فصلنامه ادبیات عرفانی و اسطوره شناختی
سال پانزدهم شماره 54 (بهار 1398)

The reversal of affairs or inversion of meanings is the base of many ideas of Abū-Saīd Abul-Khayr in his book, Asrar al-Tawhid (The Mysteries of Unification). They can explain one of the most important reasons of attractiveness of this highly valuable mystical book. So, in this paper, first of all, some kinds of inversion of meanings are introduced, cases like preferability of wealth over poverty, the superiority of joy over retirement, superiority of tolerance over revenge and etc.. One of the main reasons for this kind of attitude is the adherence to intoxication (sokr) against sobriety (sahv) in Abū-Saīd's ideas. When he promotes moral values, explains his own states or others' moods and caters to the spiritual and material needs of all people, he uses literary language and has different approaches to the norms of his contemporaries. In this way, depending on the audience's position, Abū-Saīd chases a red herring. By using this method, he struggles with the Sufi pride of his age. In the present article, the research methodology is descriptive-analytical method. Also, new findings about Asrar al-Tawhid are taken into consideration.

The concept of "the other" came to literature and was introduced to literary theories through Mikhail Bakhtin. According to him, among the literary genres, it is only in the novel, specifically Dostoevsky's novels, which the possibility of dialogue and the presence of the other are provided. Also, he suggests that genres of epic and tragedy, like Tolstoy's novels, lack dialogic characteristics. He believes that the foundation of epic works is based on elimination of the other. In the present article, the attempt has made to show the representations of "the other" in Shāhnāmeh based on a deconstructional and negative approach to the theory of Bakhtin. These representations can be studied with respect to the following issues: 1) the creation of Shāhnāmeh as a voice versus the prevailing voice; 2) Shāhnāmeh as a meeting point of various genres; 3) institution of championship versus institution of kingdom; and 4) marriage with foreigners. They indicate to the presence of "the other" and the existence of dialogue and polyphony in Shāhnāmeh

According to one of Iranian myths, Khvarenah (splendor or Farrah) separates from Jamshid in the disguise of a Warghan (Symorgh or falcon) and is released to Mitra, Fereydoun and Garshāsb. It is one of the ancient mythological underpinnings that has a strong reflection in Iranian mythology, epic and story-telling texts (naqqali). A mythological underpinning undergoes a variety of alterations- based on the temporal and spatial context- in its journey from the world of myth to the logical sphere of epic so that it would appear rational to the minds of readers. Then, in changing from epic to folk literature, has been transformed in accordance with the taste of people. Therefore, a mythological motif distances thematically from its origin to such an extent that it is difficult to locate its roots. In the present article, the attempt is made to consider the nexus of Jamishid’s talisman with separation of his Khvarenah and its releasing to Garshasb in the following heroic poems and story-telling scrolls (tumār): Sām-nāmeh, Garshāsb-nāmeh, Bahman-nāmeh, Farāmarz-nāmeh, Jahāngir-nāmeh, Shahryār-nāmeh, Tumar Naqqāli Shāhnāmeh, Tumār Haft Lashkar, Tumār Kohan Shāhnāme Ferdowsi, Tumār Shāhnāmeh Ferdowsi, Zarrin Qabānāmeh, Tumār Sāme Savār va Dokhtar Khāqān Chin. According to the authors of this paper, the attempts of Sistani heroes to open the talisman of Jamshid and to get the treasure or the sword embedded in the talisman are symbolic representation of releasing the heroic splendor (Khvarenah) from Jamshid to Garshāsb and it is presented as a metamorphic form in heroic poems and story-telling texts (naqqali).

The concept of love has been discussed in literature, but the cited theories have not been employed for its analysis. Love is one of the concepts that writers have paid attention to it in order to create their works. Attār Neishapouri is one of those who hase spoken much of the concept of love in his works. In Mantegh-Al-Tayr and in its anecdotes, he presents a special kind of love. One of these anecdotes is the story of Sheikh San'an, in which love is introduced as an effective element in advancing the story. In the dramatic literature of Iran, much attention has been paid to this story due to its interesting features. In contemporary era, Mohammad Hossein Meymandinejad has adapted the fantasy play of Sheikh San'an from Attar's story. In the present article, at first, Robert Sternberg's theory of love is considered and then, based on Sternberg's theory, the anecdote of Sheikh San'an and the fantasy play of Sheikh San'an by Meymandinejad are examined in order to distinguish the dimensions of love in these two works.

Julia Kristeva has developed new approaches to analyzing texts by focusing on the theory of intertextuality and based on linguistics and psychology. According to the theory of abjection, derived from the post-structuralist ideas of Kristeva, literary creator, as a spokesperson, becomes estranged from abjects and offers solutions, including taking refuge in myths andarchetypes, to purify himself/herself and his/her community. In the present article, Heirani (Astonishment), a novel by Mohammd Ail Sajjadi, is analyzed based on the theory of abjection. The results show that the author has considered the archetypes, like water, anima, immortality, mountain and the number of seven as well as the mythical characters such as Siavash, Bahrām, Mehr and the sacred cow in order to get rid of individual and social abjects. In this regard, the novel has a mystical-intertextual relationship with the Shāhnāmeh and the story of Siavash.

In the present article, Hujwiri’s epistemological ideas about determinism, freewill and the related issues in Kashf-ol-Mahjub are analyzed. Some Sufis, such as Hujwiri, have come to this conclusion that epistemological explanations of their thoughts are essential to prevent intellectual and social deviations. So, in order to know the religious opinions of Muslim mystics, it is essential that their epistemological views be examined. According to Hujwiri, the issue of contraction and expansion refers to inner states and sensual feelings of man. But, his viewpoints about acts and areas of human choices and responsibilities are often influenced by the views of Maturidi.

By comparing Dante Alighieri's Divine Comedy and Islamic mysticism (including its Quranic, discursive and literary foundations), it is possible to find many common issues between their epistemological foundations. The present article attempts to consider the state of fear and hope in the preface of Inferno (the first part of Divine Comedy) and Islamic mysticism by using analytic-comparative method. The results indicate that the cantos of Inferno, like Islamic mysticism, refer to the need of a wise old man (pir-e dānā) in the spiritual journey, following him in the beginning of suluk (the spiritual journey) to reach rational knowledge, going along with him after helplessness and the inability of reason to attain the Truth. But, in Inferno, contrary to Islamic mysticism, the concept of fear is prominent, love is seen less and fear of punishment is more prominent than fear of God's cunning. The reason for these differences is that Dante was influenced by the teachings of the Church; he was scared of God and was obliged by religious laws.

The most important reason for the survival of mythological characters is the transformations that each character or mythical narrative has experienced over time. Jamshid is one of the ancient characters in Iranian literary and mythical texts that many mythological narratives and themes are devoted to him. As the present research shows, the primary basis of the story of Jam dates back to the Indo-European period and its process of transformation takes place in Islamic era. In this metamorphosis, all the elements of the evolution of a myth, namely, fracture, transformation and integration are seen. Also, the divinity of the Vedic Gods and mysticism of Islamic period can be detected in the metamorphosis of the myth of Jam. The present article attempts to show all changes that have befallen this Indo-European popular myth in the context of Iranian culture. Jamshid is a figure that descends after the advent of Zarathustra, but he reborns and becomes exalted because of his longtime popularity.

In Fakhr al-din Iraqi`s epistemological system, the pantheistic viewpoint of the creation of the universe is appeared in the form of adoration of the sensible beauties and as the Good`s manifestations. By using descriptive-analytic method, the present paper tries to make an epistemological explanation to the perception of Beauty in the thoughts of Iraqi; so it first determines the rule of Beauty and then the phases and purpose of perceiving it in his thought. The research shows that according to Iraqi, the perception of the sensible beauty leads to recognizing of the Good in His manifestations. Divine providence causes man perceives the sensible beauties as the Good`s manifestations and the cognition ofHim begins; the context is provided for the Perfect Man and the spiritual journey (suluk), the attraction by God and the union are realized. According to Iraqi, the epistemological cognitive phases of the Good`s manifestations- which are equal to the phases of loving Him- and the existential transubstantiation are simultaneous.

The disappearance of the heroes and protagonists is one of the noteworthy points in Iranian fiction. At first, the current study analyzes some literary works of various nations and then, concludes that similar examples of "the disappearance of the heroes" are found in the literature of other nations. Also, it concludes that the subject has been a common theme among different ethnicities from the prehistoric to the current era. The next step is to explain the reason for this similarity, supporting the hypothesis of commonality in the literature of various nations. The authors consider the subject of "the disappearance of the heroes" from six different aspects and tries to answer these questions: What are the characters of heroes who disappear? Why do they disappear? What is the connection between the heroes and the place of disappearing (cave, mountain and etc.)? Since the subject of the present study fits well with archetypes of hero, time, journey, immortality, death and reborn, return and etc., the subject of the disappearance of the heroes and protagonists are studied by using the archetypal criticism following the theories of Jung, Eliade and Campbell.