby which is based on his personal beliefs and preferences as often, and as a professor and veteran informal tone sometimes intimate and loving tone, as Written friends and colleagues. In recent chat critical and scholarly discussion between the two is similar. Issues of language and writing, the main topics of this review. This letter, along with critical essays jamalzade complete picture of him as a literary critic, offers and shows in jamalzade principles and Persian prose fiction, literary manifesto issued from time Until the end of his life, without The same principles remain the same, the assessment criteria for the new generation, he has been criticized for fiction.

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There is a close relationship between stylistics and literary criticism. Many works of criticism are based on data analyses of stylistic studies, and analyzing status of the two fields—literary criticism and stylistics—couldpave the way for better classification of them.Through a content analysis of the two scholarly journals, Bahar-e Adab—proseand poetry stylistic studies—and Literary Criticism published in 2010, I have tried to show the relation between different aspects of the two fields in the previous decade in Iran. Both quantitative and qualitative indicators have been taken into consideration in this study. Quantitative indicators cover theoretical and practical domains. Qualitative indicators have been chosen according to a fewbasic questions on stylistics and literary criticism: have the articles on literary criticism transformed from descriptive nature into analytic one? Is critical thinking dominant in all studies? Do articles on stylistics consider works as representations of individuality of their author? The article concludes that, although the studies on stylistics and criticism, which in some cases follow the same academic or social discourse, seems to have correlation, there are some differences between the two fields. For example, when it comes to selecting texts, critics mostly tend to choose prose fiction while experts in stylistics prefer poetry. Impartial and independent theories and approaches are more widespread in literary criticism articles than in works of stylistics. Stylistic studies, on the other hand, are not independent. Most articles on criticism have passed descriptive mode and are closer to their expected form, i.e. analyses of the data. The number of articles on stylistics that clearly consider style as representation of the author’s personality or consider repetition of stylistic features as a deviation from standard rules is about half of the total number of the articles.

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At the end of the nineteenth century, a new social movement was being formed among the Muslims of the Russian Empire. Under the influence of the innovative approach of its founder, Ismail Gasprinski, this movement was called ‘Jadidism’. In order to publicize its beliefs, this movement created fine works of modern poetry and fiction. This paper analyzes The Muslims of the Abode of Felicity [Därürrähat Müsülmänlarї] (1906)—Gasprinski’s most famous utopian work. Fitrat (1886-1938) translated this novel into Persian, Musulmänän-e Därul-rähat, in 1915. In this novel, Gasprinski presents his aspirations as the framework of the ideal Muslims community, or the utopia. The novel is here reviewed with an analytical-descriptive method and a critical approach using a special model designed for the analysis of such novels.  

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Mahboobeh Khorasani,PH.D.
Katayun Mazdapour,PH.D.
Tayyebeh Zunubi
 
Abstract
This article, with the structural analysis of deceits and tricks of women in the stories of A Thousand and One Nights, tries to study their specialties and then responds to the problems propounded in this field such as structure of the stories, manner and results of actions and desires of those deceits. Basis of the current work has been the book ‘Morphology of Fairytales’ and application of its pattern in the books such as a ‘Prelude on Morphology of A thousand and One Nights’.
As it was felt initially that tricks of deceitful women of A thousand and One Nights are merely a reaction i.e. fraudulences take place in response to inequalities, exercising of authorities etc… But, the current research has distinguished that the reactionary movements take place from fraudulent whose number is 64 which is against the 69 proposed reactions. The remarkable point is that in most of the cases i.e. 54 times reactionary movements are justifiable and successful.
 
 

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It is traditionally maintained in structural linguistics that by cutting verbal signs off each other paradigmatically, and enchaining some of them against the others syntagmatically, language system makes a body of text signify a certain meaning which is sustainable through contextual fluctuations. In line with this Saussurian assumption, and in an attempt to ascertain the authorial intention in literary works, many literary scholars have been mistaken rhetorics for criticism, albeit under the rubrics of structural poetics. This article, however, dismisses the futile attempt to pull certain meanings out of literary masterpiecesfor the purpose of investigating the origins of textuality in any work—let it not be shelved as great literature or literary at all. It aims to demonstrate why such mechanical procedures, prevalent in rhetorical studies, cannot account for textuality beyond the question of the thematic unity of a work; wherein textuality and plurality of text are suppressed in favor of the integrity and entirety required for works of verbal art. To account for the extensive significance of text and the abundance of its possible readings, a seemingly heterogeneous body of texts (including a piece of a poem, an extract from an article, and a vignette) has been analyzed within a reader-oriented framework. Drawing on Roland Barthes (1981), Asgari Pashaei (1995) and Christian Metz (1982), I have tried to move away from rhetorics toward a more proper notion of literary criticism.