مجله مطالعات و تحقیقات ادبی
سال یکم شماره 1 (بهار و تابستان 1383)

From the earliest time there was dispute on khayyam Idea. Some scholars belief he has been mystic, and the other says he has been pleasure-loving and denier Sharia`t (Moslem law). In this article the author emphasis on poet's personality and his retirement and argues what has reflected in poet's works hasn't exact relate with events and agent in real life of khayyam. Then author has a deference look on khayyam`s life and his Idea throughout the authentic sources. And says the khayyam skepticism arise from his searching for god by the way of reason. In final he offers a list of contents of khayyam poems (Robaeiyat): suspicion in religious Idea, to be amaze from mankind and creation and beginning and resurrection and Sighing on the end of mankind and to profit of time.

The spiritual tranquility, freedom from greediness, and independence are old sweet dreams, which are interpreted eagerly and enthusiastically by Muslim mystics in their sayings and writings. They have shown us many ways to actualize these colorful dreams. One of these ways is resort to ‘dying before death’ or ‘willful death’ or in other words ‘annihilation in God’. In this way, before the wayfaring mystic dies naturally or compulsorily, he choose to die to his bodily and spiritually vile life, and will be reborn by the divine and spiritually praiseworthy moral attributes, that is, he is annihilated from himself, and subsists on God. This article tries to investigate and answer these questions: What is the final and actual purpose of mystics’ from ‘willful death’? What are the prosperous effects of this kind of death? What is the source of Muslim mystics? Inspirations in founding and suggesting such a way? Finding a relation between ‘dying before death’ in Islamic mysticism and the concept of Nirvana in Buddhism, and explaining the question of rebirth, which is the other side of‘dying, before death are the other issues to be discussed in this paper.

Referring to the lack of coordination and agreement among Iranian linguists and Iranian men of letters, the author of this article discusses the negative consequences of such discordance. Then, he discusses the contributions of linguists to literary studies. The author offers  a way by which linguistic methodologies can demonstrate the inferences of the men of letters objectively. Since long, there has been argument over the three terms; verse, prose, and poetry. As a result the boundaries among the three have not been clear-cut. In an attempt to solve the confusion, the author examines the three terms linguistically and presents the differences among them. Along the same lines, he seeks to drive some objective rules in order to make a clear distinction between language and literature. He also offers a basis on which the position of verse, prose, and poetry can be determined as three artistic modes of the same name, i.e., ‘verbal art’.

The universal culture has turned about some binary elements. An Obvious indication of this state is the contrast between spoken and written language, which has, in turn, influenced the human culture to the extent that Derrida considers it as the source of errors in the two-millennium tradition of Western culture. Any reform in the world communities has been attributed to the above contrast and the so- called revolution of the written language. In Islamic culture, the revelation of the Holy Quran is considered as the first revolution of the written language and Adonis has beautifully illustrated the written / spoken dialectic in the Islamic culture. In this declaration, he discusses the position and role of Rhetoric as an art of speech and explores rhetoric from various perspectives: substantial features, its functions, training and persuasion, ultimate goal and significance as well as its triadic underlying principles; commonly agreed upon by rhetoric scholar's composition, harmony and style. Also, it covers such topics as anatomy of rhetoric, its status in the Ignorance era and the Islamic age as well as its impact on Arabic poetry and rhetoric. The paper proceeds with highlighting the major distinctive features of speech and prose and sheds lights on their functions as well as aesthetics.

This article explores the relationship between poetic imagery, attitude, and affection, and presents three types of relationship between poet's mind and the object: Identity, equality penetration. In the identity state', I the post' associates and sympathizes with the object (I.e., subject) and turns around it. In the equality state, 'I' synthesizes his feelings with the object, offering life, sense, and character to it. Finally, in the penetration, 'I' and the object melt into each other. These three states reveal the relative degrees of the relationship between the poet's essence and objects. Having done the abore, the author proceeds to attitude and considers it us man's hidden structure of the mind and character. The great artists' works are affected by a dominant plot which creeps into the images, forms, content, and concepts of his works. This overriding idea is called attitude. The poet enjoying a creative personal attitude is marked as the one whose dominant plot over shadows his images and language. We may consider all those elements as clusters of the same macro metaphor, around which all structures and peripheral images turn. The discovery of this metaphor is regarded as the key to the artist's mind as well as his character.

This article presents definition, background, and objective of occult sciences such as magic, augury, conjuration, and exorcism, as well as the five esoteric sciences. To this end, first, each category of occult sciences is explored and its representation in the mirror of Khaghani's poetry is discussed. Then, the author attempts to present the creative images in khaghani's Divan. Meanwhile, some ambiguities in the corpus are detected and resolved.