RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2011 | Volume:5 | Issue:3 (SEQUENTIAL 19)|Papers Count:16

This article tries to explain the quality of meaning understanding and the elements which make problem in the process of such understanding. The author proposes two causes for such problem. First, it may be due to the lack of external reference for discourse which, in turn, is due to not finding an acceptable signified in the field of experience based on perpetual and constant linguistic meaning. Second, there is an external reference for linguistic meaning but the context prevents us from accepting the reference emanated from linguistic meaning. In both cases, for understanding the intended meaning of the author, we use interpretation; that is, we release ourselves from the hegemony of predetermined meaning of signs and we impose our own meaning on signs. In other words, we construct a secondary system on the primary system of discourse in which signs become full of our subjectivity. Such a process considers signs as codes and accepts the interpretability of texts. As a result, the monosemy of language is toppled down and polysemy is substituted, and a new manner of reading is created whose main instrument is meaning-creation of the text. By giving a number of examples, this article tries to prove the appropriateness of such reading for these types of texts and also Persian classic poetry.

Public literature or, in other words, folklore is one of the most abundant and opulent sources of Persian language. Adages and proverbs are considered as one of the most general and important branches in folkloric literature. Because some of these adages were transferred orally to next generations and what was important mostly was the sarcastic remark in some of them, therefore their sarcastic aspect remained.But their literal and original meaning and also their spelling and alphabetical form have been distorted. One of these adages “to teach teacher his lessons” has maintained its sarcastic aspect but its correct spelling and verbal form as well as its literal meaning have changed.On the basis of remained narratives of this adage and by emphasizing the evidences from Persian prose and verse texts, this article tries to retrieve the correct form and true meaning of this adage.

Religious verse is a kind of committed verse which has religious color with regard to semantic aspect and originates from religious teachings and Islamic history. Religious rituals, praising religious figures, paying attention to celestial issues and catharsis of man are in the center of it. Emergence of new religious verse in 40’s and 50’s should be considered as a major event in Persian literature. Undoubtedly, extensive entrance of religious forces to the scene of political and cultural fight was the origin of emergence of this branch of social verse. Because of some reasons, in most sources about the new Persian verse (free, blank, New Wave) new religious verse has been neglected which, consequently, made a work like this one inevitable.

In this paper, we present new reading of Nezami's Khosrow and Shirin based on concept of "desire" in Lacan's theory. And, also, we provide new definition of main characters and their positions. For explaining Lacan's desire, at first, the concepts related to this subject such as lost object, jouissance, differed action, drive and void are explained. After each concept, different parts of Mathnavi are analyzed with regard to that concept.In this inquiry, we conclude that the relation between Khosrow & Shirin and Maryam & Shekar is formed on the basis of search for "lost object". In the path of this search, Maryam & Shekar play the role of others (objet petit a) for Khosrow. Shirin represents Thing (das Ding) for Khosrow because of delaying of union, whereas after union lost object always remains lost and also search of Khosrow becomes endless.

"Majles-guee" is a type of giving speeches which had developed significantly in the past in Iran and one can find examples of it in different periods. Ferdowsi's Shahnameh, especially in its historical section which is based upon pre-Islamic sources, opens a window to the cultural and intellectual atmosphere of the Sassanid era and presents the current ideas of the time with subjects such as ontology, religious questions, importance of speech and its criteria, methods of governing, social rights of the people, and the role of the king, religion and government. These subjects are presented in such a way that they are very similar to "Majles-guee" in Islamic times. One of the most significant examples is Noshirvan's Haft Bazm (Seven Feasts). On such occasions and at the presence of the king, Bozorgmehr, the wisest scholar of the time would present some didactic subjects followed by questions and answers. This paper analyzes Anushirvan's Haft Bazm in this light.

Analyzing the stories in the religious texts such as Holy Quran, and Ferdowsi’s Shahnameh which is an Iranian national epic, we encounter characters which share huge commonalities in terms of their daily conducts and life styles. These commonalties are initiated from a common source, then divert due to their circulation within individual nations, and in turn influence their beliefs and ideas, and are consequently localized and nationalized. Another interpretation about these commonalities is the principle which endorses the recurrence of historical events.In this study, the stories of Yaghoub (PBUH) and his sons based on Surah Yousof in the Holy Quran, on the one hand, and Feridoun and his sons based on Shahnameh, on the other, have been investigated. It appears that they have potentially common grounds for any contrastive study.Author believes that these two stories have not affected each other and this research does not seek an analogy between myth and revelation, because myth in contrast to revelation is similar to imagination as opposed to certainty. This work simply tries to study and represent similarities and differences of written and famous version of these two stories.The analysis of these two stories was done by studying 15 factors including 9 comparative, and 6 contrastive features.

This paper analyzes the symbolic drama “Blue Bird” by Maurice Maeterlinck, a Belgian author in 19th century. The paper shows the meaning of the actions in this drama and then compares them, at the plot level, with Manteq at'teir, a dominant theosophical work by Sheikh Farid Addin Attar Neishabouri who is the great Persian poet in 6th century (AH). Based on this comparison, one of the common points in both texts is the overall concept of truth seeking and finding. In both texts, after great amount of search and seek, the personages finally find their ideal in themselves. This paper deals with the analysis of this plot including how this common point is defined and brought up in the two different genres.

“Dialogue”, in Bakhtin’s thought, is a term which has a methodological nature. This term shows a method for facing cases which are not hegemonic. Dialogue, therefore, is in opposition to the hegemony of monophonic forces. The origins of the dialogical aspects of humor, laugh and carnival are in very character. In this article, we want to investigate the bases that make the dialogical carnival and form the humorous elements. In the first section, we illustrate the subversion of the superior voice as a semantic and formal structural method in Mathnavi. In the second section, the reflection of this method in formation of humor in the stories of Mathnavi has been investigated. In these stories, presence of the superior voice in the public space and its dialogue with the suppressed voices makes a space steeped in the elements of carnival and laugh. It can be said that the humors in Mathnavi are not the techniques for embellishing the text but the affects of the transcendental method of Mathnavi for interpreting the world.