فصلنامه ادبیات عرفانی و اسطوره شناختی
سال نوزدهم شماره 72 (پاییز 1402)

In Musibat-nāmeh, Attār of Nishapur takes a fatalistic approach, considering the destiny of man subject to the eternal will of God. He believes that ultimate salvation is beyond the control of human beings. However, he also emphasizes the value of human effort as a crucial factor in the spiritual journey (suluk), and describes the seeker's overwhelming struggle (salek) as an example of Sufi effort. This raises the question of how these seemingly inconsistent approaches can coexist within a thought system. Is the contrast between these two approaches an unresolved paradox, or can they be integrated? This research aims to investigate the relationship between the two seemingly contradictory approaches of submission and effort in Attār's Musibat-nāmeh by utilizing a descriptive-analytical method. The research's findings demonstrate that, according to Attār's thought, while human effort cannot alter one's destiny, it is nevertheless a necessary condition for its fulfillment. Attār posits that human effort serves to actualize the potential for perfection and happiness that has been predetermined in the eternal destiny of God. From this perspective, human effort proves fruitful as long as it is supported by a prior ability known as "talent" or "divine assistance."

In the realm of mythological criticism in contemporary literature, there is a noticeable trend among writers and poets who are captivated by the idea of exploring the lifestyles of prehistoric people. They believe that as mankind has moved away from its 'pre-social' state, it has descended into immorality. Additionally, upon progressing towards civilization, a sense of self-love emerged, which they perceive as highly artificial and rooted in excessive boasting and jealousy. In this context, the concept of "returning to the origin" emerged, with its proponents demonstrating a strong inclination towards going back to the initial world. This concept is also referred to as "returning to the roots" and "building upon the roots". Sohrab Sepehri, a leading figure in this field among contemporary poets, calls his audience to return to the origin in his works. Using a descriptive-analytical method, this research aims to examine the prevalence of this "returning to the origin" pattern in contemporary literary criticism. The pattern holds significant importance and has been utilized by writers, mystics, and poets worldwide. The results of the research indicate that Sohrab Sepehri actively sought to capture the dreamlike essence of beginnings and eternal memories. He endeavored to transcend the confines of the "corrupted contemporary man" and experience the state of primitive man to the fullest extent possible – a human who "sleeps in the text of the elements" and "is happy in his azure philosophies".

Martin Seligman's theory of well-being focuses on positive emotion, engagement, relationship, meaning, and achievement (PERMA) to assess prosperity. The six virtues of wisdom/knowledge, courage, humanity, justice, temperance, and transcendence and twenty-four character strengths form its foundation. The aim of the current research is to study comparatively the indicators of Seligman's well-being theory in Hafez's ghazals using analytical-descriptive method. The research findings indicate that both literary and mystical works and positive psychology share common goals. These goals include finding satisfaction from the past, harboring hope for the future, and obtaining happiness in the present, all with the aim of personal growth and flourishing. Hafez's worldview, influenced by the conditions of his time, emphasizes the significance of happiness and love as essential elements in healing humanity. Consequently, his message transcends time and location, remaining relevant across different eras. Throughout Hafez's ghazals, the elements of Seligman's well-being theory manifest themselves, further emphasizing their compatibility. This interdisciplinary research provides a platform for comparing Hafez's and Seligman's perspectives on happiness.

Var (trial by ordeal) was a form of divine judgement carried out by Zoroastrian judges to ascertain personal truthfulness. This ritual was not exclusive to Iranians; it was prevalent in Europe until the middle centuries. In the mythological and religious culture of the southern region of Kerman, the var ritual has been practiced in various ways throughout history. These include loqmeh-nevisi (eating consecrated morsels by the accused), takhteh-nevisi (writing the accused's name on a board), kāseh-ghardoon (identifying the culprit with a bowl of water), and qesme-chār (passing the accused through fire), among others, all aimed at proving personal truthfulness. The purpose of this study is to examine the role and implementation of Var rituals in this specific region. The research method is descriptive-analytical and involves collecting documentary information and conducting interviews with local inhabitants. The findings of the research indicate that the origins of Var rituals can be traced back to religious and mythological epic texts such as Shāhnāmeh and Avesta. Similar to other rituals, Var has undergone changes and transformations over time.

Rituals are an integral part of the culture and history of the people of Sistan, an Iranian tribe, which has been uniquely expressed through their religious, ethnic, and tribal beliefs. Based on the mythological, anthropological, historical, and psychological characteristics of the Sistani people, their rituals set them apart from other Iranian tribes. Furthermore, these rituals have been depicted in the ancient tales of this region, serving as the foundation for various literary analyses. The purpose of this research is to explore the rituals portrayed in the stories of the people of Sistan and analyze their underlying themes using a descriptive-analytical approach, combined with the critical lens of myth criticism. Extensive studies confirm that Sistani narratives encompass a range of rituals, with notable examples including blood drinking, the myth of Oushidar, incestuous marriages, witchcraft, and mourning ceremonies. Many of these rituals originated from the ancient Iranian and Zoroastrian cultures, as well as the customs and practices of ancient tribes like the Scythians, eventually becoming deeply ingrained within the Sistan region's populace.

During the third phase of semiotics, special attention has been paid to semantic systems, the production and transmission of meaning, and the exploration of semantic mechanisms through various approaches. One notable approach is the semiotics of culture, which investigates meaning-making processes within a particular culture by focusing on its signs. In this research, by introducing the meaning-making model "culture-nature", the mechanism of meaning production in the mystical text of Kashf-ul-Mahjoob is explained in a descriptive-analytical way within the framework of cultural semiotics. The findings reveal that the fundamental content of Kashf-ul-Mahjoob is rooted in Hujwīrī 's ideological and cultural beliefs, using the three sub-patterns of "culture/counterculture", "chaos" or mystical order versus its absence or negation, and "self/other". The "culture/counterculture" model is employed to assign value to the signifiers of mystical culture, serving to create an identity. Moreover, the repeated mention of contrasting states of order and disorder highlights the dominance and superiority of mystical signs while portraying the opposing field as inauthentic and defeated. Furthermore, the actions of the Sufi elders are recorded as the ultimate standard of "self", while emphasizing the recognition of the details of the carnal soul as an enemy to be confronted. This establishes the farthest other within the framework of the "self/other" model.