Problem statement: Iran has a long history of using a ship-shaped bowls known as Kashkul and the assumption of this article is the bowls have been changed to Kashkul though sequential receptions in Persian literature. It is possible to analyze this course of change through the reconstruction of the horizon of expectation and the chain of receptions in the light of Hans-Robert Jauss’s theory.Purpose: The purpose of this study is to examine the evolution course of Kashkul, through the reconstruction of horizon of expectation and the chain of receptions based on theory of Jauss’s viewpoints. Reconstructing the horizon of expectation has three stages - through which we can identify the criteria used by audiences to evaluate and interpret the works of an era. The chain of receptions refers to the extension of a work through the sequential receptions; and it can be understood by its historical significance and the evolution of the works. Previous studies have investigated works of art through the lens of Hans-Robert Jauss. However, our knowledge about the expectations of audiences is scanty. This study is an attempt to examine the process of reception of an artifact (ship) by the audiences using the literary texts.Methodology: First, the horizons of expectation of ship- shaped bowl were reconstructed according to Persian literary texts; Since the horizon of the expectation of this container included another container known as Kashkul shaped by successive receptions of Jauss’ chain of reception was used as a framework for data analysis Conclusion: Reconstruction of the horizons of expectation ofwine ship- shaped bowl, based on literary texts showed that there was a rich chain of receptions; so that the bowl in the course of the successive receptions has become a metaphor for the freedom from sorrow sea and through repetition, it has become a symbol of emancipation from the sad, then, with the addition of a chain, it has become the symbol of poverty, which leads to the liberation of the possessions of the world; the evidence shows that some Kashkuls are decorated with lyrics representing the chain of receptions from a drinking bowl to a symbol of poverty. Therefore, Kashkul can be considered one of the most exclusive and richest works of Iran in terms of chain of receptions; the contribution of this study is methodological as well.To this purpose, literary texts were used to explore the aesthetic status of applied art. further research in the field of literature, art and language can use the audience chain of receptions for reconstructing thehorizon of expectation, and also, studying the evolution of a metaphor to a symbol.

Everyday objects are the basis of many exquisite similes and metaphors in Persian literature, many of which are less well known in the modern world and this leads us to fail to grasp the proper aesthetic of their reception in literary texts. The present study assumes that a criterion can be reached by reconstructing the expectation horizon for the aesthetics of everyday objects in literary texts. Now, in a brief explanation of this approach, the horizon of expectation in Hans Robert Jauss's perspective is a measure that readers use to judge, evaluate, and interpret literary texts of age and believes that it can be reconstructed with a three-step instruction. In this research, to test the effectiveness of this method, the expectation horizon of two illuminated light containers in Persian literature (Qandil and Lantern) was reconstructed. Thus, in the first two stages, based on literary texts, specimens in museums, or their images in some paintings, they recognized the real expectations of the people who appeared in the form of metaphors and similes, and in the third stage. By comparing the actual expectations of these dishes with their imaginative and creative reception in the literary texts, their aesthetic analysis in the literary texts was investigated. The result of these reconstructions shows that this method can achieve a better aesthetic interpretation than the everyday objects in literary texts.

Receiving the Qur’an as a literary text is one of the epistemological responses of scholars to this text in the twentieth century. This kind of reception has a long history in the Islamic heritage, especially in the studies of Qur’anic commentators and scholars, but there are fundamental differences between the literary reading of the Qur’an in the past and in the present. These differences arise from the methods used to analyze and study the literary text. If we look at the Qur’an as a literary text from the perspective of modern theories, we encounter with challenges because the literary text, under in this view, is considered an open and pluralistic text in terms of meaning, during its formation and reception. This article examines the challenges raised by receiving the Qur’an as a literary text in light of "Reception Theory". In this regard, it is observed that the principle of coherence provides us with a criterion for distinguishing interpretations close and far from the truth of the Qur’an and contributes to framing the reader's participation in the process of reading the Qur'an as a literary text from the perspective of modern theories.

The poem of "Rira"’s nima yushij is one of the best modern poems of him. Structural, metrical & lexical features of this poem were caused readers with different horizon of expectations to have sometimes different readings of it in decades. The meaning of this poem has always been concealed in ambiguity by the use of certain words, specially the word "Rira" & the use of symbol in his poems. Reception theory is studing different readings of a text which makes it to recreat every time. Reading of nima’s poetry according to reception theory reveal the difference aspects of his poetry. In this article we intend to express different readings of the "Rira"’s poem in the realms of form & technique as well as the structure of it’s content deal. And also we want to analyize the audience reception from progressive meaning of this poem, diachronically & synchronically. this study show that Nima creates his objects by providing multiple perspectives with the theme of grief and with creating gaps in the text. Meaning in this verse, formed by horizons of expectation, over time. The reader is unaware through the poem & ultimately become conscious. Horizon of expectations prevailing in the poem "Rira" is horizon of expectations And the readers by using the codes of aesthetics assets interpret poem. However, due to the inherent properties of this poem, can be presented each time a new reading of it.

"Naqde Niazi" is a brief description of two verses and one Qazal by Divan-e-Hafiz that Allameh has written in response to eagers and questioners toward poetry of Hafiz. Naqde Niazi was written in the style of the Teimourid era with artificial language, replete with similes along with verses and poetic evidences, signs and narrations. The description of Latifeye Gheibi was written by Shah Mohammad Darabi in the twelfth century and during the Safavid era and in response to the objections raised by the opponents to some of Hafiz's poems. In this description, rather than paying attention to the mystical analyzes of Divan-e-Hafiz, emphasis is placed on theological and Shiite understanding along with some mystical concepts. Given that focusing on the reasons of the continuity and cognitive and perceptual changes existed in the audience of a work in the theory of reception by Jauss, in this article, it has been attempted to compare Naqde Niazi written in the ninth century as the first and closest description after solmization of Divan-e-Hafiz, with the second description on Hafiz's Qazals, which were written in Iran with Persian language and in terms of historically, has the shortest interval (3 centuries) with the Naqde Niazi, so that the reading changes over time, among the closest descriptions can be examined. Research method: Background and the Purpose of the Research However, so far, it has not been a collective study to examine the Davani's Naqde Niazi and Darabi's Latifeye Gheibi, and also it has not done a research in the field of comparison between Naqde Niazi and Latifeye Gheibi based on the theory of reception; sporadic studies exist on each of these two descriptions. Bahador Bagheri (1387) has introduced Naqde Niazi by Jalaluddin Davani Kazeruniy in Hafiz's culture of descriptions. He considers the style of Naqde Niazi as an imitation of the style of illuminatus and sages in the past. Seyyed Massoud Razavi (1388), in a short essay named "Sholeye Edrak" has collected studies about Shah Mohammad Darabi and his description and has considered him as one of the scholars and mystics of the Safavid era. According to the theory of reception, this study seeks and attempts to answer the following questions: 1-What was the paradigm and horizon of expectations at the time of writing Naqde Niazi and from what point of view has Naghd-e-Niyazi described Hafiz? 2-What was the paradigm and horizon of expectations at the time of writing Latifeye Gheibi and from what point of view has Darabi described Hafiz? 3-What are differences between these two descriptions from point of view of theory of reception and according to the time interval (three centuries) and cognitive changes in the society? Discussion: and Examination In the aesthetic theory of reception, it was emphasized that the concept of a literary work is not necessarily comprehensible at the time of publication or outside of the publication time, rather it can be understood during history and on the basis of the different experiences resulted from reading the text. The history of real literature is the history of continuous perceptions of a text. This theory has two basic components of paradigm and horizon of expectations. Jauss uses the concept of "paradigm" in describing the major categories that effect on the readers' perceptions and horizon of expectations in each era. The main point in clarifying the horizon of expectations in the flexibility of the text during different periods and the transformation of its questions and answers is the time period. In Jauss' words, "the horizon of expectations is in fact the perspective and the ultimate reader's attitude and other members of society, and its bounds is linked with the paradigms of the same era" (Jauss, 135: 1998); Therefore, given that the theory of reception emphasizes the mechanism between literary texts and readers, the horizon of expectations is worth to be examined at two levels: The literary horizon of expectations "is the result of the impact and action of the text on its audience and is determinant of the literary expectations of the audiences in the text" (Namvar Motlagh, 107: 1387). The social horizon of expectations is mainly a reflection of the intellectual frameworks of the audience rather than the author. This intellectual framework is influenced by the society and the period in which the audience lives in it. The social paradigm of the ninth century because of the absence of a powerful central government and sufficient security has inclined to be an introvert, which concentrates on the importance of the relationship instead of law and dictatorial structure in Iran and focuses on the importance of indirect expression and the tendency to censorship. Therefore, the expression of social corruptions and mystical concepts in the form of encrypted words can be considered as the most important indexes of horizon of expectations in the Davani's era. The formation of the Safavid's state played an effective role in changing the paradigm of society, which altered structure of the paradigm in society paved the way for inclining to the integration of religion with politics (in the Teimourid and Mongol periods) rather than to separation of religion and politics. Expectation toward attention to imams and appealing to them are considered as important changes in horizons of this era. Comparison of these two works demonstrates; since the mysticism in the Teimurid era had imitative and tasteless manners, Davani's description has been written in the same way as well. Davani has received all the words in an encrypted manner and in the interpretation of the sacred image and the heavenly creeds. While in the Safavid era, Darabi was affected by the paradigm of grounding and consequently paying attention to natural sensations versus the unseen evidences, has understood poems and verses pragmatically and even he has considered the dignity of descending for some verses. Darabi was influenced by the Shiite paradigm in the Safavid's era he also has gotten Shiite verbal reception of many verses, which was a novel phenomenon in the history of description about Hafiz. The change of Iranian paradigms from the probing about the perfect man in heaven in the ninth century toward the discovery of the perfect man on earth among the Shiite imams in the twelfth century is obvious in two descriptions of Davani and Darabi; While Naqde Niazi was written in the ninth century, coincident with the alien Teimourid government, as the first description about Divan-e-Hafiz, with index of Modaresy's mystical horizon of expectations. The horizon of expectations of Darabi's era changed significantly due to the significant alternations that occurred in the paradigms of Iran with the advent of the Safavid's Shiite government. Keywords: paradigm, Shiite, changing of horizons of expectations, Hafiz's descriptions, mysticism, theory of reception.

According to Hans Robert Jauss, reception history plays an important role in determining the aesthetic value of literary texts. In his famous essay "Literary History as a challenge to Literary Theory", Jauss provides seven theses through which he clarifies how history plays an important role in reception theory and proposes objective methods through which the aesthetic value of texts can be determined. This paper seeks to apply these theses to Jonathan Swift's Gulliver's Travels by considering how the work was received as part of eighteenth century history and literature and how the horizons of expectations changed among later nineteenth and twentieth century readers. In general terms, what constitutes criticism and readings of Swift's contemporary readers is a result of their focus on the role of the author and the equality of narrator with author. However, more interest in the text itself as a work of art develops in later periods.

Evolutions and their reflection in aspects of the society are as pivots of the system moved parallelly, from ancient time, political and social evolutions in society have reflected nearly in culture and literature of society. The modern era started in Iran since constitutional era (awakening era), in addition to political area and sovereignty, it manifested in literature of the Iran in that time. Some of poets who played a role of undertaker and didn’t ignore problems, deficiencies and today’s issues; they looked forward to systematic and influential innovations in development of literary modernity in Iran. Poets knew new horizons opened for audiences of this era and they believed evolution and literary modernity due to disconformities existed in ancient literature and modern perspectives. In the modern era, they knew Saadi (Saadi’s works) as a complete representative of the Persian ancient literature; therefore, we witness criticism and biases to great extent against his works and thoughts. We have analyzed reader’s reactions toward Saadi’s works and thoughts by Hans Robert Jauss’s Horizon of Expectation theory who is one of the founder of the school of reader-centered criticism. Therefore, in each era, the audiences’ horizon of expectation changes in society with regard to status que in the society and the most important reason of the literary isolation in Saadi’s works (Saadi’s sonnets) in modern era is the same disconformity of the audiences’ horizon of expectation with Saadi's works and thoughts.

The subject of this article is the analysis of the type of Vassaf's look (663-730 AH) in five volumes of his history to Kalileh and Demneh, from the perspective of the theory of "aesthetics". “ Theory of reception” emphasizes the relation between "reading-text" and the outstanding role of the reader in the meaning of the text rather than the relation of the “ author-text” . Hans Robert Jauss, one of the founders and theorists of this approach, suggested that the meaning of the text varies according to the historical period and depending on its readers. The discovery of "the history of the meaning of the text" was one of his theoretical concerns. The perceptions in each period and in the writings of the great writers, as the reader of Kalileh and Demneh (as one of the masterpieces of Persian literature), as well as which part of this text are considered, can be used by contemporary critic for different analyzes and different angles of sight about this text. To clarify the kind of Vassaf's thought as one of the most important historical and literary figures of the Mongol era from Kalileh and Demnsh and facing it is one of the essential steps for compiling the "history of meaning" of Kalileh and Demneh, according to Hans Robert Jauss. The present study shows that the reading of Wisaf (as a historian who lived in the troubled conditions of the Mongol era) is an entirely political and critical reading of the narratives of this text, depending on the type of selection of stories and phrases.

One of the discussed theories in literary criticism and analysis domain is the esthetic reception theory projected by The Constance School intellectuals, especially by Hans-Robert Jauss, a German academicو based on a hermeneutic resulting of Hans Georg Gadamer ideas and focused on reader and his reception of a literary work during the time. One of the Persian literary works introduced to the Occident by its first translation in French at the first half of the seventeenth century is Saadi's Gulistan. Since then, the multiple translations of this work have been done in French language. This article attempts to find the causes of attention of a grand part of this work readers during the centuries through its translators, considering the historical-literary conditions of these translations and the horizon of expectation concept that is a keyword in Hans-Robert Jauss's reception aesthetic theory, and then the survival causes of this work in the French literature.

The reception is one of the new theories, which has opened a new way in comparative studies over the recent decades. This theory, post by Hans Robert Jauss, returns the readers' role to themselves and insists on it. In as much as in this theory the reception of an author is considered in a foreign country, the reception of Christian Bobin, contemporary French author, is going to be considered in this article. By preparing a list of his translated books in Iran and their analysis by using the concept of Horizon of expectation, we will understand that there is no contradiction between the Iranians' expectations and Bobin's books. The influence of religious texts and using the themes like nature, love and childhood agree with their literary taste and play a role in the reception of this French author.