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Abstract: The reception is one of the new theories, which has opened a new way in comparative studies over the recent decades. This theory, post by Hans Robert Jauss, returns the readers' role to themselves and insists on it. In as much as in this theory the reception of an author is considered in a foreign country, the reception of Christian Bobin, contemporary French author, is going to be considered in this article. By preparing a list of his translated books in Iran and their analysis by using the concept of Horizon of expectation, we will understand that there is no contradiction between the Iranians' expectations and Bobin's books. The influence of religious texts and using the themes like nature, love and childhood agree with their literary taste and play a role in the reception of this French author.
 

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Bibliographies have ancient history. There are many bibliographies and articles list in the field of literary studies too. These works are generally provided in two forms: concise and descriptive. The first one just mentioned bibliographic information and the second includes brief summary of the book. In the last decade and with the publication of Farhang-e Saadi Pajouhi (Saadi Studies Encyclopedia) formed a new genre of literary bibliography. This new type in addition to the book summary included annotations about it.
This type of bibliography can be criticized and revised first for value judgment about books and articles and second for ignore reasons and process of books and articles formation. Also, this type of bibliographies ignores this important subject that why a literary masterpiece is highly regarded in a historical period or not.
In this article after mentioning a brief history of bibliographies and its necessity we will show how can used Aesthetic of Reception Theory to developed literary bibliographies.

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The poem of "Rira"’s nima yushij is one of the best modern poems of him. Structural, metrical & lexical features of this poem were caused readers with different horizon of expectations to have sometimes different readings of it in decades. The meaning of this poem has always been concealed in ambiguity by the use of certain words, specially the word "Rira" & the use of symbol in his poems. Reception theory is studing different readings of a text which makes it to recreat every time. Reading of nima’s poetry according to reception theory reveal the difference aspects of his poetry. In this article we intend to express different readings of the "Rira"’s poem in the realms of form & technique as well as the structure of it’s content deal. And also we want to analyize the audience reception from progressive meaning of this poem, diachronically & synchronically. this study show that Nima creates his objects by providing multiple perspectives with the theme of grief and with creating gaps in the text. Meaning in this verse, formed by horizons of expectation, over time. The reader is unaware through the poem & ultimately become conscious. Horizon of expectations prevailing in the poem "Rira" is horizon of expectations And the readers by using the codes of aesthetics assets interpret poem. However, due to the inherent properties of this poem, can be presented each time a new reading of it.

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Comparative Literature and Translation Studies have so far expanded the frontiers of their own disciplines beyond their traditional conventional sense. Individually or in cooperation with the other, either discipline can lead to a more comprehensive understanding of literatures and cultures. The synergy between the two disciplines through bringing together methods and theories from both can result in innovative studies that cannot be properly conducted within the boundaries of either discipline separately. Adopting a historical perspective, the present paper highlighted the points of convergence between the two disciplines in order to identify the fields of research which can benefit most from the cooperation between the scholars of comparative literature and translation studies. Literary history, translation history, and reception studies belong to such fields of research.

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Influenced by Phenomenology, Iser and Jaus propounded Aesthetic Reception Theory. They believe that literary texts have no potential or fixed meanings, and it is the reader who discovery the meaning by his reading. Iser attempts to formulize the meaning discovery process primarily, by presenting the Gaps and Blanks in literary texts, he makes the readers participate in interpretation the texts as much as the producer of the same texts. In Iser viewpoint, by filling the blanks in literary texts, readers revive those texts. Then by presenting and expanding Omission and Highlighting, Hypothesizing, reading/reader strategy, and expectation horizons, Iser and Jaus pave the way for explaining the meaning discovering process. This paper attempts at analyzing the poem, AY ADAMHA, and its various interpretations in the light of Aesthetic Reception processes. Therefore, considering the introducing and classifying the various interpretations of this poem, readers Reception is analyzed, and the blanks of the texts is scrutinized

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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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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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The process of alteration, in the manuscripts of famous literary works, is a type of creative reading creating multiple and different versions of a single literary text during the time. From this perspective, the editor or the scribe like reader who is not merely the recipient of the finalized meaning but he is an active agent in building the meaning and even reconstruction of the form (language and vocabulary). However, in the view of the scribes, any change in the original text is indecent. These changes, for many reasons, are the essence of literary reading and in some cases, it is a genetic and interactive process. This research can be review the alternations of the literary texts from a rhetorical view point and based on the reader's reception methodology. For this reason, due to the duplications that are likely to change in them, has been made a rhetorical comparison between the original text and the changes. Attempt to reconstruct the author's intention with corrector, text interaction with the taste of society or person (fusion of horizons), opened or closed text and the desire to develop and complete linguistic and semantic gaps are the most important factors effecting in these changes. The most important aspects of these changes and alternation are creating phonetic and musical symmetries, adorn it to the rhetorical figure, more proportion between vocabulary, the pervasive of meaning of poetry, update of text based on desire and language of the period and escape it from obsolete. Hence, the modified text has gained more popularity and rhetorically than the original text.

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Receiving the Qur’an as a literary text is one of the epistemological responses of scholars to this text in the twentieth century. This kind of reception has a long history in the Islamic heritage, especially in the studies of Qur’anic commentators and scholars, but there are fundamental differences between the literary reading of the Qur’an in the past and in the present. These differences arise from the methods used to analyze and study the literary text. If we look at the Qur’an as a literary text from the perspective of modern theories, we encounter with challenges because the literary text, under in this view, is considered an open and pluralistic text in terms of meaning, during its formation and reception. This article examines the challenges raised by receiving the Qur’an as a literary text in light of "Reception Theory". In this regard, it is observed that the principle of coherence provides us with a criterion for distinguishing interpretations close and far from the truth of the Qur’an and contributes to framing the reader's participation in the process of reading the Qur'an as a literary text from the perspective of modern theories.