نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 35 (پاییز و زمستان 1396)

The new outlook on metaphor opposes the traditional outlook. The new idea of the outlook rejects the idea that metaphors have an absolutely linguistic and literary nature. This outlook introduced by Lakoff and Johnson in their work called "Metaphors". Liveby (1980) believes that people make use of metaphors in their daily lives. Metaphorical attitude of Suhravardi makes allegory a dominant rhetorical element in his style. To show his theosophical world, Suhravardi mostly used metaphoric concepts. In this paper, by referring to the ontological system of Suhravardi which is known under the name of “Hikmat-I Ishragh”; the relation between mystical experience and metaphorical language in Suhravardi’s "Aghl-e- Sorkh" is examined. The theory of conceptual metaphor is being used as theoretical frame work. In conclusion by recognizing the function of “"God is light” and “Spirit is bird” as macro metaphors it is possible to analyze the metaphorical system and cornerstone of thoughts of Suhravardi. Metaphorical mapping makes appropriate categories for Suhravardi 's abstract analysis and shows intratextual coherence of "Aghl-e- Sorkh" with primary mapping.

On the notion of Sukr, well-known mystical sources have drawn upon an array of different features. Synecdoche and metonymy, componential plurality and heterogeneity, proximity, overlapping, and the essential complexity of mystical concepts have caused much confusion and uncertainty in the process of the interpretation of the notion of Sūkr. Using a concept-based approach and a description-analysis method, the present article investigates the analytical and theoretical dimensions of Sūkr in the Quran, Hadiths and Islamic, mystical, and traditional narratives. The article also investigates twelve aspects of Sūkr in mystic texts and divides them into the four categories of the fundamental, the essential, the peripheral, and the more-peripheral. These aspects are as follows: the unity and union with the beloved, the “Mohebbins” status, irrationality, shirking duty, discursive speech, the exhaustion of patience, secret divulgence, bewilderment over vice and virtue, the “Samā”, disqualification as a leader or a guide, spontaneity of Sūkr as regards the beloved, consecration, and myth-making. This study has benefited from the theoretical elements associated with these notions in the speculative system of mysticism and Sufism. The results of the study indicate that the only substantial and essential aspect of Sūkr is the unity and union with the beloved and other aspects are superfluous. The spontaneity of Sūkr, as one of its characteristic features, implies that in the classification of the bits of jargon linked with Sufism.

Repetition is one of the most important elements of beauty and musical tune of poetry. In Mowlana's Robayat, verbal "array" can be listed as one form of repetition. Mowlana has made use of various forms of repetition in his Robayat in a very artistic way. This has led to the beauty of his works. It also has shown a mystical taste in his Robayat. In the elevation of his work to a good piece of music, repetition has also played a significant role.
In Mowlana's Robayat, repetition has been made through repetition of letters, syllables, words and phrases, mostly in the forms of exquisite verbal "arrays" such as derivation, balance, patience, and pun.
Based on statistical analysis, the authors of the paper have considered several forms of repetition in Robayat in this study.

Abu Ali Roodbari is among the least known mystics from beginning of the fourth century (AH). He is more known with titles such as scholar, jurist, Imam, Imam of Sufi, and Sufi poet in biographical studies. A number of great people such as “Abu Ali Kateb, Abu Yaghoob Nahrjuri, and Khajeh Abdollah Ansari have praised his virtue, morality, knowledge, art of memory, and his prodigious memory in memorizing knowledge. Furthermore, the character, beliefs, and Sufi heredity of Roodbari have been unknown and sometimes the slightest attention has been paid to his mystic views and chivalry manners.
While with the slightest reflection on his life and his mystic manners, a careful and meticulous reader discovers wonderful and new consequences in the realm of correlation between chivalry and Sufism and praises his morality.
In this article, an effort has been made to analyze the beliefs and chivalry manners of Roodbari such as “chivalrous mystic” in two separate parts. And behaviors such as triple pillar of generosity, the importance of modesty in conduct of chivalry, tolerance with Dervish, the importance of gratitude and integrity, ignorance over the slip of friends and enemies, costly banquets and parties, giving and unfailing kindness and forgiveness to the poor are stated.

The concept of “world life” is one of the fundamental concepts in the contemporary philosophy, especially in Husserl’s phenomenology. The modern philosophical topics are also shaped in this type of conceptualization. The subjects such as "intersubjectivity space, the other, awareness" are distinctive features of the modern and postmodern literature. Therefore, considering the "world life" and the differences of the subjects living in the "world life" would be a suitable topic for the analysis the evolutionary process of Persian modern stories to postmodern ones. In this regard, three modern and three postmodern short stories are selected and reviewed in the present study. Regarding the issue, it seems that the constructive components of modern view of "world life" of a subject, such as "the other, identity coherence, and intersubjectivity", have been destroyed or drastically changed in the stream of postmodern literature. As a result, it can be assumed that the concept of "world life" has lost its existentialistic philosophy in post modernism. Thus, the subject, in the postmodern literature, is located in an unlimited space, facing no focus or center. The existence of such a subject would be suspected as well.

Plot is one of the most fundamental elements of the story that forms its general plant. It is inevitable not to recognize the effective factors on plot's consistency and cohesion and its acquaintance with contemporary story elements if one wants to find out about the elements of story works. The most crucial function of plot is analysis of the cause and effect network in the course of the story. The more this network penetrates in the context of the story and promotes it, the more coherent the story plan will be. Recognition of this determinate factor in old stories which are now clichés for some reasons and their analysis and conformity with contemporary story elements can cause to be addressed more. In this study, two story texts one Yousef and zoleikha by Jami and the other one khosro and shirin by Nizami have been critically studied. After collating the promote elements of the story plan, it was determined that the plot of "Yousef and zoleihka,s" story was more coherent because it included vast network of causes and effects and a big frequency of accidents and story actions while the story of khosro and shirin had an incoherent plot. It was recognized that it was due to the load of conversation element, excess of accidental events, existence of unreal happenings which has declined the authenticity level of the story to the lowest level. It was also due to the huge amount of over plus verses which are irrelevant to the story text, lack of indetermination in the story and some other factors which are discussed elaborately. What moves the story plan of "Khosro and Shirin" forward, is the conversation element and accidental events while the story of "Youseof and Zoleikha"is more coherent because of the lack of determination and more active role of components in the content of the story and existence of events and actions in it which are the result of previous happenings.

One of the most important scientific controversies about Hafez’ poetry is the debate about the different readings of the verses of his Divan. Among the most famous cases of such disagreement is about the belonging of the adverb “åãیÔå” (always) to the main or the subordinate sentence of the second hemistich of the verse ÇÒ Âä Èå ÏیÑ ãÛÇäã ÚÒیÒ ãیÏÇÑäÏ//˜å ÂÊÔی ˜å äãیÑÏ åãیÔå ÏÑ Ïá ãÇÓÊ. Most of the Hafez researchers and editors have considered the adverb as a part of the main sentence (˜å ÂÊÔÜ [ی] ÏÑ Ïá ãÇÓÊ).
In this study the evidences of various uses of the adverbs of continuity and permanency, such as “åãیÔå” and their cognates in various negative sentences in modern Persian are extracted. After categorizing them, the meaning “never” for such words is proved and the history of such structures in old and middle Iranian languages has been traced. After presenting the various ideas about the double reading aspects of the verse in question, it is concluded that not only it is not wrong to assume the adverb as relating to the verb “äãیÑϔ, but also it is more probable that the poet has considered it as the adverb of relative sentence (äãیÑÏ åãیÔå).

Bibee Monajemeh was a famous woman and a Persian astronomer in the sixth century (AH). She lived in Neishaboor, Iran. Her father is Kamaloddin Semnani, head of the Shafeeyeh of Neishaboor and acted as the astronomer of Sultan Muhammad Kharazmshah. Because of her skill in astronomy; she had a high position in the King royal family. However, there is an issue over the name of Bibee Monajemeh confused with Bijeh Monajemeh.
Bije Monajemeh was Maulana Aladdin Kermani’s daughter as one of the women in the ninth century. She was a scholar, poet and astrologer of the early ninth century (AH). Her pseudonym was Mah (moon) of Kerman. She was also living at the time of Jami, Amiralishir Navaee and Sultan Hussein Baighara. In the present study an attempt has been made to clarify the life and the historical and literary character of Bijeh Monajemeh.