دکتر رضا ستاری

The poem by Sohrab Sepehri(1928- 1980) narrates his perspective on himself, humanity, and existence. He endeavors to depict how human interaction with the world and achieving unity with it through an artistic language. Humanistic psychology also considers the meaning of life to be in self-awareness and the realization of the “self,” interpreting it as “self-actualization” and seeks it in the “being” of the individual and in “how to truly experience reality,” which organizes the field of appearance. Achieving this goal is contingent upon harmony between the field of appearance, the limbs, the real self, and the ideal self. The field of appearance is the way an individual interprets themselves and the world, and the ideal self is the self that a person desires to be. Self-actualization occurs when the gap between the real self and the ideal self diminishes. Sepehri’s view of existence is phenomenological. The movement towards unity with existence and the emergence of the ideal self are the pulse of his poems. This article seeks to answer questions such as: What is the process of formation and components of the real self and the ideal self in Sepehri’s poems? And what impact does Sepehri’s field of appearance have on their formation? The research method is descriptive-analytical and based on library data collection. According to the research findings, the sources of Sepehri’s field of appearance are extensive, with nature being the most important source and inspiring purity, honesty, and unity. The real self of Sohrab consists of material, physical, intellectual, and emotional aspects. The components of the real self narrate the scattering of his existence. The ideal self is the destination of Sepehri’s quests and revelations. Its constituent elements are considered the factor of harmony between the scattered aspects of Sepehri’s real self and his ideal self, and the key to his self-actualization, resulting in complete self-discovery.

Under the influence of the global post-colonial wave following World War II, Iranian intellectuals, drawing on a deep historical tradition of xenophobia and a desire for independence, and influenced by the rise of leftist discourse in Iran, developed a narrative of “returning to the self” within the country's cultural and political context. This discourse became dominant during those decades, shaping various fields of thought, including Iranian fiction. One significant cultural work that embodies this ideology is Simin Daneshvar’s realist novel Savushun. In this novel, Daneshvar portrays British dominance over different aspects of life in Shiraz during the occupation of southern Iran to illustrate the threat to the national identity of the local population. Through this depiction, she urges readers to rediscover their identity by invoking key elements of Iranian culture. This article employs a descriptive-analytical method to explore Savushun, identifying key signs of xenophobia and the theme of returning to the self. Findings reveal how Daneshvar emphasizes the dangers posed by foreign interference and cultural domination by highlighting the political and cultural roles of foreigners. Moreover, she underscores the threat of Western cultural oppression by drawing on elements of Iranian identity, including epic and religious stories. Daneshvar further strengthens this message by showcasing the historical significance of Persian language as a core component of Iranian national identity, and by aligning her characters with mythological and religious figures, while referencing historical and religious landmarks. Ultimately, the novel is a call for cultural and personal reclamation in the face of foreign dominance.