فصلنامه نقد ادبی
پیاپی 56 (زمستان 1400)

Introducing the literary world as a possible world, while emphasizing its self-sufficiency, the present study aims to provide an alternative to those theories that consider the literary work as a reflection of the state of the affairs in the real world. Accordingly, having discussied the self-sufficiency of a literary work configured through its internal forces, the research explores the subject of contextualism from a macro-cultural, phenomenological, and linguistic point of view. This research methodologically uses a combination of phenomenological and linguistic approaches in the study of literary context to apply the principles of the possible literary world in the light of topics such as symbolic forms, wholeness, semantic heterogeneity, probable impossibility, internal logic of the work and semiotic reading. In this study, it is found that in the semantics of the possible literary world, the theory of coherence of truth is more effective than the theory of conformity of truth, and the literary world, while suspending the referential function of the text, is better understood based on its internal ordering.

The concept of "silence" in Rumichr('39')s works and poems has been one of the concepts that has attracted the attention of scholars . As we find books and articles with reflection in Rumichr('39')s research record Who have tried to explain this concept from different mystical, theological, linguistic, etc. points of view.In this research, with a critical-analytical perspective, while classifying and describing the various approaches that researchers have focused on the subject of silence and silence in the works and poems of Rumi. We will deal with the missing link of this research, that is, the lack of hermeneutic reading of silence in the works and poems of Rumi. It  of view. The hermeneutic silence by which the word of truth is reflected in the language of the mystic.

Roaming is a phenomenon of modern life and experience and also a possibility to be in the city/ street. An existence in halt and an experience in hurry, a paradoxical life of being viewer and viewed, of desire to be lost and found, of perception without concentration. City and roaming subject find meaning and identity in interaction, intertwined link and exactness with each other. City gets spatial in subject’s strolls and it is studied and read as text or human body. The present article has dealt with reading and analysis of two novels; Sara Salar’s “I’m probably Lost” and Sina Dadkhah’s “Yousefabad, Thirty Third Avenue” from “roaming subject” viewpoint. It shows how city’s components and phenomena such as passages, park statues, streets, etc. are read and narrated by story characters as text and also experienced as the physical in relation to characters’ perspective, regrets, concerns, and memories. City/ Tehran is the pivotal character in both novels which turns into a surreal landscape in daydreaming and imaginative power of stroller parallel to present life and yesterday’s memories.  Characters’ roaming whether in afoot roaming case of Saman, Neda and Leila Jahed or in automobile roaming of Hamed Nejat and Gandom, which is a new style of roaming, narrates an unusual and different and a special relation of subjects’ attachment to city/ street. 
 
 

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.

Ali Sadeghi Hassanabadi and Abdullah Radmard in the paper " Investigating the Typology of Safi Interpretation " (1398) have analyzed Safi interpretation with a genre approach from three perspectives: metatextual, textual, and intertextual perspectives. The most important Poetic interpretations of the Qur'an, including the most complete one, the Safi interpretation, have emerged in the Qajar era. Therefore, the analysis of the political and social situation of the commentators, especially Safi Ali Shah, seems necessary. This issue is effective on the studies about the process of formation and expansion of poetic interpretive texts. These have been done in the paper " Investigating the Typology of Safi Interpretation ". From the author's point of view, the analyzes in this paper are accompanied by some misunderstandings. The present paper seeks to explain these misunderstandings.

Although the theme of a work has an important role in literary and art criticism, it has been less discussed as a methodological process. Persian Researches concern more explication and introduction of the theme of literary works than discussing the processes, methods and strategies of discovering and understanding the theme. This paper, relying on examples of literary and art criticism, introduces two thematizing processes: direct and indirect. The first and prevailing process obtains themes through the evident signs and explicit meanings of a text. Three of these evident signs include the direct utterances of the text, elements of fabula, and literary conventions. This process usually displays familiar themes and without justification. In contrast, the indirect process achieves the theme of a work by relying on implicit and constructed meanings, using strategies such as the concepts of literary theories, formal devices, extracting non-objective motifs, or combining these. The second type of themes, due to their strangeness, must be justified by a critic precisely and for this reason, they display that the critic is aware of his strategies.