دکتر عباس گودرزی

Care for nature has always been a part of the poetry of old and new poets. Nature is either the source of inspiration for the poet's poetry or sles, its beauty and thought-provoking aspects cause the poet's delight and ecstasy and the means of their poetic composition and description. In the views of the contemporary poet, Sohrab Sepehri, nature is not only beautiful, it also has a mystical quality, and the poet is guided through it to the truth of the existence of the Creator, as if it were a kind of religion based on direct observation of nature. Accordingly, the present article, while defining and explaining the concept of mysticism and its relationship with nature in the poems of this poet, through a close-reading, also analyzes poems by him as an example of his sepcial mystical stance. The result of this article is that Sohrab Sepehri's mysticism is different from traditional mysticism and is completely based on nature and its manifestations, and the poet, by watching nature and contemplating it, acquires traits from it that ultimately become parts and features of his mystical view. Among these attributes are innocence, simplicity, unassumingness, and liberation from the shackles of principles and rules.

The present article introduces Hawk Jones's Theory, History, Background, and concludes with a few points. The article is generally composed of five sections. In the first part, as an introduction, the author first deals with the golden age of critical theoretical life because the set of factors that underlie the formation of the critical flow have either disappeared or become entrenched in other currents. The deterioration of the decisive principles, of course, led to the idea that more diverse ideas and ideas had begun to theorize and produce more reproduction. But historically, the author has rightly attributed the beginnings of critical theory to the work of the Frankfurt School, including the actions of its leaders, including because it was important and influential at one of the most pressing moments in the history of the theory in the early decades of the twentieth century. Criticizes the capitalist system. The basis of the work of the Frankfurt School is to form a critique of the "instrumental rationality" that considers everything for its own benefit only.

The present article studies the interaction between the myth of America as a cultural discourse and Saul Bellow’s The Adventures of Augie March. Thus, we would consider the active role of this text in the reproduction of this discourse. To do so, we use the Cultural Materialism approach to see how what, in the words of Alan Sinfield, we call a “faultline” or contradiction in the structure of the dominant discourse, first allows the “dissidence” to come about and then in its interaction with this dissidence, “contains” it and uses it for circulating and reaffirming its principles. Therefore, for the sake or organization, first we formulate the dominant cultural system which is termed “the discourse of America” in the form of American Dream and then, consider the reduction of this discourse to the mere pursuit of materialistic interests and its ignorance of human values as a faultline. After that, we consider Augie’s desire for being intellectually different and independent as a voice of dissidence which occurs in the lack of such values (faultline). We argue that this psychological tendency in Augie’s disposition sends him out in search of self-made “fate”, but finally, for seeming sane and being accepted by the social norms, mainly materially represented in the beliefs and behaviors of other characters with whom Augie inevitably interacts, Augie has to repress his spiritual desire and follow the way toward being rich and economically prosperous, while by doing that, he reaffirms the values of the discourse of America.

The emergence of relativism and pluralism in the philosophies, different aspects of humanities and the worldviews dominant in the 20th century western societies from one side, and the growth of toleration in human relations from the other, have invariably affected literary theories and studies, and given them an ever greater democratic and receptive nature. This has made them, like many other conditions of human thought, more and more interdisciplinary and prolific.The success of this event has inevitably led to the development and the variety of new and innovative approaches in reading and analyzing different texts, including literature. Among such novel critical stances is poststructuralism which appeared in late 1960s, following the spread of new theories by such great contemporary thinkers as Jacques Derrida, Roland Barthes, Jacques Lacan, and Michel Foucault. This approach has also most tangibly manifested in the mentioned tendencies in different fields of thought. Such tendencies at the same time have made it more difficult, or even sometimes impossible to define and explain. An attempt has been made, in the present paper, to introduce poststructuralism as a recent approach in literary theory and criticism. Besides, attempting some definitions, and accounting the background of its birth, we have also point to the basic theories of men of thought important in its formation. Finally, we would emphasize its significance for reading, analyzing and deconstructing literary texts.