مجله دراسات فی العلوم الانسانیه
سال سی‌ام شماره 1 (ربیع 1445)

Throughout history and among various ancient ethnicities, there have been different beliefs about the journey to the afterlife which are expressed in the form of myths of resurrection, mythical descents to the underworld, ascents to the heavenly realm, and encountering with the heavenly gods. One of these journeys is the Prophet’s night ascension to the Seven Heavens, the different stages of which have been recounted in the illustrated manuscripts of the Illkhanis’s Miraj Nameh (762-772 AH), the Timurid’s Miraj Nameh (840 AH), and discrete Ruqʿah scripts. With this regard, this research with the purpose of the genealogy of the images of the Prophet’s Miraj Nameh and from the viewpoint of Frye’s mythologic theory, aims to answer the question as to what extent the accounts of ascension have made use of the original narratives of mythical ascensions and the terminology of resurrection literature in other ancient civilizations (Iran and Mesopotamia) and invented new meanings? In this research, an attempt is made to use library resources and qualitative analysis methods with the mythological approach to investigate the images of the Prophet’s Miraj (ascension), starting from a historical account up to the achievement of a beyond-historical and archetypal level. Investigations show that hidden mythological orientations can be retrieved and identified in six out of the eight levels recommended by this research.

Receiving the Qur’an as a literary text is one of the epistemological responses of scholars to this text in the twentieth century. This kind of reception has a long history in the Islamic heritage, especially in the studies of Qur’anic commentators and scholars, but there are fundamental differences between the literary reading of the Qur’an in the past and in the present. These differences arise from the methods used to analyze and study the literary text. If we look at the Qur’an as a literary text from the perspective of modern theories, we encounter with challenges because the literary text, under in this view, is considered an open and pluralistic text in terms of meaning, during its formation and reception. This article examines the challenges raised by receiving the Qur’an as a literary text in light of "Reception Theory". In this regard, it is observed that the principle of coherence provides us with a criterion for distinguishing interpretations close and far from the truth of the Qur’an and contributes to framing the reader's participation in the process of reading the Qur'an as a literary text from the perspective of modern theories.

Formalism is one of the critical schools of the 20th century, in which, critics concentrate on the structure and form of a literary text without taking into account any extra-textual factors like political, social, psychological etc, The school was founded based on the model of, Jeffery Leach, a linguist who emphasizes on presenting the familiar forms to unfamiliar ones, arguing that de-familiarization of language would lead to astonishment and amazement of the audience. Resorting to a descriptive-analytical method while reviewing the principles of the formalism school, the present research tries to investigate the poetry "who killed Kuwait" by contemporary Kuwaiti poet, Souad al-Sabah at two general and specific levels based on the linguistic model of Jeffrey Leach. The findings reveal that the poet has repeated some consonants and vowels in the composition of the poem to intensify the rhythm and express her latent grief and complaint to unfortunate circumstances of her country, Kuwait; as if she is aware of the effect of consonant and vowel on speech form and its coherence. Furthermore, the poet has applied de-familiarization to avoid automation of the poetry and it has been much influential on poetic aspect of the text and on completion of its meaning.

Cultural criticism, unlike literary criticism, does not seek the beauties of the text and its functions, and does not even pay attention to coherence and imagination, but seeks to discover hidden thoughts and everything inherited from cultures that lies beyond the beauties of words, and seeks meanings. Which does not appear next to the text, but is hidden to show the influence of continuous cultures on the authorchr('39')s psyche. Womenchr('39')s rights and status are linked to modern culture and the ideas of modernism, and contemporary literature has always been committed to the realization of womenchr('39')s rights and held itself accountable for the well-being and security of women. The purpose of writing this article is to research and re-read the novel "Curse of Kane" and to find cultural practices and implications and to discover the face of a gypsy woman in this novel and the apparent and hidden text and everything that the author hid inside and adorned the text with words. This research is based on a descriptive-analytical method to try to discover the procedures in the novel.
The covert practice with regard to the gypsy woman is that it first places the novel in Al-Kamaliyah, which is the center of the gypsy gathering, then we discover the gypsy woman the worker, then the gypsy woman the prey of the eastern men, and the illiterate and ignorant gypsy woman respectively , Then we will describe the weakness and inability of gypsy women and their insecurity.

In addition to its physiologic and gender aspects, anima is attributed to an archetype to innate behavioral preparations and experiences of congenital life which include the abilities like artistry, naturalism, fluid emotion and affection, power of inspiration, etc. Generally, from the second half of chronological age, these values set the character on the path to sublimation, wholeness and growth by applying the skill of individuation and absorbing consciousness. As the archetype of ecstasy and emotional impulse, anima also manifests itself in a wide range of literature.

Rather than presenting examples of anima, this study with a descriptive-analytic method, tries to psychologically analyze the employment of the individuation of anima and the values of feminine body in some of the most important poems of Ibn Farez that express this process.
The findings indicate that in his poems, the retrieval and absorption of anima’s talents have been done unconsciously. In addition, Ibn Farez has benefited from the capabilities of ideas such as pacifism, aesthetics, naturalism, and emotion to the splendors of existence, living here and now, the ability to comprehend and express excitements and inner emotions, etc., that all prepare the ground for the wholeness, subtlety and flexibility of personality.

In Genette's narrative discourse, both the story and its way of narration, namely discourse are emphasized and narration is regarded as an interaction between the story and discourse. In this approach, discourse has three aspects: form, tone and time that is consisted of discipline, continuity and repetition. Using a descriptive-analytical method and by investigating the structure of time, narrative focuses, the distance between narration and narrator's expression in Umm Sa'd novel, in the present study we try to analyze narrative text and determine the extent of application of this approach by Ghassan Kanafani with the purpose of forming the narrative system and structure of the story. It is supposed that the novel is involved with interference of triple time periods and fits this hypothesis; hence it is demonstrated that due to focusing on descriptive pause at the beginning of the story, the story's acceleration is negative and non-important events are removed at the end parts of the story, as a result the narration gains a positive acceleration; however, the dominant frequency is singular in this story and repetitive frequency has been used for meaningful emphasis in novel's plot. By violating the time's linear routine, the author has used different types of retrospective and prospective anachronism but simultaneous narration that manifests as dialogue and debate between two parties has the most frequency and this caused a realistic space within the story and reduction of the distance between audience and text, as a result Kanafani's narrative dynamism is enhanced.