جستجوی مقالات مرتبط با کلیدواژه « مایکل ریفاتر » در نشریات گروه « ادبیات و زبان ها »

In Contemporary semiotics, if there are such names as Propp, Grimas, Todorov, Genet, and Barthes in the field of narratological studies, Michael Riffattere should be considered one of the methodical theorists in the field of poetry. In the course of his ideas and theories, turns from Riffaterre "structural stylistics" to the semiotics of poetry and text production, and in this regard, he presents the signs and elements that create the literature of poetic text. In Riffaterre theory, there are two ways of reading: exploratory or linear reading and semiotic or retrospective reading which the reader, after examining the elements of text literature, namely inaccuracies, descriptive systems, accumulations (synonyms) and hypograms (the stereotyped image that is induced in the mind of the reader through the whole poem), achieves the matrix or network of poetry, which is the basic proposition of the poem and provides means of unity. In this article, after exploratory and semiotic reading of the ode of sorrow, we came to the conclusion that the semiotic elements based on Riffaterre's point of view can play a good role in reading the semiotic level of the ode of sorrow Abdel-Saboor; The poem's mourning has few instructions in terms of vocabulary and syntax, but in terms of meaning it has many instructions that show themselves through simile, metaphor and irony. On the other hand, descriptive systems, accumulations, hypograms, and finally text matrices all together illustrate the key themes of poetry and achieve poetic unity

Since the beginning of philosophical discussions in the field of art, there have been extensive discussions about its definition, philosophy and function; for instance, regarding the work of art, "formalists use the word poet in the general sense of an artist, based on a long-standing tradition that has its roots in the debates of Plato and Aristotle. Moreover, when they talk about poetry, they mean not only poetry, but also the work of art" ((Payandeh, 2017 A: 34). What connects these two fields together is the process of creation (Poiesis) and construction. These discussions, which continue to these days, entered newer fields in the 20th century in the process of texts reading. With the establishment of the Center for Contemporary Cultural Studies of the University of Birmingham in 1964 and the foundation of cultural studies, the scope of literary studies and especially critical studies expanded and included a wide range of texts in addition to various semiotic systems, in such a way that there was no longer a difference between verbal and visual texts. The result of such approaches to text led to the expansion of interdisciplinary studies, including comparative studies of art and literature; two sign systems that are connected in different cultures have different ancient histories. The connection between writing and image in Iranian-Islamic culture also has a long history. The illustration of written texts, including Ferdowsi's Shahnameh, in the flourishing periods of Iranian art, especially Tabriz I and II, Isfahan, and even the early Qajar period indicates a deep connection between literature and, especially, Persian poetry with visual arts; it is rare to find an illustrated version that is not decorated with poems by famous Iranian poets. The comparative study of the works of these two sign systems can help to understand the implied meaning of the texts.  

In this article, a comparative study of a selection of poems and posters of resistance is carried out with the semiotics approach of Michael Riffaterre, in order to determine how the works of these two fields are linked together and how the texts of these two fields present common concepts with different expressive tools. According to Riffaterre, "every poem has a single idea that is expressed in several different ways in its text." (Riffaterre, quoted by Payandeh, 2017A: 21) This single idea, which is the central and main matrix of the poem, is expressed in different and sometimes seemingly contradictory terms in the poetic text. The central idea or the matrix of the poem organizes the entire text and frees it from fragmentation.This research is a descriptive-analytical research whose data is collected via library sources and the method of data analysis is qualitative. In this research, for the comparative and semiotic study of resistance poems and posters, works of contemporary Iranian poets and designers were selected in a purposeful way; in the sense that, firstly, samples were selected that fulfill the research objectives, and secondly, the selected samples from the two fields of poetry and poster have common themes.

In this section, three examples of resistance poems were compared with three examples of resistance posters as follows:  3.1. Case study One of the important themes in resistance art is the issue of Palestine and the freedom of Quds Sharif, which has always been the concern of contemporary Iranian artists. Amiri Firouzkohi, in an ode titled "O Vatan", considers the conquest of Quds, and gave good news to the zealous youth of the homeland for its freedom, calling it Fatah al-Fatuh. Majid Qaderi also depicted the enclosure of this holy place in a poster titled "Quds". In these two visual and verbal texts, the designer and the poet have a common goal; both of them focus on a single matrix, but they have chosen different methods and expressions; since the different mechanism of meaning creation in the poem and the poster requires that different elements be chosen to strengthen the single matrix. Case study Another issue that artists in the field of resistance have always paid attention to is the issue of war and sacred defense. "A poem for war" is the title of a piece by Qaiser Aminpour, in which he has depicted the resistance and standing of the people against the enemies, despite the blows that have been inflicted. Ali Vazirian also depicted warriors in the poster "Either conquest or Martyrdom" who resist the path of conquest until they reach the high position of martyrdom. Vazirian's poster can be considered equivalent and visual translation of Aminpour's poem; it is as if the designer has illustrated the poet's expressions. Both texts depict the same matrix, although they use different signs. Case study Another subject that resistance artists have always paid attention to is patriotism. Nasrullah Mardani has depicted the height of the warriors' patriotism in a poem entitled "Habil-E- Aftab" from the collection of Blood letter of soil. Ali Mostafavi has also depicted the sacrifice of Hajj Qasim in defending the borders of the Islamic homeland in a poster he designed for the special poster section of the 6th World Resistance Art Festival with the theme of martyr Haj Qasim Soleimani. Like the previous examples, the matrix of Mardani's poem and Mostafavi's poster have a single concept, which is the sacrifice of the soldiers of the homeland to protect Iran's borders. These two texts, which are translations of each other, have shown a single idea with different signs.

Every text - written or visual - expresses a single idea, which is called the "Matrix" of text according to Riffaterre, while other elements strengthen this matrix. The semiotic analysis of texts from the two fields of poetry and poster design showed that the concerns of poets and graphic designers, which is the matrix of their texts, are common and their means of expression are different. The origin of the poetry of some contemporary poets such as Amiri Firouzkohi, Aminpour and Mardani refers to concepts such as the conquest of Ghods, resistance and patriotism, which are expressed in words. On the other hand, designers such as Ghudarzi, Vazirian and Mostafavi have expressed the same concepts using visual symbols. The most important tool of the poet to cultivate the poetic matrix is words and figures of speech to strengthen the implied angles of the matrix from a semantic point of view. On the other hand, the graphic designer strengthens the central matrix of the poster by using symbolism, elements and visual qualities such as color and composition. From another point of view, the comparative study of examples of poetry and graphics showed that the artist - whether a poet or a graphic designer - is not indifferent to the oppression of the world around him and is concerned about the struggle. The oppressions that is inflicted on the oppressed in different societies always acts as a motivation for the creation of works of art. The sharing of themes in selected samples of poetry and graphics proved the validity of this claim.

One of Michael Riffaterre's achievements in understanding the linguistic and deep implications of the text is his theory of Semiotics in poetry. In the present study, the ode of "Al-mutanabbi" is explained in two levels of Heuristic reading and Retroactive reading by using the mentioned theory and by descriptive-analytical method. At the first level, the audience is confronted with a collection of news that does not convince the reader with literary ability;Therefore, in the second level reading, leads to the accumulation of "the caliphate of the second Abbasid period, the events of the history of Islam and critical expression and ridicule" and the descriptive systems of "The political situation in Iraq, the confrontation between right and wrong, betrayal, power-seeking" by examining Ungramaticalitis. Then, obtains the semantic and implicit meanings of the text by discovering the hypogram, and finally reaches the Matrix, which is protesting and criticizing the actions of the rulers of that time with bitter humor and mockery.Ode Hypogram are also based on a bitter and biting critique on the domination and rule of incompetent people during the history, false domination through betrayal, corruption and its dire consequences, lost Arab power, The betrayal of internal factors, and the division and defeat of the currents of resistance in the present era.

The present research is the analysis of the sonnet " Chehrey-e Aftab Penhan ast (The face of the sun is hidden)" by Hossein Monzavi based on the semiotic approach of the poem " MichaelRiffaterre ". The purpose of this research is to discover the meanings and hidden layers of this sonnet at the level of retroactive reading with the aim of answering this question: what factors create the origin of the poem in the sonnet "Chehrey-e Aftab Penhan ast (The face of the sun is hidden)" by Hossein Monzavi? According to the texture of the gazelles, it seems that this is achieved through the meaningful elements in the poem. The present research method is descriptive-analytical and based on library documents. In this research, after selecting this sonnet in accordance with Riffaterre's approach, the aforementioned poem was examined at the level of exploratory and retroactive reading.Then, focusing on retroactive reading, with the aim of discovering the origin of the poem, the selected sonnet was analyzed according to two meaning-making systems, "accumulation process" and "descriptive system".The results of the research indicate that in the "accumulation process", poetic interpretations in the vertical axis and metaphorical relationship revolve around the concept of "lack of communication" and in the "descriptive poem" the two semantic cores of "distrust" and "unsettled socio-political situation" inspire the poetic origin of the sonnet."Distrust" and "Unsettled socio-political situation" are manifested in this sonnet with images and combinations that are mentioned in this research. Finally, these descriptive processes indicate the main origin of this sonnet, which is despair.

Semiotics is an interdisciplinary approach that examines sign systems in a literary work; Among the approaches to semiotics is the theory of Michael Riffaterre, a French-American theorist on the semiotics of poetry. According to this approach, the reader is a very important factor in the process of reading the text; Riffaterre believes that meaning is always present in the text of a poem and only the reader should extract it. In his view, the meanings of poetry should be understood on its own, not by referring its signs to external realizations, and understanding poetry requires the reader to try to find an intertwined network of signs, and in this regard, her approach can also be considered as a reader-cantered critique. In this research, Ebtehaj's poem " Arghavan" [English Equivalent: purple] has been analysed using Riffaterre approach. The central idea of ​​the poem is "the isolation of the poet in an inappropriate social space", which is expressed in different ways in the text of the poem. Although this idea is not mentioned directly in the poem, the widely used propositions and clichés of the language that the poet uses by repeating them in the process of "over determination" or through the "conversion" process, by modifying those propositions, or using the "expansion" process, by extending the general idea to more detailed ideas. In addition, by discovering two semantic processes of "accumulation" as well as "descriptive anthologies", which all come from the same source and guide the poem to induce a single theme, the descriptive anthology of " Azadi" (freedom) that evokes words such as "morning", "spring", "candle", "lamp", "sun", "dawn" and "sun"; In contrast to "Sharayet-e Namonaseb-e Ejtemaei" (unfavourable social conditions) that the "forgotten silent corner", "crypt" and "night of darkness" evoke the same concept.

Literary semiotics is one of the new methods of literary criticism that examines the semantic system of literary works. Michael Riffaterre is a semiotics theorist who has presented an exact model to provide a suitable tool for literary researchers to study the deep semantic layers of poems. Also, Hilma Salim is a modern Egyptian poet whose critical approach dominates most of his poems. The poem Al-Lufer is one of his critical poems which is full of poetic implications and contains explicit and implicit points about the negative effects of domestic tyranny and Western colonization on the Egyptian people. Based on the findings of Helma Salem's research, he has used a network of poetic symbols within the text to express the main messages in a literary and covered language.
This research is descriptive-analytical in nature. The data collection is based on the library method, and the research target is The Poem Al-Lufer by Hilma Salim. The approach used in this research is Michael Rifaterre's semiotic model, in which poems are first examined in heuristic and retroactive stages. In the first one, the reader gets a superficial understanding of the meaning of the text, but in the second view, the ungrammatical factors are identified, and the reader can reach the hidden layers of the text through accumulation frames and descriptive associative clusters.
When the relationship between the outer layer of the text and its depth is found, the connection between the internal and external factors in the unhealthy situation of Egyptians is revealed. The hidden data of the poem show that Westerners and domestic tyrants are the cause of misfortune and terrible situation in Egypt. Negligence and naivety have played a negative role in this case. The poem implies that the secret of the victory of the Egyptians is self-belief, avoidance of relying on the others and public awakening and resistance against tyranny and arrogance. The collections of this ode are in line with its descriptive systems, and each of them expresses different levels of meaning and shows a part of the structural matrix through the process of expansion and description. The collections of the poem are connected in a network, and floating signs are connected to the central signs of the ancient Egypt and the West. Each of the words of the poem is an explicit meaning that the poet loads with many implicit meanings with ungrammatical elements. He also connects the lexical level of the text of the poem to its depth, thus placing an emphasis on synonymy and meaning. Descriptive systems are gathered as a network of intertwined signals based on a virtual relation around the nucleus. According to Riffaterr's theory, the reader relies on his literary ability to move from the lexical level of the text to its deeper layers of the text. The causal relationship between the nucleus and the floating signs forms the semantic structure of this poem. They are connected under a semantic unity, and the linguistic signs in this poem go with this single structure that exists in the whole poem. Once the relationship between accumulations and descriptive systems is discoverd, the hypo grams show the cultural, social, political and economic situation of Egypt. Hypo grams are the key themes that shape the overall picture of a poem in the reader's mind, and some words and phrases evoke them. These themes are not explicitly reflected in the form of specific words, but they are referred to indirectly and visualize the central meaning of the poem in the mind of the audience. These hypo grams provide the basis for reaching the structural matrix of poetry. The structural matrix of this poem, which is rooted in its entire structure, begins linearly with a critical approach to the Westerners and protests against the non-implementation of the people's rule over the people. It ends with the poet's positive and hopeful attitude towards the future of Egypt.
According to the Riffaterre model, the relation between the accumulations and the descriptive systems of this poem depicts the structural matrix in which the poet first criticizes the dictatorship of the Egyptian rulers with a retrospective view and then condemns the Western colonial conspiracies and developmental policies. In the end, by arousing the revolutionary feeling of the Egyptians, he calls them to wake up and rise up against oppression and injustice.

The verse “Our guide said, ‘the pen that designed creation committed no mistakes’/blessed be his saintly and error-covering appraisal” is one of the controversial verses of Hafez that has widely attracted the attention of commentators. The history of the description and interpretation of this verse is about five centuries old. That is, from the time Jalaluddin Davani explained the meaning of this verse in the second half of the ninth century AH, many commentators have attempted to elucidate and clarify its meaning. The existence of these endless disputes motivated the researcher to explain the meaning of the verse based on the textual evidence and also semantic relationship between different parts of the sonnet, via adopting descriptive-analytical method and Michael Riffaterre's model. Riffaterre, with his dual design of heuristic and hermeneutic reading, considers the understanding of the latent meanings of a poem to depend on focusing on the way the main idea is represented in the form of "accumulations" and "descriptive systems" of the text. Accordingly, the sonnet was divided into four sections, and after examining the lexical accumulations of these sections and finding the focal idea or "matrix" of the work, the disputed verse was read to identify and present the most documented interpretation for it. The results showed that the meaning of "covering error", as a praiseworthy attribute in the eyes of the guide, is “not seeing” worldly deficits and vices as errors rather than "ignoring" them as real errors that challenge the existence of a good system. Another point is that if the whole sonnet is read with the focus on the fourth verse, there is strong textual evidence that shows Hafiz composed this sonnet with the genuine intention of requesting Shah Shoja to overlook the mistake that was falsely attributed to him; an error-covering which is the result of not seeing that false accusation  as error rather than ignoring that as a real error.

D'une part, l'émergence de nouvelles théories dans le domaine de la critique littéraire a mis en évidence l’usage en force de nouvelles méthodes dans l'analyse et l'examen des textes littéraires, y compris la poésie, d’autre part face à des poèmes chargés d'allusions, de métaphores et de techniques littéraires, la méthode d'analyse traditionnelle a perdu toute son efficacité. Il semble donc nécessaire d'adopter un nouvel outil d’analyse pour l'étude de ces textes. L'une de ces approches est dénommée théorie de la "lecture littéraire" pour le commentaire de la poésie, lancée par le critique et sémioticien français Michael Riffaterre dans son célèbre ouvrage "Sémiotique de la poésie" en 1978. Selon elle, les textes poétiques sont analysés suivant deux modes de lecture heuristique et rétrolecture. À ce titre, le lecteur comprend le sens du poème en première lecture et la signifiance du texte en seconde lecture. Alors, dans le cadre de cette recherche, après avoir introduit et défini la théorie sémiologique de Riffaterre, est passé en revue le poème "Albatros", l'un des plus célèbres de Charles Baudelaire, très riche en images et plein de figures littéraires, selon une approche analytique et descriptive, tout en s'appuyant sur ladite théorie. Cette recherche vise à découvrir les potentialités et les significations cachées de ce poème à l'aide d'une lecture rétroactive basée sur le cadre théorique de Riffaterre. Les résultats de la recherche indiquent que le noyau du texte, à savoir le symbole de l’oiseau-poète, reste à l'origine et au centre du poème "Albatros.”.

The semiotic model of Michael Rifater is one of the first semiotic patterns that has specifically studied the literary form of poetry. In this model, much attention is paid to the literary ability of the readership and his reaction to poetry, and poetry reading is done at both exploratory and post-action levels. In the first level, the meaning and superstructure of the text are examined, and in the second level, according to the non-grammatical elements, the deep layers of the text and linguistic implications are analyzed. Resistance and love are the two main themes of Mahmoud Darvish's poetry, and he creates linguistic meanings in these poetic themes by using non-grammatical elements. He hides the main meaning and message beyond the apparent surface of words and consciously delays the understanding of the meaning of poetry. The present study tries to discover the accumulations and descriptive systems of Rita Ahbini's poem in a descriptive-analytical way and relying on the foundations of Michael Rifater's theory of semiotics of poetry, and to recite the structural matrix of the poem to the reader. Explaining the semiotic model of Michael Rifater and explaining the principles of resistance literature in Mahmoud Darvish's poetry and its hidden layers using the semiotic model are the objectives of this research.  Among the results of the reactionary reading of the poem there are several implications of the word "Rita" in Mahmoud Darvish’s works, who mixed it with the concept of homeland and eventually became the symbol of Palestine, and thus put a romantic theme in the service of the concept of resistance. The hypograms of this poem are well reflected in its structural matrix and show a picture of the situation in Palestine and the prospect of resistance

Michael Rifatter’s semiotics is one of the approaches of literary criticism of the contemporary era. It offers a coherent framework for critique and analysis of poetry. The bases of this theory are the discovery of the semantic network of poetry based on interpretation according to the reader’s literary ability and trying to discover the origin of the text by passing from heuristic reading to interpretive reading. This study tries to analyze the semiotic processes of Saadi Yousef’s poem “Khoz Vardat al -Salje Khoz al-Kairouaniat” based on Rifatter’s semiotic theory in order to reach the hidden layers of the text. The heuristic reading of this poem expresses the dramatic story of the poet’s grieving soul as he is on a train which journeys to distant lands and takes him farther away from his homeland. But the retroactive reading of the poem shows that it has five accumulations and a descriptive system. By going from the quote level (appearance) to the higher level, by finding the codes in the poem as well as the ungrammaticalities and semiotics for each of them, the authors have found explanation for the main subject (hypogram) and the effect of the semantic structure of the text (matrix). The analysis of this poem shows that it is the product of expanding several matrices such as despair and sorrow, exile and homesickness, love for the homeland, oppression and repression, domination of foreigners over the poet’s homeland, invitation to fighting back, portraying the plundered Iraq, and disappointment with the present situation.

Michael Riffaterre’s semiotics approach relies on structuralism and reader reaction, who seeks to refer the signs to each other within the text and to create a coherent network of signs. This theory attempts to identify the origin of the text (matrix) through the passaging of heuristic reading to interpretive reading. The present study is based on a descriptive-analytical approach based on Riffaterre’s semantics approach, which analyzes the processes of the contemporary Jawad al-Hattab’s "A second migration of Gilgamesh ", in order to analyze a deep and different understanding of the text. Three analysis of this ode shows that the " A second migration of Gilgamesh" is the product of the three accumulation of "Search and navigate, Destruction and Homeland and alienation". four descriptive system including Poverty and misery, Death And Recession, Strangulation and Resurrection. Hypograms of ode are included Cruelty and arrogance, Strangulation and Lack of freedom of expression and thought, The widespread despair in society and The effort for Resurrection and Revolution. The ode's structural matrix begins with the poet's concern and Continues with the search for the Savior and It leads to despair and death and leads to resurrection and hope extendly.

Semiotics is one of analytical approaches devised in the second half of the twentieth century. A French-American critic, Michael Riftard, wrote a book on poetry semiotics and suggested that a poem can be dealt with through exploratory and reciprocal readings. The first reading examines the central meaning of the poem. In the second reading, with regard to linguistic implications, after the elements of negation are examined, the inner connection of the elements of the text is explained in the form of accumulation and descriptive systems. Then, the reader receives the holograms. Ultimately, these discussions lead to the reception and discovery of the structural network of the poem. This study is based on a descriptive-analytical method and aims at the reading of a part of the Belghyse poem by Nizar Qobbani, a Syrian poet. The exploratory readings of this verse indicate that the poet refers to the death of Belghyse so as to express his love for the beloved with romantic words. The reciprocal reading, however, shows that this poem has two accumulations and descriptive systems. In the first accumulation, the beloved is intended, and the descriptive system of that is homeland. In the second accumulation, Arab nations are intended, and the descriptive system of that is Arab identity. The poet refers to his community with symbolism. Finally, the structural network comes to help the reader. The findings of the research show that Reifatore's approach is in line with the Belghyse allegory, which can be used to take deeper insights into such issues as love, woman, national identity, homeland, freedom, struggle against despotism and backwardness.

Intertextuality theory, one of the new approaches to literary criticism in the twentieth century, suggests a way of analyzing literary texts based on the comparison. Michael Riffaterre, one of the theorists in this field, tried to explain the types of relations that one text may have with other texts. Accordingly, this paper intends to examine the intertextual link between the two novels of Heart of a Dog by Mikhail Bulgakov and Frankenstein in Baghdad by Ahmad Saadawi, adopting the intertextual theoretical views of Riffaterre. The findings of this study show that there are several textual and narrative similarities between these two novels in characterization, theme, and narrative. They rooted in the same allegory used in these two novels to reflect the political and social situations. According to Riffaterre’s theory, this can reveal the similar views and reactions of Mikhail Bulgakov and Ahmad Saadawi in response to the political and social currents of their times.

Semiological of poetry by Michael Riffaterre is a reader based theory which is influential in European poetical analysis. In the present article the subject "beloved" has been studied in a poetical specimen of Shamloo. In semiological study of the given poem, while using a heuristic method, the readers using their literary competence have a postreading act of the poem. The thought running over the poem is primarily based on "beloved" and the "child". By studying the accumulating relations and fundamental patterns of the poem, some guess sentencses were achieved based on hypogram model. The resulting matrix containing the special traits of the beloved in Shamloo's poem are as follows: hope for a lively future, the beloved's honest passion,the beloved's encouragement of poet, the beloved as a shelter for the poet. Moreover the special semiological features of the beloved in Shamloo's poetry can be accounted for as follows: it is of human effect, it is realistic, it is of individual identity, it is unique, it is available and terrestrial. besides, the motif of the poet to compose are concordance, sympathy, shelter, trustworthy, motif and agency. she likes to love and to be loved.
  Composing love poetry has long been recognized as one of the main branches among the ways poems have been written. In literature of many countries, these poems are those that are enriched with the expression of the private feelings of the lover towards the beloved. In the written Persian poetry, this specific treatment of poems was first seen in the composition of Khorasani style Qasidas. “The beloved of the poem, is a special one whose renditions have gradually been settled in literature and has been observed since then in the poems of the following periods of history.” (Shamisa, 1370:42). Thus, ‘the Beloved’ has always been one of the prominent subject matters from the beginning of poetry until today. The ways in which different poets have treated ‘the Beloved’ has always been in constant change during different ages of Persian poetry. Even the descriptions of the face of ‘the Beloved’ differs from one poet to another. In the literature of old ages, not only the beloved has been deprived of any physicality, but also she was attained with any voice and identity of her own. In the modern period, Neema composes his portraits of the terrestrial and real beloved, a love that has its own identity and belongs to a natural person as well as a specific community. The modern love poetry “in a detaching movement from the traditions of the old age poetry, bases itself on the dissociation and parsing of a human and leans towards the inability to experience its unified essence. Therefore, it engages itself in a distinct theory of love and sets its structure upon a different foundation. With this orientation, a relationship is inaugurated that its culmination is union, alliance, also the independence and freedom of the individual.” (Mokhtari, 1378:91) This research, with an application of Michael Riffaterre’s theory of poem’s semiology, focuses on the notion of ‘the Beloved’ in a selected piece of Persian poetry within the framework of an analytic-descriptive manner. To achieve that, the poem “the One Who Returns Home from the Alley” written by Ahmad Shamloo is discussed which is filled with apt signs for this study and is then a perfect paradigm for a semiological analysis.

In the present study, the researchers initially attend to an exploratory reading of the poem “The One Who Returns Home from the Alley”. In this reading of the poem we are confronted with rather vague images of the Beloved. We will detect and analyze these vague illustrations. In post-action reading, whose aim is to study the ongoing relationships in the text, the notions ‘the Beloved’, ‘the child’, ‘birth’ and ‘home’ are analyzed. Then, the hypograms are presented that are the infra-structures of the poem which make a specific representation in the mind of the reader and are tools to establish relations between the poem and its origin as well as determining the layered semiological structure of the poet. In the semiology of poetry, which is an exploratory reading of the figures in the poem, Rifatterre only reaches to the surface meaning, however, it must be noted that this meaning is essential for delving into the deeper levels of the text. The second stage of Rifattere’s theory is concerned with post-action reading which is based on the reading capabilities of the reader. Following Riffatter’s model, the researchers have put their readings of the accumulations of descriptions in the poem into the following: accumulations regarding the notions ‘the child’ and ‘the Beloved’ showing that the main thought running over the poem is that concerned with the poem itself and the Beloved. Moreover, in the descriptive matrixes of the poem the tropes revolving around ‘birth’, ‘the Beloved’ and ‘home’ show that the meaning behind the birth of the child is, in actual terms, the poetry of the poet which is getting composed in a tranquil home with the presence of the Beloved.
 Another part of Riffaterre’s theory is about the patterns of hypogram. To put it succinctly, the inferred infra-structures of the present poem are as follows: The presence and the pure love of the Beloved impregnates the poet’s imagination and finally turns into poetry. The real Beloved is the first reader of the poems who reads them passionately and with unrelenting support. She rewards the poet for his composition of poetry. Her presence makes the poet neglect the fault-finding people and continue writing poems full of hope for the future. In the end, the relations between the accumulations, the descriptive system and the initial ideas, on the one hand, and on the other hand the structural matrixes of mathematics helps the authors of this research to draw a specific conceptual structure in the form of the following matrix: hope for a fruitful future, the honest enthusiasm of the Beloved, the Beloved being the first reader of the poet’s poems, the presence of the Beloved being an inspiration to the composition, the encouragement of the Beloved, the Beloved acting as the poet’s shelter, people’s indispensability of allowing the free verse in. The whole structure indicates the specific qualifications of the Beloved in Ahmad Shamloo’s poetry. The semiological study of the Beloved in this piece of poem from Ahmad Shamloo makes it evident that this Beloved has different attributes in comparison to the beloved in the old age poetry. Shamloo has regarded the Beloved with its human insight. A real Beloved that has an individual identity, is terrestrial and is not conquered over and silenced. A Beloved who is just like everyone else and likewise of the open-minded serves as an inspiration to the composition of the poet. She is a conscious soul, a company and a friend. She has set foot in the realm of poetry from poet’s real life, and before she has been a part of his poetry, she has been a central part of the poet’s reality. She has corrected his faults and together they become a unired. Shamloo’s love lingers on after the marriage, in the house, in his poetry and among the community. The Beloved of Shamloo’s poetry loves and is loved back. Union in his poetry is the beginning of adoration, growth and flourishing, reaching integrity and love. He can trust his Beloved and run to her in moments of agony. The results accounted from studying the Beloved in this sample of the modern Persian poetry, demonstrate that the mentioned quiddities in poetry could be analyzed and extended to reach the hidden signs of the text, if one is to use Michael Riffattere’s specific semiology.   
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One of the components of research in comparative literature is to study intertextual relations. According to intertextuality approach, no text is self-sufficient. Weve been tried to examine the novel entitled ‘kill all of them’, written by Salim Bashi , with Michael Riffaterre ’s intertextual approach , and with the aim of finding a hidden meaning of the text and Riffaterre’s binary oppositions forms. Thus, Attar’s ‘Conference of the Birds’ was used in reading this novel. In fact, the study is about the application of a story narrated in the novel of Salim Bashi which is based on Attar's ‘Conference’ of the Birds. In this study, we analyze the text and the words interpretants for reading and finding the significance or the subtext meaning of the novel defining the transition from meaning to significance. The findings of the study confirmed the hypothesis that the presence of interpretants invokes intertext. The significance of the novel by Bashi is discovered with a contrast look to intertext. It seems that we can observe the significance Attar reversely. The entire novel is the contrast between the concepts of self-consciousness and faceless human.

Colloquial poetry is one of the prominent trends in contemporary poetry. This kind of poem, in which induced speech act is the most important factor in communication between text and reader, is audience-oriented. In this paper, “Nobat”, a generative and open poem from “Safar be kheyr” Collection by Seyyed Ali Salehi, is investigated by descriptive-analytical method with an approach to Michael Riffaterre Semiotics of Poetry. The purpose of this study is to understand the capacity and a new reading of colloquial poetry. In heuristic reading of “Nobat”, which is based on direct signs, the final implication of the poem is an explicit description of combined senses of leaving and grief. But, in another reading of the poem, in which Riffaterre’s theoretical framework is employed, a reader moves from marked and indirect signs of the narrative space to a politicalemotional space; as if death is the ultimate indication of poetry and imprisonment - chanting – death is a cycle in accordance with nongrammatical elements, accumulations, descriptive systems, hypograms, and the intertextual space of Shamloo's voice and the sound of two poems by "Ahmad Reza Ahmadi" and "Hafez Mousavi" with similar implications network of death.

This article emphasizes and focuses on this verse: “O sweet fountain! from the modesty of thy sweet lip (the stream of divine grace), Now, steeped in water and sweat (of toil of search), a piece of sugar (the illusory beloved)-- is not, that is not” to review hidden semantic layers of text based on Hermeneutic-Intertextual analysis approach of Michael Riffaterre. The basis of this Hermeneutic structuralist approach of Riffaterre is that Intertextual aspects of poem will be unlocked by help of non-grammars (literary non-normalities) passing through first layer of meaning (linear reading) to underlying and deep structure level of poem (non-linear reading). In his view, allusion or quotation is a hypogram which is activated previously in another text and current text is discovered due to the kind of reading of audience, recovery and its implications. The result of applying theoretical framework of Riffaterre is that Hafiz intellectual matrix in this verse is lyric and romantic and its hypogram is totally congruent and correspondent with criteria of this matrix. Reader uncovers hidden underlying layers of text from obvious Intertextual level of Khosru and Shirin poem of Nizami (Cliché and descriptive hypogram) with help of presuppositions and his mind meaning hypograms. It seems Hafiz wants to represent the kind of communication and love affair with his ideal beloved through deconstructing semantic substructure of text by using all capacities of meaning-creation of ambiguity and magic of lexical collocations.

Among the modern literary theories, “semiotics” has been very influential in determining the nature and function of texts. In his book “Semiotics of Poetry” (1978), Michael Riffaterre introduced a semiotic theory for reading poetry which was widely used by contemporary critics.The present article, after introducing Riffaterre’s approach, makes use of it for reading a poem by Iranian poet Forough Farrokhzad. The final goal, presupposing the theoretical and practical merits of this approach, is an attempt for a deeper reading of the above-mentioned poem. We hope that the findings of the research will encourage the reading of Modern Persian Poetry by using Riffaterre’s approach and the approaches alike, and in this way, will create the occasion of a creative readings of these poems.