نشریه زبان و ادب فارسی
پیاپی 247 (بهار و تابستان 1402)

Symbols are powerful images that articulate a set of cultural and mythological concepts in certain semantic clusters. These clusters produced through creative literary processes constitute a part of our cultural memory. One of the symbols is Simurgh that was generated in the pre-Islamic Persian texts and continued to remain in the cultural memory of the post-Islamic Iran. It has continued in the form of new articulations in Persian poetry and mysticism. These multiple articulations show that Simurgh in the Iranian culture has become a central signifier. Thus, an intertextual re-reading of the signifieds encoded in it can make the tradition of mythological and symbolic thought in the Iranian universe comprehensible for the new generation. Accordingly, by drawing on textual evidence from both the pre-Islamic and post-Islamic body of literature and by adopting the technique of close reading, the present paper makes an attempt to shed light on the rich symbolism of this bird in order to explore its semantic developments throughout the history. Moreover, it discusses how and why these semantic turns have taken place. On this basis, the present paper makes an attempt to answer this question: What is the difference between Simurgh in the pre-Islamic and post-Islamic literary texts and what creative manipulations in its form and content have taken place over time?

Shams' first conversation with Rumi was about Bayazid. Shams specifies this point at the end of an Arabic speech in Maqalat-e Shams-e Tabrizi (Discourse of Shams-i Tabrīzī). In a similar way, Bayezid's criticism appears many times in the words of Shams. The same criticism is repeated about Hallaj. After all, the points related to this critical remark are often seen in the articles; reflections on obedience and heresy, shath (an ecstatic utterance) and drunkenness, sobriety after drunkenness, predestination and silence. But the main point is that Rumi obviously has a different view and words on this issue. He is not only a praiser of Bayezid and Hallaj; rather, he talks about drunkenness and romantic predestination with increased passion. At the same time, in the mind and language of Rumi, the spirit of Shams' speech is present without its application in the criticism of people like Bayazid. This article is an attempt to analyze the first question of Shams and propose various aspects of the duality of Shams and Rumi's view in this perspective, as well as suggestions to explain this distinction and independence of the perspective.

Mantagh al Tair is one of the prominent mystical works in Persian literature, which in a narrative structure, deals with the story of the quantitative and qualitative calling of "birds of the world" and their collective efforts to search and reach "Simorgh". He used 194 "Anecdote" in the structure of Mantagh al Tair. The question is, what is the role and function of these stories and why does "Attar" insist on using this type of narration? The presupposition is that the story is one of the tools and arrangements needed to shape a collective mobilization, and Attar consciously tries to base the structure of Mantagh al Tair on the "story". The premise is that the "anecdote" facilitates the transformation of the story of "I" into "us" and causes the birds to accompany "Hoopoo". The "anecdote" creates a crisis and extreme urgency. The "anecdote" intensifies the theatrical requirement of the call. The "anecdote" highlights the good and the collective interest of the birds. The "anecdote" builds a common socialization and worldview of birds. "Anecdote" increases the action and persuasion function of language and its persuasive power. The "anecdote" facilitate the fascination and conquest of the birds' minds.

The categories of noumenon(existence) and phenomena(appeared) are considered as important foundations in Immanuel Kant's philosophical system. Through these issues, she has explained the consequence of her philosophical ideas about the unprovability of God noumenon and the recognition and knowledge of the world. Rumi in the discourse of the allegorical genre of the elephant and the dark house seeks to understand the dimensions of appearance and disappearance through the concepts of sensory perception and empirical cognition in parallel with the use of the formation and shaping of the imagination. Since there is no difference between the nature of the power of direct understanding of mysticism and the rational argumentative aspect of philosophy, this article tries to analyze this allegorical discourse based on this scientific understanding.The main question of the research is: was Rumi able to achieve the cognition of the object itself and phenomena through the mediation of imagination and perceptual sensory concepts? The data of this research have been collected by descriptive analytical method using the library study method. In general, the findings of this article show that Rumi, based on the knowledge and intellectual system of mysticism, has acted in line with the epistemological dimensions of the noumenon of God and the phenomena of the objects. Of course, he has tried hard to observe the issue of understanding time by creating a logical and coherent satiety.

In three stories of Ferdowsi’s Shahnameh, a land in the northeastern regions of Iran corresponding to Transoxiana is mentioned, whose name has been recorded in various forms in the existing manuscripts, and the editors of Shahnameh and researchers of its geography disagree with each other in choosing from these records. The destruction of the original form of the name of this land and the confusion and imprecise recording in Pahlavi texts and the existence of similar forms in the eastern and northeastern lands of Iran in historical and geographical sources after Islam, as well as incorrect and contradictory perceptions of the geographical extent of this region are the main reasons for the different selections by Shahnameh editors. Some of the selected or proposed forms for the name of this land are Kavaršān, Kušān, Karūšān, Kohestān, Kavarstān and Kūy-sārān. In this article, by paying attention to the details of the stories in which the name of this land is used, as well as using ancient Iranian and Middle Persian and Islamic texts, a reading different from those which have been proposed before will be presented in the form Gavestān. This form has the support of some manuscripts and also can be traced in Pahlavi script.

A look at the evolution of the title of Rad al- ajoz ala (ela) al-sadr in rhetorical booksAmong the figures of speech and literary techniques that have a long history and are presented with different categories, titles and names in Arabic and Persian rhetorical books is "Rad al-ajoz ala (ela) -Sadr" or "Rad Al-Sadr elā (alā) Al-ajoz". The use of "alā" instead of "alā" and the replacement of "Al-Sadr" instead of "Al-ajoz" has caused what according to a group of rhetorical books is called "rad al-ajoz ", according to another group, it is the opposite , scilicet it is rad al-Sadr ela al-ajoz . Persian rhetoricians consider the source of this disagreement to Shams Qais Razi, the author of Al-Mu'jam; For this reason, a group followed and obeyed and another group criticized his opinion; Therefore, this article - which is written with a descriptive-analytical method, by reviewing the historical course and development of this literary figure of speech and its importance in the most important Arabic-Persian rhetorical books, especially to the disagreement about the use of "alā" and "elā" " and it will be clear that the primary origin and source of these disagreements - contrary to what is stated in the Persian rhetorical books - originates from Arabic rhetoric and by Sakaki.

Plants, as one of the important sources of food and medicine, have been the focus of human attention since long ago. Our ancestors over thousands of years, in addition to providing the medicine, food and clothing have gained more knowledge on the plants and have used the color and smell of a number of plants in painting, dyeing, making perfume and doing the makeup. Indigo is one of the dye-producing plants that have attracted the attention of people due to its color stability and high ability to combine with a wide range of other natural colors. The extensive reflection of this plant in the poem indicates the prosperity and healthy use of the natural color of indigo, along with its healing properties, by the ancients. In the 6th century, for some reasons, including competition, the development of science or idealism by the poets, the therapeutic functions of Indigo, like the information of other sciences, have been mixed with the irony and metaphors and made it difficult to understand the meaning of the poem. This research aims to extract the reflections of the Indigo from the , Divan of Sanai, Anwari, Khaghani and Nizami by using the descriptive-analytical method to investigate and analyze its medical, literary and artistic functions and its public beliefs.

Analysis of intertextual relationships of literary texts of different genres is a practical way of investigating the fusion or “coexistence” of literary types. Qaboosnameh and Nizami’s works as focal texts in Persian literature played a media role in transferring Iran's culture, literature, and civilization. There is numerous intertextual evidence proving Qaboosnameh's influence on Nizami. One of the crucial signs of this influence is the intellectual and linguistic intrusion of Qaboosnameh in his works. The study of Nizami’s works and Qaboosnameh shows the importance of intertextual interactions in the coexistence of literary genres. This paper in a descriptive-analytical way has studied the intertextuality of Qaboosnameh and Nizami’s works offering evidence and concluding that intertextual interactions indicate the coexistence of different literary types clearly. Both Onsorolma?ali and Nizami were aware of the coexistence of literary genres and established a dialogue between literary genres and works in this way. In Qaboosnameh, in addition to some lyric and epic chapters, there are lyric and epic elements within didactic materials. Nizami has benefited from didactic elements as an inseparable part of his non-didactic works based on the text and situation. One of its prominent examples is the insertion of "Andarznameh" in lyric and epic works, especially in the continuation of "Saghinameh". The high frequency of implicit and explicit intertextuality indicates Nizami’s genius and creativity in applying former prose heritage, especially Qaboosnameh. He has covered this precious heritage of rhythm, rhyme, and imagery to enrich his works' content, semantic dilation, textual cohesion, and artistic appeal.

Time is one of the basic issues in thematic criticism, and among the critics of this field, Georges Poulet pays more attention to the components of time and place. The main focus of Poole's criticism is to explore and investigate how to communicate with the outside world, which is done by emphasizing the components of time and place.Bidel Dehlavi's emphasis on "time" and "becoming" and its epistemological aspects in his works are one of the main components of his thought.Biddle creates a surrealistic atmosphere in his lyrical poems through symbols, images and metaphors and presents his different perception of time which is in accordance with his mystical worldview. This research aims to show the philosophical and mystical foundations of Biddle's understanding of time, that is, the idea of the unity of existence and Indian wisdom, while drawing the conceptual correlates of time and its image network.The present article examines the concepts and images related to the category of time in Bidel Dehlavi's poems with a descriptive-analytical method, and with a thematic criticism approach based on the centrality of thoughts Puleh, Bidel's perception of the present, past and future is examined in the mirror of repeated images. The result of this research is that Bidel values meditation, revelation, reflection and intuition according to the teachings of Indian wisdom and Islamic mysticism, and the high frequency of words such asmoment and other similar compoundsIt shows Biddle's attention to the category of time.

When we speak about the tradition of Persian literary history often glances directed to the translation of European literary history books, which provided Persian-language literary historians with new approaches, methods and measures. Therefore, firstly, the book and secondly, the translation are considered two main variables in transferring the heritage of Maghreb to the territory of Persian language.However, firstly, much earlier than the translation of books opened the eyes of literary historians to new worlds, press articles assumed this important role, and secondly, the efforts of this field in the three genres of translation, authorship and translation - They were writing. The main question of the article is formed at this point:What was the role of the historical verse articles that were published in Kaveh newspaper in transferring the western heritage and how? Other questions such as which figures were more effective and what was the relationship between their works and the dominant discourses of the society at that time?

Ecopsychology studies human psyche in relation to environment. Psychology, which is based on Freud's theory of personality structure, is product of mutual, interactive and conflicting relationship between three factors of Id, ego and superego. Of course, ecopsychology is opposed to Freud's views when it emphasizes introduction of God into individual's worldview. Now, with a descriptive-analytical method, we will deal with question of what effect nature has had on spirit and behavior and actions of people in fictional community of Empty Place of Solouch of Dolatabadi? To show the dominance of nous that such crises have created in personality structure of Solouch family and caused balance of their ego to be disturbed. The results of research show that dominance of nous in this novel, with mechanization of agriculture by Mirza Hassan, regardless of its compatibility with environment and its people, Solouch with chaotic impulses of "id", Mergan with grief and Makholia Abrav with inability of his "ego" to balance between "id", "superself" and outside world, Abbas with antisocial personality disorder and Hagar has faced dependent personality disorder. In fact, the dominance of nous, because it was used without considering the resilience of the environment and people of that region, has upset the ego balance of the novel's characters and caused them to have personality disorders that cause of such disturbances can be seen in lack of unconscious emotional participation of characters of novel with natural phenomena influenced by capitalist world and humanism of Enlightenment era.

Some feminists believe that Foucault has not specified which gender dominates the other and which gender is dominated in the genealogy of power. Accordingly, by combining the Foucauldian concept of power with feminism, they have created Foucauldian feminism to give a convincing answer to the issue of domination in gender relations. The theorists of this approach believe that gender is not essential or biological; Rather, it is produced and induced by subjects by authorities of society. For this reason, after accepting the constructed ideals of femininity as true discourses, the subjects voluntarily engage in self-disciplining which is obedience to the patriarchal system. Therefore, feminists try to resist internalized norms of femininity and give freedom to women. In fact, this study attempts to introduce the basics of Foucauldian feminism to those who are interested in literary criticism and increases the audience’s awareness of the modernization of patriarchal power. It also demonstrates that Sadegh Hedayat in “The Doll Behind the Curtain,” has also drawn the characteristics of the ideal woman of the modern patriarchal society by describing the fascination of the main character, Mehrdad, towards the statue woman. In addition, with the characterization of a girl, named Derakhshande, he displays that the women seek to discover gender discourses produced by powers and to apply disciplinary techniques to themselves so that they can attract men’s attention.