In the history of Persian literature, no poet can be found whose details are as important as Hafez's poetry. Throughout the history of commenting on Hafez's poems, many of his lexical, syntactic, literary and content points have been discussed, and each commentator, in his own way, has taken a step towards solving the difficulties of his poetry. Of course, we should not ignore the fact that there are some concepts, phrases and words whose accurate understanding plays an important role in understanding Hafez's poetry. One of these important cases is the phrase "Maye Baghi " in the third sonnet of Divan according to alphabetical order. Examining the provided interpretations shows that most of the commentators have proposed the meaning of "the rest of liquor" for this phrase. A meaning that does not create a problem in understanding the meaning; But it seems that it does not match with the general mood of the poem. Therefore, in this article, which is written in an analytical-descriptive method, using the model proposed by Michael Riffaterre for the heuristic reading of the poem, this sonnet of Hafez was reread, in this way, while extracting the dominant concept in it, a meaning documented by textual evidence. to be presented for the phrase " Maye Baghi ". Therefore, sonnet was divided into five separate sections and after examining the accumulations and dual confrontations, the concept of "superiority of cash, permanent and real over credit, impermanent and unreal" was identified as the matrix or semantic axis of the Ghazal. Based on this matrix, it can be said that Hafez's purpose of using the adjective "Baghi" for liquor is to express the durability of its effect.

Michael Riffaterre's semiology is one of the most important methods in literary criticism, which is aimed at ultimate clarity. Considering the semiotic nature of contemporary literary texts, the theory is essentially based on two ways of reading, including Superficial reading and retrospective reading by the skilled and educated reader to deconstruct and synthesize the text by using its culture, linguistic and literary energies to explore the main idea presented by the text. The latter is aimed at analyzing the main parts of the text and understanding the theme. Accordingly, this research investigates Amal Donqol's elegies following the 1967 Defeat through applying Michael Riffaterre's semiology and the analytic-descriptive method. Amongst the results of the research are Arab nations and governors' viewpoint on the defeat and its influence on his poems, which indicate four different (sociopolitical/sociocultural) matrices, and the perfect harmony between historical figures and symbols and each of the mentioned matrixes.

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.

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.

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.

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.

The theory of intertextuality or hidden text is one of the contemporary literary theories that Julia Kristeva coined it in sixties of the 20th century. Many scholars were effective in formation of this theory, that among them the applicable approaches of Gérard Genette and Michael Riffaterre more correspond with Persian poetry. In this article, we will discuss the reading of Gheisar Aminpour’s poem titled “Hamzad-e Asheghan-e Jahan (3)” [Along World’s Lovers (3)] upon the intertextuality approaches of Genette and Riffaterre and its aim is accessing to the main concepts and close reading of this poem. Real reading of the mentioned poem requires hypertexts analysis and retrieval due to symbols and implicit signs. The question is that “Is there the possibility of the analysis of Aminpour’s poem and reflection of its hypertexts with intertextuality of Genette and Riffaterre?” For answering this question, first the most corresponding suggestions of Genette and Riffaterre with Persian Poetry was blended and described. Aminpour’s poem was analyzed based on Genette’s theory in the case of explicit, inexplicit and implicit hypertextuality and intertextuality genres and based on Riffaterre’s theory in the case of density, polysemy, descriptive system, hypogramme and matrice, and the hidden text of this poem and its intertextuality relations with the poem of Hafez and Sayeh were revealed. A new reading of Aminpours poem has been presented through the analysis of his poem and revealing its hidden texts.

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.

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.”.

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