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.

Background and Aim: Philosophy of Gilles Deleuze is one of the most important and influential philosophies in the 20th century. Aim of this article is to discuss rhizomatic thought in nursing. This is the first of two papers, explaining philosophical bases of rhizomatic thought.Material and Method: A literature search was conducted using CINAHL, Proquest, PsychINFO, Social Sciences Index, Science direct, scopus, and MEDLINE databases and the keywords "rhisom" and "nursing". Articles from each of these databases were examined to identify major themes, areas of agreement and disagreement across disciplines.Results: A comperhensive and authenticative philosopher more than deleuz could not be found in contemporary. He always tried to review and restore philosophical bases and also to create new concepts.Conclusion: Deleuze is important in philosophical thought for two reasons: first, he after review of previews works create a new approach and second, open new horizons to philosophy.

Background and Aim: Philosophy of Gilles Deleuze is one of the most important and influential philosophies in the 20th century. Aim of this article is to discuss about rhizomatic thought in nursing. This is second of two papers, explaining development and application of rhizomatic though in nursing.Materials and Method: A literature search was conducted using CINAHL, Proquest, PsychINFO, Social Sciences Index, Sciencedirect, scopus, and MEDLINE databases and the keywords "rhisom" and "nursing". Articles from each of these databases were examined to identify major themes, areas of agreement and disagreement across disciplines.Results: Both concurrent and opponents of rhizomy in nursing agree with the arguments againts “the knowledge/culture wars” that seem to dominate attempts to develop the discipline. They also agree with the notion of “borrowing” approaches from the diversity of elsewhere is somehow wrong and will weaken nursing is utter rubbish.Conclusion: Rhizomatic thought in nursing needs more discussion.

Naqizeh' (parody) in Old Persian literature was both in serious and humorous forms, and it was not confined to poetry, but has been used in prose, as well. The closest term in English to 'Naqizeh' is parody.Parody has different forms; however, such diversity is not suggestive of lacking a thorough agreement on the genre. Based on Bakhtin's theory of Dialogue, and Genette's and Barthes's views, the present article provides a definition of parody in English literature covering most cases. Accordingly, parody can be defined as a deliberate imitation or transformation of a socio-cultural product (including literary and non-literary texts, and discourse in its Bakhtinian broad sense) so that it will recreate its original subject in a playful, not necessarily ironic way.

Structuralism and poststructuralism are two of the most important and influential approaches in the humanities of the 20th century. This two approaches, are arose in response to special situation in philosophy and humanities and so they have to pay attention. The main question of this article is to survey of benefits and weaknesses in this book by critical descriptive method. It should be noted that this study was conducted in accordance with structuralist and poststructuralist theories and this book studied in three phases: Methodological, formal and content review phase. The books in this field, usually, are translated in Persian language but this book is an essay, so the purpose of this article is review of this book as an essay book. The most important value of this book is the novelty of the subject. Also, this book has its drawbacks of writing issues and punctuation. Great emphasis on philosophical issues, extension of opinion of structuralists and poststructuralists in different contexts of humanities, failure to presentation of historical philosophy content properly, redundant repetition and inconsistency, are the other flaws in the book include.

Roland Barthes’ s work in semiotics, the study of symbols and signs, gave rise to a kind of process from structuralism to poststructuralism. The most enduring concept for Barthes, which was constantly taking on broader themes, is the concept of text. This feature made the text more than just written and alphabetic symbols. The photograph, like the sign system, is different from the text but is always confined to language and meaning, and Barthes sought to read the image, and especially the photograph, through semiotics. He believed that the photograph signified, more than it reflected, or represented reality. The signs and things that are considered important for the viewer as a reader of the photo, formed the basis of interpretation and analysis. In the present study, the following questions are answered. First, what are Barthes’ semiotic features in text and image? Second, what transition occurs in this reading of Bart’ s semiotics from structuralism to poststructuralism? Finally, how are Bart’ s semiotic concepts introduced in the photograph? The research method is descriptive-analytical and data collection has been done using library resources. The tools of semiotic approach in text analysis are briefly described and their role and importance in photo analysis and reading are explained. In Barthes’ s semiotic approach, the mythology of the new analytical system, based on implicit and explicit implications, creates more design and function to analyze how meaning and visual representation are conveyed, using only words as linguistic cues. He sought a wider range of cultural actions in the linguistic model. For semantics, which means the search for the fixed meaning of a sign, Barth moves to semantics, in which a meaning is created by the reader. That is, to give up finding a final meaning to a chain of signs or to move from structuralism to poststructuralism. The fundamental result of this research in Barthes’ s poststructuralist process is the image as text, the reader and the viewer or the audience as a creative artist, which increases the semantic range. There is independent research on Barthes, semiotics, and theoretical analysis of his ideas about the structure of the literary work and his pattern in the practical critique, narrative, or semiotic reading of literary works. Photo or text and image are not done. Therefore, the author tries to express the role and importance of these tools in reading photos, relying on descriptive and analytical approaches, semiotics in text analysis. The exclusion of the author in the text has been an important step in that the hypertext becomes a force against the past, which not only finds the power to enter and occupy the text, sometimes takes the place of the author and especially in relation to the authorial text, in which the audience creates the meaning of the work as the author, is emphasized in photography by the word punctum in a bright room. The photo viewer or viewer is in fact the same audience as a creative artist can add to the semantic range of the work.

The question of meaning is the most important issue in the humanities, linguistics and semantics. Structuralisms consider meaning to be the result of propositions and text. Poststructuralists also do not have a fixed meaning for words, but believe that each signifier delays the meaning and finds its meaning in other signs. Thus, with the delay of meaning, we are practically not faced with a specific meaning in the text, and in principle, meaning is not in the word but the result of communication. In response to what makes a word or sound meaningful,So far, various theories have been proposed, including the social theory of meaning, the descriptive theory of meaning, the functional theory of meaning, and so on. One of these views is the theory of profound semantics, which considers meaning to be the deepest and broadest truth, the most abundant and fundamental essence of the word. The purpose of this paper, in addition to analyzing the previous theories about meaning, is to analyze the theory of semantic deepness in terms of the meaning of words, which considers the meaning derived from the Logos in a profound truth This research paper criticizes the existing theories about meaning and phenomena and how meaning is formed and its source, presents the theory of semantic profundity and proves that this theory is the first system of originality of meaning in modern linguistics. Undoubtedly, each of the semantic theories seeks to express systems for determining meaning, the relationship between meaning and phenomena, and so on. Accordingly, this will help us to understand the relationship between the word and the phenomena and the source of meaning.

The present article reviews and criticizes the book ‘ postcolonial theory and Kurdology’ authored by Jalil Karimi. In the introduction section, firstly, the postcolonial studies have been defined and important approaches have been introduced. Then, the book has been analyzed from both formal and content points of views. The results of this analysis show that there are some problems with regard to the formal viewpoint: it lacks introduction and general conclusion; the book has both the preface and introduction, and the English equivalence of the title of the book has not been written at the back of the book, and some of the authors’ names have not been mentioned in English in the text. From the content viewpoint, the sample size (i. e., eight books) is not enough; discourse analysis is mostly context-based, and in most of the cases, no attention has been paid to the historical and social backgrounds of the formation of Kurdish discourse. The analyses concerning issues, such as “ negativism” , “ nativism” and “ the relationship between knowledge and power” are weak. The positive points of the book include its novel theme, fluent prose, strong theoretical framework, appropriate methodology, and accurate referencing system. The book is likely to have a significant impact on Iranian humanities studies in terms of theoretical, paradigmatic and methodological aspects; it also strengthens multidisciplinary and transdisciplinary studies, qualitative methods, critical approaches, indigenous knowledge and the concept of “ subjectivity” in Iranian studies.

Dogmatic approaches interpret literary texts in definitive ways. However, literary texts do lose their supposed absolute and final meanings when approached from a poststructuralist perspective. Consequently, it is possible to have multiple readings of a text from different perspectives. Drawing on Derridean deconstruction of binary oppositions, this paper studies a miniature painting by Sultan Mohammad Naqqash based on Hafez’s poetry. Hafez’s divan is always open to various interpretations between spiritual and worldly approaches. Contrary to the classical interpretations in which a definitive meaning is sought after, “Heavenly and Earthly Inebriation” painting by Sultan Mohammad deconstructs this opposition and presents a new reading of the poem. Based on an analytic-historical method, we argue that this painting creates a new hermeneutic world by geometric composition, colors, and characterization. The painting, we conclude, maintains the poetic ambiguity of Hafez’s poetry. Accordingly, we can say that there is no final meaning in this painting because the spectators simultaneously experience both poles of this opposition and, as a result, for them there is no absolute interpretation.