deconstruction

In deconstructive approach, meaning takes a multi-dimensional transformed and sometimes contradictory nature, due to contradictory conflicts between present and absent signifiers within the text. The text forum becomes open to new readings as a cause of getting rid of focusing on a particular meaning. In journey to Heading 270 Degrees bitterness and failures of the holy defense are linked into other substrates in a realistic setting, a process to which some critics attributing realistic components, believe that emphasizing on scenes of death, violation, poverty, etc., made the writer ignore the concepts and values of the holy defense. The present research is a different reading via borrowing the components of deconstructive approach in sign recognition and use of descriptive-analytic method to answer the question that what are the most significant codified components and acting agents in meaning processing all over the novel, what is the result or product of combining the foresaid components and agents? In exploring the text, the active presence of three sets of codes is mentioned, Socio-cultural codes (families, tricks, sub-cultures, names), war-related codes (generals, specials, harsh substrates, honorable substrates), and technical codes (symbols, short sentences, special words, types). Finally, identity-building, semantics, and style-creation have been mentioned as three important achievements in articulating the components of the novel, by rejecting naturalistic mentalities. Therefore, the novel, regarding its sets of actors, can be considered as a dynamic and diverse text in the field of holy defense.

In Americanli, Sonallah Ibrahim criticizes the American colonial policies on the lower class by examining the racist images in America. This article aims to answer the question of how much Gayatri Spivak's theoretical foundations have been represented in this novel. In response, it should be said that the current research aims to reveal the strategy of appropriation and ideology of the colonial world by analyzing the dialectic of the center and the periphery and othering. And by examining the racial oppression of colonized people, she presents the bourgeois ideology of the colonizers' capitalist classes in the text and represents the opposition between the West and the East and the historical process of the subjugated in the novel. The results of this research indicate that, by showing the centrality of superior European imperialism, Ibrahim expresses the issue of bourgeois and epistemological violence of dominant Western colonialism in the form of oppression of the black minority. He reflects the voice of the subordinates of the society and depicts the lack of agency and commodification of the political objects of his novel who were forced to remain silent and did not have the right to express any opinion

 The aim of the current research is to investigate the deconstruction of the narration of women's characters in the Shahnameh and the rewritten texts narrated by Atusa Salehi. In deconstructive analysis, rewriting presents a new and fresh narrative by changing the center and centrality of the construction of the old work. In this research, it is shown how the presence of the omniscient and omniscient narrator in the rewritten stories is pale and a kind of change and deconstruction in women's narration is created through shifting the centrality and axis of the narration. The most important issue for deconstructive analysis is the use of contrasts hidden in the text; the contrast of love and affection with epic and war is one of the most prominent contrasts of this rewriting. The research method is descriptive-analytical and the method of collecting information is the examination of library documents. The results of the research showed that Salehi presented a different narration of the women of Shahnameh and new dimensions of their personality with a creative narrative and using the contrast of epic, war and love. Where characters such as Gordafarid, Manijeh, Jarireh, Shahrnaz, etc. have a more effective and prominent presence in the narrative than in the original text, and their emotional and peaceful character prevails over their warlike and epic spirit. This new dimension and reading is suitable for the mood and personality of the teenage audience

Due to the temporal gap between the author's childhood and that of the child reader, children's literature defies age limits and thus exemplifies crossover literature. Post-structural criticism and deconstruction are amongst critical approaches that can spotlight such contradictory gaps in a text. Mohammad-Reza Shams is a distinguished and influential icon in contemporary Iranian children's literature. In this research, a selection of his works has been examined by using Derrida's deconstructive approach. This research has applied a descriptive and interpretive method with purposeful sampling. Deconstructive features such as binary oppositions, indecidability, aporia, intertextuality, deauthorization, and iterability have been traced in Shams' works. Intertextuality seems to be the dominant deconstructive feature in his fictional world. The findings of this research indicate that Shams' works expose readers to multiple meaning and confront them with the unending chain of signifiers. Intertextual fluidity and multiple layers of meaning in Shams' fiction reveal that the implied reader of his works far from being a passive consumer of the text, is actively involved in the process of meaning construction.

What makes "children literature" different from "adult literature" is the role and position of the audience in children's literature. The creators of literature that is characterized by the childishness of the audience are adults who maintain their authoritative relationship in the work unintentionally. This point will inevitably lead to two-sidedness of children's literature. One of the methods that can provide a proper analysis of children's literature texts and respond to the dual confrontations of children's literature and at the same time show its depth is Derrida's deconstruction.
Using the method of deconstruction in the analysis of literary texts does not mean the destruction of meaning, but the concept of describing the instability and pluralism on which the foundations of the texts are formed. In this research, we intended to examine the selected works of Mohammad Reza Shams, with a poststructuralist reading and Derrida's deconstruction approach. He is one of the prominent authors in the field of children's and adolescent literature. Mohammad-Reza Shams has tried to write differently in his creative works by avoiding stereotypes.

In this research, we examine Derrida's poststructuralist and deconstructionist concepts, including binary oppositions, indecidability, aporia, intertextuality, deauthorization, and iterability and recognize these features and concepts in the selected works of Mohammadreza Shams' works. Mohammadreza Shams has implemented some of Derrida's theories in his creative works.
For this purpose, after the explanation of post-structuralism and Derrida's deconstruction, we have studied the poststructuralist reading of four works written by Mohammad Reza Shams for the teenage age group, from the two perspectives of indication and narrative, in order to show how they deconstruct themselves. These works, which are well attuned to the criticism of Derrida's deconstruction, include: Divāneh and Chāh; Sobhāne-ye Khiāl; Man, Man-e Kale Gonde; Man Zan-Bābā o Damāq-e Bābā.

The post-structuralist reading of texts can be done from the two perspectives of indication and narration. In the deconstruction of signification, the endless reference of signifier brings about the plurality of meaning and the birth of meaning; therefore, it includes the components of binary oppositions, indecidability, aporia, all of which indicate the absence of ultimate meaning. The deconstruction of binary oppositions questions the concepts derived from metaphysical thinking and creates a new interpretation. In the studied works of Shams, the author has tried to present a different and new interpretation by collapsing the opposites of sane/insane, man/his shadow, death/life, text/margin and man/woman.
indecidability opens the way for any decision and gives it the possibility to be different. In the works of Shams, there are many characters who are stuck in their affairs and do not have the ability to make decisions, and this inability sometimes involves the narrator as well. Aporia are the blind spots that prevent definitive meaning, and the text remains uninterpretable, like secrets that remain unsealed and questions that are never answered. In the works of Shams, there are many behaviors that have no reason and relationships whose nature is ambiguous. There are many questions that remain unanswered.
In the deconstruction of the narrative, the narrative is just one of the infinity of narratives that are being built and destroyed one after another. Shams usually does not use linear narration and cause and effect logic in his works, and the circular structure is usual in his works. In his works, we are usually faced with several narratives, and sometimes a part of the narrative can be removed without adversely affected the entire narrative; the seeming insignificance of the story itself and the importance of its plot and how to narrate it by choosing a non-linear, complex and irregular method are some of the features that perceived in some of Shams' narratives. The components that are investigated in this context are intertextuality, de-authorization and iterability.
In general, intertextuality means that no speech or writing creates meaning by itself, but its meaning is created by referring to other speeches and writings. The intertextuality in Shams' works are generally references to proverbs, folk tales, stories of prophets, characters from the Shāhnāmeh and other literary works, sometimes they refer to other works of the author himself.
In de-authorization, attention is directed from the author to the text. Therefore, it is no longer possible to claim that the text has a center or a point that can be considered the origin; the text is a combination of pre-existing fragments of text. The existence of this point of view in post-structuralism degrades the position of the author. Sometimes, by leaving the work of art incomplete or expressing the inability to create, the artist himself attested the invalidity of the author's role; In this situation, the text ends in a way that gives the reader the opportunity of different readings, or in the text, different endings are put in front of the reader to choose from. We see both modes in the works of Shams. In all these stories, we are facing an open ending. Sometimes this open ending is clearly stated in the text.
Iterability is the repetitions that are both similar to the repeated sign and different from it and make the reader continue reading; each repetition produces a difference. It can be said that Shams intends to establish a link between the scattered pieces of the narrative by bringing the repeated scenes, dialogues or events in his long stories. In addition to recurring factors in a story, some scenes or themes are repeated in several works of Shams, which is a sign of infinity. The existence of this feature keeps the narratives from being straightforward and definiteness.

The temporal gap between the author and the audience leads to two-sidedness of children's literature and adds to its complexity; however, this duality itself can cause binary oppositions and multiple meanings. One of the approaches of literary criticism that can show this duality is post-structuralism and Derrida's deconstructive approach. In this way of reading, new meanings and interpretations of the text show themselves and it leads to pluralization and generation of meaning. Mohammad-Reza Shams, one of the prominent writers in the field of children and adolescence literature, has tried to write differently in his authored and creative works by avoiding stereotypes.
In addition to the fact that the presence of components of deconstruction in the works causes multiplicity, discontinuity, and birth of meaning, the structure of the stories is also generally in a form that allows the reader the possibility of different readings. Sometimes the author gives several endings for the stories and gives the reader the right to choose. In the most cases, by leaving the narrative unfinished, he gives the reader the chance to determine the end of the narrative at his own will.
The plurality of meanings in Shams' works provides the possibility of several different interpretations for the reader. In fact, the works of Mohammad-Reza Shams directs the reader towards the plurality of meanings and the continuous generation of meanings by taking advantage of these indicative and narrative features. The intertextual fluidity and multiple layers of meaning in these works indicate that the hidden audience of the text is not a static consumer, but plays an effective and dynamic role in constructing the meaning of the text.

As a different strategy for analyzing the texts, deconstruction violates and decentralizes their explicit meaning, bringing out the hidden meanings by finding the hidden contradictions in the texts. The application of such a strategy in the analysis of Persian texts can reveal special aspects of them and approach the intellectual structure of the authors. This paper revolves around deconstructing the short story “Hozour” (Presence) written by the contemporary Iranian writer Abuturab Khosrawi. Based on the study, there is a deconstructive relationship between presence and absence in the whole text. Despite the obvious title of the story, which is "Presence", the central idea is absence and marginalized matter in it reaches the level of presence. The instability in the corresponding relationship between the signifier and the signified and then the lack of meaning of the signifiers, the lack of initiation in the text, the reversal of the functions and positions of the signifiers in the text, and the lack of the names of the characters are considered as examples of decentralization from the centralized discourse of the text. In the light of this unstable relationship, the signifiers in the text have been disconnected from the final meaning, and thus, the meaning has been dispersed; one of the results of such situation is an aporia in accepting the definitive meaning of the text, so that the reader is no longer able to determine the final meaning. Displacement of presence and absence and the instability of meaning have cast a shadow even on the descriptions of the text and the locations of the characters and have violated the text from within.

As a different strategy for analyzing the texts, deconstruction violates and decentralizes their explicit meaning, bringing out the hidden meanings by finding the hidden contradictions in the texts. The application of such a strategy in the analysis of Persian texts can reveal special aspects of them and approach the intellectual structure of the authors. This paper revolves around deconstructing the short story “Hozour” (Presence) written by the contemporary Iranian writer Abuturab Khosrawi. Based on the study, there is a deconstructive relationship between presence and absence in the whole text. Despite the obvious title of the story, which is "Presence", the central idea is absence and marginalized matter in it reaches the level of presence. The instability in the corresponding relationship between the signifier and the signified and then the lack of meaning of the signifiers, the lack of initiation in the text, the reversal of the functions and positions of the signifiers in the text, and the lack of the names of the characters are considered as examples of decentralization from the centralized discourse of the text. In the light of this unstable relationship, the signifiers in the text have been disconnected from the final meaning, and thus, the meaning has been dispersed; one of the results of such situation is an aporia in accepting the definitive meaning of the text, so that the reader is no longer able to determine the final meaning. Displacement of presence and absence and the instability of meaning have cast a shadow even on the descriptions of the text and the locations of the characters and have violated the text from within.

The short story "Hozour" (Presence) was analyzed constructively. The researcher questioned the supposed message of the text by noting the contradictions. As a result, it was concluded that the main theme of the story is not "presence" but "absence". This conclusion may change with further readings and interpretations by other researchers. The text clearly presents a duality, highlighting the ownership of the house by the husband and wife, and the absence of ownership by the old woman. Furthermore, it emphasizes the superiority of the husband and wife over the old woman regarding the house. However, the reader finds out through the deconstruction of the story that it is possible to destabilize such a duality due to the suppressed elements in the text. This issue is manifested both in the reversal of the indicative function of the title and in other examples that were discussed. The aforementioned analysis suggests that the title of the text does not convey a straightforward interpretation of "presence"; instead, it conceals an underlying connotation that the text attempted to conceal. In addition to the semantic instability and due to dissemination in the text, the difference and distance of the apparent meaning from the hidden meanings and due to aporia, instability has been formed in the functions, situations, techniques, devices and literary possibilities of the text. Despite asserting ownership of the house, the characters could not establish a relationship with their neighbors and friends, and at the same time, having the key as a tool to resolve the conflicts could not prove the truth of their claim. The constable also found an opposite function and deviated from the function that the husband and wife expected from him and decentered them. As a result, what was presented as the alleged conversation between husband and wife was neutralized and questioned by the same devices used. Other examples of this semantic displacement include the lack of character names, the contradictory meaning of lighting, and the marginalized but central position in the text. Through the constructive study of Persian literary texts, we can get other meanings that will be effective in understanding the remaining aspects of the texts. Moreover, such a strategy can also bring us closer to the deep intellectual structures of the authors.

Deconstruction, one of the critical trends of postmodernism, was pioneered by Jacques Derrida a French-born Algerian critic. A reading strategy, not a literary method or theory, Deconstruction focuses on the reader rather than the text or the author. In this reading strategy, language is considered deceptive, unstable, ambiguous, and unreliable which is recreated by the reader. The most important terms in this strategy are writing, differance and deferral, proliferation, dispersion, and trace. This study analyzes one of Zakaria Tamer’s short stories entitled “Oh, the Forgotten Cherry” from the Damascus is Burnt collection to identify/address its deconstructive elements. The significance of this study which adopts a descriptive-analytical method lies in opening a new window toward the ubiquity of meaning in a literary text. This study addresses the differance in meaning due to the dispersal of textual elements. The dichotomy between innocence and greed is the most contradictory duality in the short story where the author deconstructs slavery.

Jacques Derrida's deconstruction is both the result and extension of Dusosaurian constructivism which is organized through the precise and accurate defeat of contradictory semantic forces in the text. Thus, the text's claim diminishes in significance, and the text itself gains more significance. Due to the text's abundance of empty spaces, unspoken words, and permeable gaps and It is the reader's duty to complete these spaces and unspoken spaces throughout the process of continuous confirmation. The current study, conducted through a descriptive-analytical method, analyzed the story of Abu Qir and Abu Sir for a period of one thousand and one nights to gain a new reading and a deeper understanding of how stories are created, and to acknowledge the social and cultural influences that shape it. And by revealing the hidden contradictions and angles in the story through the cues within the text, certainty has broken the original meaning of the story and the results indicate that the neither desirable fictional character Abu Sir is, good, or absolutely good, nor Abu Qir have the personality of honor, evil, or absolutely evil but sometimes both thoughts and actions are measurable, contrary to the appearance of the text. Breaks, empty spaces, and holes also contribute to its fragility, impressionability, and unreliability. The absence of content for comparison means that parts of the story were relied upon by a third person, furthermore, utilize the techniques of rhetoric, such as the concept of Simile for singularity and altering meanings, are semantic proof holes in this work. and establish the foundation for breaking the narrative structure of the story.

The story “Zan-e Ziadi” is one of the nine short stories in a collection of the same name, which was first published in 1952 during the lifetime of the contemporary writer, Jalal Al-e Ahmad. The central theme of all the stories in this collection is women, and the author has depicted their sorrows and problems from a critical perspective. This article examines “Zan-e Ziadi” from the perspective of deconstructive criticism. Deconstructive criticism, also known as deconstruction or constructionism, was developed based on the theory of the French philosopher and theorist Jacques Derrida (1930-2004). This term was first used in philosophy and then in literary criticism. The basis of deconstructive criticism is to find hidden binary and contradictions within the text, as by uncovering these binaries, one can discover the hidden layers within the text. According to Derrida, the internal binaries are hierarchical and stair-like, and one part is given superiority over the other, but upon close examination of the text, it becomes clear that none of the binaries have superiority over the other and are in fact complementary to each other. Deconstructive criticism is based on examining accepted assumptions, deconstructing, and revealing textual contradictions and the readers must search within the text for everything they need to know. The conflict in “Zan-e Ziadi” is superficially based on the contradiction between human and human, man/woman, and internally between human and false cultural and social beliefs and traditions. After examining the binaries within the text and identifying the conflicting forces within it, it becomes clear that contrary to what appears from the surface of the text and in the initial reading, the dominant pole in the text and the transcendental signified on which the internal challenge of the text is based is not an oppressive man against an oppressed woman, but rather both the man and the woman are captives and subjugated by false and imposed beliefs of their time, and the two binaries advance the story alongside harmoniously with each other.

First forged in the writings of French philosopher Jacque Derrida, deconstruction undermines the Platonic philosophy and dominant Western discourses to negate the metaphysics of presence, logocentrism, and binary oppositions. In this standpoint, although Derrida subverts such dichotomies as speech/writing, absence/presence, and truth/virtuality, he does not aim to privilege writing, presence, and virtuality above their oppositions; instead, he seeks to overcome the limitations of textual meaning to reach pluralism in interpretation. Shahriar Mandanipour’s Again Facing the River bears abundant metaphysical assumptions which the narrator endeavors to undermine in order to present galore signifiers and signs by constantly deferring meaning to provide the ground for new interpretations of the text. Based on a descriptive-analytic approach, this article attempts to investigate such concepts as the rejection of ultimate truth, death of the author, poststructuralist semiotics, the dominant ideology of the text by negating binaries and values, and so on.

For many years, philosophers have studied methods of epistemology through different approaches. The challenges in this area mainly focus on the question of the nature of the subject and object as well as their relation. These issues have led to two general but diverse movements: Idealism and Realism. Deconstruction, like its predecessor, Structuralism, is essentially epistemological. Structuralists conceptualised ‘structure’ in such a ways as to go beyond the subject and object duality. Deconstruction, positively and negatively, established deep bonds with structuralism. This study interprets this relation and argues that structure in structuralism is transformed into textuality in deconstruction. The difference is that the text is not as rigid as a "structure" and continues to exist as a flux. The constant evolution of the text as a whole eliminates the subject and object duality.  In this way, the concept of text acts as a bridge between linguistics and ontology. When Derrida discusses the text, he means any kind of being. This kind of being includes both concepts and objects. Derrida’s interpretation of language can be linked to the epistemological and ontological functions of language.

For many years, philosophers have studied methods of epistemology through different approaches. The challenges in this area mainly focus on the question of the nature of the subject and object as well as their relation. These issues have led to two general but diverse movements: Idealism and Realism. Deconstruction, like its predecessor, Structuralism, is essentially epistemological. Structuralists conceptualised ‘structure’ in such a ways as to go beyond the subject and object duality. Deconstruction, positively and negatively, established deep bonds with structuralism. This study interprets this relation and argues that structure in structuralism is transformed into textuality in deconstruction. The difference is that the text is not as rigid as a "structure" and continues to exist as a flux. The constant evolution of the text as a whole eliminates the subject and object duality. 

Derrida is a key figure in Poststructuralism – a movement proposed by philosophers such as Foucault, Lacan, Deleuze, Derrida, and others in the second half of the twentieth century. An essential component of poststructuralism is its critical approach to diverse fields and concepts such as ontology, aesthetics, linguistics, ethics, politics, and especially epistemology. Philosophers’ epistemology views fall within an expansive spectrum of divergent and convergent ideas. The question here is what is the role of poststructuralism, in general, and Derrida, in particular, in epistemology? Some poststructuralists regard Derrida as anti-epistemological; this seems to be a hastily conclusion in describing the relation between poststructuralism and epistemology. Poststructuralism studies epistemology at a deeper level and poses a number of fundamental questions.

The present article is a phenomenological-deconstructive study. It is phenomenological because of its debates on the essence of the phenomena. It refers to the origins of concepts and describes natural phenomena. This is a retrospective process which describes the formation of the phenomena rather than discussing their nature. On the other hand, deconstruction does not follow a predetermined structure. It expands itself and the text in accordance with the host text. It moves beyond Husserlian phenomenology to restate the untold narratives of the text.

Poststructuralism, before anything else, is an answer to its preceding epistemological approaches. Through a complicated dialogical relation, it borrows from its preceding approaches and simultaneously negates them. We can categorise all of the epistemological approaches before Derrida into two general categories of idealism and realism. Not only did idealist and realist approaches fail to solve the problems in epistemology, but they also added new ones, among which is their inability to explain the relation as well as the differences between the subject and object. This article claims that Derrida’s concept of the text and his notion of deconstruction answer to a number of complicated epistemological questions. The present research argues that the origin of the text is epistemological in essence. Deconstruction drives the text into a flexible context and undermines structures. The text is an all-encompassing integrated identity. Of note here is the fact that even this totality has its own limitations. Towering on the binaries, the text questions the structuralist signification and interpretation of language. It reveals itself as a being at lingo-cognitive horizons. The deconstructive approach to the text shakes the foundations of structuralist linguistics, ontologies, and epistemologies as it tries to interpret texts in endless processes. The text, therefore, is a context which perpetually deconstructs and constructs itself. Deconstruction challenges the fundamental premises of epistemology while acknowledging the complexity of the process of interpretation. It seeks to modify the traditional epistemological relations among the subject, object, and language and de-centralise texts in an attempt to make way for new and infinite semantic possibilities.

The present research has tried to interpret deconstruction as a means through which epistemology can redefine itself and look at the subject and the object in new ways. The primary aim of this article is to give an inclusive re-reading of the concept of the text and explore notions that are not explicitly treated in Derrida’s works. This can lead to a new understanding of epistemology in linguistics and semiotics. Also, this article discussed the issue of an epistemological reading of structuralism and the philosophical reasons behind its emergence. Generally, structuralism is a familiar term in epistemology and linguistic theories. Discussing the development of structuralism to deconstruction and poststructuralism and an epistemological reading of the development of structure to text have been among the main objectives of this article. These subtle but significant discussions can pave the way for a deeper understanding of literature and philosophy. Literature, in general, and literary theory, in particular, must always re-interpret themselves in fresh philosophical and epistemological paradigms to avoid reduction to simply verbal and rhetorical issues.

Analyzing literary works based on linguistic frameworks is one of the ways of systematic study of these works. In this research, an attempt is made to examine Dehkhoda's poems based on Leach's norm deviation model, which includes eight types of norm deviation (phonetic, temporal, stylistic, dialectal, semantic, syntactic, written, and lexical). Different methods of norm avoidance and deconstruction of Ibtahaj's poetry have been analyzed and investigated to create poetic images. The results showed that Dehkhoda used the eight types of Leach's non-normative deviation and was able to make his language stand out in this way. In the meantime, he has used time avoidance more than other types of avoidance. The amount of use of other types of deviance and their consequences are also examined in the article. Due to these deviations, Dehkhoda expresses his meaning in an innovative and different way with ordinary words and in the most beautiful way.Also, putting the verb before other elements of the sentence is one of the most frequent examples of syntactic deviation in Dehkhoda's poetry. By using this method, he has evoked a kind of verbism and emphasis on the action instead of the agent.

The researchers of mysticism and Islamic Sufism have considered the making of the language of Sufism and mystical discourse as one of the most important aspects of the history of Sufism. Especially the gradual differentiation of the language of Sufism from the language of religion and its transformation into an independent discourse has been the subject of valuable researches. The researchers have demonstrated that mystical experience and Qur'anic interpretation are inseparable at first and the language of mystical experience merely uses Quranic words, but gradually, mystical experience becomes independent and adopts the Qur'anic language/language of religion and acquires its very own language. One of the lexical features of the language of Qur'an/religion is the use of binary opposition. Binary oppositions such as Paradise/Hell, Good/Evil, this world/the Hereafter among the basic religious and Quranic teachings and are used with high frequency in Sufi texts. The use of binary oppositions in Sufi texts goes far beyond religious binary opposition, and especially in Sufi textbooks, many new terms are formed based on binary opposition.One of the distinguishing aspects of the language of Sufism is the deconstruction of binary oppositions. The deconstruction is applied both in the binary oppositions of religion and in the oppositions formed in the language of Sufism. It has various and different forms and aspects, and its analysis may provide us with the most creative and innovative aspects of Sufis' worldview and mystical experience. This linguistic invention, which is rooted in the novelty and uniqueness of mystical experience, is a sign of the authenticity of that experience. In this research, we have investigated the deconstruction and departure from binary opposition in a corpus including the most creative words of the Sufis in Persian prose texts. By analyzing and classifying the different forms of the deconstruction and going beyond the binary opposition, the article shows how this feature grants the language of Sufism a special artistic and poetic characteristic, and places it in a completely different level compared to religious texts and the language of Shariat. Going far beyond the binary oppositions is closely related to the paradoxical feature of the language of Sufism and provides the possibility of expressing more complex experiences for Sufis.

The present paper aims to study John Maxwell Coetzee’s novel Foe in the light of Pramod K. Nayar’s concept of “anti-spectacle.” Nayar employs the term anti-spectacle to refer to those segments of reality that are systematically and silently omitted from the content of the mainstream media representations due to the gap they create or the rupture they cause in the dominant official spectacle-making currents. In Foe, which is a rewriting of Daniel Defoe’s Robinson Crusoe, Coetzee changes the narrative point of view and employs a circular multifaceted narration to intermingle the Robinson myth, which is the product of narrative spectacle-making, with anti-spectacles that are themselves the offspring of imperial and colonial discourses as well as of the ethics of Protestantism. He re-narrates the protagonist-oriented myth of Robinson from the perspective of European woman and non-European man, as two subaltern groups, to demonstrate the links between Daniel Defoe’s novel and the colonial discourse of the eighteenth-century Europe as well as the interrelatedness of European patriarchy and imperialism. The results show that, in his Foe, Coetzee deconstructs the conventions of Realism and realistic novel in an attempt to emphasize the inability of the colonial language in representing the experience of the other as well as to demonstrate the capacity of the postmodernist novel as a site for anti-spectacle.

A new chapter of literary movements in Germany has started due to the development of pop literature. Pop literature is the outcome of the rebellious feelings of a younger generation towards the prior social and political values. Christian Kracht is one of the contemporary writers in the German literature scene who was from early on considered as one of the main figures of German’s pop literature due to his unconventional style in describing the concerns of newer generations in his first novel Faserland. However, the main reason that makes Faserland one of the highlights of the contemporary German pop literature world is its psychological aspects demonstrated in the escapisms of its protagonist. This study tries not only to demonstrate pop literature’s vast potentials in manifesting deeper psychological concerns of a society, but also how it is possible to read Faserland’s protagonist as an example of an adolescent, living in mid-90s Germany, who isn’t able to cope with the history and society of the country he’s living in.

For many years, philosophers have studied methods of epistemology through different approaches. The challenges in this area mainly focus on the question of the nature of the subject and object as well as their relation. These issues have led to two general but diverse movements: Idealism and Realism. Deconstruction, like its predecessor, Structuralism, is essentially epistemological. Structuralists conceptualised ‘structure’ in such a ways as to go beyond the subject and object duality. Deconstruction, positively and negatively, established deep bonds with structuralism. This study interprets this relation and argues that structure in structuralism is transformed into textuality in deconstruction. The difference is that the text is not as rigid as a "structure" and continues to exist as a flux. The constant evolution of the text as a whole eliminates the subject and object duality.  In this way, the concept of text acts as a bridge between linguistics and ontology. When Derrida discusses the text, he means any kind of being. This kind of being includes both concepts and objects. Derrida’s interpretation of language can be linked to the epistemological and ontological functions of language.

Proverbs are one of the leading cultural elements in societies that can support intellectual and cultural currents. The practical charm, as well as the accumulation of meaning and the broad and comprehensive meanings in proverbs, make their influence. However, the inspiration uniqueness and the audience's intellectual struggle toward them is not investigated yet. "You don't want to be shamed, be the same color as the group" is a proverb that can be criticized and interpreted in sociological, economic, historical, etc. perspectives. Contrastive structure, musical language, as well as the overt and hidden actions such as condition, command, warning, and threat in deep structure have made this proverb effective and popular. According to the deconstruction approach and the focus of this theory on reversing reciprocal pairs, a different reading of this proverb can be achieved, a reading that highlights and glorifies "individualism", creativity and the resulting talent in opposition to "collectivism" by shifting the authority and centrality of the structural dual poles. In this article, an attempt is made to provide a different and more modern reading of this proverb by applying deconstruction theory as well as qualitative and pathological analysis. The need to change the structure and context of this proverb shows the mobility and cultural dynamics of our society today.

Authorization is a process in narration that according which the narrator constructs her/ his own legitimation and narration using the discursive articulations. The authors’ aim in this paper is to investigate the linguistic processes of development, maintenance and fixation of authorization which the female and male narrators use in the narrations. Hence, they provided a deconstructive reading of the authorization by Van Leeuwen (2007) based on Laclau and Mouffe (2001) and Derrida (1983). Then, in order to identify the linguistic tools of development, maintenance and fixation processes of the personal authority, they went through the “Se-Ketab” by Pirzad and “Solok” by Dolatabadi and purposefully examined those parts. Finally, it was found that Pirzad and Dolatabadi try to legitimize their own dimensions by using their selves and others’ positions, creating discursive nodes, and crystallizing around them. At the same time, they try to delegitimize by rejecting the meanings of the signs from others’ narratives. Also, on a larger scale, it was revealed that the two narrators’ self-representation was different; Pirzad constituted the discursive “We” and Dolatabadi an omniscient narrator. Neither of these two narrators could escape the paradox.

In this article, by way of reviewing Gayatri Chakravorty Spivak’s views on “Subaltern Studies,” we will study her recent work in Comparative Literature. Spivak, who has constantly positioned herself against the elitist structure and discourse of the humanities in both Western and developing societies, believes that the comparative study of world literature, which today is in tandem with the capitalist logic of globalization, requires a methodological reorganization beyond the Eurocentric history of the discipline, as well as a turn to language learning from subaltern communities, including the refugees, the labour migrants, and other victims of the history of imperialism and global capitalism. In the pages that follow, by reading a selection of Spivak’s work—“Can the Subaltern Speak?” (1985), Death of a Discipline (2003), and “Rethinking Comparativism” (2009)—we will answer this question: Will postcolonial literary traditions (such as Persian literature) have the opportunity to express themselves on the global stage from within the framework of Comparative Literature? Spivak’s response is “Yes,” subject to the growth of the critic’s awareness of the inequalities prevalent in the global literary system, and the deconstruction of literary studies towards a discipline which Spivak calls “new comparative literature”: a new paradigm that is based on “deep language learning,” and the analysis of the culture and literature of the “subaltern” peoples.

In this article, the critical works of Poornamdarian are analyzed and read with a philosophical hermeneutics approach. The question is whether hermeneutic philosophy has been the basis for the interpretation of literary works in this author's critical works. And if so, what hermeneutic concepts and themes form the basis of his work? Hermeneutic philosophy has penetrated in literary criticism with many of its themes and concepts. It seems that Poornamdarian has also used many of these concepts in his works, and many of the manifestations and ideas derived from this philosophy have been the basis of his works in the critique and analysis of literary works. The titles and layers of this article that are influenced by these concepts are: interpretation, semantic pluralism, symbol and allegory, demythologization in symbolic texts, deconstruction, grammatology, author death theory, intertextuality, ambiguity and Meaninglessness (ambiguity), apostrophe and Multifaceted, deconstructive and Multifaceted connection with didactic and theological poetry, Multifaceted and social commitment in poetry and literature. In his critical works, he has sometimes directly analyzed and studied these issues, and sometimes, as a special approach, he has so absorbed and digested and absorbed them in his works that he has appropriated them as a discourse.