نشریه جستارهای نوین ادبی
سال پنجاه و چهارم شماره 1 (پیاپی 212، بهار 1400)

There are three main views in the study of "allegory": a) In the "rhetorical" view, allegory is a literary industry that rhetorical scholars examine under the science of expression and has an aesthetic function; B) In the "cognitive" attitude, it is a cognitive phenomenon that plays an important role in organizing human concepts and thinking, and what appears in language is only a manifestation of that cognitive phenomenon; C) In the "discourse" view, allegory is a powerful tool that social activists use based on individual and social sources and to legitimize their discourse and reject rival discourses. Throughout the history of Sufism, Sufis have always tried to give allegory to the spiritual elements of their mystical experiences through allegory; But each allegory represents mystical concepts in a certain way. Relying on such an attitude and using the methodological foundations and tools of Laclau and Moff's theory of discourse, the present study examines the function of Sufi allegorical discourse on the concept of "obedience and worship" in Sufi expression. From a discursive point of view, in the early periods of Sufism, allegories are interdisciplinary in nature; That is, identities and concepts are often formed around signs that emerge from the common discourses of that period or even discourses outside the discourse of Islamic religious sciences. But in later times, the Sufis sought to reject the meanings of rival discourses by constructing concepts and identities, and to construct new networks of signs.

Farzand-Nameh is one of the ancient examples, universal, most frequent, and recurring subspecies of the didactic literature genre Which has not been academically addressed in typological discussions in Persian literature research- and perhaps in world literature-. One of the main conditions of the comprehensive definition and barrier of the child letter It is for the creator of the work to state explicitly that he is writing the letter or book for the child and there should be signs of the child being present and addressed throughout the text. in this research, Ensuring the repetitive and ancient examples of this literary subgenre in the world Literature, Farzand-Nameh is introduced as a sub-genre And Reviewed and drawn extra-textual indicators(Title, Motivation Author, Introduction, Chapter, Background) And its in-text features (Emotional introduction, Special attitude towards boys, Worried about using advice, Emphasis on the content of the book and letter, Parents' experiences, Proud of themselves and their ancestors, Expressing the author's childhood memories, Expression of the tradition of counseling, Simplicity, and brevity).

Local rulers, clerks, mystics, and scribes in Islamic Iran played an important role in preserving the Iranian heritage, traditions, culture, and ideas. This class, commonly known as the Diwans, played the role of mediator between the kings and the body politic, and their idea became known as the Iranshahri idea. In the Safavid period, the Diwanis and writers were known as Tajiks and Iranians, and their Iranianness was due to their Persian-language, lineage, and support for Iranian culture. The behavior of the Tajik class and writers is freedom and liberty, happiness, esotericism, and the pursuit of moral perfection, collectively known as the "mixed breadth" in Safavid literary and historical works. In this article, we have expressed the important structures of the Musharraf breadth discourse, analyzed its Iranian foundations, and by reviewing the beliefs and behaviors of the Tajik agents of the Safavid government, we have restored the Mashregh breadth discourse in their behavior.

To shed light on the real belief of Abu Hamid Al-Ghazali about political rulers, authors of this paper study the presence of political rulers as the Other in Al-Ghazali's letters. After appointing those parts of the text in which he encounters with political rulers as the Other, we introduce Al-Ghazali's tools for giving a negative presentation of them. Considering his way of using these tools, we enlight that Al-Ghazali's view of political rulers as the Other is oriented to the feature of "being misguided" and indicates his pity. So, instead of squashing and combating the Other, Al-Ghazali uses most of his strategies to encourage the Other to change. Among the two groups of "kings" and "ministers", Al-Ghazali usually engages in ministers and his caution and consideration causes the use of the techniques that increase the text's interpretability. The influence of Al-Ghazali's philosophical studies is apparent in his considering about the chance of change for the Other, using irritation adverbs and the text's high unambiguity.

This paper presents the reflection of a dialectal feature in a hemistich of Shahnameh. The hemistich, which reads: “Be aab-e dow dideh nabayad gerist”, appears in the tragedy of Rostam and Sohrab, the mythological father and son in Shahnameh. Most of Shahnameh researchers have not been able to offer an interpretation for the hemistich. And a few accounts, which have been offered, do not seem acceptable. The findings of this study suggest that the difficulty of this hemistich stems from the use of the Persian word be (not to be mixed with be /bi/, the English linking verb) in the sense of rare and hard-to-find. The explanation is that this morpheme is not associated with the preposition be in Modern Persian (meaning with or to), which is derived from Mid-Persian Pad. In fact, it is the dialectal variant of abē in Mid-Persian, which is an equivalent of bi or Bedune (meaning without). Thus, the figurative meaning of the phrase be aab-e dow dideh geristan (crying without tears) is “becoming helpless and despaired”. Moreover, this hemistich is taken from a local idiom, which is still used in the same sense as that used in Shahnameh. The idiom has survived in the form of two phonetic variants, namely: "be ow dida girya kadan" and “be âw dida čixrâ mukuna'' in some Grand-Khorasan Dialects. The dialectal data used in this study were collected through field research and by means of dialectal descriptions.

One of the important elements of poetic speech is its music, which is demonstrated in three areas of external, lateral, and internal music. The term "spiritual music of poetry" by Professor Mohammad Reza Shafiee Kadkani has a history of more than three decades, which has been presented in all editions of the book "Music of Poetry". In this paper, arguments presented this plan is studied. The conclusion is that the reliance on the interpretation of the word "music" by the Akhavan Al-Safa in "Resa'il" and also the discussion of the art of " Pun of spiritual" in some original books cannot be a strong foundation for the term spiritual music of poetry. Because the interpretation of Akhavan Al-Safa has a taste aspect and not a scientific one; And the basics of the art of " Pun of spiritual " are quite different from what is said about "spiritual music."