Persian Literature

“Visual insight of Rozbahan in exegesis of Arayes- Al- Bayan Fi Haghayegh Al- Quran”

Ali Sheikholesiami; Mohammad Rezaiee

Volume 1, Issue 6 , August 2011, , Pages 39-56

Abstract

  One of the foremost works written by Ibn Abi-Nasr Rozbahan Baghli, one of famous mystics in sixth hegira century (13th AD century) is execgesis of “Arayes Al- Bayan Fi Haghayegh Al-Quran” ...  Read More One of the foremost works written by Ibn Abi-Nasr Rozbahan Baghli, one of famous mystics in sixth hegira century (13th AD century) is execgesis of “Arayes Al- Bayan Fi Haghayegh Al-Quran” (literally the banquets of locution in Quranic facts) that despite of its significant position has in history of mystical exegeses and identifying romantic theosophy, it has been left behind shade of anonymity and it might not been noticed classic and recent researches, except for a brief implication. Mystic experience exercised by Sheikh Rozbahan is the foremost default when exposing to Quranic text and and deemed as a basis for his genostic interpretations about Quranic verses. Interpretation of Quranic implications and concepts resultant from such experience to Rozbahan was not possible only by special speech techniques which are full of Visualization, image and emotion so this caused mixing of thoughts in Rozbahan with visual pictures and figurative language. Thus, Rozbahan’s prose in Arayes Al- Bayan exegesis, like poetical proses, is full of states of imagination. A review of adaption and employing of states of imagination and interpretation of their basis and reason of use in Arayes exegesis is a subject that has been explored in this paper.

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Fereydūn’s Bull-Headed Mace and its Origin

Mahmud Jaa’fari Dehaqi; Majid Pourahmad

Volume 3, Issue 2 , March 2014, , Pages 39-57

Abstract

  This paper wants to investigate why Fereydūn’s mace was bull-headed. Since such weapon has a prominent role in our epics and it has been used by most of our heroes, it seems ...  Read More This paper wants to investigate why Fereydūn’s mace was bull-headed. Since such weapon has a prominent role in our epics and it has been used by most of our heroes, it seems important to find its origin out.  To achieve this goal, there is a brief explanation about mace and all kinds of it in the texts of different periods in Iranian and some other Indo-European cultures. Then some mythological samples about the role of this weapon in Fereydūn’s stories will be offered to survey its role through Iranian mythologies from Avestan texts to the texts of the Islamic period. In order to clarify the discussion, further evidences from Indian mythologies, especially the Vedic ones, has been provided. Then, on the basis of similarities between the two cultures, there will be a suggestion to know why Fereydūn’s mace was bull-headed. It has been resulted, by analysis and comparison of existing evidences, that the background of Iranian Fereydūn and Indian Trita is probably the god of thunder who was born as a bull (or an ox) or it is somehow a metaphor of it. So, it can be said that Fereydūn’s bull-head mace is an indication of his relationship with the bull.    

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: Lamei Gorgani, Manuscripts, Anthologies, Biographies, Newly-founded verses

Esmaeil Shamoushaki

Volume 5, Issue 2 , March 2016, , Pages 39-56

Abstract

  Lamei Gorgani was a famous poet who lived in 5th century AH during the reign of great Seljuks. Since he belongs to the period of cultural transition from the Ghaznavids to the Seljuks, ...  Read More Lamei Gorgani was a famous poet who lived in 5th century AH during the reign of great Seljuks. Since he belongs to the period of cultural transition from the Ghaznavids to the Seljuks, he can be considered as an important notable poet, and because the volume of court and official poetry in early Seljuk period (the period of Tughril, Alp Arsalan and Malik Shah) was less than the periods before and after Lamei, so it can be said that he was the most prominent poet of Seljuk court who had composed odes in praise of 'Amid al Molk Kondori, the Seljuk portentous rationalist minister. There is no complete Divan of him. There are some incomplete copies of his works which none of their writing history goes before the Qajar era and are all collected from different anthologies and biographies. With about 1200 verses by the efforts of some scholars such as Nafisi, Dabir-Siyaqi and Ali Ashraf Sadeqi, his incomplete divan has been frequently published.Another part of this old poet may be recovered through a careful search in manuscripts.Including his 52 newly founded verses, this article introduces new resources of Lamei's poems.

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'Attābi, 'Atābi and their Meanings in Persian and Arabic languages

Mahmood Abedi; Shohre Ma'refat

Volume 7, Issue 1 , October 2017, , Pages 39-52

Abstract

  The two words 'Attābi and 'Atābi have been recited in the works of some Persian poets such as a verse in one of Sa'adi’s odes. The authors of the Persian dictionaries have generally ...  Read More The two words 'Attābi and 'Atābi have been recited in the works of some Persian poets such as a verse in one of Sa'adi’s odes. The authors of the Persian dictionaries have generally considered 'Attābi as a cloth that a person called 'Attab had produced it, or a cloth had woven in one of Baghdad's neighborhoods known as 'Attābiyya (al-'Atābiyya). It seems a misunderstanding has occurred here and there is basically a relation between the name of this striped cloth - 'Attābi- and the original meaning of the word 'Attāb as it applies in the word al-Hemār al-'Attabi (Zebra) in Arabic texts. Reminding the viewpoint of 'Allameh Qazvini about this matter, in present study, and providing some evidences from pre-12th century Arabic and Persian texts we have shown that Sa'adi had paid attention to the Arabic and Persian works before him using 'Atābi Garment and 'Attabi Donkey and had used both words 'Attābi and 'Atābi according to their background.

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The Typology of Two Plays: “Four Boxes” and “In the Presence of Wind” on the Basis of Northrop Frye's Theory of Archetypes

Shirzad Tayefi; Koroush Salman Nasr

Volume 8, Issue 2 , May 2019, , Pages 39-58

Abstract

  Bahram Beyzyai is one of the prominent Iranian writers, researchers and artists who has created valuable and abiding works in the field of drama. Although some scattered works has been ...  Read More Bahram Beyzyai is one of the prominent Iranian writers, researchers and artists who has created valuable and abiding works in the field of drama. Although some scattered works has been done in a few writings to introduce the typology of his works, but it is hard to find a certain classification and typological analysis of his works which has been scientifically accomplished. Among the theories of typology, Northrop Frye's theory of archetypes has a noteworthy place and can be considered as a functional classification of typology. He accommodates each of the literary genres of comedy, romance, tragedy, and irony / humor with one of the myths of spring, summer, autumn and winter, and assumes six types or phases for each of them that results in an accurate inter-typical classification. So, two outstanding works of Beyzyai named "Four Boxes" and "In the Presence of wind" can be evaluated and criticized typologically on the basis of Frye's theory. Through a method of qualitative analysis and based on library and documentary studies, it has been tried, in present research, to propose a typological analysis of above mentioned plays on the basis of Northrop Fry's theory of archetypes. The results show that "Four Boxes" and "In the Presence of wind" should be classified as the first type of comedy.     

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An Analysis and Critique of Postmodern Characteristics in the Novel Hiss

Teymoor Malmir; Najmoddin Rostam Younes

Volume 10, Issue 2 , March 2021, , Pages 39-57

Abstract

  Mohammad Reza Kateb’s writing style is different from other contemporary Iranian novelists. He writes in an ambiguous and complex atmosphere. This seems to be more evident in ...  Read More Mohammad Reza Kateb’s writing style is different from other contemporary Iranian novelists. He writes in an ambiguous and complex atmosphere. This seems to be more evident in the novel Hiss than in any of his other works. This characteristic is one of the prominent features of postmodernism. In this article, based on postmodern theories, we critique and analyze the aspects of Kateb’s writing which highlight the ontological content and the metanarrative technique in that novel. The author’s use of postmodern storytelling possibilities is based on the reader’s contribution to the comprehension and rebuilding of the story, revising the police’s inferences and judgments of crimes, violating accepted narratives for reader contemplation, discrediting the narrator, and the author’s death. Instead, the reader is important; that is, the reader interprets and analyzes the text through his or her reading; the importance of the reader precedes the importance of the text. The novel Hiss is based on dialogue, either in the form of expressions of actions or displacements of actions expressed as the death of one and the narration of another, or in the form of coding contradictory actions, thoughts, and quotations. The narrator’s emphasis on the violation of the narrative and the narrator is to say what the original is; but this is also a permanent violation. If he multiplies the narrator and promotes distrust of the narrative or uses the method of narrating ancient inner stories, it is in order to be able to draw the narrative method and the interaction of different levels of narration.

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Ferdowsi’s Shāhnāmeh Verses in Taj ol-Maāser

Seif Abdolreza; Ali Gholami

Volume 3, Issue 1 , September 2013, , Pages 41-58

Abstract

  Of the most essential tasks should be done in the field of researches on Shāhnāmeh is collecting and analyzing its sporadic verses in other works of Persian old literature. The purpose ...  Read More Of the most essential tasks should be done in the field of researches on Shāhnāmeh is collecting and analyzing its sporadic verses in other works of Persian old literature. The purpose of such approach is Shāhnāmeh correction.    Since there is a 200 years gap between the time Shāhnāmeh was composed (400 AH) up to the time of its earliest version(Florence, 614 AH) and since there are almost some other versions belonging to 7th and 8th centuries AH (less than 10 versions) the Shāhnāmeh corrector must consider every other sources beside existing manuscripts of the book. Among the side sources, there are some sporadic verses of Shāhnāmeh in the texts of 7th and 8th centuries which have remained as handwritten manuscripts. Taj al-moaser, as a prominent example of above mentioned sources, is the book has been chosen to extract the Shāhnāmeh verses to be compared with their positions in Shāhnāmeh itself.    

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The Unknown Praised Character in Khāqānī's Works and an Important Point about the Version of his Divān in British Museum

mohammad reza torki

Volume 4, Issue 2 , March 2015, , Pages 41-60

Abstract

  There has not yet accomplished a comprehensive research on the  details of  Khāqānī's life incidents and his relationship with the courts of the kings and the lords ruled ...  Read More There has not yet accomplished a comprehensive research on the  details of  Khāqānī's life incidents and his relationship with the courts of the kings and the lords ruled during his period, so a very vague image has remained of the faces of his praised ones. It would be undoubtedly impossible to get a minute understanding of the poems of this great poet of 12th century or even to try to correct them carefully and academically without suitable information on his time situation, historical points on his works and realizing the identity of his praised characters.   One of Khāqānī's celebrated poems is a ballad with the word “namāyad” as its rhyme which can be briefly called “namāyad ballad” or Shāhed-e-jān (the soul-mate). Who is the one has been admired in this ballad? There is a fierce controversy between the experts and of course the manuscript versions of Khāqānī's Divān about the quantity and the identity of the admirer(s). We are going, in present paper, to make this historical ambiguity clear via existing historical documents and taking the analysis of contemporary Khāqānī experts in to consideration. Additionally, it would be proved that the above mentioned ambiguity and the controversies surrounded the praised character in this ballad are all the result of a fundamental problem in the version of Khāqānī's Divān available in British Museum (on which Sadjadi had edited).      

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Assessing the Dramatic Potentialities for Play Adaptation, Case Study: “The Pious Woman” in Attar’s Ilāhī-Nāma,

Hossein Agha Hosseini; Seyed Morteza Hashemi; Tayebeh Prtowi Rad

Volume 5, Issue 1 , June 2015, , Pages 41-59

Abstract

  Looking at the history of adaptation from literary sources in various kinds of worldwide dramatic arts such as cinema, television and theatre shows that adaptation can well fill the ...  Read More Looking at the history of adaptation from literary sources in various kinds of worldwide dramatic arts such as cinema, television and theatre shows that adaptation can well fill the existing text-gaps in theatre and other forms of dramatic arts. In Persian literature, although the literary texts aredescriptive, there are many works possess high dramatic potentials and may be used to enrich the dramatic texts. One of the works like this, known as Ilāhī-Nāma, has been written by Attar of Nishapur that considers with less artistic and literary value under the effect of his Mantiq-ut-tayrandTadhkirat-ul-Awliyā. It’s a work full of narrative stories from which some stories have considerable dramatic potentials have not yet attracted the attention of researchers.Relying on the importance of adaptation from literary sources, in this article, the dramatic potentials of the story “The Pious Woman” have been analyzed through a descriptive-analytic method based on 18th century definition of Aristotelian theatre. It has been endeavored to study the semantic aspects and structural features to get an appropriate source for literary adaptations.

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Anonymous Speakers in the third Turn of Kashf-ul-asrār

Maryam Mosharaaf; Behdokht Nezhadhaghighi

Volume 6, Issue 2 , June 2017, , Pages 41-56

Abstract

  The third turn (nawbah) of Kašf al-asrār (Unveiling of mysteries) is a collection of Sufis' fragments concerns the interpretation of Qur'ān by Abu’l-Fażl Rašid-al-Din ...  Read More The third turn (nawbah) of Kašf al-asrār (Unveiling of mysteries) is a collection of Sufis' fragments concerns the interpretation of Qur'ān by Abu’l-Fażl Rašid-al-Din Meybodi. Most of them are referred to "the Elder of the Path" (pir-e tariqat) or to some general unknown titles. It was previously assumed that "the Elder of the Path" was a certain person who had probably been Maybodi's spiritual master. Some of the rhymed (musajja') phrases, attributed to the Elder of the Path, reinforced the suspicion that the title refers to khwaja 'Abdullah Ansari, to the point that some researchers have been trying to derive Khwaja's interpretation out of Meybodi's and to estimate its potential volume. Later, it was however hypothesized that these "Elders" would not refer to a specific person and they can be different ones. It has been tried, in present study, to detect the identity of some of these unknown speakers and to seek the history of their sayings in the sources existed before Meybodi. The analysis of the unknown speakers' statistics in the 3rd turn of Kašf al-asrār raises another hypothesis that many of these "Elders" might have no specific sources or references, and, it is possible that Meybodi himself had added tes title to many of fragments that had certain literal pattern.  

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بررسی عبهرالعاشقین تصحیح کربن- معین از نگاه بایسته‌های تصحیح

Sayyed Mohammad Rastgoofar; Taqi Pournamdariyan; Sayyed Mohammad Farid Rastgoofar

Volume 7, Issue 2 , February 2018, , Pages 41-60

Abstract

  ʿAbhar al-ʿĀšeqīn by Rūzbehān Baqlī Šīrāzī, the great mystic of the 12th century, is one of the most important Persian mystical works which has a special ...  Read More ʿAbhar al-ʿĀšeqīn by Rūzbehān Baqlī Šīrāzī, the great mystic of the 12th century, is one of the most important Persian mystical works which has a special place in terms of mystical teachings and Persian prose. This book was corrected and published by Henry Corbin and Mohammad Moein in 1958, based on two incomplete and full of mistakes versions. Due to the high position it has gained and despite another correction which has been accomplished by Javad Nourbakhsh, this correction is of interest to researchers until today and most of the works in this field have been conducted on the basis of this correction. The present research is to modify the real position and validity of this correction. So, it has been carefully examined in comparison with some new versions, not available to correctors, through a descriptive-analytic method, considering the requirements of a good correction. The results show that due to the lack of correct copies and misreading, many improper omissions and add-ons etc. happened in spite of all the efforts of the correctors. Lack of extensions and explanations to solve difficulties, not mentioning the sources of words and the lyrics in the text and lack of problem-solving lists are among disadvantages and deficits make a new scientific correction of this important text necessary.  

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A Constructivist Explanation for the Contrast between Nirvana and Fana

Behzad Borhan; Alireza Hajian Nejad

Volume 9, Issue 1 , September 2019, , Pages 41-61

Abstract

  The ultimate goal and the destination of the mystical path in Islam is Fana, and in Buddhism is Nirvana. Reaching to both destinations is through elimination of desires. There are so ...  Read More The ultimate goal and the destination of the mystical path in Islam is Fana, and in Buddhism is Nirvana. Reaching to both destinations is through elimination of desires. There are so many similarities between Fana and Nirvana that sometimes they are considered as identical concepts. Fana and Nirvana are mystical experiences and can also be studied through the lens of theories on mystical experiences. One of these theories is Constructivism, which believes mystical experiences are processed through and organized by beliefs and expectations that the mystic brings to the experience. In the Constructivist view, the mystic goes through mystical experience, while he is contextualized with the established doctrines and concepts of his religion, and since established doctrines and concepts of various religions are profoundly different, mystical experiences could not be the same. In this article, we attempt to study Fana and Nirvana through the lens of Constructivism. We argue that the difference between these two faiths is drawing their mystics’ mystical path genuinely different inasmuch as these paths would not end up in the same destination, and thus, Fanā and Nirvana are profoundly different. This article begins with a brief explanation of mystical experience and a short introduction on Constructivism and Essentialism; then continues by describing some principal doctrines on Fanā and Nirvana and recommended instructions to reach them, and finally ends with a comparison of these teachings and conclusion of the argument.

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Explanation and Analysis of Some Verses from Sanai’s The Walled Garden of Truth

Seyed Mahdi Tabatabaei

Volume 9, Issue 2 , July 2020, , Pages 41-58

Abstract

  The Walled Garden of Truth is the first Persian mystical poem. It opened the way for poems such as Tuhfat al-Iraqayn, Makhzan al-Asrar, and Masnavi. The importance of this poem in Persian ...  Read More The Walled Garden of Truth is the first Persian mystical poem. It opened the way for poems such as Tuhfat al-Iraqayn, Makhzan al-Asrar, and Masnavi. The importance of this poem in Persian literature caused many copies to be made of it, and newer errors emerged in most of these copies. Some sources indicate that at least two major copies of The Walled Garden of Truth have been made, leading to differences in chaptering and difficulties in correction of the book. In addition, the book has lingual difficulties, which has also caused problems in research studies. The thematic and lexical significance of the book on the one hand, and problematic analyses and notes on some of its verses on the other, are among the reasons that a conceptual analysis of the verses of this book is carried out in this study. Adopting a descriptive-analytic method and using library facilities, the article seeks to elucidate the position of Sanai and the The Walled Garden of Truth in Persian literature. The major undertaking of this study, in addition to correcting some of the errors made to the book by scholars and obtaining the meanings of some vague verses of it, is to introduce new concepts for some of the words, compounds, and expressions — such as Dabbabi, Poostgal and Poostgaleh, Reshteye Chah, Shiroodsooz, Dast ba Ran Gharin Shodan, and Ahmad va Ahmad — used in this book and not clearly explained in Persian dictionaries.

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“Kordovâni,” A Rare Word in Qatran’s Poetry

Shohre Marefat

Volume 10, Issue 1 , September 2020, , Pages 43-55

Abstract

  The poetry of the fourth and fifth centuries AH is a mirror of nature in comparison with the poetry of other periods. The poet of this period speaks more of the elements that his audience, ...  Read More The poetry of the fourth and fifth centuries AH is a mirror of nature in comparison with the poetry of other periods. The poet of this period speaks more of the elements that his audience, the king and the courtiers, see and know. Among these elements are the textiles whose names may have changed today; “kordovâni” is one of them. It is a thick textile that was used in wine filtration, wound dressing, and making tents, as well as in war clothing. This textile had different types some of which were precious and some were not of much value. “Kordovâni” does not appear in Persian dictionaries or in Persian poetry; it is mentioned only in the poetry of Qatran Tabrizi, the famous poet of the fifth century. This article is an attempt to determine the meaning of the word “kordovâni,” its origin, and its uses, based on Qatran’s poetry and with the help of Arabic and Persian sources, and to show that this textile is attributed to an area of Azerbaijan, where it was woven, and that it has long been associated with the Arabic-speaking community. Qatran who was familiar with the Arabic language and texts probably saw the word in Arabic texts.  

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The Role of Dar al-Saltana of Tabriz in Creation and evelopment of Voqueai approach to Poetry

Alireza Hajian Nezhad; Roghayya Bayram Haghighi

Volume 2, Issue 2 , May 2013, , Pages 45-66

Abstract

  The Voquea literary School is strongly associated to the periods of Timurids – especially 2nd half of 15th century – and Safavids from the view of social-political points. ...  Read More The Voquea literary School is strongly associated to the periods of Timurids – especially 2nd half of 15th century – and Safavids from the view of social-political points. The school was founded in the last 15th century and reached its maturity by the end of that century to be continued up to the early 16th century. There have been several sporadic discussions about the poems of Voquea School and their content analysis, but any discussion – as far as the authors have searched- has accomplished about its geographical origin. Concerning the attendance of scouters of Voquea School in Azerbaijan and then the evolutions occurred in Painting field of Tabriz School, the authors of present article have tried to evaluate the role of Dar al-Saltana of Tabriz in adaptation and development of supernatural regards in the fields of Art and Literature

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The new informations about Ghotb ’din Mohammad ebn Motahhar ebn Ahmad Jam (zhendepil) with criticism of some parts of editor`s introduction on the new edition of Hadighat al-haghighat

aaa ss; Mahmood Nadimi Harandi

Volume 1, 7و8 , February 2011, , Pages 45-66

Abstract

  Ghotb’din Mohammad ebn Motahhar ebn Ahmad Jam (zhendepil) is one of the talented mystics and writers of Iran who has lived from 557 till 667A.H. Hadighat al-haghighat is one of ...  Read More Ghotb’din Mohammad ebn Motahhar ebn Ahmad Jam (zhendepil) is one of the talented mystics and writers of Iran who has lived from 557 till 667A.H. Hadighat al-haghighat is one of the his writings. First of all, this research is focused on the New utterances and findings about Ghotb’din such asinformation about his Identity, religion, job and his relationship with his contemporaries, journeys and his writings. Then the author criticizes some parts of editor`s introduction on the new edition of Hadighat al-haghighat which recently has been published by Hasan Nasiri Jami Ph.D..    

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The Eagle Trace

Dr. Rooholla Hadi

Volume 1, 3-5 , January 2011, , Pages 49-78

Abstract

  Persian poetry experienced many changes, innovations, concerns and disputes by the beginning of 14th century AH. Just in this period, Parviz Natel Khanlari composes “The Eagle Trace”, ...  Read More Persian poetry experienced many changes, innovations, concerns and disputes by the beginning of 14th century AH. Just in this period, Parviz Natel Khanlari composes “The Eagle Trace”, a masnavi of the most perdurable modern literary works. The reasons of The Eagle composition, its presentation to Sadiq Hedayat, quoting one of Khavas al-Hayvan’s statements, its first publication and the answers that other poets have given by poetic motivations and etc. are all ponderable points and the author has tried to illuminate them by criticizing several sayings and works through a coherent search to make a part of literary history of Iran clear.

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The Criticism and Investigation of Condition Requirement

Mahboubeh Hemmatiyan; Hossein Aqahosseini

Volume 4, Issue 1 , September 2014, , Pages 53-72

Abstract

  The study of topics concerning rhetorical issues shows that paying attention to "condition requirement" in the first quoted definitions can be considered as the most significant criteria ...  Read More The study of topics concerning rhetorical issues shows that paying attention to "condition requirement" in the first quoted definitions can be considered as the most significant criteria in rhetorical speech and the speaker. Although it seems being the most important and the most fundamental subject during different periods, but none of its theoretical principles has been explained in the old and modern sources. It will be make clear, in present study, and after a review of different viewpoints on the subject, that despite the existing conceptualization about the audience-based state of condition requirement in traditional rhetoric and despite the criticisms regarding  this field, and although terms such as speaker's condition requirement, speech, and conditional context cannot obviously be found in these sources, but in these books, under the different titles, some subject matters are proposed on which one can deduce all its requirements in several levels.  

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Analysis of the Praising the Prophet Muhammad (PBUH) in the Odes of Khāghāni

Abbas Mahyar; Leyla Karami

Volume 7, Issue 1 , October 2017, , Pages 53-72

Abstract

  Praising the Prophet Muhammad (PBUH) has been a common religious-literary ritual in different Islamic sects and the introduction of many Divans by the Persian and Arab poets since the ...  Read More Praising the Prophet Muhammad (PBUH) has been a common religious-literary ritual in different Islamic sects and the introduction of many Divans by the Persian and Arab poets since the rise of Islam. Praising (Na'et) is introduced as the subspecies of eulogy (Mad'h) in Persian and Arabic rhetoric. Khāghāni Shirvani is one of the prominent Persian panegyrists who has composed many praising (Na'tiyya) in eulogy format in his works, especially in his odes. It has been tried to clarify, through a descriptive-analytic method, the structure and the content of his praising poems and to show what kind of possibilities and intentions are in this rhetoric-literary subspecies. Deliberating and scrutinizing in several praising works of Khāghāni we found that this literary subspecies has profound religious themes and contents that are composed honestly, respectful to ethical standards, historically documented, far from extreme exaggeration, with the aim of seeking the help of the holy prophet (PBUH) in difficulties and to understand religious teachings.     

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Survey on Panoramic Journey into Mystic texts

Seyed Ali Asghar Mirbagheri Fard; Fatemeh Taheri

Volume 1, Issue 6 , August 2011, , Pages 57-72

Abstract

  The present paper investigates into one of the important subject in mystic conduct i.e. Panoramic Journey within mystical texts up to Hegira 7th century (14th AD century). After purposing ...  Read More The present paper investigates into one of the important subject in mystic conduct i.e. Panoramic Journey within mystical texts up to Hegira 7th century (14th AD century). After purposing an introduction about this journey, author deals with definition of (mystic) conduct and wayfaring and history of journey in Quran and Islamic Traditions (Hadith) and explained them briefly. The author has also extracted types of conduct and journey from mystic texts and introduced them and then dealt with definition of sophists’ goals concerning to this journey and the needed tools for such conduct and then explained about ceremonies of journey and for entering into Khanghah (Sophist Convent) and the relation of Sophist Shekhs (masters) with this conduct. At the end, author has expressed the impacts and benefits of Sophist journey.

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Tradition of Adaptation in texts And Its appearance in Shamayel al- Atghiya by Rukn al-Din Dabir of Kashan

Mostafa Mousavi

Volume 2, Issue 1 , October 2013, , Pages 57-76

Abstract

  Adaptation has a long history in Islamic culture. Transcribing and recording Holy Quran and hadith (tradition) has strictly been under severe rules and regulations, while little attention ...  Read More Adaptation has a long history in Islamic culture. Transcribing and recording Holy Quran and hadith (tradition) has strictly been under severe rules and regulations, while little attention was paid to fidelity in translating and quoting other works. This infidelity sometimes went to excess so that it could be properly considered as plagiarism. Such instances cannot be neglected because of their excessiveness, although infidelity in quoting cannot be always considered as plagiarism. A definite example is Shamayel al-Atghiya by Rukn al-Din, the actuary of Kashan - a mystic of Chashtiyyah sect in late 7th to early 8th(Hegira century) /13th to 14th AD – who makes such modifications and alterations in sources that shows the absence of trusteeship in his method, giving book-titles of the quoted materials and their authors' names,. Using some contemplative examples of adaptation and plagiarism, this article attempts to survey their relations in oral tradition and ideological principles as well as modern attitudes towards them. The article also underlines the significance of Shamayel al-Atghiya as the first work after 200 years dealing appreciatively with teachings and works of 'Ayn al-Quzat of Hamadan, adducing his opinions.

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Utilization of Persian Proverbs in Bidel's Sonnets

Hasan Zolfaghari; Seyed Mahdi Tabatbaie

Volume 5, Issue 2 , March 2016, , Pages 57-76

Abstract

  As a "pillar of popular culture" and as a literary genre, proverb has been always paid attention by poets to the point that its utilization besides allegory and allusion is considered ...  Read More As a "pillar of popular culture" and as a literary genre, proverb has been always paid attention by poets to the point that its utilization besides allegory and allusion is considered as one of stylistic features of Persian Literature. Poets have not had same approach toward proverb in different historical periods of Persian literature, and as the trajectory of literary history continues from the beginning until now, this approach gets more highlighted; especially in recent centuries due to the stronger literary links exist between language and folklore. The Indian Style can be considered as the turning point of proverb utilization in Persian literature that made it a criterion to assess the poets' capability; and the poets of this period unveiled some new proverbs and other innovations in addition to common proverbs existed in poems. Bidel was one of those poets who considered a notable position for proverb and there are less of his sonnets with no proverb in it. Providing some examples of Bidel's verses, this study is to evaluate the rate and the quality of his impressibility from Persian proverbs.The research has been accomplished on the basis of documentaries and library facilities by the method of content analysis and data classification.

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A Study of the Domain of Lovein Abhar-Al Asheghin by RoozbehanBaghli

hosein aghahoseini; seyed aliasghar mirbaghri; maryam nafli

Volume 6, Issue 1 , September 2016, , Pages 57-76

Abstract

  Abhar-Al Asheghin is full of imageries. The active mind of Roozbahan has rendered the work with a chain of connected similes . In this paper, inspired by the conceptual metaphor theory ...  Read More Abhar-Al Asheghin is full of imageries. The active mind of Roozbahan has rendered the work with a chain of connected similes . In this paper, inspired by the conceptual metaphor theory and in a framework called as “ Domain Simile” these similes were studied. In “ domain Simile” , the elements of one domain or category are in concordance with elements of another domain;a simile is considered as the main one on the top and other similes which are in fact the very parts, means or features of the two domains would undergo contrastive analysis as subsidiary similes. After analyzing the simile combinations , phrases and sentences about love in Abhar-Al Asheghin, it was concluded that many of these similes are connected in the whole workand therefore, the domain simile structure is a good ground for analysis of similes. Forty four domain similes about love were derived from it and went through analysis. Moreover, the factors involved in creating and innovating domain similes were classified into two categories: 1) analogies and adjuncts 2) parts and elements of the object of simile 3) the obtained results of the object of simile, 4) the features and attributes of the object of simile.

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Mowlavi's Interaction with the Audience in Fihe-Ma-Fihe and Maktubat

Mostafa Moosavi; Siavash Goodarzi

Volume 6, Issue 2 , June 2017, , Pages 57-74

Abstract

  Every speech appears in an extra-textual context that functionalist linguists call it the Context of Situation and is known as "the requirement of situation" in Islamic rhetoric. As ...  Read More Every speech appears in an extra-textual context that functionalist linguists call it the Context of Situation and is known as "the requirement of situation" in Islamic rhetoric. As the Functionalist Linguists suggest, the ones (the speaker and the audiences) who participate in a bilateral speaking action are both parts of the Context of Situation. The author addresses the audience in his speaking. He can make a dialogue by giving to the audience a participant role, commenting, and asking his opinion; or he can say something and bring his speech to an end unilaterally, considering no actual role for his audience in this interaction. Recognizing the linguistic difference between Mowlavi's preaching and non-preaching texts is the main issue of present paper: What is the effect of context variation and audience change on the Mowlavi's interaction with the audience and also on his attitude when expressing something in the text? So, implementing Halliday’s Functional Grammar theory, the affecting factors form the interpersonal metafunction in two works (Fihi Ma Fihi and Maktubat as a preaching and a non-preaching work, respectively) of Mowlavi have been studied. Meanwhile, Subjects, interactive speech functions, and modal elements have been analyzed.  

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Analysis of the Novel “Sālmargi” Based on Michael Riffaterre's Theory of Intertextual Semantics

Abdullah Hasanzadeh Mirali; Fatemeh Zamani

Volume 8, Issue 1 , September 2018, , Pages 57-76

Abstract

  Intertextual semiotics is one of Michael Riffaterre's achievements in the field of intertextual criticism. He made effective efforts to apply the theory of intertextuality in texts ...  Read More Intertextual semiotics is one of Michael Riffaterre's achievements in the field of intertextual criticism. He made effective efforts to apply the theory of intertextuality in texts and to discover the semantic and implicit implications of texts through discussions of non-grammatical, interpretive, hypogrammatic and matrix topics.  In semiotic reading, the audience initially faces with non-grammatical issues encountering the text. The critic, then, can reveal the semantic and implicit implications of non-grammatical issues to achieve the “matrix” or the core of the text by examining the “accumulation”, “descriptive systems” and “hypograms”. Asghar Elahi's novel, “Sālmargi”, has been analyzed in present study using intertextual semiotics. The study of the non-grammatical elements of the novel leads to accumulation (death and life) and a descriptive system (death). Then, “the problem of death and its inevitability” would be obtained as the matrix or infrastructural element of the novel through exploring and reading of hypograms. This study also shows that the actual narratives of the matrix, or hypograms, relate with some mythical concepts such as “immortality”, “invulnerability”, “deterioration”, “original sin”, “fate”, “fear of death”, etc. with a range of beliefs in Shahnameh about the death and stories such as “Rustam and Sohrab”, “Rustam and Esfandiar”, and  “Afrasiab and Siavash” in a way that all the characters of the novel are somehow involved with their own or others' death.

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