Mytho-Mystic Literature
Year:2019 | Volume:15 | Issue:56 |Papers Count:12

Comparing phenomena is a way to know their different layers, as well as a way to discover new and hidden ones. By using analytical-comparative method, the present study investigates and compares mysticism and beauty. At first, the concept of beauty, the process of its creating and the way to understand it is examined. Then, some instances of beauty in Islamic mysticism are introduced. The study focuses more on the intuitive aspect of beauty associated with mysticism. The results show that according to Hegel, art is the recording of transient moments happening for artist in an impressionistic moment. In this way, the artist transforms the transient moment into a persistent and eternal one. Also, in Islamic mysticism, in an intuitive moment (which is the same as an impressionistic moment in Hegel's aesthetics) the mystic observes the beauty of the celestial geometry in the loci of manifestations due to his/her constant attention to the Divine beauty. These manifestations include from the beauty of the human face in carnal love to the smallest particles of the universe.

By using psychological criticism in analyzing literary texts, critics try to explore the underlying layers of the personality of the author and his/her text. Humanistic psychology, as one of the schools of psychology, emphasizes on the positive side of humanity. Abraham Maslow, as the main figure of the school, describes the healthy and growing people by presenting the theory of self-actualization. The peak experience is one of the main criteria of the theory, whose foundations are very similar to the views of the mystic Muslim poets, including Bidel Dehlavi, on annihilation, union and unity. Divan Bidel is full of descriptions of the romantic experiences that the sā lek (the holy traveler) and the seeker of perfection encounters. By using descriptive-analytical method and based on Maslow's findings, the present article attempts to explore the representations of the peak experience in the gazals of Bidel. The results show that there are some similarities between the experiences of Maslow and Bidel like openness of horizon, timeless and unlimited feeling of ecstasy and astonishment, feeling of unconsciousness, tendency to poetry, religion and mysticism.

The concept of "persuasion' has a special place in mystical and religious texts. It has a more important role than the concept of "waring" and is a means of indirectly guiding public opinion. The present essay examines the subject of persuasion in Haqiq al-Haqq or Aina-i Haq Numa (Truth Showing Mirror), composed by Abd ul Latif Chishti. In this versified book, the poet attempts to attract the sā lek (the holy traveler) to theistic mysticism and to immortalize the name of his own sect, the Chishtiye. By using the analytic-descriptive method and based on new linguistic methods and inspired by the functionalist theories of Jacobson and Lasswell, the present article tries to examine the subject of persuasion in the five areas of environment, stimulus, audience, reward and content. The results show that the use of figures of speech has brought the book a lot of literary value and the proper and frequent use of persuasion, as an educational method, has added to its educational richness.

Shā nā meh, as an exemplary pattern for Persian epics, has been the source of numerous epic works. Based on an intertextual reading, in the present article the attempt is made to study the influence of the Shā nā meh on Haft Paykar in the creation of the mythological personality of Bahrā m Gor (Bahrā m the Onager). The present study seeks to explore the mythological personality of Kei Khosrow in Shā nā meh that has inspired Nizami Ganjavi in the processing of Bahrā m Gor 's character. Nizami Ganjavi's reference at the beginning of Haft Paykar to Shā nā meh and the textual evidence reinforces this claim. So, one can find a pattern for the creation of the character of Bahrā m Gor according to Nizami Ganjavi's narrative. Based on the thoughts of Gé rard Genette and by using a descriptive-analytical method and intertextual approach, the article tries to examine the characters of Bahrā m Gor and Kei Khosrow in Shā nā meh and Haft Paykar. The results show that explicit and implicit intertextual relationships are presented in cases such as the actions and behaviors and mystical personality of the two characters and the dreams and predictions of the elders about them.

Audience-centric views provide new approaches to the study of literary texts, especially old ones. Horizon and circumstances of a contemporary reader are different from those of an old text author. A reader will be able to study an old text well when considering different interpretations of it. The main question of the present research is whether contextuality and individuality can influence one's perception of a subject. Affection and emotion are two major elements of wine-poems (khamriyyat) of Ibn al-Fā rid. Abd ar-Rahmā n Jā mi has addressed these two issues in Ibn al-Fā rid's poetry and has revived his poetry. By using descriptive-analytical method, the essay tries to examine Jā mi's views on Ibn al-Fā rid's poetry. Coherence is a characteristic of Ibn al-Fā rid's poems. In his poems, we move from wine-drinking to eternal intoxication. To understand the concept of wine, one must study all of his poems. But in Jā mi's poetry, we cannot find this consistency, and every single bit of his poetry can be studied alone.

Ancient stories and folktales are one of the most appropriate contexts for the manifestation and continuation of the life of gods, goddesses and Amesha Spentan; they continue to live in different forms through metamorphosis. Khosrow and Shirin, composed by Nizami Ganjavi, is a famous tragic romance which its main source is local narratives. The mythical figures and characters of ancient Iran are present in this book. By using descriptive-analytical and comparative method, the present research tries to examine the characters of Khosrow and Shirin including Hormizd, Khosrow Parviz, Mahin Banu, Shabdiz, Golgoon, Shirin and Shapour, and to compare them with Amesha Spentan including Vohu Manah, Asha Vahishta, Kshatra Vairya, Spenta Armaiti, Haurvatat, Ameretat, Anahita and the god of wind. The results show that the characters mentioned have much in common with Amesha Spentan. Also, the book provides a platform for the presence of the ancient Iranian gods, goddesses, and Amesha Spentan, and it should be considered more than just a collected lyric poetry.

The myths speak about the entrance of mythical elements (good or evil) to the realm of human beings; they depict different themes and there is much to be gained from them. There are myths about the origin of the world, man, drugs, plants, animals, and so on. Also, some myths deal with the issue of death. The myths associated with the origin of death have different types and layers and traces of it can be found across cultures. The study of their typology can pave the way for a more sophisticated analysis of the myths of the nations. The aim of the present article is to identify the typology of the myths associated with the origin of death in the mythologies of different nations. By using descriptive-analytical method and based on comparative approach, in the present research the myths associated with the origin of death are divided into two kinds of human-centered and non-human-centered. In human-centered myths, man brings consciously or unconsciously death into his/her life; but in non-human-centered one, an inhuman creature has a central role. Each of these two kinds have different divisions.

Iranian and Semitic myths are widely and variously reflected in Khā qā ni's poetry and his panegyrics. The extraordinary power and glory of the mythological figures is familiar to everyone. Khā qā ni pays attention to this and describes his praised person and shows his/her superiority over Iranian and Semitic myths and even Islamic characters. Because of this, he sometimes ignores his religious beliefs. The present article aims to examine the function of the myths in Khā qā ni's poetry. The results show that he has no disagreement with Iranian myths, nor does he disbelieve religious beliefs. Whenever, he refers to superiority of his praised persons over the mythological figures or despises the myths, he wants to attract his praised person attention and enjoy his/her material gifts.

In mythological resistance, a centralized presence with an internal power is formed and subject acts as a discursive actor. Siā vash, as a subject and discursive actor, is one of the central characters of Shā hnā meh who has achieved an internal power. He presents a coherent and transcendental image of the "centralized presence". This presence places the subject as the symbol of identity in the center of discourse. The rival subject adjusts his presence in relation to Siā vash and involves in a mutual interaction or a challenging relationship with him. This confrontation and interaction between them appears in the form of two macro-narratives of resistance and tolerance. The main question is "how the discourse of mythological resistance and consequently, the discourses of resistance and tolerance have been realized in the story of Siā vash". In fact, the purpose of the present research is to examine the method of realization of the discourse of resistance semantically and semiotically, and its impact on the formation of identity and value. Based on descriptive-analytical method, in the present article the attempt is made to show that the subject (Siā vash) defends fulfilling contracts and righteousness by using the techniques of the mythological resistance. On the other hand, the rival subject stands in front of him and forces him to obey, but the subject resists.

Imaginary perception is one of the perceptual stages that artists rely on it to create works of art. Moreover, imagination helps the artist to realize his ideas and acts as interface between apparent senses and reason. By using descriptive-analytical method and relying on the thoughts of Jalā l ad-Dī n Rū mī in Masnavi Manavi, the present study attempts to study the various dimensions of imagination and its role in the creation of architectural works. The results indicate that the recognition of the imaginary forms and the imagination of the final form of the works of art are necessary for the analysis of their external effects. An architectural work, as a work of art, relies on the imagination of the architect and comes from the depths of his/her mind. At various stages of the design process including the creation of designs, architect travels in the world of imagination, examines the quality of architectural works and provides the basis for the formation of the physical nature of the design.