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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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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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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.