Jacques Derrida introduced deconstruction as a skeptical approach with deconstructing the text to show it, dichotomies and internal contradictions, that appear as really. This article deconstructs Moses – Elias’s dialogue in Koran from the point of view of Koran’s interpreter and Moses – Shepherd’s dialoge in Masnavi as it is read by critiques. After Masnavi some stories such as "The lion and the rabbit" and "The Merchant and the parrot" are also deconstructed the Moses - Elias narration that appears in Koran on a dialogical foundation and the interpreters approach it from a deconstructionist perspective to elaborate and explain it. Meybodi’s Kashforasrar explicitly and obviously pricileges Moses and his questions to Elias and his answers. Mowlana refers to this dialogue in Masnavi on the basis of its dialogical structure. Another structure crammed in Masnavi on the basis of Tariga (Sufi’s way) / Shariat (Religious way) and love / wisdom is Moses – Shepherd’s dialogue that the reader can deconstruct hermeneutically. The Sheperd in his personal experience turns to metaphysics and spiritual world and the prophet appears as an authority to detect his language like his soul and gives a sound interpretations to his internal experience.

Discourse analysis is rooted in the structure of a language and as a fundamental scale is of great significance. In the post-structuralism perspective, discourse analysis crosses the borders of language and goes into the essence of meaning. Scientific movement including structuralism, formalism, and modernism in literary analysis; semiotics, hermeneutics and post-structuralism in the form of language, meaning and text have come to help discourse analysis. By analyzing bigger chunks of statements and the have come to help discourse analysis. By analyzing bigger chunks of statements and the whys/hows of language use, linguistics has opened new spaces for discourse analysis. This has been carried out in two ways: discourse and the act of meaning making where Austin, Witgenestein, Saussaur, Barte, Derrida, Foucault, and Norman Fairclaugh, have played major roles. The discourse analysis viewpoint also emphasizes on meaning-making and freeing the text from a holistic, general and one-for-all meaning and the multiplicity of meanings hidden within the text has led to a variety of ideas regarding "meaning". In this field, Foucault, La kuoo, and Moufett are known as the most prominent figures. These historical efforts in half a century have led to the expansion of the concept of discourse and ways of discourse analysis. The theories of critical discourse analysis which has generally been shaped in the postmodern thought basis also have taken the text, author, reader and the context into account,.They have also reshaped and deconstructed the text and have created many new ideas in the realm of discourse analysis. In the present paper, it is intended to deconstruct the Command of Constitutionalism as an exceedingly significant historical document and locate the discourse gaps in them. The main subject of this paper is the critical analysis of the Command of Constitutionalism Text in the form of a discourse theory. The methodology has been taken from Norman Fairclaugh's style. The results show that there has been a new discourse gap :tromthe side of the modem discourses in the traditional discourse formed in the Ghajri Dynasty.

Why shall we be rethinking Socialist project today? As the answer to this question, Ernesto Laclau and Chantal Mouffe try to take an active, conscious, and not a passive, unconscious role in the contemporary history. They choose as their goal, a (relatively) clear separation from the conflicts they take part in; and understanding the changes that happen in front of their eyes. At the last analysis, they find out that it is necessary to use Derrida's deconstruction method to challenge the structure and the foundation of Orthodox Marxism.

Often readers and even critics believe that the ideology and message of poems are more important than their structures. However, it's impossible to draw a distinction between ideology and structure as the structure of a poem is the primary element that influences the readership. Nima, as the architect of the contemporary poetry relying on his own sharp and independent insights, revived the significance of the structure in Persian literature. Many enthusiastic readers and even critics of the field of cotemporary poetry have considered Nima as the poet of 'Ai Adamha'. This paper attempts to explore why Nima has been called Ai Adfamha poet. Obviously, the significance of the poem 'Ai Adamha' and similar poetic structures lies in their literary figures and expectations embedded in their novel forms than their frequent content and message. The repetition of the dominant element of Ai Adamha in the structure of the poem has, in addition to strengthening the skeleton of the poem, enhanced the syntactic integrity, musical system, coherence, and creative opening and ending of the poem. This article attempts to analyze 'Ai Adamha' from a formalistic perspective and in doing so it paves the way for the readership to delve into the less frequently uncovered senses of the contemporary poetry.

Mathnawi and Shams Divan are not only the greatest heritages of Iranian mysticirm but they should also be considered as the source of many philosophical theories and ideas in the form of poetry. For instance, one can find the solipsismic ideas of Proust in Rumi's ideas on love. One could also see traces of phenomenological philosophy as well as deconstructive ideas of Derrida in Mathnawi. In this article, without paying attention to the overall general structure of Rumi's though, it is claimed that the gist of many western philosophies can be found in Rumi's writings.

The literary text is actually multiple meaning and flexible for interpretation and this feature is created by figurative language and tropes. This article attempts to investigate how the tropes create ambiguity and suspension of meaning in the text; how they damage the ordinary language and deconstruct it again. For this purpose the article classifies the tropes on the base of their functions in making a gap between literary world and ordinary language. It discusses the tropes function separately in preparing depth meaning for the text. Finally it concludes that the eternality of text and its flexibility for interpretation somewhat come in to being from tropes and figurative language. Figurative language is essentially deconstructive, because it initially makes different meanings by altering the ordinary usage of language elements, and then denies the possibility of its purposed meaning. The literary text in each reading therefore damages its own structure and deconstructs itself by way of differentiation and suspension of the meaning and this way achieves its ability to make dialogues with different kinds of generation and to be flexible for different reading in history.

The major aim of this study is to show the impact of myth of Scheherezade on the postmodernist narrative style of John Barth. It also tends to subvert Barthian subverted mythology or worldview in the light of Paul de Man's deconstructive perspectives. The decentralization of what Barth considers as the replenishment of used up literary conventions in its turn can be decentralized by de Manian rhetorical reading of the text. This article is a reading of Chimera as related to a two-step de Manian reading strategy, first, the detection of figures of speech or topological language and the aberration of each trope, second, the exemplification of allegory of reading in each of the novellas. As de Man proclaims, all the languages are figural, in other words, constituted of denominative and conceptual spheres. The conflict between the two is never resolved within a text and culminates into an aberrant aporia. Such a loophole is what causes the impossibility of reading in any text.