فصلنامه متن پژوهی ادبی
پیاپی 96 (تابستان 1402)

The flow of mystical poetry flourished after the emergence of prominent poets, especially Rumi, and also after the Mongol invasion. One of the famous poets is Qasim Anwar, who was famous during his lifetime. The multiplicity of manuscripts available from his divan confirms this to some extent. In this article, we examined the effectiveness of the poet's lyric poems from Shams Molavi's lyric poems at three linguistic, rhetorical, and musical levels with descriptive and analytical methods and an intertextual approach. And we concluded that the poetry of Qasim Anwar, under the influence of the literary tradition before him, is often devoid of poetic passion and resembles poetic scientific interpretation of mystical issues with the specific linguistic dictionary of Sufis, revolves more around imitation and repetition and is devoid of creativity and initiative and his words and those of his contemporaries follow tradition.

The aim of the present study is the stylistic investigation of prepositions in Khaqani’s qasidas. Prepositions with their vast semantic range are among the influencing language constructs that give identity to other language elements including nouns, verbs, adjectives, and adverbs. To deal with different meanings of prepositions in different constructs that is a kind of stylistic deconstruction and a stylistic feature is among the aims of the present study. To do so, the Khaqani’s qasidas were studied and the items that were considered important and compatible in terms of usage and relevance to the topic under study were extracted and investigated according to layer stylistics. The results of the research indicate that Khaqani placed equal importance on prepositions compared to other language elements and took into account their vast semantic range. He also promoted their use from grammar level to rhetoric and transformed them from almost neutral elements to key and non-substitutable elements. Khaqani has also the special and unique liberty to use prepositions. Finally, there are rare usages of prepositions in Khaqani’s Divan that are utilized in special dialects of Iran and are not found in the Standard language anymore.

After the spread of rationalism and rationality in the Renaissance, the importance of the concepts of poetry and poeticism in various literary works decreased day by day and any irrationality and "madness" was confined within the sanatoriums. Desperate for the results of western rationalism, modern writers tended to look at the semantic, subjective, and non-figurative aspects of poetry in fiction in order to both confront the prevailing wisdom and represent the outcry of "madness" in the form of modern fiction. From the point of view of modern theorists, "poetry" in its new definition was generally associated with an interest in abstraction and irrationality and the rejection of common standards in literature. In this article, we have tried to show the concept of "poetry" and its relation to "madness" through the stylistic components of modern stories in the novel "Shazdeh-Ehtejab". Findings show that in Golshiri's novel "Shazdeh Ehtejab", "poetry" through components such as anti-narrative, ambiguity, nonlinear timing, and attention to the metaphorical construction of sentences and elements such as "madness" and "death", takes the narrative out of the ordinary and in addition to making the text and atmosphere of the story poetic, it creates a meaningful and protesting relationship with the negation of rationalism and attention to "madness" in the modern era.

Metaphor is a concept of the fundamental categories of cognitive linguistics. A language category that is not just about words, and sublime cognition. Given that the mode of movement and the path of excellence in mystical teachings is in the language of the code. And mysticism is the artistic realm of language, meaning a system of allusions and since in cognitive theory, metaphor as a phenomenon has a directing presence in the whole of language. This means that one conceptual domain is known based on another conceptual domain. This metaphor has found its way into mystical poems. Emad Faqih Kermani, one of the mystics of the eighth century, in the Tariqatnameh, which he composed in ten chapters and each chapter in ten chapters on the etiquette and conduct and duties of seekers and officials and the mystics, considers the completion of love for the Almighty to be love. In this research, first, a report on the life of Emadeddin Faqih Kermani, Tarighatnameh, conceptual metaphor, and finally, the conceptual metaphor of love in the Tarighatnameh are examined. Since a conceptual metaphor has two movements from origin to destination, and accordingly, it has three meanings of positive, negative, and neutral, the result of this research is that Emad has been able to give new meanings to love through two means of transferring meaning and changing meaning, and by creating suspensions in the meaning of the words, leave the reader free to grasp broader meanings and interpretations.

Different researches about Mysticism usually take the mystical and religious function of this subject into consideration. However mystical and abbatial subjects have had different social, political, and literary functions further than religious functions. This article by considering the literary application of Naqshbandi mysticism wants to pay attention to another nonreligious function of this subject. For this reason, we have taken Maulana Khalid Naqshbandi's Persian written works and his effects on developing the Persian language out of Iranian borders. This research, firstly, in a descriptive and analytical way clarifies the reason and backgrounds in which Maulana Khalid uses the Persian language in his letters and works. Then he considers the publication domain of these letters to different parts of the Islamic world. Moreover, the social status of the audience of Maulana Khalid's letters and their role in the republishing of these letters outside the borders of Iran have been studied.

Gadamer evaluates Nietzsche's perception of the horizon as it is not possible to go beyond that. In the Masnavi, tales such as “Discrepancies in the Shape of the Cell”, and the story of “Johee, and that Child who Sang a Monody before his Father's Corpse”, are examples of the realization of the horizon in Nietzsche's notion of it. Because in these anecdotes, characters are subdued by their own limited horizons. Gadamer, in contrast to Nietzsche, considers the historical movement of human life to be the fact that human horizons are fluid and open and vary according to different situations and circumstances. Accordingly, Gadamer, in his philosophical hermeneutics, knows the foundation of understanding as the interpreter's horizons and the horizons of the text. The realization of such a concept is objectively observable as an example in the story of Mosa and the Shepherd in Masnavi. At the beginning of the story, Mosa (the symbol of the Tanzieh) and the shepherd (the symbol of the Tashbih) are each on their horizon. But in continue, and with the dialogue between these two horizons, the horizon of the shepherd and the horizon of Mosa, we faced with open horizons and a new hermeneutical situation, which is the fusion of horizons of Tanziah and Tashbih in the Shepherd and Moses.

Critical discourse analysis is one of the effective theories for analyzing the hidden layers of language and discourse. One of the main components for expressing the discourse goals is power. A famous theorist in the field of critical discourse analysis is Norman Fairclough who believes that power has an effect on social relations and discourse. In this research, an attempt has been made to explain the power in Khosrow and Shirin systems using a three-dimensional model of Fairclough. The main hypothesis of this research was that Nezami in Khosrow and Shirin has created a discourse appropriate to the power and social status of each character. Analyzing the poems of Khosrow and Shirin, it became clear that the different uses of words, the use of linguistic and grammatical aspects, the differences in persuasive methods, the different views of the characters in the story, and the ambiguity in speech depend on the difference in unequal power in the poems of Khosrow and Shirin.

One of the methods of the fictional literature critique is to examine the story's position on the basis of its narrative. Each fictional situation includes three aspects of "person, state, and vision." Investigating the features and analyzing the angle of vision and storytelling to understand how the narrator's "time, spatial, and psychological" views function is one of the topics of interest to the narratologists. In this research, a descriptive-analytical method with a look at the three functions mentioned, including the aspect and focalization and the personal status of three short stories with the theme of war from the second collection of stories "Yusuf" has been analyzed. The purpose of this study is to first examine the quality of the process of perception and belief in the narrative practice with the narrative position element. In the second part, we have tried to show how the placement of materials and narratives makes the audience think of the narrator's viewpoint and position in his mind. This virtual partnership, with the trust of the audience in the narrator through the personal situation, makes it possible for the audience to arrange the sequence of the story events in order to understand the psychological pleasure of living to see and think about an act or event.

The present article examines the concept of "Wilayat" in the works of Iraqi and al-Nabulsi, as one of the important elements of Islamic mysticism and Sufism, and the purpose of comparing their votes is to express their similarities and differences. The result of this comparative study is the concept of Wilayat in Iraqi and Nablusi’s works, which has been done by descriptive-analytical method, expresses this main resemblance that in Iraqi’s and Nablusi’s thought, "Wali/Vali" means two real "al-Insān al-Kāmil" and "Pir" who have attained the rank of Fana, the status of a lover and intuition. From this point of view, it can be said that in Nablusi’s and Iraqi’s thought, the Wilayat is more focused on the ideas of ibn Arabi and this intellectual commonality of theirs is, above all, the result of the description of Ibn Arabi's works, especially Fusus al-Hakam by them. But the most important difference between the two mentioned, and their dynasty in the concept in question is that in the Iraqi and Suhrawardi works, the wilayat is "Wahhabi" by God, and in Nablusi's and Naqshbandi's thought, it has an "acquired" aspect. From this perspective, Iraqi and Suhrawardiyeh believe that for the Wilayat, divine care must be taken; also it will be from the charter of Khatam al-Anbiya. But in Nablusi's and Naqshbandiyya's thought, first of all, anyone can reach the position of Wilayat, and secondly, special Wilayat is the result of the immediate manifestation of the God's Wilayat after the realization of individual annihilation.

"Nefrin-e Zamin" (The Cursing of the Land) is one of the important works of the social sciences in the1960s. The present study examines this book from the perspective of critical discourse analysis (CDA) based on the exclusion components in Van Leeuwen's model. The purpose of this study is to show how social and intellectual views are linked to discourse-based structures in fictional texts in order to highlight the importance of linguistic structures in creating social discourses and their relationship with power and domination. This survey has been studied using a descriptive-analytical method, based on socio-semantic categories in the representation of social actors and how to use different types of exclusion and its reasons in a total of 3600 expressive discourse phrases. The results show that in this story, the author has tried to suppress the role of social actors with the use of special linguistic structures, including short sentences with different types of exclusion, the preferences for passive structures over active structures, and using infinitive structures and the use of adjectives, and this has a direct connection with the social institutions and the author's community especially “institution of power and politics”. In the Nefrin-e Zamin, the impact of political issues on the social, economic, and public institutions of that period is obvious and the author with his language choices and his style has explained the manifestations of modernity, social transitions, and the imbalance of power in society.

Maulana in Mathnawi seeks to create motivation and enthusiasm for life with spirituality. He seeks to remove the barriers to the pursuit of spirituality in front of the seeker. Enduring suffering, responsibility, true love, and a firm belief in God are the fundamental foundations of spirituality. His mystical view is in line with Victor Frankel's school of semantic psychology. Therefore, in this study, the concept of meaning and enthusiasm for living in Mathnavi is analyzed by Frankel's theory. The research method is descriptive-analytical and library-type. In this study, the components of suffering, tolerance, responsibility, love, and religiosity of Frankel's theory in Mathnavi Manavi have been explained and interpreted. The findings show that the meaning of therapy and mysticism with the aim of life's passion can only happen with divine love and enduring the problems of this dangerous path and if there was any error or sin in it by relying on God, he returns to God and the way of truth.

Mehdi Akhavan Sales is a famous contemporary poet who has experimented with various forms of poetry. His idealistic and narcissistic personality has special and worthy dimensions. The research answers the question of whether narcissism has had a significant effect on the quality and quantity of Akhavan's illustrations? In the present article, the psychological reasons for composing his narcissistic poems were investigated. The Akhavan's thirst for approval, reaching an ideal society, staying away from the manifestations of the modern world, and uniting with mythical characters who are the normal and abnormal branches of narcissism, back to the hallmarks of his personal life. The research method is descriptive and analytical. According to the research results, various levels of narcissism such as boastfulness, arrogance, praise of artistic status, Qalandari's thoughts, etc., have played a significant role in promoting the quality and quantity of artistic aspects of M. Omid's themes and literary images; in a way, if we remove or reduce these innovations, a large part of the content of his works will be lost and will naturally affect some of the concepts of contemporary literature.

The language, religion, art, tradition, politics, and customs of a society and its individuals separate it from other societies and give them an independent identity. With this view, it will be a valuable work that can show the individual, collective and national aspects of people's identity and make them and others aware of the good and bad of their existence. With this view, it will be a valuable work that can show the individual, collective and national aspects of people's identity and make them and others aware of the good and bad of their existence. In the fifth century, the cornerstone of the need of Iranian people interrogate the identity of the township trampled by the Aniranians, but Beyhaghi, despite his sympathy with Ferdowsi in identifying identity, and in the face of his contemporary history's efforts, he represents the identity of Islamic-Iranian. This research, with a library study and a descriptive, analytical method has searched for identity in Beyhaghi history. Findings show that Bayhaqi loves his land and his art served as a causal expression of the weaknesses and failures of Masood Ghaznavi, although he apparently calls him a martyr and is forced to pay more attention to the rule of Styla than the rule of the Platonist sovereignty. Beyhaqi has placed Islamic-Iranian characteristics in the context of the language and art of truth writing and has drawn it in the form of a minister and a secretary, who is based on punishment, providence and divine will, with wisdom, seriousness, foresight, courage, softness, tolerance and by correcting the corruptions, shows the image of Iranian cooperation and informs the people about their liberating qualities against the foolishness of Ghaznavids.