فصلنامه نقد ادبی
پیاپی 32 (زمستان 1394)

Hedayat in The Blind Owl, influenced by avant-garde schools of his time, especially Expressionism and Surrealism, to represent mentalities, has chosen horror genrer and inner narrative and Pseudo-poetic structure. In this genre, sense of fear, violence and, of course, charm, often created by space- making and all elements of the space are in a serve of Building space. making of space mainly done with described, but the use of rhetorical devices such as simile and metaphor can also play an important role in creating imaginative, colouring of text and its unity effects. Because simile, In addition to descriptions Adds new meaning to the text.
In this article we have shown that this industry has animportant role in creating an atmosphere of fear, dark, sick, empty, nevertheless, attractive and.
mysterious in the Blind Owl.

In classical Persian literature, often referred to green sky, while more Persian-speaking people today know the sky blue. Various researchers have tried to address the status of green color in mythological, astrological and religious Beliefs of Iranians or literary traditions and poetic virtualization, to explanation this problem, but have ignored the fact that the interference colors green and blue is not limited to literature and still be seen in parts of the country and has samples in languages and cultures around the world as a global phenomenon. This article reviews the colors assigned to the sky in Persian literature, introduces linguistic relativity hypothesis referring tests about the influence of language on color perception. Article concludes that Persian speakers in the absence of an independent word indicate blue on all subsets, treat this color and the color of the sky as a type of green color. It seems that the use of green for naming the sky hasnt only linguistic aspect. Ancient people under the influence of linguistic relativity were percept the color of the sky similar or close to the green color.

Gohar-e Kamāl (1998) is an Iranian TV series that in the 70 decade solar written and directed by Abbas Ranjbar that was shown on Channel one. Parts of this TV series is reminiscent of the novel Year of Turmoil (1992) written by Abbas Maroufi; but television viewers in title sequence and closing credits, Sees no signs of adaption or loose adaptation; while in sequences and shots of TV series it is clear that Abbas Ranjbar in writing Screenplay of the novel is influenced.
In this article, the Year of Turmoil (as text) and Gohar-e Kamāl (as screen) are investigated and pointed to some possible the influence of Abbas Maroufi's novel on Abbas Ranjbar's TV series, and remind that writer and director express words and phrases from the novel on the lips actors; also creates some of his characters, such as "Raziye Nobakht", "Hatam Khanpour" and "Ghobad" with borrowing from novel characters; including "Noushafarin Niloufari", "Hosseina" and "Dr Masoum". As well as, to some of the similar Themes and motifs focused and referred the novel dialectic does not comply with the dialectic TV series; because it has been changed according to the cultural norms of society.

It seems to be a dualism when reading Chess with the Doomsday Machine both in the text images and the narrator `s view point. The theme of this story is the eight-year War of Iran and suppose to follow the typical novels of Holy Defence genre whome the mose significant theme is the human beings` devine choice of sacrifice; on the other hand, there are absurd philosophy in the text in which wars and the whole creation, are fated goins-on. This dualism gets stronger in paratexts of the novel. Paratexte, in Genette `s theory, are the means by which a text makes a book of itself and proposes itself as such to its readers, and more generally to the public. While inner paratexts of the novel, like the title, the cover and its appendages and epigraphs, show absurd viewpoint, its outer ones, such as the dedication of the work, notes of the author and The publisher's propaganda, try to misrpresent it as a work with the Holy Defence discourse. Some of this dualism is because of the style of putting an end to the story and some is due to the authorial out-of-text acts such as choosing such publisher as Sure-ye Mehr which is famous for its idiological books. It seems that the dualism of the paratexts of Chess with the Doomsday Machine is a result of the author `s insight into the different types of readers whome their satisfaction has been the author `s concerns.

Literary texts are definitely interpreted by dogmatic approaches, whether those are classical or modern theories. However, literary texts do lose their absolute and final meanings in post-structural approach; in other words, the importance of meaning uncertainty decreases in them. Consequently, it is possible to have different readings of a text which can enter into it from any side. This essay aims to analyze a painting which is considered as a new reading of Hafez's poem by referring to Jacques Derrida's theory related to refutation of binary opposition and meaning uncertainty in the text. Hafez's book is among those texts which are always interpreted between gnostic and hedonistic approaches. Contrary to the classical interpretation in which meaning certainty is followed, "gnostic and hedonistic inebriation" painting by Sultan Mohammad destructs these oppositions; hence, it will be a new reading of the poem. According to the findings of the research that are achieved by analytic-historical method, this painting create a new world of meanings by geometric composition, colors and characterization. Therefore, it is not captured in a special domain and maintain ambiguity and equivocalness in Hafez's poem.
Accordingly, we can say that there is no final meaning in this painting because audience synchronically experiences gnostic and hedonistic world and meaning orientation destructs for absolute interpretation.

The main aim of this research is exploring power relations in Tooba and the Meaning of Night, focusing on the gender issue and gender representation in the novel. Studying modal structures and modality is one of the tools provided by Halliday's social linguistics for examining texts and revealing their ideological functions. Focusing on the role of modality in the production of texts and reproduction of power and gender relations, researchers study modality in Tooba and the Meaning of night with an analytic-descriptive method. The novel offers a seventy-year-old historical perspective on the Iranian woman. However, in the course of this seemingly progressive historical movement, Tooba, the heroine of the novel, not only does not achieve her ends but also, quite on the contrary, shows signs of regression. Towards the beginning of the novel, Tooba is a self-assured woman who talks and acts decisively, but near the close of the novel she turns into someone without certainty or any kind of conviction. Indeed, Tooba's modal structures evolve from external certitude and determination to internal doubt and hesitation. In the end, Tooba's internal evolution and spiritual barrenness are closely related to more general social discursive relations and functions during the Qajar and Fist Pahlavi dynasties, especially those which prevent women from thinking, speaking, and participating in external practices on the social scene.

The present study aims to determine the citation status in the articles of the Journal of Literary Criticism. This study applies a survey method with a citation analysis approach. All articles published in this journal during 1387-1393 are studied. The co-authorship shows that researchers tend to single productivity. Ferdowsi University of Mashhad was the most productive. Most co-authorship between institutions was conducted by Tarbiat Modares University. The average of citations for each article was 21.1 percent. Most of the citations were to books (76.24%) and then to journals (21.16%). Most of the citations were to Persian sources (69.05%). Sirus Shamisa, Mohammad Reza Shafie Kadkani and Tzvetan Todorov were the most cited writers. Mohammad Nabavi was the most cited translator. "Structure and Interpretation of the Text" was the most cited book. "The Journal of Literary Criticism" and "New literary History" were the most cited journal. "The Journal of Literary Criticism" and "New literary History" were the most cited journal.

Virtual language by deleting reference, metaphor, allusion, symbol and etc always conceal speaking reference and its purport and as a result it cause tension between elements of texts. One of the efficient means to escape from irony is to declare transparent or clear. This industry always has been one of the practices of man in the world therefore cause especial characteristics in expression. The purpose of writing this article is to critical analysis of 9 existing article in Persian language about this issue (according to search of author)to eliminate semantic ambiguity of this term. The method of this research is descriptive and gathered by writing paper also field study is library.According to the findings of this study irony is a trick that author with secrecy and neutrality, create a word with two meaning and two concept and it is usually considered contrary, so that the reader received a word, a context or situation, often accompanied by surprise and ridicule. Previous articles about this issue had scientific defects and errors, because this word is a western word and have different meaning with ambiguity concepts. The authors of these articles often didn’t define a certain meaning according to the opinion of western and domestic critics for this word and just quote from them. Another point is that the main weakness of these articles was mainly in mentioning irony samples in Persian literacy so sometimes researchers face problem in this field.