hengameh ashoori

An analysis of the relationship between the literature of Mohammadreza Sangari and Neo-Sadrian philosophy, particularly concerning the concept of freedom, reveals a deep interconnection between these two domains. Sangari, employing a poetic and emotive language, has translated complex philosophical concepts into a simple and accessible form for the general public. This approach has contributed to the removal of philosophy from the exclusivity of elites, making it a subject of public interest. Moreover, the concept of freedom in Sangari’s poetry and Neo-Sadrian philosophy is rooted in shared foundations. Both emphasize the unity of being, movement toward perfection, the role of love and knowledge in human life, and the struggle against oppression and injustice. By drawing on his personal experiences, Sangari has linked philosophical concepts to the everyday lives of people, facilitating a more practical engagement with these ideas.In summary, Sangari’s literature has played multiple roles in expanding philosophical culture. Through the democratization of philosophy, the establishment of an emotional connection with the audience, serving as a model for younger generations, promoting humanistic values, and fostering a spirit of inquiry and critical thinking, his literary works have given philosophy a more popular and accessible dimension. Consequently, it can be argued that Sangari’s literature, acting as a bridge between philosophy and literature, has significantly contributed to the elucidation and expansion of the concept of freedom in Neo-Sadrian philosophy. Overall, this analysis demonstrates that Sangari’s literature is not merely a literary work but also a powerful tool for the dissemination of philosophy and human values. A study of Sangari’s works enables a deeper understanding of philosophical concepts, including the notion of freedom.

Ma‘ārij al-Nubuwwah fī Madārij al- Futuwwah, authored by Muʿin al-Dīn Farāhī Hirawi in Herat in the late 9th/15th century, is a significant work in the field of sīrah (biography) of the Prophet Muhammad. The Persian work has been widely circulated, with over hundreds of copies preserved in major libraries and museums worldwide. Notably, there are significant differences between the copies found in Turkey and those from other regions in terms of age. Given that popular books have often been subject to false claims of authorship or antiquity by spurious writers and deceitful scribes, and given the geographical distance and linguistic differences between Western Anatolia and Eastern Khorasan at the book’s writing, questions arise regarding the necessity to investigate the authenticity and identities of the scribes and owners of these early copies. Addressing these issues, this research aims to identify the most accurate and original text of the book. This involves focusing on the causes and processes of their initial transmission to the Ottoman territories.

Double-voiced discourse is a term that Bakhtin has introduced in his theory of polyphony. In this approach, the author’s voice is manifested in the text through literary techniques including stylization or style-switching, parody, oral discourse resonance, and hidden polemic discourse. Against this background, the present study examines two war novels: Mohammadreza Kateb’s Blue Mondays of the Month as well as Ernest Hemingway’s For Whom the Bell Tolls. The research method utilizes a descriptive-analytical approach, relying on library documents to analyze and compare the two aforementioned novels. The objective of this study is to discover the hidden voice of the text that the author displays using various techniques. The research demonstrates that characterization in both novels is achieved through the naming of characters. In Kateb’s novel in the form of the nonchalant behavior of the sniper in a war situation and in Hemingway’s novel in the form of the hero’s passionate behavior and words in a sensitive and extravagant situation. Oral discourse in the Iranian novel echoes Baba’s weaknesses within the text, while the American novel explores the devastating consequences of war and prioritizes political interests over regional security. Hidden polemical discourse is present in Kateb’s novel, as the engineer’s discourse reveals both Baba’s sympathetic and serious voices. Similarly, in Hemingway’s novel, Pablo’s commanding voice is subtly present in Pilar’s words, while Maria’s words reflect Pilar’s femininity. Furthermore, Robert’s voice carries the discourse of the Republican party.

The present research is the analysis of the sonnet " Chehrey-e Aftab Penhan ast (The face of the sun is hidden)" by Hossein Monzavi based on the semiotic approach of the poem " MichaelRiffaterre ". The purpose of this research is to discover the meanings and hidden layers of this sonnet at the level of retroactive reading with the aim of answering this question: what factors create the origin of the poem in the sonnet "Chehrey-e Aftab Penhan ast (The face of the sun is hidden)" by Hossein Monzavi? According to the texture of the gazelles, it seems that this is achieved through the meaningful elements in the poem. The present research method is descriptive-analytical and based on library documents. In this research, after selecting this sonnet in accordance with Riffaterre's approach, the aforementioned poem was examined at the level of exploratory and retroactive reading.Then, focusing on retroactive reading, with the aim of discovering the origin of the poem, the selected sonnet was analyzed according to two meaning-making systems, "accumulation process" and "descriptive system".The results of the research indicate that in the "accumulation process", poetic interpretations in the vertical axis and metaphorical relationship revolve around the concept of "lack of communication" and in the "descriptive poem" the two semantic cores of "distrust" and "unsettled socio-political situation" inspire the poetic origin of the sonnet."Distrust" and "Unsettled socio-political situation" are manifested in this sonnet with images and combinations that are mentioned in this research. Finally, these descriptive processes indicate the main origin of this sonnet, which is despair.

The attitude of Attar Neishabouri to "Love" is mysticalā and non-intellectual. He considers the "Reason" ineffective at the love arena, and believes that for achieving love, one should pass from his/her intellect. But in contrast, Suhrawardi reckons love as the offspring of intellect and also believes that achieving the wellness is impossible unless through cognition and knowledge. From viewpoint of these two sages, love is alive in the universe and every creature, whether material or immaterial, enjoys its benefits. Indeed, love is the relation between creatures of the world. From standpoints of these two sages, the extreme goal of love is the annihilation at the beloved and introduction to love is the “Demand”, from viewpoint of Attar, and "wisdom" and "Kindness", from viewpoint of Suhrawardi. In the mystic attitude of these two sages, renouncing the self, fighting with passion and also unification are assumed as the effects and results of love. This paper deals with a comparative study about love from the point of view of these wise mystics.