https://jpl.ut.ac.ir/ Persian Literature en daily 1 Mon, 10 Mar 2025 00:00:00 +0330 Mon, 10 Mar 2025 00:00:00 +0330 https://jpl.ut.ac.ir/article_98109.html Our land, Iran, has gone through many ups and downs throughout its history, among which we can mention Timur's invasion and the formation of the Timurid government. A government whose rule lasted for more than a century and led to extensive social, cultural, linguistic and literary developments. Among the linguistic and literary consequences of this period, we can mention the spread of history writing and linguistic and stylistic developments in the historical texts of this period. In this essay, the author has tried to investigate the ways and causes of those transformations, as well as the linguistic and stylistic features of the historical texts of this period.Our land, Iran, has gone through many ups and downs throughout its history, among which we can mention Timur's invasion and the formation of the Timurid government. A government whose rule lasted for more than a century and led to extensive social, cultural, linguistic and literary developments. Among the linguistic and literary consequences of this period, we can mention the spread of history writing and linguistic and stylistic developments in the historical texts of this period. In this essay, the author has tried to investigate the ways and causes of those transformations, as well as the linguistic and stylistic features of the historical texts of this period. https://jpl.ut.ac.ir/article_102361.html Shater Abbas Sabouhi was a poet of the nasrian era whose divans published under his name were collected by his admirers after his death. this work, while preserving some of his poems, has mistakenly included some poems by other poets in his divan. however, we know 8 ghazals and 2 unfinished Poem of correct attribution from Shatter Abbas that can hlep the exact stylistics of his poetry. the present article uses a descriptive-analytic method to identification the poet's possible poems compared to his true poems. quantitative analysis based on probability theory, in addition to providing guidance for identifying stylistic features of certain poems by Sabohi, leads to the presentation of a table of the frequency of use of these features in the poet's probable poems in order to obtain the probability of correctness or incorrectness of attribution of these poems. this article, finally, according to the use statistics of more prominent stylistic features in ten layers including phonetic, lexical, morphological, syntactic, rhetorical-literal, rhetorical-spiritual, meterical, rhymical, thematic and motific, has concluded that 35 gazals, 1 mokhammas, 1 ghet'e, 10 roba'i, 13 unfinished poems and 1 folk song and 61 probable poems in total, Only 16 ghazals, 1 mokhammas, 4 roba'is, 1 ghet'e and 8 unfinished poems have more and more ability to be attributed to Sabouhi and the rest do not have this possibility or have it less and less. https://jpl.ut.ac.ir/article_103064.html The authenticity of some of the contents of mystical texts, especially the books that focus more on the biographies and sayings of Sufis, has always been the subject of discussion. Discussions and criticisms will increase when they are supposed to use the narrations of such books in compiling historical details and facts. One of these books is Attar's Tazkira al-Awliya, which, although it is one of the first books in Persian that deals with the sayings and anecdotes of Sufis and has a unique prose, its statements cannot be trusted in absolute terms. In this essay, after an introduction about Tazkira al-Awliya, due to the occurrence of historical errors in books of tazkira and authorities will be discussed, and then nine of the propositions of this book will be examined and criticized from a historical perspective, and the audience will find out that the story of Imam Sadiq in the meeting of Mansour Davanighi is influenced by the interpretation of the story of the miracle of Prophet Moses with the magicians, which is given in Tafsir Beizawi. Abu Hazem Madani had no connection with Abu Hurairah and it is difficult to consider him as one of the "Tabe’in" elders. Abdullah Mubarak died before Fozayl Ayaz and it is not possible that he said anything in mourning the death of Fazil Ayaz. Bayazid Bastami's discipleship with Imam Sadiq was once again investigated and rejected. Imam Shafi'i was never a disciple of Malik Dinar. Imam Shafi'i was the predecessor of Ahmad Hanbal. It is not possible that Abdullah Mubarak went to visit Ahmad Hanbal. None of the caliphs of the time have fallen to the ground with the curse of Sufyan Thori. The youth of Shaqiq Balkhi was not comparable to the reign of Ali Ibn Isa Mahan. https://jpl.ut.ac.ir/article_103513.html Nāser-e Khosrow has repeatedly boasted of his philosophical knowledge, often dismissing his contemporary poets and dabirs as inferior. Yet, his poetic persona has long overshadowed his reputation as a theologian. Furthermore, due to his historical context and Persian-language corpus, his theological and philosophical ideas have been studied far less than those of his predominantly Arabic-writing predecessors. This disparity stems partly from the marginalization of Persian philosophical texts in classical Islamic scholarship. This paper examines the theological dimensions of his work by comparing his discourse on Substance and Accident—a foundational concept in Aristotelian metaphysics—particularly in Zād al-Musāfir (his most significant philosophical work), with Ibn Sinā’s treatment of the same subject in Dānish-nāma-yi ‘alāyī (the latter’s sole work originally composed in Persian). Through this analysis, we demonstrate how Nāser-i Khusrow strategically engaged with Peripatetic thought to articulate his theological arguments, repurposing its frameworks to advance the Ismailis’ apophatic theology. We contend that the Ismailis’ intellectual disputes with philosophers are rooted in these reinterpretations. By highlighting philosophical reflections on Substance and Accident in his poetry, we argue that his philosophical expertise is inextricable from his poetic identity and that interpreting his verse requires close engagement with his prose—an approach many commentators of his poetry have overlooked or neglected, resulting in fragmented readings of his interdisciplinary legacy https://jpl.ut.ac.ir/article_103488.html Rudaki of Samarqand, the master of poets and the father of Persian poetry, is one of the peaks of the Iranian language and literature, and his few poems have attracted the attention of researchers in the last century. The importance of this issue is related to the exploration of early poems and the analysis of how Persian-Dari poems were formed. On the other hand, Persian-speaking people in Iran, Tajikistan, Afghanistan and other countries consider Rudaki and his poems to have a special place among Persian-speaking poets; therefore, any brief or detailed statement about Rudaki's surviving poems is very valuable, and undoubtedly, finding new points in his poems requires reflection and analysis of documented and advanced sources. One of these important sources is dictionaries, and among them, the archive of Rudaki's verses in Halimi's dictionary (Bahr al-Gharaeb) is efficient and effective due to the author's use of reliable sources before him, such as the Persian Dictionary and the Persian Compendium, which has not been considered by the accurate and scholarly correctors of Divan of Rudaki. For this reason, the authors in this article, after examining all the verses attributed to Rudaki in Halimi's dictionary, have selected three important verses from the 120 verses in it that have unique and noteworthy archives. They then evaluated these verses and showed why these archives are authentic or noteworthy and are preferable to the archive of the correctors. https://jpl.ut.ac.ir/article_103489.html This study explores the crucial role of simile and allegory in explaining the complex concept of wahdat al-wujud (the Unity of Being) in Attar's mystical masterpiece The Conference of the Birds. Given the profoundly abstract nature of mystical concepts in Islamic philosophy, Attar skillfully and systematically employs these rhetorical devices—particularly simile and allegory—to present these transcendental ideas in a more tangible, relatable, and impactful manner for his readers. The primary aim of this research is to carefully analyze how these sophisticated literary strategies function in effectively conveying the subtle notion of wahdat al-wujud, while also critically examining their unique strengths and inherent limitations as tools of mystical expression. The methodology adopted is fundamentally descriptive-analytical, deeply grounded in both classical Islamic mysticism and traditional rhetorical theory. Findings clearly indicate that Attar creatively utilizes various profound allegories such as "the Simurgh and its shadow," "wax and its multiple forms," and "the astrologer's divination board" to vividly illustrate different philosophical aspects of wahdat al-wujud. These carefully constructed figures serve the dual purpose of both clarifying the mystical concepts (through approximation) while simultaneously, due to the inevitable limitations of all figurative language, potentially leading to certain misinterpretations (through distancing). The research ultimately concludes that Attar, through his remarkable artistic synthesis of poetic simile and solid mystical foundations, has successfully created an exceptionally effective mechanism for conveying abstract spiritual ideas. Nonetheless, for a more comprehensive understanding of wahdat al-wujud, further comparative analysis of these allegories with other important mystical texts and deeper exploration of their philosophical implications are strongly recommended. https://jpl.ut.ac.ir/article_102997.html AbstractSpeculative fiction surpasses the rules of our world to create entirely new ones. The sub-genres of dystopian, apocalyptic, and post-apocalyptic fiction consider very extreme circumstances that test human values and survival. This paper compares Kāj-Zadegi and Bārān-Zād by Zoha Kazemi with Mah-Ālood by Alista Aghaei, focusing on their governance systems, societal structures, and defining characteristics. The comparison is done along four dimensions: governance, human experience, social dynamics, and environmental features.Kāj-Zadegi emphasizes authoritarianism, strict security measures, harsh punishments, and loss of personal identity through mechanization. In contrast, Bārān-Zād is subtler in her critiques while addressing character development, empathy, and the struggle of individuals for love, justice, and survival in the face of adversity. Common to all three works are themes of societies recovering from human or natural catastrophes. Shared motifs include class relations, fear, hope, chaos, betrayal, and strange end-of-the-world creatures.While Mah-Ālood has stressed military components, Kāj-Zadegi does not highlight religion and sovereignty, demoting militarism, whereas Bārān-Zād refers to them all. Their settings are different-Mah-Ālood on a faraway planet and Kāj-Zadegi and Bārān-Zād on Earth, but with different futures of dystopia. All three works explore how governance and societal structures adapt to and reflect the challenges of speculative worlds. https://jpl.ut.ac.ir/article_103487.html Attar, in his work Mantiq-ut-Tayr elaborates on the seven valleys of spiritual journey, with the fourth valley being named "indifference" In this valley, the Lord is indifferent to the seeker, and the existence or non-existence of the seeker makes no difference to Him. Before Attar explains this valley in Mantiq-ut-Tayr he discusses its overall concept without any specialized terminology in the story of Job in Elahi-Nameh. Among the philosophical discussions in the Islamic world, the issue of God's knowledge of particulars, especially Al-Ghazali's interpretation of it, resonates with the valley of indifference. It is likely that Attar drew his main material for elucidating indifference from Al-Ghazali's "Incoherence of the Philosophers." These discussions align with an ancient belief suggesting that not only humans but also the earth is so insignificant within the cosmos that the celestial sphere remains oblivious to it and is fundamentally unaware of its existence or non-existence. This issue is also raised in Attar's Asrar-Nameh and has been previously mentioned in Sanai's Hadiqe. Apparently, Sanai derived it from the Shahnameh, where the belief in the ignorance of the celestial dragon is manifested in several ways; this notion is a remnant of Zoroastrian beliefs. This article attempts to trace the origins of the valley of indifference, leading us first to a philosophical discussion and ultimately to a Zoroastrian belief found in the Shahnameh. https://jpl.ut.ac.ir/article_102364.html In Ottoman Turkish poetry, a significant amount of non-Turkish words, expressions, and grammatical structures is observed. Specifically, Arabic and Persian languages have a prominent presence in Ottoman Turkish literary texts. This is, on the one hand, the result of cultural interactions between different literatures and languages, and on the other hand, the consequence of the technical requirements of prosody. This research is dedicated to the analysis of three odes by Taceddin Ahmedi, a great poet of Turkish language in the eighth and ninth centuries AH, from this perspective. The central questions of the research are designed as follows: What is the frequency of Persian morphemes in the selected texts and what are the reasons for the extensive use of Persian elements in these poems? In order to find the amount of Persian elements in the aforementioned poems, after mentioning the text of each ode, we have translated it verse by verse into Persian and analyzed it into its constituent morphemes. Also, in cases where the origin of some morphemes is not very clear, the necessary information in this regard is mentioned. By specifying the Persian morphemes and the total morphemes of these poems, a suitable estimate of the frequency of Persian elements in these texts has been obtained. This research has been conducted using an analytical method with a quantitative and statistical approach. The translation of the poems has been done at the sentence level. The findings of this research estimate the amount of Persian morphemes in the selected poems to be about 29 percent. https://jpl.ut.ac.ir/article_102893.html Critical Discourse Analysis (CDA) fundamentally approaches language as social practice, challenging the notion of linguistic transparency. This methodological perspective views language not as a clear mirror reflecting objective truths, but rather as a translucent medium that inevitably distorts and reconstructs reality. Within this theoretical paradigm, Van Leeuwen's model of social actors emerges as a particularly valuable analytical tool, focusing on the sociolinguistic and semantic dimensions of discourse to reveal how texts construct representations of social participants. The current study applies Van Leeuwen's social actor framework to examine Mirzadeh Eshghi's socio-political poetry from Iran's Constitutional. This period's literature provides exceptionally rich material for discourse analysis due to its explicit engagement with political themes and social commentary. The research specifically investigates two key components of Van Leeuwen's model: nomination and categorization. Through systematic analysis of discourse-oriented poems, the study traces how Eshghi constructs representations of significant political figures and social groups during this transformative historical period. This investigation pursues three primary objectives: First, to identify the predominant patterns in Eshghi's representation of social actors; second, to analyze how these linguistic choices reflect the poet's ideological positioning; and third, to understand the relationship between these discursive strategies and the broader socio-political context of the Constitutional movement. The study particularly focuses on Eshghi's treatment of power structures and political elites, comparing his representation of different social groups. The analysis reveals several significant patterns in Eshghi's discursive strategies. The poet demonstrates a marked preference for concealed criticism, frequently employing metaphorical language and indirect references when representing social actors. Negative valuation emerges as the most frequent strategy, particularly in depictions of political authorities and power holders. However, the study identifies an important nuance: when addressing specific pillars of power - particularly lawyers and ministers - Eshghi adopts more direct and explicit language, reducing the degree of concealment in his criticism. The findings demonstrate that Eshghi's poetry serves as both artistic expression and political discourse, strategically employing Van Leeuwen's social actor categories to critique power structures while navigating the constraints of his historical context. The prevalence of negative valuation reflects the poet's oppositional stance, while the variation in explicitness suggests sophisticated awareness of discursive boundaries. This research contributes to our understanding of how literary texts participate in political discourse and shape social perceptions during periods of revolutionary change. Furthermore, it validates the applicability of Van Leeuwen's model to historical literary analysis, particularly in non-Western contexts. The study suggests that similar analytical approaches could yield valuable insights when applied to other works of Constitutional-era literature or to political poetry from different historical periods. https://jpl.ut.ac.ir/article_103998.html One of the prominent topics in mystical literature, especially mystical ghazal, is the use of Qalandari themes and concepts. This style began with Sana'i and had a great influence on the poetry of prominent ghazal writers such as Attar, Hafez, Iraqi, Rumi, and others. The themes and characteristics of Qalandari have also had a significant impact in recent periods and in contemporary ghazals in Afghanistan; Therefore, the present study aims to examine the elements and concepts of Qalandariyyah in a descriptive-analytical manner, relying on the poems of three prominent contemporary Afghan poets, Ashghari, Bitab, and Sayyida Karokh. The results of the study show that these poets have tried to include Qalandari elements in their poems and, in this way, create Qalandari concepts and themes. The three mentioned poets, ignoring the religious and social taboos prevailing in their era, have used these concepts in their poetry and have praised centers of debauchery and immorality such as taverns and idolatries, and sometimes have encouraged their audience to wear belts, take a bath, and engage in other issues that are in conflict with the teachings and norms of Islam. Flattery, references to ascetics and Sufis, encouragement to drink alcohol, hashish, and booze, and false euphoria, descriptions of musical instruments, inclination to the religion of blame, defamation and turning one’s back on good names, and in general, encouragement to a Qalandar-like lifestyle are seen with great frequency in the poetry of these three poets. The expression of such concepts in their poetry is due to the influence of the past poetic tradition, the strictness of the religious scholars, and the prevalence of the school of mystical symbolism. https://jpl.ut.ac.ir/article_104208.html Language is one of the most essential tools for human communication, expressed through both written and oral forms. Persuading the audience through language is a deliberate effort in which the writer conveys messages using influential rhetorical techniques. Authors in various literary and historical texts employ tools such as poetry, religious quotations, musicality of language, admonition, reverence, and exaggeration—depending on the contextual framework—to persuade their audience. Farhād Mīrzā Mo‘tamad al-Dawla, a notable statesman and man of letters during the reign of Nāṣer al-Dīn Shāh Qājār, makes extensive use of rhetorical strategies in many of his writings, particularly in his letters addressed to eminent figures and officials of his time. His Manshaʾāt consists of 47 historical and literary letters composed in both ornate and occasionally plain styles, addressing a variety of themes such as recounting events, administrative reports, grievances, and requests. The writer, depending on the context of the letter and the status and authority of the recipient, employs different rhetorical devices. This study examines the 47 letters using both qualitative and quantitative methods. One of the key findings is that the technique of “intertextual citation of poetry and sacred texts” holds the highest frequency across all contexts—especially in political letters and those addressed to dignitaries—indicating the author’s effort to construct rhetorical authority through intertextuality. Additionally, the frequent use of admonition and indirect warnings in political letters reflects strategies of persuasion embedded within power structures. In contrast, in personal correspondence, strategies such as reverence and self-deprecation are most prevalent, reflecting the role of emotional politeness and face management in interpersonal relations. https://jpl.ut.ac.ir/article_105214.html Within the Shahnameh curriculum in departments of Persian literature, two of the four units are dedicated to the story of Rostam and Sohrab. A considerable number of textbooks and commentaries have been produced for teaching this section. In addition to instructional materials compiled for students, scholarly works-such as critical editions, annotated texts, and academic articles-have offered interpretations of vocabulary, expressions, and problematic or controversial verses. Collectively, these contributions have enriched both pedagogy and research. Yet in certain cases, the explanations lack the necessary precision and fail to engage critically with previous scholarship. The present article underscores the need for revising the lesson notes on the story of Rostam and Sohrab. It discusses key terms and expressions such as zende bar dār kardan (“to hang alive”), āz (avarice/greed), konj/gang/kang, and bahāneh (pretext), while also identifying and correcting instances of imprecision in existing commentaries. Further attention is given to the narrative structure, interrogative statements, Ferdowsi’s technique of storytelling, and the interplay between names and their referents. Moreover, based on the narrative framework and the interpretation of rāh-e rāst as “the clear and open path,” the phrase nagoshād lab in printed editions is emended to bogoshād lab. Keywords: “Ferdowsi’s Shahnameh”; “Rostam and Sohrab”; “narrative technique”; “āz”; “zende bar dār kardan”; “konj/gang/kang” https://jpl.ut.ac.ir/article_105445.html Urbanization and civilization, with their multifaceted transformations, have continuously posed new challenges to humanity—challenges that simultaneously highlight individuality and freedom while intensifying anxiety and a sense of identity loss. Erich Fromm, a prominent humanistic psychoanalyst, explores how individuals confront freedom, cope with the anxiety of isolation, and fulfill essential needs that underlie these responses. This study employs a descriptive-analytical approach based on library research to reexamine The House of the Edrisis, a novel by Ghazaleh Alizadeh. Drawing on Fromm’s theory of Escape from Freedom, it investigates how the novel’s characters react to freedom and manage their experiences of loneliness. Findings suggest that most characters mitigate their fear of freedom by seeking refuge in the past and collective security. Some evade freedom through submission, while others do so through exerting control. A marked contrast emerges between rural and urban characters: the passionate, revolutionary spirit of the foundry workers, representing rural life, reflects attentiveness to their fundamental needs, whereas city dwellers, neglecting such needs, are depicted as passive and isolated. Additionally, elements of Romanticism are evident, revealing the author’s inclination toward a return to the simplicity and naturalness of rural life.neglecting such needs, are depicted as passive and isolated. Additionally, elements of Romanticism are evident, revealing the author’s inclination toward a return to the simplicity and naturalness of rural life. https://jpl.ut.ac.ir/article_105641.html Khawaja Mohammad Murshed is a contemporary Baloch poet from the region of Balochistan. From the literary direction of the teacher, he was able to create a self-weight statement in the form of literature organized by Ghalib Ash'ari and in the form of ghazal and prose. The investigation has decided to investigate. A descriptive-analysis method using library resources has been conducted and the findings are obtained. Arif poets have composed a beautiful song using verses and hadiths and also the elements of Qalandri and Reproach. The most mystical article Diwan V, belief in the unity of existence is that belief in the unity of all existence and non-contradiction marks good and evil. Qalandar has an important place in poetry. And Qalandar in the sense of a wise man and a perfect human being can be used and the distribution of ghazals is all in praise of Qalandran and poetry on the subjects of Qalandri and Malamti in the meeting was found. Sair subjects This poet who has less interest includes religious subjects such as God's blessings and the Prophet and the memory of God. From the point of view of literary differences, the direction of similarity, the middle direction, the narrative has abundance, and the middle direction, the natural repetition and contradiction, the most important. They have died. Keywords:Khwaj Mohammad Murshed,Mystic, Qalandri, Analogy, Love,Talme https://jpl.ut.ac.ir/article_105642.html The qasida “Rostam-Nāmeh” by Malek al-Sho‘arā Bahar is a prominent example of the fusion of epic and satire in contemporary Persian poetry. By employing various techniques of humor creation, it presents a socio-political critique of Iran’s conditions during the Pahlavi era. By bringing Rostam, the mythological hero of the Shahnameh, into the heart of modern society, Bahar humorously and allegorically reflects the collapse of values, the corruption of elites, and the crisis of cultural identity. This study is based on a descriptive–analytical method and, drawing on Gahraman-e Shiri’s (2024) humor-creation model, examines the satirical styles used in the poem, demonstrating how the fundamental elements of humor are prominently present in Bahar’s narrative structure and poetic imagery. The findings analyze the nature of the humorous techniques employed in Bahar’s poetry and show how he has succeeded in creating a work within the genre of the “mock-epic.” By modeling Rostam after today’s unstable characters and placing him in various situations and states that are incompatible with the Rostam portrayed in the Shahnameh, Bahar produces a form of political satire. This qasida illustrates how a poet can draw on mythological elements and cultural heritage to offer an indirect yet effective critique of existing crises. Bahar’s approach can also be observed in the poetry of figures such as Hafez and Obeyd-e Zakani https://jpl.ut.ac.ir/article_105707.html Mythanalyse is one of the theories in mythology that can be used for mythological criticism. Mythanalyse was introduced by Denis de Rougemont with the approach of text-based cultural Mythanalyse and author-based cultural Mythanalyse, and by Jilbert Dourand, it change to social Mythanalyse. In the latter approach, after finding myth in the text, they express its narrative and examine it. After that researcher describe meaning of myth in mystic texts, Also They are speaking about social analysis in mystic books, This article is based on the Gilbert Durand method, examines the myth of water in the mystical texts of Asrar al-Tawhid, Tamhidat, Tazkir al-Awliya, Awarif al-Ma'arif, and Mersad al-Ibad. This article, using a descriptive-analytical method, has finally concluded that the myth of water, among Iranian and foreign myths, has themes such as holiness, life-giving, purification, being a symbol for awareness, girlhood and beauty, fertility, fighting drought, healing and immortality, mortality, and the element of fertility. However, in the five mystical texts under study, more transcendent functions such as fundamental life-giving, profound purification, holiness, playing the role of a symbol for metaconsciousness, being under the control of a mystic, being a mystic medium, and death and transformation have been attributed. To the extent that everyone returns to two major functions for the myth of water in the mystical community, namely the supernatural capabilities of water and the supernatural capabilities of the mystic and these differences have transformed the myth of water into the theology of water among mystics. https://jpl.ut.ac.ir/article_105841.html The present study investigates shathiyat (ecstatic utterances) in light of modern theories of interpretation and decoding. Its central concern is how the layered meanings and liminal mystical experiences, expressed in the Sufi tradition through paradoxical and metaphorical language, can be re-read and understood within contemporary theoretical frameworks. Accordingly, the three foundational poles of Islamic mysticism—Truth (Haqq), the Self (Nafs), and the World (Alam)—are conceptualized as a triangular relational system from which diverse forms of relations and manifestations emerge. These forms serve as interpretive nodes, each analyzed through the lens of a modern theoretical approach: Ricœur’s hermeneutics of suspicion and meaning, Barthes’ discourse analysis, Eliade’s phenomenology of the sacred, Lacanian psychoanalysis, and William James’ psychology of religion. Methodologically, the study treats shathiyat not merely as literary texts but as testimonies of extreme experiences characterized by passivity, paradox, and a rupture from ordinary linguistic logic. Modern hermeneutics, applied as interpretive steps, enables traversal from symbolic representation to deeper psychological, existential, and discursive layers. This approach results in an interdisciplinary model that situates Islamic mysticism in a productive dialogue with philosophy, psychoanalysis, and contemporary linguistic studies. The study’s innovation lies in reconstructing Ruzbihan Shirazi’s shathiyat within a comparative decoding framework rather than a purely historical or literary reading. This framework facilitates a renewed understanding of mystical experience as an intersubjective, multilayered construct that is simultaneously sacred and psychological, offering new insights into the cognitive, existential, and symbolic dimensions of Sufi ecstasy. https://jpl.ut.ac.ir/article_105920.html This research explores the poetics of rhetoric in Masnavi Ma'navi, analyzing the artistic, psychological, structural, and didactic-mystical dimensions of Rumi's discourse. The aim of the article is to explain the distinctive stylistic features arising from the fusion of form and content in his mystical speech. Masnavi is recognized as one of the most prominent masterpieces of world mystical literature. The research method is based on a descriptive-analytical framework, examining the rhetorical structure of Masnavi at three levels: language, literature, and pragmatics. The findings show that Rumi, by employing high-level rhetoric, transcends mystical discourse beyond mere abstract conceptualizations, instead using tangible, impactful, and accessible allegories and images to express concepts. Moreover, the artistic functions of rhetoric in Masnavi, including the creation of artistic ambiguity, enhancement of verbal music, audience engagement, and emotional arousal, lead to deep perception and the formation of an emotional bond (devotion) through speech. In the didactic-mystical dimension, the rhetorical discourse of Masnavi does not merely act as an artistic technique; rather, it serves as a tool for "discovering and revealing truth" and a means for guidance and spiritual purification. By integrating rhetorical elements with Islamic mystical teachings, Rumi provides the ground for creating multi-layered discourse and presenting a comprehensive mystical strategy on the path to spiritual understanding. Poetics, Rhetoric, Masnavi Ma'navi, Rumi, Artistic Structure, Mystical Education, Imagery. https://jpl.ut.ac.ir/article_105966.html Abstract Intertextual reading of the story "Kiss God on the Moon" by Mustafa Mastour Intertextuality is one of the most important approaches and literary theories that researchers applied to read and explain various artworks. Although this theory has been proposed for several decades, it is still valid and applicable to humanities researchers. Today, with the advent of the Internet and the availability of cyberspace, the importance of intertextuality has become increasingly apparent. In the story "" Kiss lovly God's on the Moon ", by Mustafa Mastoor, various intertextual components can be identified. Therefore, the present article studied intertextuality in the story on the moon. To reach the purpose, the article has two general parts: 1) The first part is an introduction to the theoretical topics such as definition, types, and some important works in the field of intertextuality 2) The second part of the article studied and implemented seven types of intertextuality, such as the intertextuality of production and reception, explicit and implicit, etc., which applied to the story of “on the moon”. To do this research, the descriptive-analytical method was used. Findings indicated that intertextual theory can be a valid instrument for analyzing and reading the story of “" Kiss lovly God's on the Moon ", ” because, by intertextual reading, the implications, the meanings and relationships of this story were revealed, which is not possible with other readings. Keywords: The story "Kiss God on the moon", Mustafa Mastoor, intertextuality. https://jpl.ut.ac.ir/article_106086.html The present study, with a cognitive approach, analyzes the Adversarial Humor in Fakhreddin Ali Safi's Latayef al-Tawaif and attempts to analyze the linguistic and conceptual mechanisms of subverting the discourse of dominance in the linguistic actions of the subordinates, relying on the theory of form-ground inversion in cognitive linguistics. As a discursive action in the context of unequal interactions, Adversarial Humor allows the subordinate actor to invert a threatening situation to his advantage and gain temporary but meaningful linguistic superiority through the redefinition of meaning. The analysis of thirty selected anecdotes in this work showed that subordinate speakers use three types of linguistic correspondences—structural, polysemous, and metaphorical—to disrupt the perceptual framework of domination. Qualitative analysis of the anecdotes shows that form-ground inversion, as a fundamental mechanism, allows the speaker to move hidden or marginal elements of the initiating discourse to the center of meaning and to construct from them a new, creative, and sometimes derogatory structure for the response. This strategy not only plays an important role in generating laughter and surprise, but is also considered a critical tool for undermining the power structures established in the text and beyond it, and at the same time, this strategy, especially the correspondence at the polysemous level, can be used to censor and bypass the wrath of the power system.