dynamic discourse

One of the significant parts of the mystical language is mystical paradoxes called Shath. It is possible to analyze mystical paradoxes using the model proposed in this research based on dynamic discourse. This pattern shows that one of the reasons for violating the norms of language in mystical paradoxes is the attention paid to the telos in the language and thought of mystics. The purpose of this research is to propose a model for the interpretation of mystical paradoxes from an epistemological perspective. The basis of this model is founded upon the mystics' teleological and transcendental views about man and his existential truth. Based on this, by examining the categories of identity/ becoming, and attainment/ telos, we have explained and analyzed the ability to interpret the mystical paradoxes based on the model of dynamic discourse. The mystic's specific outlooks at the gem of man’s existence and knowing its value has caused his words to take on a kind of abnormality in the eyes of superficial thinkers. However, his passionate paradoxical words and actions are the result of mystic’s belief in the fluid and dynamic nature of his identity, which does not stop going on despite of reaching a certain destination, Indeed, the constant dynamism, becoming and transformation are a part of the nature and truth of his being. Since mysticism is synonymous with transformation, dynamic discourse, due to its dynamic nature and constant movement as well as its inclusion of such concepts as becoming and telos,

One of the characteristics of Rozbahan's mysticism, one of the mystics of the 6th century, is his special attention to the subject of love and the description of its stages. The description of these stages has led to the creation of a special mystical language in Abhar Alasheghin. Abhar Alasheghin which deals specifically with the subject of love, is the result of Rozbahan's mystical experiences and tells the story of the constant seeker. The experience of these continuous "becomings" takes on special characteristics when it flows in the context of language. The analysis of his characteristic mystical language in different stages of the seeker's transformation in the stages of love is possible by using the dynamic discourse model. This pattern shows that the mystical language of Abhar Alasheghin is not static and its foundation is on transformation. The purpose of this research is to clarify the dynamic path of the seeker's mystical experience in the way of love and in the context of language. Based on this, this research examines the "identity" and the path of "becoming" a seeker. By using the semantic square, part of the process of transformation in the word can be examined. This study reveals that the identity of the seeker is a mystic who has reached the point of annihilation of attributes, but satisfaction with human love and stopping in that veil is his path. The goal of the seeker's journey is to see the manifestation of divine beauty in the form of a human lover and to reach the annihilation of nature and monotheism. The effective verb "to want" appears when choosing between two ways of stopping or moving. The effective verb "to stand" is manifested in the determination of the God in putting love to the test. But it is possible for the seeker to reach the subject of "ability" and the essence of observation and connection to the grace and attraction of God, not the will of the seeker.

In the development of narrative analysis, three stages in the field of narratology can be enumerated: Vladimir Propp's morphology, the logic of Claude Bermond's possible narratives, and the semantic narrative of Greimas, which originated in the Paris school and merged with semiotics and led to semantics. Discourse and Narrative Semantics is the result of the structuralist semiotics of Saussure and Pierce and poststructuralist semiotics. Sign-semantics considers narrative text as a coherent and meaningful collection in which there is a directional flow and the structure of such texts makes the text static dynamic. It turns into identity, perception, value, and action. The semantic implications of this development are the intra-verbal and extra-verbal factors, practicality and dynamism, spatial and temporal space of speech and action relation, and the role of effective verbs in this novel. The result of this research is that in Gypsy by Fire, the actor is placed in an emotional capacity and enters the stage of Shush within the framework of narrative discourse process and the discourse components of this novel sometimes cause the text from narrative-semantics to narrative level.