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The views of the great poets on the essence of poetry and its constituent elements, expressed implicitly within the lines of their poetry, offer invaluable points that are often missed by literary critics. These critical views, which are sometimes expressed in a pseudo-philosophical statements, and are often wrapped in artistic expressions, are based in their actual experiences.  These views are usually expressed in brief, or wrapped in imagery, or even in an elegant indirect language, which may be extracted and, through analysis, may lead to our deeper understanding and invaluable views on poetry. These conclusions, we realize, are sometimes confirmed by the bulk of criticism. It is worth noticing that such conclusions were already preceded by great poets who were apparently the best critics themselves. The classification and the analysis of these poets’ views on poetry are considerable, and can constitute a new branch of study in the field of history of literary criticism in Persian Literature, and subsequently change the traditional system of evaluation of poetic styles.

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There is an inevitable relation between philosophical hermeneutics and Literary theory, especially Reader-Response theories. It springs from phenomenological approach in philosophical hermeneutics and phenomenological predecessor of these theories. Indeed, in this point of view, philosophical hermeneutics is an Existential philosophy on the interpretation of the text. Philosophical aspect of philosophical hermeneutics is based on the Existentiality of it. Furthermore the Existence that Gadamer and Ricouer consider, is an interpreted Existence; as a result, the interpretation of text, is in the center of hermeneutical views of Gadamer and Ricouer. The difference between their sights is a subsidiary difference pertaining to the main difference which is their ways towards Existence. The most important difference is related to Ricouer's epistemological model and Gadamer’s ontological view in the process of interpretation. The main difference is in fact the base of the other subsidiary differences: temporality; linguistic; dialectical and objectivity. In this article I'm going to discuss the relation between philosophical hermeneutics and literary theory and then describe the views of Gadamer and Ricoeur on text I will compare the interpretation models in Gadamer’s and Ricoeur’s point of views on text in accordance with the four differences mentioned. Finally I will draw a total conclusion form all the discussed matters.

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In our times, the relationship between philosophy and literary theory has been addressed in a variety of different ways. This paper aims to demonstrate in an a posteriori manner how philosophy contributes to literary theory. In doing so, it stands in direct opposition to Rorty’s pragmatic conception of the relationship between these two fields of human knowledge. Philosophy, it is argued, can make at least four contributions to literary theory and the paper is accordingly divided into four parts: (1) it clarifies the ontological status of the literary work; (2) it helps us see the problem of discovering the author’s intention in a new light by questioning our Cartesian presuppositions concerning the relationship between mind and body, (3) it clarifies the philosophical roots of modern literary theory by putting these theories in their proper philosophical context; and finally (4) it paves the way for a critique of the modern relativism and constructivism inherent in modern literary theory. The paper thus ends by showing that if one accepts the possible ways in which philosophy contributes to literary theory and especially finds the critique launched against constructivism in part four plausible, then one has every reason to remain doubtful about Rorty’s view of the subject.

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This article continues the unfinished discussion of Tzvetan Todorov on the classification of ‘unreal literature’ in the West by expanding his idea about surrealist story as a genre. After defining the term surrealist story and its theory, the authors, drawing on the hypothesis that surrealism is an ancient phenomenon, analyze the components and atmosphere of a selection of mystical anecdotes. The results indicate that the surreal works in the East and the West, from the ancient times, have been grounded on similar theories and comparable elements.

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Literary period functions as a regulative idea for literary critics in the narrative of literary history. Literary period is a time-section; although in literary history and criticism, it has also other implications and associative meanings. Some of these secondary meanings which can be called components of literary period are: zeitgeist, the conditions of literary production, dominant norms, change and evolution, binary oppositions, individual or collective idealistic narrative, and concept of spatiality. Zeitgeist and the conditions of literary period offer theories about factors extrinsic to literature that manage establishment and change of general and literary periods. The concept of period as time-section ruled by a series of literary norms ascribes some kind of internal unity to literary periods. Periodization based upon organic idea of evolution compares every period with one of the life’s stages of an organism. Some critics understand literary period in terms of binary oppositions such as classic and modern. Others give literary period a spatial aspect. However, literary history is a result of individual or collective idealistic narrative. It is not a concept but an idea. It is not related to knowledge but to thinking.

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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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Genology or genre theory is one of the oldest, most controversial and most problematic branches of literary theory. Approximately two thousand four hundred years in the life of this theory, many controversies surrounding the concept of genre has been and in these controversies, different problems and issues have been raised. Among the many topics of the theory, this article will talk about the issues that need attention in generic studies of Persian literature; such as the definition of the genre, genre and literary works, types of genres (the main forms), generic conventions and expectations, measure of regard to conventions, genre and intertextuality, genre and time, genre and cultures, genre and literary history, the vicious circle in the selection of genres, and definition and naming of genres. The article also criticizes the traditional approach to genre theory in Persian literature and notes the necessity of retrospective component approach to literary genres.

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On the Passivity of Persian literary Theory

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  The employment of philosophical/literary theories has become a common thread in the published literary studies in Iran in the recent years. This may be the result of various reasons, for instance, the superior knowledge of theory of these critics over the traditionalists. Although the merits of such studies cannot be denied, their weaknesses should not be simply dismissed. This paper reviews some of the applications of deconstruction—one of the theories favored by many researchers—and their shortcomings. These shortcomings can be categorized under three headings: (1) lack of understanding of the concept of deconstruction—for example, some of the oppositions proposed in these studies stand in contrast to the kind of oppositions Derrida utilizes in his deconstructive studies or, in some cases, external elements such as class, education, etc. are focused on in some of them while for Derrida there is nothing outside the text; (2) reduction and simplification of Derrida’s philosophical propositions to mystery and mysticism; and (3) providing non-deconstructionist interpretations of stories.

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A structural insight to literary elements in order to study
intratextual aspects and their relationship patterns, leads to find more
positive ground from the literary essence. And, showing methods for
better literary work creation can help develop the literary process. A
group of structural critics has focused on structural forms of narrative
and story elements and their compound rules; Claude Bremond by
developing a system based on narrative forms proposed a scheme that
is based on a relationship between the smallest units. In this paper,
using pattern and sequence of Bremonds, we have studied and
analyzed two stories from Saadi's Boostan or Garden. The aim of
choosing this subject is the conformity of this theory with the structure
of two narratives of Saadi.

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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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Since ancient times, folk culture has been an influential element in the creation of literary works. Language, customs, traditions, and popular beliefs are all elements that poets throughout the history of Persian literature have utilized to achieve their artistic aims. With the expansion of literary criticism and theories in modern times, poets, alongside literary critics, have also expressed views on the mysteries of creating literary works, the sources of their inspiration, and the impactful elements shaping them. One of the topics discussed by prominent contemporary poets is folk culture and its role in the creation of poetry. This study aims to examine the views and perspectives of leading contemporary poets on the significance and value of folk culture and its influence on poetic creation. To achieve this goal, an analytical-descriptive method has been employed to extract, analyze, and describe the theories and viewpoints of renowned poets such as Nima Yushij, Akhavan Sales, Forough Farrokhzad, Ahmad Shamloo, and Simin Behbahani, drawn from their interviews and works. Through this approach, we aimed to clarify the role and importance of folk culture in the creation of literary works from their perspective. The findings of this study revealed that the pioneering poets of the contemporary era have not only utilized the capacities and potential of folk culture in creating their works, but have also offered significant insights regarding the importance of colloquial language, slang, the role of these languages in the translation of literary works, the potential of folk culture to expand artistic and literary imagination, and the reasons for the enduring nature of folk culture. These insights further highlight the critical role of folk culture and its subcategories in the creation of literary works.
 

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Literary criticism and theory, due to its interdisciplinary approach, often encompasses literary, philosophical, social, and historical concepts. This makes understanding theories and applying them to literary texts complex and difficult. Against this background, Issa Amankhani's book "A New Look at Literary Theory" (1400) is an original and critical study that aims to explain and refine literary theories, sources, and also the application of these theories in literary texts with a new approach and in simple language. The main principle and premise of the book is that literary theories have emerged through "self-grounded authoritarianism" and the emergence of any "theory" is due to its "parallel work" and "opposition" with the theory. Therefore, the basic premise of the book is based on the emergence of "anti-authoritarian" theories, and based on this, all literary theories are divided into three approaches or three subgroups of author/subject-oriented theories. It divides the anti-author/subject theories and the anti-structural theories and classifies them into one of the three approaches mentioned above on the basis of the "dominant element" and "family resemblance" of each theory. However, the approach of the new foundation of the book, which, besides its value and originality, comes from the innovative mind of the writer, critic and inquisitor, suffers from frequent simplifications and reductionisms, limitations and finally "contradictions" in the course of writing. "Fundamental" that we will explain in detail the various aspects in the rest of the article. The present article, while reading and carefully examining the said book; It suggests and shows that the respected author, in the next editions, even if possible, points such as the book as a textbook, more flexibility, avoiding restrictions on categories, comprehensiveness and avoiding simplification and reduction. - Zeid's diligence.
Extended abstract
1. Introduction
Literary criticism and theory, due to its interdisciplinary approach, often encompasses literary, philosophical, social, and historical concepts. This makes understanding theories and applying them to literary texts complex and difficult. Against this background, Issa Amankhani's book "A New Look at Literary Theory" (1400) is an original and critical study that aims to explain and refine literary theories, sources, and also the application of these theories in literary texts with a new approach and in simple language. The main principle and premise of the book is that literary theories have emerged through "self-grounded authoritarianism" and the emergence of any "theory" is due to its "parallel work" and "opposition" with the theory. Therefore, the basic premise of the book is based on the emergence of "anti-authoritarian" theories, and based on this, all literary theories are divided into three approaches or three subgroups of author/subject-oriented theories. It divides the anti-author/subject theories and the anti-structural theories and classifies them into one of the three approaches mentioned above on the basis of the "dominant element" and "family resemblance" of each theory. However, the approach of the new foundation of the book, which, besides its value and originality, comes from the innovative mind of the writer, critic and inquisitor, suffers from frequent simplifications and reductionisms, limitations and finally "contradictions" in the course of writing. "Fundamental" that we will explain in detail the various aspects in the rest of the article. The present article, while reading and carefully examining the said book; It suggests and shows that the respected author, in the next editions, even if possible, points such as the book as a textbook, more flexibility, avoiding restrictions on categories, comprehensiveness and avoiding simplification and reduction. - Zeid's diligence.
2-Theoretical framework
Based on the theoretical and philosophical foundations of literary theories, the present article has criticized the views, opinions and divisions of the book "A new look at literary theory" written by Isa Amankhani.
3- Research method
This article is based on a library study and was written with a descriptive-analytical method. The present article is written based on "sympathetic" dialectic and dialogue and "critical" attitude and avoiding "sentimentalism" in order to "scientifically" explain some ambiguities, shortcomings and conflicts in the book.
4- Findings of research and discussion
The book "A New Look at Literary Theory" is one of the critical and scholarly books on literary theories that aims to analyze, review and classify literary theories with a new approach. Through discussions and new classifications, this book has thoughtful words about literary theories. However, the fact that it is new leads some parts of the book to be questioned. By finding some common elements in literary theories and relying on the greatest "family resemblance" that the theories have with each other, Amankhani intends to divide all modern literary theories into three subgroups of "subject" theories: Author-Centered," "Subject/Author-Anti-Author," and "Anti-Structuralist." At first glance, this categorization leads the audience, especially students, to encounter specific, revised, and transparent discussions. But this approach of the book ultimately leads to simplification, generalization, restriction, inflexibility, reductionism, and distortion of the chronological and temporal line of theories. With its new approach and through the classifications it presents, the aforementioned book needs to be put through its paces and will eventually, if its approach is accepted, become a comprehensive and consensus-based "textbook" for students. This is because the author's perception of the theories and their classification into only one of the three approaches mentioned, as shown throughout the article, causes many conflicts and contradictions.
5-Conclusion
It is suggested that the respected author, in the next editions, pay attention to points such as whether or not the book is a textbook, more flexibility in demarcating and delimiting theories, avoiding restrictions on categories, comprehensiveness and avoiding simplification.
References:
Eagleton, Terry (2013), Introduction to Literary Theory, translated by Abbas Mokhbar, 6th edition, Tehran: Nash-e-Karzan.
Bertens, Hans (1391), Basics of Literary Theory, translated by Mohammad Reza Abolqasmi, 3rd edition, Tehran: Mahi.
Cohen, Tams (2014), The structure of scientific revolutions, translated by Saeed Zibakalam, 5^th edition, Tehran: Samit.
Schleiermacher, Friedrich, 1998, Hermeneutics and Criticism and Other Writings; Translated and edited by Andrew Bowie; first published, United Kingdom, by Cambridge University.
Terdiman, Richard, 1989, Discourse/Counter-Discourse, The Theory and Practice of Symbolic Resistance in Nineteenth-Century France, Cornell University Press.
 

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Today, one of the challenges of academic research in the field of language and literature is the frequency of using the theory in conducting fundamental research in the field of theoretical and practical critique. Adherents of such an approach, due to systemic and coherent interdisciplinary nature, consider the need for such recursive tools for literary research to be essential as synchronous as the literary researches of the Western world. And adherents of such an approach insist on stereotypes, artificial, superficiality, reductionism and westernization of these researches and according to the policy of negation of theorist, they believe it is necessary to return to the traditional methods of past critics or pioneers in this field.The author believes that at the intersection of the two aforesaid, a moderate route can be found, Therefore, this descriptive-analytical essay emphasizes that While avoiding any kind of extremism in the pursuit of the theory-based research, There are two great ways to retrieve literary texts: First is the combination of scientific and interdisciplinary methods to analysis and evaluation of literary texts And the second is a deep acquaintance with the principles of theorizing and philosophical approaches to produce indigenous theories compatible with the worldview prevailing on Persian literature.

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Literary theory is a systematic study of the essence of literature and a way to analyze the literary phenomenon. Although the literary theory has been widely used in Persian literature research in recent years, it seems that its semantic and empirical realm has not been well established; because in some research conducted in the field of Persian literature, individuals’ literary opinions have been mistakenly read as literary theory. In the following article, to show the difference between literary theory and literary perspective, five specific characteristics of literary theory have been explained and described; which includes these items: "Arising from a philosophical mindset", "Systematic and coherent", "The result of reflection on the text", "Providing a new perspective" and "Using in criticism". In the following, the extreme point of view that believes in the similarity between some opinions in Persian classical texts and Western theories on the existence and even the precedence of theories in its past has been criticized. And it is clear that basically the discovery of these views in past scientific and literary texts was due to familiarity with western ideas. In the end, the obtained result shows that because of the inefficiency of the literary opinions collected by the researchers from the characteristics of the theory, the term "literary theory" is not correct and accurate for their opinions and literary opinions. It is better to use the term "literary perspective" to make the field of knowledge of Persian literature more precise about such opinions and theories.

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The development of digital and online communication and information technologies that have led to the creation of personalized and proficient literary sites on the Internet and social networks are the beginning of a widespread dissemination of literary works in digital and cyberspace. "Virtual Literature" is used as a new literary theory that seeks to break down the format and content of traditional and written literature and create a new plan. After describing and understanding the realities of digital and cyberspace, this paper seeks to provide the necessary reasons for designing and expanding the definition of "virtual literary theory" based on scientific bases. The results of this study explain the Definition of virtual literature, origin and causes of the emergence of virtual literature, such as the increase of literary sites and channels, the examination of ordinary and non-professional individuals, and the multimedia content of virtual literature.