It is traditionally maintained in structural linguistics that by cutting verbal signs off each other paradigmatically, and enchaining some of them against the others syntagmatically, language system makes a body of Text signify a certain meaning which is sustainable through conTextual fluctuations. In line with this Saussurian assumption, and in an attempt to ascertain the authorial intention in literary works, many literary scholars have been mistaken rhetorics for Criticism, albeit under the rubrics of structural poetics. This article, however, dismisses the futile attempt to pull certain meanings out of literary masterpieces for the purpose of investigating the origins of Textuality in any work-let it not be shelved as great literature or literary at all. It aims to demonstrate why such mechanical procedures, prevalent in rhetorical studies, cannot account for Textuality beyond the question of the thematic unity of a work; wherein Textuality and plurality of Text are suppressed in favor of the integrity and entirety required for works of verbal art. To account for the extensive significance of Text and the abundance of its possible readings, a seemingly heterogeneous body of Texts (including a piece of a poem, an extract from an article, and a vignette) has been analyzed within a reader-oriented framework. Drawing on Roland Barthes (1981), Asgari Pashaei (1995) and Christian Metz (1982), I have tried to move away from rhetorics toward a more proper notion of literary Criticism.

Hermeneutics - either regarded as science, art, methodology or skill - has a great influence, in our time, on various areas of human knowledge due to its long history and development.Hermeneutics has gone through several stages and has followed different tendencies, but in all these, the focal point has been the reader's "understanding" of the Text. The structural feature of "understanding" is considered to be its circularity, known as "hermeneutic circle". "Understanding" is, by nature, referential and cyclical, because in order to know the whole, one is to know the constituents of the whole, as well as the constant interrelation of the parts and the whole. This cyclical movement is dynamic and adaptable; therefore, far from being a vicious circle, it suggests countless possibilities for reading, interpreting and comprehending the Texts and possesses the capacity of opening a dialogue with all the linguistic insights, literary theories and philosophical schools.This paper, apart from carrying out a general review on various trends in hermeneutics, introduces the different interpretations of hermeneutic circle, its historical background and the ways and areas of its application. 

Hadith scholars have proposed several criteria for criticizing hadith. Some focus on the chain of transmitters (isnad) and others on the Text (matn). In the field of jurisprudential (fiqh) hadith, the authenticity of a hadith is mainly indicated by the validity of its chain of transmitters. However, in other fields, Text analysis is of more importance. In this study, we have examined the eight following topics as the main Text criteria: Quran, hadith, personality of the Infallibles, scientific findings, actual situation of the society, sound reasoning, historical facts and whether or not such hadith support political, jurisprudential or theological groups. We have tried to give examples from both Shiite and Sunni hadith collections on each topic.

The present article focuses on the relation between Criticism and Texts and their effects on each other. It emphasizes the role of Texts and considers leniency and tolerance in using Texts harmful. The relation between Criticism and Texts is old and unbreakable, and their cooperation and relation is welcome. Three examples are mentioned in this respect:1. Exact Texts and innovations2. Exact Texts and imitations3. Criticism of Texts

Asadi’s Shahnameh is a great epic consisting of twenty-four thousand distiches and is attributed to Asadi or another poet of the same nickname. This work was created in the same line of development as Ferdowsi’s Shahnameh. The main theme is the old campaign of Soleyman to Iran to confront with Rostam and Keykhosrow and to repeat the pattern of Rostam’s battles with his children in a state of anonymity. The Text structure is episodic with numerous central characters. The narratives are for the most part derived from oral literature. Textual evidence demonstrates that the poet is Shiite. The narrative content, chronogram as well as the literary and linguistic style of one of the manuscripts reveal that the Text was written in the ninth century (probably 809 A.H.). The article first introduces the Text and the origin of its narratives in oral literature; it then proceeds with the study of the narrative structure of the epic using three available manuscripts dating back to the thirteenth and fourteenth centuries (A.H.). Textology and Textual Criticism have been employed as the research methodology. The literary and linguistic features of the Text have also been examined at three levels: lexical, syntactic and rhetorical.

Originality as antecedent of Criticism and interpretation Text is whatever interpretable.Interpretation is inherence of the interpreter out of the Text, but this perception is unlimited, personal and based on the will and taste of the critics.The Text orients the perception and the interpretation of the interpreter. If the Texts follow the interpreter image, it would absolutely be with out any meaning and hence it can result in different understandings and therefore the interpretations would have endless domain and infinite chain would start in interpretation of a Text. Barthes (1915-1980) and Derrida (1930-2004) in "The death of the author" theory suggested the idea of decentralizing what is called the core meaning of the Text, have restrained to the interpretation. Text is not humiliated by the interpreter rather it is an inflection element. The largest of interpretation is the discovery of the Text meaning or the intention of the author not to impose his gathering on the Text.The art of an interpreter is to invent a way so that the nature (the beauty of image and meaning) is reflected in world or speech such interpretation and critics will be a unique one. If the interpreter followers open to the Text, then it will appear through his interpretation. Meaning& multiplication stems from the tissue of the Text, any interpretation is a meaning discovery of the core meaning of the Text. Interpretation is thought communication with whatever appears in Text.

Among new approaches, semantics can, to some extant, help Text exegesis at1d familiarize the reader with Text perception. In semantics studies of understanding and interpretation of Text, to familiar with the palce of meaning in literary tradition and new approaches of Criticism, the acceptance of multi meaning in interpretation Texts are necessary. Yet, literary traditionalism prevents the reader from accurate Text perception. Particularly, it is said, that ultimate tradition is reflected in meaning. It is believed that man's perception of meaning is dependent on his world- view. Meaning absoluteness and one- dimensional traditional look has forced man to criticize and analyze "meaning on a boarder- line between tradition and modernity. The author tries to refer to notions such as Text mystery, relation of meaning and Text perception, deconstruction, decentralism etc.The purpose of this study is to introduce certain standard for appreciating the fundamentals of understanding and interpretations of Text.

A large part of the narrations attributed to Amir al-Mu'minin (AS) is devoted to his letters and correspondence. The narrative format of the letter is slightly different from other narrative formats due to its written nature and it is believed that it has been less exposed to change and distortion, but the genealogy and follow-up of the historical history of the letters show that this type of narrative has also undergone changes. In this article, Amir al-Mu'minin's letters to Ibn Abbas have been genealogically identified using the method of Text Criticism, which can be done by identifying the changes and additions and the differences between different reports of a narrative. Therefore, the collection of Imam's letters to Ibn Abbas was collected from various sources and its ratio was measured according to the origin of the issue. For this purpose, criteria such as the number of narrating sources and the amount of difference between these sources in quoting a selection letter and the Text of the letters were set from these criteria. The result is the classification of this collection of letters in three categories with differences in the level of originality and credibility.

Shahnameh is considered as one of the noble and valuable works of Persian literature and it is always mentioned as a document of Iran's national and cultural identity. Introducing national and mythological figures in rewriting the stories of the Shahnameh is necessary for the children's age group. It helps the child audience to well identify national and epic heroes. The interesting point in these rewritings is that although Ferdowsi's art of storytelling and illustration is one of the prominent features of Shahnameh, Is it necessary to illustrate Shahnameh stories for children and teenagers with various images and methods? How can the audience find out their true character and identity among the different and diverse images of the heroes? And imitate them? In the rewritten stories of the Shahnameh, various depictions of national and mythological heroes have been presented, but they have not been able to introduce them to the audience as befits the Shahnameh and the mythological characters. Presenting the faces and physical and internal characteristics appropriate to the mythical characters is an important issue that should be more addressed in the rewritings. The purpose of this research is to review the rewritten story of Zal and Roodabeh from the perspective of Text and image by analyzing the content of the Text and examining library documents. The results of the research showed that the type of clothing, the color of the clothes and the design of the appearance of the characters do not match the original Text and illustrations of the Shahnameh, and the children's audience is faced with different images of Zal's character in the stories.

Shia Imamia believes in the necessity of the existence of an imam in all times and considers the clear Text to be obligatory for all imams, along with infallibility and according to this view, the Text is one of the reasons for proving the imamate, and the imamate is not proven without a miracle, unless there is a Text and the arrest of the Messenger (PBUH) on the person of that Imam. In Ghefari's books and based on his documents - which he considers to be taken from authentic Shia sources -, this Shia point of view has been denied in various ways, and among his reasons are a number of the sayings and writings of Ali (a.s.) in Nahj. It is al-Balagha.