نشریه نقد و نظریه ادبی
سال پنجم شماره 2 (پیاپی 10، پاییز و زمستان 1399)

Descriptology is the knowledge that examines what is descriptive, looks at literature from a descriptive perspective, tries to discover different types of descriptions based on literary texts, and provides a device that can critically critique text types by creating a comprehensive and structured framework. The present study intends to base its description on its typology based on Descriptology theory and based on examples from Nafsat ol-masdoor. As a primitive model or paradigm, typology transcends a conceptual and theoretical framework, while being a critical tool, it has exploratory application and enables the literary analysis of a text. In this regard, Nafsat ol-Masudar has the capacity to serve as a basis for the completion of this theory, as it has a remarkable variety of views and has a particular view of its description and application in the text. The author argues that many of the beauties and characteristics of literary text are possible through the examination of the techniques, methods, and details of the description used. This is not a descriptological analytic research of the text but an introduction to it and introduces a device that can be used for descriptological research.

There is no doubt that different hermeneutical approaches have become accepted as a general theory,.But can hermeneutics be a step beyond the theory and enter the critique? In author-centered hermeneutics, Schleiermacher is theoretically believed , as it is realized, hermeneutics is preceded by critique, and criticism comes after hermeneutics Schleiermacher's commitment to gramatical interpretation and psycological interpretation, establishes between the author-centered hermeneutics and the critique. Hirsch, by distinguishing between two types of criticisms, believes there is a link between the authoritative hermeneutics and the inner critique. In addition, Hirsch's quadruple criteria for proving the probability of an interpretation result in the valuation of valid interpretations of the invalid. But from the point of view of the critics, philosophical hermeneutics is in come and go between theory and critique The author believes  the two criteria Gadamer specifies for correct interpretation  that is "fore- conception of completeness  and distance, Philosophical hermeneutics is pulled to the point of critique In the meantime, literary hermeneutics, with emphasis on the method of reading the text, enter the realm of criticism.

The Legend-turning is originated from Legendism of romantists in the late eighteenth century. It had been prescription of the romantists to begin the legendism which was a kind of rewriting and recreating the legend. But symbolists were more endeavoured so as to show the Legendism and even the Legend- turning. There was a basic difference between the Legend- turning and recreating the legend; whereas the recreating legend and the Legendism had been openly concerned with legend, the Legend- turning was interested in ambiguous and intertextual transformation of legend that sometimes reader couldn't trace it to legend. Nima Yushij in Iran, was the first poet that used the Legend-turning and his singular operation at that in free verse. The aim of the article is to introduce a legendary narrative in the inner layers of Nima's poem and one of its consequences is to enter femininity and to disobey rigid masculine language. The article investigates the structure of Nima's free verse specifically the poem of "Snow" based on Legend- turning theory.

"Conceptual history" is a relatively new theory and method that is influenced by the tradition of continental philosophy and new historicism. This theory and method, with its critique of traditional historicalism, emphasis on the "concept" and through the study of creation, the evolution and conception of concepts, one can represent ideological conflicts in a political structure. In this essay, after defining conceptual history, it attempts to address the role and role of this theory in continental philosophy by emphasizing the views of Reinhart Koselleck, the most renowned researcher in the field. In his seminal project, The conceptual history, Koselleck explores the concept, its differentiation with the word, and how concepts influence political events. He believes that without concepts, society as well as the political arena of action will not exist, and he believes that every concept in the system of thought has anti-concepts that can overcome it by having a specific meaning . On this basis, Koselleck puts anti-concepts against concepts and speaks of semantic battel that can justify and explain the efforts of political forces and groups to overcome a particular discourse. Conceptual history as a method is also attempted to discover the meaning behind the accumulated layers of time, among the points discussed in this paper. Since this paper aims to introduce the theory and method of conceptual history, the method used is described and can be useful for researchers in humanities.

Feminist literary criticism seeks to revision classical criteria of criticism and literature history, and create feminine tradition in literature. Studying feministic criticisms in  specialized  journals can play important role in clarifying the motion path of this criticism tendency in children and adolescent’s  literature. In this study, by using a descriptive and qualitative method and a deductive-inductive content analysis method, the articles that have been criticized with a feminist approach between 1997 to 2014 in Children &Young adult Quarterly Book Review, are examined to give an overview of the status of feminist criticism among published criticisms.  The results show that out of 1073 articles, 27 articles were criticized with this approach. Time has influenced criticism quantitatively and qualitatively. Female critics are more prolific. The most widely used feminist components are derived from liberal and somewhat radical tendencies. Critic’s tendency to English-American literary criticism is more than other tendencies. Choosing the right title and introduction to the discussion, paying attention to the name and picture on the cover and presenting a feminist critique, thematic categorization, concluding in line with the objectives and presenting suggestion to the audience and authors of creative works are the strength points of the journal's feminist criticism. Disregard for feminist criticism theories, especially feminist criticism of children's literature, lacking reference to feminist approaches in the analysis of works, lack of reference to the creative text, to support theoretical discussions, using secondhand feminist sources, Addressing issues  unrelated to the main topic, are  the main drawbacks of essays.

Different styles of illustrations can be found in rewriting illustrated of the Shahnameh. These styles cover a wide range from realistic to abstract. They have used visual cues to reinforce or sometimes weaken linguistic concepts. One of the functions of visual cues in narrations is to characterize or identify the heroes. In this paper, the aforementioned ontological symptoms are classified and analyzed according to Peirce's semiotic system. The Pierce trilogy (Icon, Index, Symbol) shows the amount of distance between the signifier and the signify. Iconic symbols have the highest degree of similarity to signifier, and symbolic signs have the least.The index marks are in the middle. Through this study, we understand the importance of imagery as an enlightening factor in enhancing children's cognitive understanding. We also find that these signs, while being motifs for recognizing the characters in the story, also reflect social and cultural characteristics, and the illustrators have not always based the child's audience on cultural imagery and his or her pre-learned experiences of image perception. Rather, they have taken into account the general preference and individual style. Of the three styles examined (realistic, abstract, and miniature), realistic style has the most, and miniature style has the least iconic signs and indexical to identify the characters in the story. Symbolic signs are seen in almost the same proportion in all three styles. In terms of the relationship between text and image, there is generally an increasing relationship.

The study of genres is one of the important subjects in the field of literary critique and theories, which gained importance again in contemporary literature following the upswing of critique field. The advancement of discussions related to literary genres also faced challenges. The genres came in to existence for different reasons. For example they sometimes form sub-genres of the same type inside themselves or form them independently; they may also live inside the dominant genre as a recessive genre, associate with other (genres) or form kinship relationships. Coming in to existence, Sub -genres also pass the same way. By mixing genres and sub-genres,they sometimes generate genres and small genres in different manners . The small genres also put the same effort for their survival. In such a situation, some subgenres and small genres fade and sometimes they may revive (so-called resurrect) in other situations. These relationships and the progress of genres from the beginning to the end-which can be called struggle for survival in genres-can, solve problems like the ingenuousness of genres, the impossibility of including subgenres under a specific genre and the mixture of genres, subgenres and small genres.

Each narrative structure includes some actions. These actions use many valuable links. Now, how in persian & Arabic Risalat Al-Teyrs, these actions can create value. It seems that in Risalat Al-Teyrs, different values are created under the influence of different actions & are compatible with the narrative structure. Investigations using descriptive-analytical, libertarian tool & constructivism approaches (the theory of syntactic representation by Todorov) & semiotic (the system of value) show that actors makes contract before entering the unbalanced position. Then the actors enters the potency 1 & obtains the virtual values. In the next step, action happens. After action, actors enters potency 2 & obtains potential values. Then the actors enters a place that has emotional tension & can be the force to create new balanced position & leads to new ethic value. In the next step, actors enter a new position of balanced position & obtain new ethic value.  Finally,  birds reach the object or separate from it in the following way: connection with object, eternal destruction & disunion from the object, conditional connection with the object, unknow union or disunion & turning subject in to the object. According to this, basic structure in Risalat Al-Teyrs is as follows: Journey_negotiation/ sermon/ preach_ searching for information & union.

This study aims to investigate and analyse the consequences of trauma through the lens of Slavoj Žižek. He believes that the unexpected intrusion of Real into the symbolic order is called trauma, which gains meaning only in retrospect. Different subjects respond differently to a trauma. According to Lacapra the usual responses of subjects to trauma are "acting out" and "working through". The process of acting out contains traumatic symptoms including arousal, intrusion and constriction. But by working through the subject tries to come to terms with the traumatic experience and the related loss through mourning. Slavoj Žižek contends that the continuum of various reactions to trauma ends with the birth of a new subject known as the post-traumatic subject. The prominent consequence of indirect experience of a traumatic event is that an external crisis leads to an internal crisis, since trauma operates retroactively and attenuates the successful functioning of signification. Therefore, trauma becomes a disorder which entails traumatic symptoms that affect the identity and meaning.

Literary Darwinism is a recent approach in literary studies that makes extensive use of evolutionary psychology and cognitive science to explain and make sense of literary phenomena. In this paper, I have done two interrelated things: 1. I have given a brief account of literary Darwinism and its epistemological foundations which puts it in direct opposition to the current constructivist paradigm of literary theory or simply “theory” and 2. I have given a Darwinian account of fictional narrative. To do the latter, I have adopted an anti-constructivist stance and have appealed to the ideas of Brian Boyd, Joseph Carroll, Jonathan Gottschall and Steven Pinker to explain the cognitive aspect of fictional narrative. I have gone so far as to formulate the idea that the fictional narrative constructs a possible world and a model of reality significantly analogous to the world we are living in, in a way that makes it possible for us homo sapiens to understand the biological and social challenges that lie ahead of us and experience them vicariously and almost uncostly. The successful fictional narratives thus, beyond their structural and genre dimensions, have a cognitive significance and making sense of them in an inter-subjective world is an adaptation for the the literary animal which in turn explains their functionality and universality.

Due to the post-Reformation socio-cultural events in Iran, forms of the Interpellation of humane subjects and the origin of their identity formation have changed, and this has consequently affected the construction of story subjects. Unique Interpellation of female subjects in the early stories of Persian literature, especially in those of Hedayat's, could be cited as a great example of this phenomenon. Employing a constructivist viewpoint, the present paper seeks to interpret and classify the gender-based addressing and Interpellation of subjects in Hedayat's stories. In doing so, Althusser's theory has been referred to for macro discussions, and for more micro analyses of textual signs, Goffman, Brown and Lewinson's theories have been used. The results show that the construction of location-situation of each fictional subject is in fact resulted in three layers of bodily, reaction-oriented and belonging-oriented interpellation which have been expressed by narrators and fictional subjects and have accordingly created positive or negative faces for the subjects. Although bodies have been objectively described in bodily Interpellation, the final assessment of the same bodies, as the main criterion of face-formation, is basically done by mental factors, on the basis of classical aesthetics. On the contrary, due to the dominance of realism on texts, in reaction-oriented and belongings-oriented layers of interpellation, class relations, forms of consumption, and taste of subjects are among the main criteria for face-formation. Though the gender-based construction of female subjects in Hedayat's stories, in line with the attested individuality in the contemporary world, is mainly based on personal and historical relations of subjects, its face-forming criteria have been formulated on the basis of a variety of epistemic and aesthetical factors.