journey

Journey has always occupied a unique position in world literature. The current paper investigates the concept of journey in children and adult’s narrative literature. Samad Behrangi’s “the Little Black Fish” concerns the challenges faced by the main character while passing through different stages of the mystical journey. The present paper aims at investigating the comparability of the stages of the Little Black Fish’s journey with that of the birds in Resalat Al-Toyur by Ahmad Ghazali. In the two works, the stages are not distinctively named. In Attar’s Mantegh Al-Tair, as an adaptation of Ghazali’s work, the seven stages of the mystical journey includes: quest, love, wisdom, independence, monotheism, amazement, indigence, and death. This framework is employed in comparing the aforementioned stages. The findings revealed that the stages are remarkably similar to each other. The major reason for the existence of such an incredible similarity was originated in the fact that they belong to mystical literature and cover the same theme of “Mystical Journey”. Last but not least, the similarity may also have its origins in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.
The Notion of “journey” has been always given a unique position among the other multiple interesting concepts in the world literature. The current study is an investigation of this concept (Journey) in both children and adult’s narrative literature. Fiction or narrative literature has played an important role in showing the impact of “journey” on religious, cultural, and social changes.
“Journey” has appeared in children’s literature, both in the form of physical and spiritual journeys. The story of The Little Black Fish is one of the few works that deals with the topic of spiritual journey in a pleasant and delicate way. This story comprises a lot of symbols that, if explained and decoded, reveal the deep layers of the story to the reader. In adult narrative literature, there are also works in the field of travelogues and spiritual journeys, the latter of which is referred to as a “mystical journey”. In the classical literature of Iran, a large quantity of outstanding works on “mystical journey” exist. Attar is one of the most prominent literary figures of Iranian-Islamic mysticism and his “Mantegh Al-Tair” is a masterpiece in Persian literature. This book is considered as an adaptation from Ahmad Ghazali's “Resalat Al-Toyur”. In the present paper, the primary focus is on the stages of journey in “Resalat Al-Toyur”.
The research questions are as follows:1) Is the journey of the “Little Black Fish” comparable to that of the birds?
2) Which of the stages on the journey of birds is comparable with the stages of the journey of the black fish? How can we analyze the journey of the black fish in the context of the journey of the birds?
3) What factors can influence the comparability of a work in contemporary children’s literature with a work in classic adult literature?
The story of The Little Black Fish is written by the famous Iranian writer, Samad Behrangi, and is referred to as one of the most important works of Iranian children's literature. This book was published in 1968. The story of The “Little Black Fish” was chosen from among various works of Samad Behrangi since it was his only work on the mystical journey. The “Little Black Fish” concerns the challenges faced by the main character in passing through different stages of the mystical journey.
Ahmad Ghazali was a mystic jurist and a jurist mystic. In The Resalat Al-Toyur, he has pleasantly narrated the journey of the birds to the King-Simorgh palace.
In studying literary works, the focus is usually on the text, the writer, and the reader. In the current comparative study, the authors could be divided into two groups of contemporary and classical. Readers also belong to two different groups in terms of age. However, the texts are well-matched since both are among the famous literary works of Iran and share the same theme of mystical “journey”. Both works also enjoyed an allegorical and symbolic language.
In Attar’s Mantegh Al-Tayr, as an adaptation of Ghazali’s work, seven stages of a mystical journey are engaged which include: quest, love, wisdom, independence, monotheism, amazement, indigence and death. This taxonomy was employed as a model or framework in comparing the stages of the mystical journey
In the current research, the stages of journey in “The Little Black Fish” (in the contemporary children’s literature) have been compared with the stages of the mystical journey of the birds (in classical literature). In the two works, the stages were not distinctively named. However, all seven stages of the journey of the birds could be identified in Samad Behrangi’s “The Little Black Fish”.
Amazingly, the classic framework of Ghazali’s and Attar’s mystical journey of the birds was so applicable to the story of “The Little Black Fish” that it seemed as if Samad Behrangi had artistically and delicately arranged the stages of the black fish’s journey in accordance with the stages of the mystical journey of the birds.
Behrangi was quite familiar with children’s language, and he was also familiar with the classical Persian masterpieces like those of Ghazali’s and Attar’s. It does not seem improbable that while he was writing The Little Black Fish, he also might have been thinking about the stages of the mystical journey of the birds. The process could also be of unconscious or subconscious type. In any case, what was found in the present paper indicated the high comparability of journey stages in the two works in Persian (children and adult) literature.
The findings of the current research indicate that the story of “The Little Black Fish” can be compared and interpreted based on the framework of the journey of the birds in Ahmad Ghazali's Resalat Al-Toyur and Attar’s Mantegh al-Tayr. It was realized that the stages of the journeys of the heroes in the two works were remarkably similar. The major reason for the existence of such an incredible similarity was found to be the fact that they belong to mystical-literature and cover the same theme of ‘mystical-journey’. Last, but not least, the similarity may also have its roots in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.

A subcategory of psychological critiques is Jung’s archeology critique through which the existing archetypes are examined. Archetypes are hereditary and refer to ambiguous and complicated levels of collective subconscious among humans. Having penetrated the collective subconscious, they become an inherent part of individuals’ psychological organization. One of the most practical and universally known archetypes, also known as the core of the sole myth, is Campbell's concept of "hero journey". As it is claimed in this archetype, the journey comprises three stages of departure, separation, and return, and the development of archetype in individuals’ psyche entails passing through the provided stages. Same as this subject, heroes in various legends appear in different forms that have a similar story. Through the integration of descriptive-analytical method, the current study aims at analyzing the myth of "Ahu bacheh" and "sister and brother" through the critique archetype of hero journey. Irrespective of the symmetrical and asymmetrical aspect of time, heroes in such legends are analyzed and their structural similarities will be uncovered. Hero’s journey in works of different nations follow a unique pattern. The awakening of the inner hero in the protagonist based on Campbell’s idea is a true representation of his theory of sole myth which leads to the process of transformation.

The archetype of the awakening of the hero involves his path toward perfection and dream of individuality with focus on some other archetypes. During the journey, the hero attains a profound understanding of himself and the ultimate meaning of life. The novel The Bamboo Stalk was written by the Kuwaiti writer Saud Alsanousi and is worth examining with a focus on the evolution of the protagonist. The current research aims to study the process of a character’s (Isa) evolution in The Bamboo Stalk, using the archetype of the hero’s journey and then answering the question ‘Which archetypes of a hero’s journey are found in this novel?’ The Bamboo Stalk has not been examined via the lens of archetypal criticism yet, and the present research seeks to analyze this work through the viewpoint of the hero’s journey archetype.

To expand Joseph Campbell’s ideas in The Hero with a Thousand Faces, Carol S. Pearson and Hugh K. Marr, in a book entitled “My Graceful Life”, studied the hero’s journey plot, which is a pattern of the development of individuality. They believe that the character attains a deeper understanding of himself during this journey and eventually becomes aware of his talents and the intended meaning of life. Pierson proposes twelve archetypes and believes that, in each phase of human’s life, one of these archetypes dominates a person’s life. Overall, he classifies the mythical path of every individual into three different parts, each of which is associated with its own especial archetypes. Using these ideas and a descriptive-analytic approach, the current research explores the process of Isa’s personality evolution and development in the novel The Bamboo Stalk.

The research findings indicate that the plot of The Bamboo Stalk involves the hero’s journey. In this novel, the procedure and process of individuality development are highly visible through the archetypes. During the journey, Isa actually shifts from unconsciousness to self-consciousness. In the first phase, he faces numerous obstacles and problems to start the journey. He starts the journey as an innocent character, expecting others to provide him with the most ideal kind of life. Also, due to suffering too much pain and misery, he experiences the orphan archetype.Through this journey, Isa gets more and more experienced, dealing with numerous difficulties and experiencing the archetypes associated with this phase of the journey. As an annihilator, he causes too many troubles for his family. As an adventurer, he looks for the answers to his questions as well as his true identity on this journey. As a family-oriented person, he brings peace to them. In his childhood dreams, Kuwait was considered a heaven-like place, where he could make all his dreams come true. In contrast, this is where he goes through a hard time for several years because, despite having various properties, he did not feel at home there. Yet, as a result of all this hardship, his character and individuality are developed.Isa is a magician who finds his intended identity by changing his viewpoint. However, this identity does not depend on a specific nationality or religion. Isa is a wise man who switches between his motherland and fatherland as well as their different religions and languages. He finds the solution to this problem in the course of this story. After getting acquainted with various religions, he concludes that all of them are satisfactory enough. The dominant archetype lets him write his novel in Filipino language, despite having both Filipino as well as Kuwaiti identification cards. At the end of the story, he is an adult male who is the father of a kid in the same field where his grandfather grew up once. He names the kid after his father and the fatherland. His return to the place that he adores is a representation of clown archetype.

The study of the process of the evolution and development of Isa’s personality in the novel, The Bamboo Stalk, indicates that this process is generally consistent with the hero’s journey archetype. In this novel, the hero overcomes his personal and local boundaries; he dies as a person without identity, still searching for one. Yet, as a perfect human being who belongs to the whole world and cherishes every nation, he is reborn. His crucial mission is to return to his motherland with a new thought system to teach the lessons he had learned while living in Kuwait. In this way, he experiences all the archetypes associated with this perfection journey.

The archetype of the hero and his travels have been always considered among peoples and nations from ancient, time and people have long made and paid homage to their national, religious or cultural heroes. Joseph Campbell’s purpose in expressing the theory of the hero’s journey is to retell some facts that were hidden under religious forms and myths. He has realized the need for a hero in the narration of a brave animation for a child. This study inspects the hero’s journey in brave animation, and because heroes are the ethnic models and symbols of nations, their presence in stories is essential. As a result, it can be deduced from this animation that its narrative model is compatible with the theory of travel of the hero Joseph Campbell. The protagonist has the characteristics of a mythical female protagonist, such as courage, bravery, fearlessness, shooting skills, and horseback riding. As no man can deal with her. All these features make Merida a mythical and special girl, and her storytelling is also considered to be completely archetypal and mythical.

Conceptual metaphor in a cognitive semantic approach seeks to express abstract concepts in the form of tangible concepts. The Holy Qur’an, with its metaphorical nature, has presented to humanity a very complex concepts of the unseen, such as the abstract concept of the Hereafter, in a simple and recognizable language. The present study, with a descriptive-analytical approach, conceptualizes the systematic correspondences of the source realm on the destination realm in this conceptual metaphor based on the conceptual metaphor theory of Lakoff and Johnson with the conceptualization of the nomenclature of "The Hereafter is a journey" in the Holy Qur’an. This nomenclature is one of the most suitable metaphorical patterns to depict the "Hereafter" as the abstract sphere of destination in the tangible structure of "Journey" as the origin sphere.Mapping the source realm to the destination realm forms the main framework of the present study. The nomenclature "The Hereafter is a journey", with a systematic look and creative imitations, makes the complex and unknown concept of the vast and unknown abode of the afterlife understandable and tangible in the structure of the objective and known concept of journey. The components corresponding to the pillars of the journey to the Hereafter are divided into four parts. In this article, the authors identify these conceptual correspondences from the realm of origin to the destination and draw a mapping diagram of the provisions of the territory of origin to the destination.

Spiritual journey can be considered as the most important pillar of Sufism and mysticism and as the feature distinguishing it from other religious systems. So, a great part of Sofieh teachings has been centered on defining and explicating this spiritual journey. Existence of different steps in the evolutional journey not only superficialy indicates the existence of rituals, attitudes and educational systems, but also is in depth an influence of Sufis’ ontological view (as the one who plans the journey for his followers). Therefore, the place of God and Man in the hierarchy of the being and the relationship between these two plays a crucial role in howabouts of the journey.

This research was conducted in a descriptive-analytical manner using library resources.

Shams Tabrizi is one of the influential Sufis of the middle Ages. He is also regarded as an innovative and creative mystic in areas of anthropology, theology and ontology. In many regards, for example in terms of spiritual journey he has new and innovative ideas that deserve more attention. He believes that man has fallen apart from his true place, which is Khaliftulah. Therefore, he can regain his position through doing some actions and avoiding some other actions.

Shams’ teachings regarding spiritual journey can be divided into two categories: 1) What the seeker should pay attention to on the outside and in the material life (human journey in society) & 2) what should happen in the heart and mind of the seeker (inner journey). In the first case, what is most important is the feeling of an inner need and a relationship based on love and knowledge of hijab, and te external requirement which must be observed by the seeker is choosing a guru.

Examining the author’s cogito, which is his consciousness, is a common research strand in literary criticism and has been the focus of many renowned authors. Louis Ferdinand Celine made use of this in his novel Journey to the End of the Night through repetitive themes. According to Georges Poulet, individuals gain knowledge of the world in accordance with their surrounding world. For Poulet, place is one of the fundamental categories of communication with the world. The author’s world consciousness, as Poulet maintains, can be uncovered by the analysis of narrator’s perception of the place. The present work follows an analytical-descriptive approach and aims to exploring author’s cogito in Céline’s Journey to the End of the Night according to Georges Poulet’s theory. The study hypothesizes that the way the narrator describes space and place can reveal the author’s cogito, which is a reflection of Bardamu’s relationship with the author’s perception of the world. In this autofiction, the narrator recounts his life, wanderings and travels in different places.

This study, based on the theory of Joseph Campbell's monolithic theory, analyzes the symbols of the story "Talkhoon" by Samad Behrangi. Campbell, for the mythological heroes' journey, attempts to find individuality, a pattern that has been composed of three main stages of departure, initiation and return. Behrangi depicts thedeparture of self-conscious nightingalein the form ofTalkhoon’ssymbolic journey. Ah is a messenger who, through a businessman, invites Talkhoon (self-conscious) to travel. Talkhoon and unconscious (the young man) in the first stage crossing the threshold and before they pass through the road of trials, they get married (magical marriage). With the young death, Talkhoon with the help of Ah who has appeared in the wise old man, begins another journey from the slave market with the messenger and fights with greed and lust dragons through the path of initiation and after kneeling with self-dragon, with chicken feather and water, which is a symbol of the "final blessing" of his journey, returns to revive his unconscious. His return, with the help of the "messenger", shows his freedom going and coming through two self-conscious and unconscious worlds. This symbolic story has much to do with Campbell's theory; with the difference that the meet is done twice. Once before passing through the initiation, and once again successfully passing through the road of trials and after receiving the final blessing.

One of the most obvious and varied characteristics of mysticism, mystical works and lyric prosaic works is changing personality. Changing personality development is also an important issue in mysticism and lyric prosaic works so that it approaches personality evolution through an intricate process. In mystical works and lyric prosaic works, more specifically in Shams Tabriz’s discourse, the evolution of personality is revealed in various forms. The mystical changing personality in Shams Tabrizi’s discourse, like the hero of the epic genre has a variety of tools at his disposal however, simultaneously, he is distinguished from an epic hero. In Shams Tabrizi’s discourse, changing personality through a mystical journey complements his personality traits. He has to begin this journey to reach the evolution or get to the ultimate goal but in Shams Tabrizi’s discourse, starting the journey is contingent to passing other stages. These stages call the changing personality through the inner voice in a way that he lapses into unconsciousness. After passing these stages, the changing personality takes steps in a difficult journey full of barriers; these barriers are varied in the mystical journey of changing personality and are appeared in various forms for the mystical changing personality. Sometimes the changing personality’s steps are barriers for him; this volatile makes personality separate in the changing personality. This study employs descriptive-analytical methods based on structuralism, uses Shams Tabrizi’s discourse, and intends to study the changing personality in the evolutional process and to formulate theories of repeating the changing personality starting point at the end of the journey and moving out the stagnation of the changing personality variable character in the evolutionary development.

One of the most important, obvious and varied characteristics of mysticism, mystical works and lyric prosaic works is hero archetype. Hero’s development is an important issue in mysticism and lyric prosaic works so that hero archetype approaches personality evolution through an intricate process. In mystical and lyric prosaic works, and more specifically in the Conversations of Shams of Tabriz, the evolution of personality is revealed in various forms. The mystical hero in the Conversations of Shams of Tabriz, like the hero of the epic genre, has a variety of tools at his disposal but at the same time, he is distinguished from an epic hero. In the Conversations of Shams of Tabriz, hero’s mystical journey complements his personality traits. He must begin this journey to reach the evolution or get to the joiner but in the Conversations of Shams of Tabriz, starting the journey is contingent to pass other stages. These stages call the hero through the inner voice in a way that he lapses into unconsciousness. After passing the aforementioned stages, the hero sets foot in a difficult journey full of barriers, while these barriers are varied in the mystical journey of hero and appear in various forms to the mystical hero. Sometimes the hero’s own steps are barriers for him; the variability of the barriers brings changes in the hero's personality. This study employs descriptive-analytical methods based on structuralism, uses the Conversations of Shams of Tabriz, and intends to study the hero archetype in the evolutional process and formulate theories of repeating the hero’s starting point at the end of the journey and moving out the stagnation of the hero’s variable character in the evolutionary development.

In Persian literature, travel or journey is mentioned in the poetries with two physical and mystical dimensions, the spiritual dimension which is called internal, spiritual and esoteric journey, is the main idea of ​​mystical literature. In the present article studies the ideas of the two great sources of Sufism, Sana’i and Rumi in this regard. They have seen their mystical mission in putting man on the path to knowing their divine identity; therefore, they recommend an inner journey. The obligatory journey of man is his descent from the Alawite world to this world, and man must try to return to that world again with his inner journey; its etiquette is to abandon worldly lusts and mystical behavior by following the old guide; it can be examined with the archetype of the hero's journey from this perspective.

Medical specialists, patients and their families, and the media use descriptive language to express and transfer the effect and experience of cancer and conceptual metaphors have an important role in understanding different aspects of conceptualizing feelings and emotional experiences. In cognitive linguistics, conceptual metaphors play an important role in human cognitive system and unlike the past, they are not restricted to literature and are not considered just the tools for aesthetic purposes of the texts. Using the cognitive linguistic approach, the present paper tries to investigate conceptual metaphors used in medical papers about cancer written in Persian language. The results show that some medical concepts of cancer are expressed through conceptual metaphors and Persian speakers use different source domains such as “cancer is battlefield”, “cancer is journey”, etc. to express medical concepts of cancer and these metaphors may have positive or negative effects on the common opinions about cancer.

The journey has always been one of the topics of mysticism and Sufism, and mystics have long traveled to purify themselves. In fact, mysticism and Sufism are kinds of journey and experience in which one feels God in himself, while he is in a nonsense status. Many of the famous Sufi figures have combined Afaq and Anfos (Extrovertive and Introvertive journeys) and used the apparent journey as an introduction to the inner journey. On the other hand, in most of Sufism books, parts or sections are devoted to the apparent journey and expression of its customs and conditions. Since Islamic teachings have paid special attention to journey, the mystics and Sufis have also paid attention to this matter in their works and speeches. With a careful look at the works of Attar Neishaburi, a very important point manifested is that Attar in his works has experienced some kind of Extrovertive and Introvertive journeys, and even sometimes tries to describe a glimpse of what he has seen in these journeys. This descriptive-analytical study attempted to analyze the ‘journey’ in the mystical texts, and its customs, conditions, and accessories based on Attar’s poetic and prose works. The results of the study showed that the main purpose of the journey is to oppose sensual whims, to nurture and transform its vicious traits into pleasing traits, which are pursued more seriously in Extrovertive and Introvertive journeys than in any other ones

This article is an archetypal study of hero's journey in the story of Little Black Fish by Samad Behrangi. Campbell has considered three stages for the hero's Journey: Departure, separation and return. He believes that the development of archetypes requires passing through these stages. Pearson believes that twelve archetypes get active during these three stages. In the starting stage, archetypes of innocence, orphan, warrior and protector become active; in the second stage, seeker, destroyer, lover and creator and in return stage, the governor, wizard, wise and clown get active. This story can be considered as describing the individuation process of the little black fish. In this narrative, the little fish, influenced by an old snail hoping starts his journey to reach the sea that is a symbol of his unconscious to meet with anima. The symbolic end of the story has prevented the return stage; hence, the archetype of wizard is not manifested in the transformation of the hero.

Dasein is a lonely, individualized human who releases himself from both inauthentic being and immersion in mass crowd (Kierkegaard), horde (Nietzsche) and Das Man (Heidegger) with his own choices, and prepares many possibilities and situations against requirement, certainty, and necessity for himself too; the possibilities that separate him from happenings of life and move him towards transcendence. Boundary/crisis situations like pain, suffering, despair, failure, fright, journey, ageing, death, and so on are the best conditions for confronting the self and existential borders; fragile situations which by disintegrating fixed mindsets, established schemes, and packed experiences pave the way for taking a leap towards self-understanding. The present article explores the life-journey model of flying Shams considering existentialist philosophy key concepts (authentic self, individuality, choice, possibility, lived experience, movement, boundary situation, journey, and death). By analyzing quotations and manner of living of Shams, it explicates the ways by which Shams experiences and lives the journey as life, with a conscious choice, and in this inner experience and personal world (Sartre) breaks himself off from everydayness and mediocrity and moves continuously towards the transcendent and infinite with consciousness, self-knowledge, and subjectivity. Journey is the best option for Shams to remain anonymous, non-adherent to repetitive and public norms and forms, and to experience boundary situation. One of the most important boundary situations, which is more likely to encounter during a journey, is understanding the death presence as the most fundamental option of Dasein. In moving towards death, Shams experiences existential development, desires death, and also by observing the instability of possibilities and finite affairs of existence his faith to absolute truth becomes harder and firmer.

in Persian literature, traveling has been proposed in the poems. The spiritual dimension which is known as the internal, spiritual, and inner traveling desire has been originated from the thoughtfulness principal of mystic literature. This journey’s destination is God which finally ends up with decay in God is known as a type of rebirth of the faithful follower (called survival after death). All efforts of the mystics revolve around the guidance of human being to this route. If we investigate the thoughts of the mystics during the pass of centuries, we can come across a thought bond within this relationship. Each poet has emphasized about inner journey in a different way but referring to the same concept. In the present research the thoughts of two great figures in mysticism, Sanaee and Molavi, about traveling . The results showed that both poets have understood their mystic responsibility in a way that they considered themselves responsible to guide human beings to enter the route to know their divine identities. Therefore, they have stressed on inner journey. The obligatory journey of human being has exiled him/her from the divine world into this world and human beings should try to re-enter that world through inner journey. To do so, human being should abandon worldly pleasures and should enter mystic routes with the help of a leader. Regarding this view, we can refer to the ancient pattern of heroic journey to the mystic world

Based on Joseph Campbell's single-mythological theory, the hero's journey begins after an invitation from the archetype of the hero in the unconscious, followed by the hero's stretch from the community (the mind of the consciousness), and the teaching of special doctrines in unfamiliar lands New capabilities come to an end, and this journey with symbols and symbols in ancient dominant patterns of societies is drawn. The hero obtains the capability of arresting and guiding others after returning from the journey. In this descriptive-analytical study, after describing the stages of the journey, the story of the time of fault (the work of Mohammad Reza Kateb) and its adaptation to Joseph Campbell's theory are discussed. In this novel, "Eyebrows", which is the main character of the story, is as The hero is separated from his own people by his unconscious call, and on the mountain, which is a symbol of the distant land, he is undergoing special stages of education, so that he deserves to be reconciled to himself, Return, the myth of the heroine of the rally in support of the impotent people (in the term "Ant and Collar").

Objective voyage is one of the most important issues of mystical literature. The value and importance of this topic has been such a place in Sofia Which has led many Sufis to devote part of their book to discussion in this field And discuss the various motivations of travel planners and travel terms and conditions This book is one of the most prominent books that Attar Nishabouri has written about hundreds of Sufi elders. In this book, along with the expressions of these mosques, he mentions some of their traditions, including the course of the journey that has been used for various motivations between these Mashhad Some of the motivations of travel, such as the trip for pilgrimage to the Hajj or the pilgrimage, are more frequent among the elders of Sufi Tazkera al-oulia than other motivations However, the common theme of these trips is that with any motivation, it eventually leads to self-esteem for esoteric evolution In this essay, we try to examine the motives of these elders in the Old Testament, as well as the evidence in this regard.