انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 A Study of the Characteristics of the Welfare Theory in Shams’ Lyric Poems based on Seligman’s Positivist Psychology مطالعۀ شاخصه‌های نظریۀ بهزیستی در غزلیّات شمس برپایة روان‌شناسی مثبت‌نگر سلیگمن 1 18 26349 10.22108/jpll.2022.126460.1558 FA مریم صفری دانشجوی دکتری گروه زبان و ادبیات فارسی، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران ، ایران. محمدعلی گذشتی دانشیار گروه زبان و ادبیات فارسی، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران ، ایران. شیرین کوشکی دانشیار گروه روانشناسی، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران ، ایران. اشرف شیبانی اقدم دانشیار گروه زبان و ادبیات فارسی، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران ، ایران. Journal Article 2020 12 14 Problem Statement: Martin Seligman, the father of positive psychology, in search of what Aristotle called the “good life”, by focusing on the positive aspects of human beings, replaced virtues and abilities with the components of the Guidelines for Diagnosing Psychological Disorders. This new movement has been formed with the motivation of optimizing the quality of life by promoting mental happiness in the context of satisfaction with the past, the happiness of the present, and hopeful optimism for the future. The Welfare Theory refers to positive emotion, positive relationships, meaning, fascination, and achievement to achieve prosperity. The six virtues of justice, altruism, excellence, wisdom, courage and moderation, and twenty-four abilities underlie it. Research Method)s): The present study, using content analysis and statistical findings, investigates the characteristics of the Welfare Theory in Shams’ sonnets based on Seligman’s positive psychology in order to introduce new dimensions of this work with a different perspective. Result/Finding: Because the common goals of literary and mystical works with positive psychology are to acquire satisfaction from the past, hope for the future, and gain satisfaction in the present in order to cultivate a capable human being on the path to prosperity and meaningful life, the mysterious ocean of Shams’ lyric poems with the dominance of music and love, the field of wave formation and expression is one of the elements of the Welfare Theory that has been addressed in this interdisciplinary research. As a result, it looks at the ideas of Rumi and Seligman’s adaptation to the category of prosperity and the necessities of human endeavor in this direction to achieve perfection. بیان مسئله: مارتین سلیگمن، پدر روان‌شناسی مثبت، درجستجوی آنچه ارسطو«زندگی خوب» می‌نامد؛ بر جنبه‌هایِ مثبتِ انسان، تمرکز و تأکید می‌کند؛در نتیجه فضیلت‌ها وتوانمندی‌ها را جایگزینِ مؤلّفه‌های دستورالعملِ تشخیصِ اختلالات روان‌شناختی قرار می‌دهد. این جنبشِ نوین با انگیزۀ بهینه‌سازی کیفیّت زندگی از طریق ارتقای شادی ذهنی در بسترِ رضایت از گذشته، شادمانیِ حال و امید وخوش‌بینی نسبت به آینده، شکل گرفته ‌است. نظریۀ بهزیستی ناظر بر هیجان مثبت، روابط مثبت، معنا، مجذوبیّت و دستاورد برای رسیدن به شکوفایی است. شش فضیلتِ عدالت‌طلبی، نوع دوستی، تعالی، خرد، شجاعت و میانه‌روی و بیست وچهار توانمندی، زیر بنای آن را تشکیل می‌دهند. روش: این پژوهش ، با روش تحلیل محتوا و یافته‌های آماری، به مطالعۀ شاخصه‌هایِ نظریۀ بهزیستی در غزلیّات شمس بر پابۀ روان‌شناسیِ مثبت‌نگر سلیگمن می‌پردازد تا ابعاد تازه‌ای از این اثر را با نگاهی متفاوت مطرح کند. یافته‌ها و نتایج: از آنجا که اهداف مشترک آثار ادبی و عرفانی با روان‌شناسی مثبت‌نگر، تحصیلِ رضایت از گذشته، امید نسبت به آینده و کسب خشنودی در زمان حال، به منظورِ پرورش انسانِ توانمند در مسیر شکوفایی و زندگی بامعناست؛ به همین سبب اقیانوس پر رمز و رازِ غزلیّات شمس با سیطرۀ موسیقی و عشق، عرصۀ شکل‌گیری و نمودِ امواجی از عناصر نظریۀ بهزیستی است که در این پژوهشِ میان‌رشته‌ای بدان پرداخته شده‌ ‌است؛ در نتیجه بر اندیشه‌های سازگاری مولانا و سلیگمن در مقولۀ شکوفایی و ضرورت‌هایِ تلاش انسان در این باره، برای دستیابی به کمال توجه دارد.

https://jpll.ui.ac.ir/article_26349_27fe1cd049189f5163a5bb1016dee605.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 A comparative study of the place of narration of Imam Sadiq (as) between lata'if al-Isharat and Kashf-al-Asrar بررسی تطبیقی جایگاه روایات امام صادق (ع) در تفسیرهای لطائف‌الإشارات و کشف‌الأسرار 19 36 26993 10.22108/jpll.2022.128241.1605 FA رضا طباطبایی عمید دانشجوی دوره دکتری عرفان و تصوف دانشکده علوم انسانی دانشگاه سمنان، سمنان، ایران قدرت ا... خیاطیان دانشیار گروه ادیان و عرفان، دانشکده علوم انسانی، دانشگاه سمنان، سمنان، ایران عظیم حمزئیان دانشیار گروه الهیات دانشکده علوم انسانی دانشگاه سمنان Journal Article 2021 04 19 Hadith has always been one of the most important sources of the Holy Qur'an. Sulami in the book of Haghayegh al-Tafsir, the commentary on parts of the Qur'an attributed to Imam Ja'far Sadiq (as) has brought. In this study, with a Analytical descriptive and comparative method study between two interpretations: Lata'if al-Isharat by Qushayri and Kashf al-Asrar by Meybodi, the amount of the use of narrations of Imam Sadiq(as), the approach was each. This study shows that all narrations of Imam in Lata'if al-Isharat are derived from Haghayegh al-Tafsir, if Kashf al-Asrar is only a reference part of them. The range of quotations in Lata'if is very narrow than Kashf al-Asrar. While it was greedy to preserve the Quranic of Islam and has tried to keep the Sunni and Sunni people satisfied, Meybodi has shown his devotion to the promise of Shiite imams. The Imam Sadiq (as) was one of the elders of Sufism. Both commentators, based on a narration from Imam Sadiq (AS), believe in the existence of levels in the Qur'an and they accept the outward interpretation along with the inward interpretation. They both believe in the union of divine law, spiritual way and spiritual truth. The basis of allusive interpretation in both interpretations is the mystical experience that has formed the ontological, epistemological, and linguistic foundations. تبیین مسئله: حدیث یکی از مهم‌ترین منابع تفسیری قرآن کریم است. به استناد روایات پیامبر (ص) و امامان (ع)، تأویل صحیح قرآن و حقایق آن را تنها ایشان می‌دانند. از مباحث مؤثر در فرهنگ شیعه شناخت جایگاه و مقام اهل‌بیت (ع) در تفاسیر قرآن و سایر فرق دینی است و این مهم تنها با تبیین رویکرد مفسران به روایات ایشان امکان‌پذیر است. سُلَمی در کتاب حقایق‌التّفسیر، تفسیری بر بخش‌هایی از قرآن منسوب به امام جعفر صادق (ع) را آورده است که پل نویا برای نخستین‌بار آن را منتشر کرد. وی امام صادق (ع) را نخستین مفسّری یافت که قرآن را با تجربۀ درونی خود بازخوانده و تفسیر کرده است. روش: در این پژوهش با روش توصیفی ـ تحلیلی و شیوۀ مقایسه‌ای بین دو تفسیر لطائف‌الإشارات قشیری و کشف‌الأسرار میبدی ـ از مهم‌ترین تفسیرهای عرفانی قرآن ـ میزان و شیوة به‌کارگیری روایات امام صادق (ع)، به‌ویژه روایات منسوب به آن امام در حقایق‌التّفسیر سُلَمی و رویکرد هرکدام سنجیده می‌شود. یافته‌ها و نتایج: این بررسی نشان می‌دهد همۀ روایات امام در لطائف، برگرفته از حقایقِ سُلَمی است؛ اما کشف‌الأسرار فقط مرجع بخشی از آنهاست. قشیری به کلام امام صادق (ع)، تنها مانند سخن یکی از مشایخ تصوف نگریسته است. میبدی با نقل روایات از قول امام صادق (ع) از تفسیر منسوب به امام (ع) و دیگر منابع، از ایشان، هم مانند پیشوای مذهبی و هم مثل پیر طریقت یاد کرده است. هر دو مفسر براساس روایتی از امام صادق (ع) به وجود مراتب در قرآن معتقدند و تفسیر ظاهری را در کنار تفسیر باطنی می‌پذیرند. هر دوی آنها به اتحاد بین شریعت، طریقت و حقیقت باور دارند. بنای تفسیر اشاری در هر دو تفسیر، تجربۀ عرفانی است که مبانی هستی‌شناختی، معرفت‌شناختی و زبان‌شناختی را شکل داده است.

https://jpll.ui.ac.ir/article_26993_4cdbf1f0725f2071f15593f746fbac24.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 A Study of Ibn Arabi's Personality in the Novel Minor Death by Mohammad Hassan Alwan based on the Anime Archetype بررسی شخصیت‌شناختی ابن‌عربی در رمان موت صغیر اثر محمدحسن علوان برپایة کهن‌الگوی آنیما 37 52 26905 10.22108/jpll.2022.130217.1640 FA طاهره حیدری استادیار گروه زبان و ادبیات عربی ، دانشکدة ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران Journal Article 2021 08 23 Problem Statement: According to Carl Gustav Jung, in addition to the personal unconscious, human beings have a common part called the collective unconscious. The contents of this part of the soul and mind are archetypes. Archetypal critique is one of the main approaches of contemporary literary criticism that explores the nature and characteristics of archetypes and their role in literature. Among these archetypes in the present study, the archetype of anima is discussed. Anima is the feminine half of men’s existence that can change under the living conditions of any person and its positive and negative manifestations can be manifested. In the field of literature in different cultures, we also see the birth of strong themes by this archetype, so it is necessary to study products such as novels that are more dependent on the individual’s consciousness based on psychoanalysis. In this regard, the present study investigates the manifestation of this element in the psyche of Ibn Arabi in the novel Mawt Ṣaghir (Minor Death) by Mohammad Hassan Alwan, a prominent Saudi writer. Using a descriptive-analytical method, this paper shows that anima has a significant effect on the creation of events and incidents in the story and has created grounds for conflict between the characters. The findings indicate that the positive manifestations of the anima have been manifested in the form of lover, guide, otad, etc. Research Method)s): One of the most popular types of literary criticism in recent decades has been psychological critique based on Jung’s theories. Jung’s school of psychology, known as Analytical Psychology, is especially famous for its collective subconscious and its contents, the archetypes. In addition to the individual unconscious, Jung believes in a deeper layer called the collective subconscious for the psyche, which is common to all human beings. One of the most important archetypes that Jung addresses in his theories is the anime archetype, which represents the female psyche. In other words, “Jung was the only twentieth-century psychologist to distinguish between male and female psychology” (Sanford, 1980, p. 5). This study analyzes the manifestation of this element in the psyche of Ibn Arabi's character in the novel Mawt Ṣaghir (Minor Death) by Mohammad Hassan Alwan, a prominent Saudi writer. Considering that the archetype of anima at different levels is reflected in the main character, familiarity and integration with one's own anime lead to what Jung refers to as the archetype of happiness, explaining why research is needed. Result/Finding: With the help of the evidence extracted from the novel, this paper deals with the similarities of Ibn Arabi's mistress to the concept of anima in Jung's theory and shows that the descriptive-analytical method has a significant effect on creating events and incidents in the story and the context of conflict it has created. The findings of the study indicate that the positive aspects of the anima are manifested in the form of lover, guide, otad, and so on. In sum, the characteristics of the anima that Jung referred to are consistent with the characteristics that Alwan intended for the characters. In other words, obvious manifestations of the archetype of anima can be seen in the Mawt Ṣaghir of Mohammad Hassan Alwan, which reminds us of the influence and role of the collective unconscious in the creation of this work. بیان مسئله: از دیدگاه کارل گوستاو یونگ، انسان‌ها افزون‌بر ضمیر ناخودآگاه شخصی، بخش مشترکی به نام ناخودآگاه جمعی دارند. کهن‌الگوها محتویات این بخش از روح و ذهن را تشکیل می‌دهند. نقد کهن‌الگویی یکی از رهیافت‌های اصلی نقد ادبی معاصر است که به کشف ماهیت و ویژگی کهن‌الگوها و نقش آنها در ادبیات می‌پردازد. از میان این کهن‌الگوها در این پژوهش، به کهن‌الگوی آنیما پرداخته می‌شود. آنیما نیمة زنانة وجود مردان است که تحت شرایط زندگی هر شخص دچار تحول می‌شود و نمودهای مثبت و منفی آن، جلوه می‌یابد. در گسترة ادبیات در فرهنگ‌های مختلف نیز شاهد زایش مضامینی قوی از این کهن‌الگو هستیم؛ بنابراین ضروری می‌نماید به بررسی فراورده‌هایی مانند رمان پرداخته شود که برپایة روان‌تحلیل‌گری به ناهشیاری فرد وابسته‌تر هستند. این پژوهش، چگونگی تجلّی این عنصر را در روان شخصیت ابن‌عربی در رمان موت صغیر اثر محمدحسن علوان، نویسندة برجستة عربستانی، تحلیل می‌کند؛ کهن‌الگوی آنیما در سطوح مختلف، در شخصیت اصلی رمان نمود دارد. او پس از آشنایی با آنیمای خود و ادغام با آن به تفردی می‌رسد که یونگ آن را کهن‌الگوی سعادت می‌نامد؛ همین مسائل، چرایی و ضرورت انجام پژوهشی در این باره را تبیین می‌کند. روش: این جستار با روش توصیفی ـ تحلیلی و با استفاده از شواهد استخراج‌شده از رمان، به شباهت‌های معشوقة ابن‌عربی به مفهوم آنیما در نظریة یونگ پرداخته است. یافته‌ها و نتایج: این پژوهش اثبات می‌کند که آنیما تأثیری شگرف در ایجاد حوادث و رویدادهای داستان یادشده داشته و زمینه‌های کشمکش را در میان شخصیت‌ها ایجاد کرده است. یافته‌ها بیانگر این است که وجوه مثبت آنیما در قالب معشوق، راهنما، اوتاد و... جلوه‌گر شده است.

https://jpll.ui.ac.ir/article_26905_2f992f9db190f0216d1e90665bd78432.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 A Study of the Cognitive Style of Possible Worlds in the Daqoqi Gnostic Tale of Mowlana's Masnavi بررسی سبکشناختی دنیاهای محتمل در داستان عرفانی دقوقی از مثنوی مولانا 53 70 26992 10.22108/jpll.2022.126467.1559 FA زینب حاج ابوکهکی دانشجوی دکتری، گروه زبان و ادبیات فارسی، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران ، ایران. اشرف شیبانی اقدم دانشیار گروه زبان و ادبیات فارسی، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران ، ایران. محمدعلی گذشتی استاد گروه دکتری زبان وادبیات فارسی دانشگاه آزاد اسلامی واحد تهران مرکزی Journal Article 2020 12 14 In cognitive stylistics, the theory of probable worlds is used to understand the contradictory plots of narratives. The principles of this theory explain the type of reading of the literary narrative and the interactions between the text and the reader. Similarly, Quantum physicists emphasize the multiplicity of universes and call them parallel universes. This issue can be explored in narratology under the name of possible worlds. Ryan divides multi-world narratives into three types of stories: fantasy and science fiction (world exploration narrative), intermittent history, and time travel. The fit of probable worlds with the real world can be studied in terms of access to real-world conditions that include 1) access to a time when the history of the probable world is different from the history of the real world, 2) linguistic access, 3) the use of language that leads the reader to the probable world, 4) natural access, 5) violations of the laws of physics, logic, mathematics, etc. 5) the real world, and 6) access to objects that are incompatible with the probable world with the real world. Introduction Sometimes in literary texts, anecdotes are processed in such a way that it is not possible to understand them based on the principles of classical narratology, but based on Quantum ontology the contradictions in the plot of these narratives can be justified. The Daqooqi story can be analyzed using Ryan’s first approach to possible worlds (i.e. the discovery of several worlds). In this type of narrative, all worlds belong to a continuum of time and space, and entering another parallel world and traveling between multiple worlds takes place through a gateway that Ryan calls the wormhole narrative. Usually, these two worlds are two completely opposite realms. Also, the seashore is a gateway to a parallel world. After enduring many austerities, Daqouqi enters the unnamed beach at an indefinite time and sees things that are different from the principles that apply to our world. The appearance of seven lighted candles with light that reaches the top of the sky and their successive transformation into seven luminous men and seven luminous, praying trees, seeing the sinking ship, and the eventual disappearance of all these scenes at the end of the story can be access to another world that a particular dervish has stepped into through revealing. Materials and Methods In this study, the possible worlds in the story of Daqooqi according to Ryan's theory (2006) in the article ‘from parallel universes to possible worlds: on to logical pluralism in physics, narratology, and narrative’. The descriptive method and content analysis, in accordance with the principles of cognitive stylistics, are used for data analysis. Results It seems that the prayer in the story draws Daqooqi’s attention to the material world, cuts him off from the parallel world, and hides from him seven chosen people due to the change in frequency and fluctuations. In mystical interpretations, this phenomenon occurs due to coming out of the state of unconsciousness and astonishment and returning to oneself. In this story, the frequency of natural access is higher due to the accessibility of time, language, nature, and objects. The poet uses the past tense in the initial verses of the story to create accessibility of time. Names, verses, hadiths, allusions, and literary and mythological allusions throughout the story are tools for constructing the possible world and indicating linguistic access, which is usually displayed to the reader using a selective point of view. In Natural Access, the poet proposes verses that violate the fixed laws of the real world and lead us to his probable world. The qualitative and quantitative changes of the seven candles are among those in which the poet chooses a sequential point of view to show it. Descriptions have been used for access to more objects. The objects mentioned in the Daqouqi story also carry symbolic meanings. Daqooqi is made by Rumi's mind, so it can be said that Rumi has opened the way to other worlds during discovery and intuition. In this story, the actions and events that take place on the beach are reminiscent of a parallel world, the gateway to which is the beach. According to the definitions of accesses, the trans-fiction narrator creates a possible world to which access is temporal, linguistic, natural, and objects, and the frequency of natural accesses is higher. بیان مسئله: در سبک‌شناسی شناختی، نظریة دنیاهای محتمل برای درک پیرنگ‌های متضاد و متناقض روایت‌ها به کار می‌رود. اصول این نظریه نوع خوانش روایت ادبی و تأثیرات متقابل متن و خواننده را تبیین می‌کند. روایت‌شناسی دانشی بینارشته‌ای است؛ به همین سبب، رویکرد پساکلاسیک آن با رشته‌های دیگر ارتباط نزدیکی دارد و اهمیت رابطة میان علوم و روایت را آشکار می‌کند. روش: در این جستار با تکیه بر نظریة دنیاهای محتمل، ارتباط میان مفهوم جهان‌های موازی در فیریک و معناشناسی روایت در متون عرفانی با روش تحلیلی ـ توصیفی بیان می‌شود. حکایت دقوقی از دفتر سوم مثنوی، ویژگی‌های فراداستان، پسامدرن و سورئالیسم را دارد و به همین علت، آگاهی از مبحث هستی‌شناسی کوانتوم و جهان‌های موازی در علم فیزیک می‌تواند در فهم این روایت پیچیده و دیگر متون عرفانی مؤثر باشد و مخاطب را به تفکر دربارة مرز میان واقعیت و خیال وادارد. یافته‌ها و نتایج: در این داستان، کنش‌ها و اتفاقاتی که در ساحل رخ می‌دهد، تداعی‌گر جهان موازی است که درگاه ورود به آن، ساحل دریاست. با توجه به تعریف‌های ارائه‌شده از «دسترسی‌ها»، راویِ فراداستانی به خلق دنیای محتملی دست می‌زند که دسترسی به آن به‌صورت زمانی، زبانی، طبیعی و اشیا است و البته بسامد دسترسی‌های طبیعی بیشتر است.

https://jpll.ui.ac.ir/article_26992_e9e440f5ea229ad222b899ac2c219756.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 Investigating the Intertextual Relations of the Holy Quran and Lahiji’s Sad Mystical Poems جلوه‌های هنرآفرینی کاربردِ مفاهیم قرآنی در اشعار عرفانی حزین لاهیجی 71 92 27050 10.22108/jpll.2022.128713.1639 FA فاروق نعمتی دانشیار گروه زبان و ادبیات عرب، دانشگاه پیام نور، تهران، ایران رضا کیانی دانش آموخته دکتری زبان و ادبیات عرب، دانشگاه رازی، کرمانشاه، ایران Journal Article 2021 08 25 Abstract Literary language and poetry in particular is a suitable platform for the manifestation of Qur'anic teachings by poets, who enable the audience to receive and interpret their poems spiritually by referring their thoughts to the Holy Words of Revelation. In this regard, Hazin Lahiji, a 12th-century Sufi poet, has been influenced by the Qur'an in various ways. Inspiration through divine verses has helped the process of reading and analyzing his mystical poems. His sad poems are accordingly affected in both explicit and implicit forms. Sometimes, they are reflected in the content and sometimes by the words of the Qur'an in such a way that the contents, compositions, themes, and events of the Qur'an, in line with his poems, have created the ground for the variety of expressions and crystallization of his mystical thoughts. The present study was an attempt to investigate Lahiji's method of composing sad poems, which is referred to as ‘intertextuality’ or ‘proportionality’ in modern linguistic discussions. In this view, the authors intended to answer the following 3 questions by examining the poet's poems: 1) In what ways have his sad poems been influenced by the word of revelation? 2) What are the main mystical concepts of sad poetry that refer to Quranic themes? 3) How has Hazin aligned Qur'anic themes with poetic acquisitions in his mystical poems? This research was based on a descriptive-analytical method for analyzing Lahiji's sad poems. The results of this study showed that Lahiji used the techniques of adaptation, simile, allegory, allusion, interpretation, and quotation to translation. The rhetorical layers of his mystical language were adorned with the words of the divine dictators in such a way that the simple interaction between the absent text [the Qur'an] and the present text [poetry] in his poem had made his creativity unfruitful. The pure concepts of mysticism, such as ‘trust’, ‘manifestation’, ‘endurance’, ‘nearness’, ‘annihilation’, and ‘survival’, with the support of divine verses were found in Rohani’s interpretations. In addition, deliberately sad norms and unusual distances from Qur'anic characters, such as Khidr had plunged some of his poems into an aura of poetic appropriation. Keywords: The Holy Quran, Intertextuality, Mysticism, Sad Lahiji Introduction Islamic mysticism has a close and unbreakable connection with the Qur'an. The Quran is a valuable and methodical version of the salvation of human beings. In addition to its ritual and religious aspects, it has a rich, literary, and artistic text, as well as all the characteristics of a work of art in terms of structure and content. Hazin Lahiji as a poet, historian, and Shiite scholar was one of the prominent figures who used the Indian style in his poems in the 12th century AH. With an attitude in Orfa's style, he weaved Qur'anic sparkles into the fabric of his poetic thoughts. He turned to poetry based on pure Islamic teachings. He was in touch with the Qur'an since childhood. He was influenced by heavenly verses in various ways and the luminous words of revelation were his intellectual reference in discovering the creative realm of language that spread over the poet's soul by mixing with the holy verses of God that artistically polished the chiseled words of his compositions. Although the flow of the Qur'an in the vein of sad poems is understandable in the way of simple gestures, it is sometimes accompanied by subtleties that are not accessible to everyone and require their own insight. In addition to this, sometimes, adapting and guaranteeing and sometimes alluding to some of the Quranic stories and characters in an overt and hidden form have become the basis of the poet’s thinking. A deep look at Lahiji’s poems showed that in his eyes, Quranic verses were sometimes adapted by keeping the structure and the same spiritual meaning, while they were sometimes used in a new concept by changing the structure. In addition, part of the effects of the Quran in Hazin Lahiji's poetry was the reflection of stories, such as Moses' (PBUH) going to Mount Toor, the story of Khizr (PBUH) and the water of life, etc. For this reason, in this research, Hazin Lahiji’s creativity in the use of verses was examined in a descriptive-analytical way by assessing the evidence, comparing the verses, and explaining their differences, and how the poet used the water of revelation. It could be explained that Lahiji had innovated in combining Quranic words with Persian words and sometimes by creating innovative and deconstructive similes. He broke the traditional patterns of Persian grammar and made some Quranic compounds and sentences into a singular noun. Review of the Literature Mohammad Ali Lahiji, a mystic and poet of the 12th century AH, was born in Isfahan. “His chastity is ‘sad’ which has a real relationship with his gloomy life” (Khan-Khatak, 2014, p. 33). Lahiji migrated to India for political reasons during the reign of ‘Mohammed Shah’ and settled in the city of Benares (cf. Seddighi, 2005, pp. 9-15). He died at the age of 77 and was buried in the tomb he had already planned in Fatiman Benares (cf. Bahar, 1958). Lahiji was a servant of love and this love is the leaven of his mysticism. He imagined love in religion. It can be said that love is spread in the body and soul of Lahiji so much that in his opinion, it is the foundation of the world system and support. Sometimes it is considered a universal monument. His sad poems have moral, social, and mystical themes. One of the factors of his fame is the abundance of information and the environment that he had in Arabic and Persian languages (Jaafari, Jafari, p. 54). Hazin has been a mystic in his daily life and this mystical nature rules his poetry. It is also the most prominent feature of his poetry. The color of Hazeen's mystical inclination can be recognized in all stages of his life because he received his primary education from Sheikh Khalilullah Taleghani, who was a perfect mystic. In addition, Hazin studied many works of mystical poets and imitated some of them (Khan-Khatak, 2014, p. 82). The trace of Lahiji's mystical worldview is reflected in the structure and content of his compositions that are based on Quranic teachings. Lahiji, in his full-of-excitement life, reaches new understandings one after another, and with the help of a friend, and with the opening of doors to the garden of wisdom, every particle becomes a mirror of his enlightening glory. Therefore, in the language of poetry, he declares that the awake one is ‘Kon’ and the drunken one is ‘Alst’, and by removing the illusion of being, he watches the manifestation of "Yosef of Love" without any barriers and veils and witnesses the world. He knows the manifestations of God and the divine names and finds ‘unity’ in ‘multiplicity (cf. Dabiran, 2003, p. 127). Among the mystical themes in Lahiji's mystical poems, the following can be mentioned: 1- Manifestation: ‘Manifestation’ in the word means becoming visible, and the term literally connotes “the appearance of the essence and attributes of divinity in the heart of a mystic” (Haeri, 2016, p. 29). Hajviri (1992, p. 504) has said in the expression of manifestation that “the manifestation of the light of the truth will be according to the fate of the hearts of the future ones when they will be worthy to see the truth with their hearts”. Manifestation as one of the fundamental themes in the realm of theoretical mysticism has always been favored by Lahiji. 2- Proximity: ‘Proximity’ is one of the spiritual conditions, which, in addition to its high position in the Holy Quran, is also highly regarded in mystical works. This mode is sometimes used ironically in the cover of the allegory of ‘bracket frame’. Although the commentators have carried the Qur'anic term ‘Qab Qosin’ to the closeness between the Prophet (PBUH) and Gabriel, in mysticism, especially mystical literature, this expression is used to indicate the union between the servant and the Lord. Hazin Lahiji sometimes uses this term in the manner of Orfa to denote the spiritual concept of closeness. The closeness that the seeker can achieve by purifying himself from sin. Sometimes, the poet refers to the process of ascension with the influence of verse 9 of Surah Al-Najm: fakan qaab qaab qusayn-e aw-adni﴾ and imitating the Quranic use of the combination "qab qasin" and allocating this type of qorb to the seal of the prophets of Prophet Muhammad (PBUH). In the following verses, the soil that is placed in the path of the holy steps of the Prophet (PBUH) is described as the honor of Kunin, a prophet whose real estate is mortgaged by the ocean of his love and the heavens are like a dim parasite compared to his existence, and in a word, his noble dignity is higher than the attributes of the earthlings and his praise is only due to the purity of his soul. 3- Tawakkel: traces of words, compounds, and Quranic phrases are imprinted everywhere in Hazin Lahiji’s Divan in such a way that a part of his poems can be considered a mystical interpretation of the divine word. In this context, one of the themes of the Qur'an, which has been widely reflected in the mystics of Hazin, is the concept of ‘trust’, which is one of the most important mystical authorities from the perspective of Islamic Sufism, and other stages of conduct are dependent on it. Methodology The basis of the authors’ work in this research was the descriptive-analytical method. In this way, first, Hazin Lahiji’s Divan was studied and then, those mystical poems that he had written with regard to the verses of the Qur'an were investigated, and the kernels of meaning that the poet tried to interpret by referring his mystical thoughts to the words of revelation were analyzed. Results The effects of the Quran on Lahiji’s poems in different ways, such as adapting words and themes and simulating the structure and expression styles, seem obvious. In addition to this, Lahiji’s benefit from the irreplaceable words of the Qur'an was sometimes achieved in a hidden and interpretive manner. Such an application gave an artistic color to his poetry. On the other hand, the poet’s frequent references to Quranic verses in the background of mystical mindsets showed that he was familiar with rhetoric secrets and knew well where he had to provide arguments to convince an ascetic. Another aspect of Hazin's connection with the Qur'an was that he translated a verse or a phrase of the Qur'an directly or with a little manipulation, guaranteed, or quoted them. In line with the adoption of these methods, it seems that the story of Khizr (PBUH) expressed the keyword of Lahiji's sonnets more than any other Quranic stories. He used the mystical capacities of this divine prophet to serve his thoughts. He was self-benefited in such a way that the story of Khizr (PBUH) and his life-giving water had found a similar meaning in his poems. In general, a large part of Lahiji’s melancholic mystical compositions was under the influence of the irreplaceable word of revelation in the way of adapting words and themes, simulating the structure and styles of expression, guaranteeing, quoting meaning, etc. The style of this poet gave a mystical-Qur'anic appearance. In general, it could be said that the main concepts that were interpreted in Hazin Lahiji’s mysticism with the support of Quranic verses were as follows: mystical manifestation and objectivity, closeness, reliance, annihilation, patience, hope, etc. بیان مسئله: زبان ادبی، به‌ویژه شعر، بستری مناسب برای تجلّیِ آموزه‌های قرآنی شاعرانی است که به پشتوانة ارجاع‌دادن اندیشه‌هایشان به کلام مقدّس وحی، امکان دریافت و تفسیر معنویِ سروده‌های خود را برای مخاطبان فراهم می‌آورند. در این زمینه، حزین لاهیجی، شاعر صوفی‌مسلک قرن دوازدهم، به‌شیوه‌های گوناگونْ تحت تأثیر قرآن قرار گرفته و با الهام از آیات آسمانی، به فرایند خوانش و تحلیل سروده‌های عرفانی خود یاری رسانده است. پژوهش حاضر تلاشی برای واکاوی شیوه‌های اثرپذیری حزین لاهیجی از قرآن کریم در تببین برخی مضامین عرفانی است. در این پژوهش، نگارندگان بر آن هستند با بررسی سروده‌های شاعر به سه پرسش زیر پاسخ دهند: حزین به چه شیوه‌هایی از کلام وحی تأثیر پذیرفته است؟ عمده‌ترین مفاهیم عرفانی ارجاع داده‌شدة شعر حزین به مضامین قرآنی کدام‌ است؟ حزین در اشعار عرفانی، چگونه بن‌مایه‌های قرآنی را با تصرّفات شاعرانه همسو کرده است؟ روش: روش پژوهش، توصیفی ـ تحلیلی و با تکیه بر سروده‌های حزین لاهیجی است. یافته‌ها و نتایج: تأثیرپذیری حزین به دو فرم صریح و غیرصریح، گاه از محتوا وگاهی از واژگان قرآن نمود می‌یابد؛ به‌گونه‌ای که مفردات، ترکیبات، مضامین و حوادث قرآنی، همسو با سروده‌هایش، زمینة تنوّع بیان و تبلور اندیشه‌های عرفانی وی را ایجاد می‌کند. نتایج پژوهش گویای آن است که مفاهیم ناب حوزة عرفان مانند «توکّل»، «تجلّی»، «استقامت»، «قُرب»، «فنا» و «بقا»، به ‌پشتوانة آیات مبین الهی، تأویلی روحانی یافته‌اند. افزون‌بر این، هنجارشکنی‌های عامدانة حزین، بخشی از سروده‌های وی را در هاله‌ای از تصرّفاتِ شاعرانه فروبرده است.

https://jpll.ui.ac.ir/article_27050_7753810badccbb476f88bd09880b238b.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 A Study of Attar's Tazkereh al-Awliya and Mathnawis based on Genet's Hypertext Theory بررسی تذکرة‏الأولیا و مثنوی‏های عطار براساس نظریة بیش‏متنیت ژنت 93 110 27051 10.22108/jpll.2021.125690.1538 FA زهرا پیرحیاتی دانشجوی دکتری، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه لرستان، خرم‌آباد، ایران علی حیدری استاد گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه لرستان، خرم‌آباد، ایران 0000-0002-9341-8793 Journal Article 2020 10 28 Abstract Tazkereh al-Awliya, which is the most important work of Attar's prose and one of the greatest texts of mystical prose, has great potential for intertextual comparisons with other mystical works as well as Attar’s Masnavis. This descriptive-comparative study aims to show the textual relationship of 51 joint anecdotes of Tazkereh-al-Awliya and Attar's Masnavis with the hypertext approach, one of the five pillars of Gérard Genette’s theory of transtextuality. The results of the research show a broad relationship between Tazkereh Al-Awliya and Attar’s Masnavis. Both types of hypertext (i.e. homogeneity and tragedy) are observed in these works. This connection is more than the type of tragedy, and among Attar's Masnavis, Al-Tair, Elahinameh, Misibatnameh, and Asrarnameh, respectively, have the highest percentage of common anecdotes with Tazkereh al-Awliya. Introduction The term intertextuality was first coined in the 1960s by Julia Kristeva, a Bulgarian-French post-structuralist theorist. The concept was further discussed and developed by other famous literary critics including Roland Barthes, Jacques Derrida, Claude Levi-Strauss, Philippe Sollers, Michel Foucault, Jacques Lacan, and Julien Greimas. Finally, Gérard Genette proposed the term transtextuality to refer to all the relationships between two texts. Concerning this term, he writes in his Palimpsests: Literature in the Second Degree: “Today, I would like to say that, in general, it is the issue of transtextuality or textual transcendence that I have previously defined generally as the fact that any hidden or obvious thing can put the text in a relationship with other texts” (Namvar Motlagh, 2007, p. 86). Genette divides transtextuality into five subtypes: intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality. “Attar-e Neishaboori is a well-known mystical figure who made extensive use of stories and anecdotes in his works. He would combine all his mystical or moral issues with anecdotes to leave a greater impression on the audience’s mind. This is why the analysis of the components of his anecdotes is important” (Ashrafzadeh, 1994, p. 31). Tazkirat al-Awliya is one of the most outstanding works of Persian mystical literature that has great potential for intertextual comparisons with other mystical works as well as Attar’s Masnavis. Attar sometimes repeats one of the anecdotes of Tazkirat al-Awliya in his Masnavis only thematically without mentioning proper names. Conversely, he sometimes takes a very brief and ambiguous anecdote from Tazkirat al-Awliya and expands it in his Masnavis. “Like intertextuality, hypertextuality also refers to the relationship between two literary or artistic texts; but the hypertextual relationship, in contrast, is based on adaptation rather than co-presence. In other words, hypertextuality deals with the effect of one text on the other instead of its presence. Of course, it can be easily imagined that there is an effect in every presence and a presence in every effect. In hypertextuality, however, a broader and deeper effect is emphasized. More clearly, intertextuality focuses on giving presence whereas hypertextuality focuses on the general impression and inspiration” (Namvar Motlagh, 2007, p. 94-95). Materials and Methods By looking at Tazkirat al-Awliya as a hypertext and Attar’s Masnavis as hypotexts, this study attempts to investigate the relationship between these works through the framework of hypertextuality and a descriptive-comparative method. Finally, the differences, similarities, and changes in the anecdotes that are in common between Tazkirat al-Awliya and the Masnavis are explained. 3. Results 1. Similar Anecdotes of Attar’s Tazkirat al-Awliya and Masnavis Name of Masnavi Number of anecdotes Number of anecdotes in common with Tazkirat al-Awliya Percentage of similar anecdotes Mosibat-nameh 356 18 5% Elahi-nameh 251 17 8.6% Mantiq al-Tayr 185 13 7% Asrar-nameh 97 3 3% 3.1.1. Hypertextuality Genette defines hypertextuality as, “any relationship uniting a text to an earlier text upon which it is grafted in a manner that is not that of commentary” (Genette, 1977, p. 5). In other words, hypertextuality refers to any relationship that unites text B with text A. Therefore, “hypertext is a text that has been derived from an earlier text through a transformative process” (Namva Motlagh, 2007, p. 95). Genette divides hypertextuality into two general types: homogeneity (imitation), and transformation (change). The highest percentage of character homogeneity was 83.3% and the highest percentage of place homogeneity was 33.3%, both belonging to the similar anecdotes of Tazkirat al-Awliya and Mosibat-nameh. After Mosibat-nameh, the anecdotes of Elahi-nameh have the highest frequency in terms of homogeneity with the anecdotes of Tazkirat al-Awliya, although the anecdotes of Mantiq al-Tayr have the highest place homogeneity with Tazkirat al-Awliya. It seems that place is not of importance in mystical anecdotes due to its abstract nature. The third work with the highest homogeneity with Tazkirat al-Awliya is Mantiq al-Tayr and the fourth one is Asrar-nameh. It should be noted that place is mentioned in none of the similar anecdotes of Tazkirat al-Awliya and Asrar-nameh, and this indicates the low importance of the notion of place. 3.1.1.1. Transformation (Change) Changes to a hypertext can be small or extensive. “Transformation can be of different types. In fact, changing a text to create another text can result in different types. This transformation can be viewed through different lenses and with different criteria in mind, based on which the different types of transformation can be distinguished” (Namvar Motlagh, 2007, p. 97). Transformation has been classified from quantitative and content-related perspectives. The former refers to reduction and addition, and the latter refers to substitution. 3.1.1.2. Substitution The intertextual relationships between Attar’s Tazkirat al-Awliya and his Masnavis have been well maintained in terms of events and thematic content. The most prominent substitution in this process is the conversion from poetry to prose or vice versa. The substitutions occurring between Tazkirat al-Awliya and the Masnavis can be analyzed in terms of characters, places, wordings, and sentence types. 3.1.1.3. Reduction From among 51 similar anecdotes, 42 anecdotes show a reduction in the Masnavis in comparison with Tazkirat al-Awliya. In 12 anecdotes (anecdotes 2, 3, 4, 14, and 15 from Elahi-nameh, anecdote 5 from Mantiq al-Tayr, and anecdotes 7, 8, 9, 10, 14, and 15 from Mosibat-nameh), only the versions in Tazkirat al-Awliya begin with the phrase “it has been said that”, but the anecdotes in the Masnavis repeat the content without this phrase. 3.1.1.4. Addition Given the nature of poetry, many of the anecdotes in Attar’s Masnavis include additions in comparison with Tazkirat al-Awliya. Discussion and Conclusion Overall, there are 51 anecdotes in common between Attar’s Tazkirat al-Awliya and his Masnavis. To put it exactly, Tazkirat al-Awliya has 17 anecdotes in common with Elahi-nameh, three anecdotes in common with Asrar-nameh, 13 anecdotes in common with Mantiq al-Tayr, and 18 anecdotes in common with Mosibat-nameh. Among Genette’s five types of textual relationships, intertextualiy and hypertextuality are more tangible and concrete. Assuming Tazkirat al-Awliya as the hypotext and Attar’s Masnavis as the hypertext, we studied these works through the framework of hypertextuality. Attar has made use of both types of intertextuality (i.e. homogeneity and transformation), which consist of substitution, reduction, and addition in the textual relationships of Tazkirat al-Awliya and his Masnavis. In the similar anecdotes of Tazkirat al-Awliya and the Masnavis, it seems that Attar has not deliberately created fundamental changes and the majority of these changes are due to the inherent stylistic differences between prose and verse. In prose, for example, creating atmosphere is more sophisticated and resembles dramatic literature, but Attar’s adherence in his Masnavis to literary devices and the poetic as well as the limitations of rhythm and rhyme prevents him from paying due attention to atmosphere. Additions in the works of verse, or indeed reductions in Tazkirat al-Awliya, are sometimes exaggerated in poetic descriptive elements such as adverbs and adjectives. Although not too frequent, the frequency of such additions is higher in Masnavis, which is quite natural. On the other hand, the poet is sometimes compelled to use redundancy or even words that are not mentioned in the original anecdote, thereby creating a longer version than the prose text. Given the nature of the poem that is based on imagination or, according to Nezami, based on the belief that “the most beautiful poem is the most untruthful one”, Attar does not emphasize realism in his Masnavis. In Tazkirat al-Awliya, however, which is based upon verisimilitude, he tries as much as possible to verify the authenticity of the anecdote. This is why phrases such as “it has been reported that...” are quite common additions in this text. In both the Masnavis and Tazkirat al-Awliya, Attar gives priority to the thematic content. In all the similar anecdotes in these works, therefore, the events and themes are identically repeated. Nevertheless, for certain reasons, he sometimes changes characters, times, or places that appear to be unimportant or even mentions them only ambiguously. It seems that, except for certain cases such as characters and places or phrases like “it has been said that” that is specific to prose as well as descriptions, exaggerations, and verbosity in some Masnavis, the anecdotes have not been fundamentally transformed during the transition between prose and poetry and their thematic content has been transferred almost completely. In fact, Attar does not intend to create purposeful changes, at least in these common anecdotes. For example, some proper nouns from the Masnavis are mentioned indefinitely in Tazkirat al-Awliya (e.g. “a mystic”, “a person”, “a place”), and vice versa. The highest percentage of character homogeneity is 83.3% and the highest percentage of place homogeneity is 33.3%, both belong to the anecdotes of Mosibat-nameh. Next are Elahi-nameh, Mantiq al-Tayr, and Asrar-nameh. The greatest amount of substitution has occurred between Tazkirat al-Awliya and Asrar-nameh. The highest percentage of word substitution is 47% that has occurred in the similar anecdotes of Elahi-nameh and Tazkirat al-Awliya. Next are Mantiq al-Tayr with 23% and Mosibat-nameh with 11%. No occurrence of word substitution was observed in the similar anecdotes of Asrar-nameh and Tazkirat al-Awliya. From among the four mentioned types of substitution, the highest percentage belongs to character substitution. The findings of the study suggest that the transformation occurs less frequent than homogeneity in the anecdotes that are in common between Attar’s Tazkirat al-Awliya and Masnavis. Furthermore, Mosibat-nameh has the most points of commonality with Tazkirat al-Awliya. بیان مسئله: تذکرة‏الأولیا مهم‏ترین اثر منثور عطار و از بزرگ‏ترین متون منثور عرفانی است. تذکرة‏الأولیا این امکان را دارد که مناسبات بینامتنی موجود در آن با آثار عارفان دیگر و حتی با مثنوی‏های خود عطار بررسی شود. روش: هدف این پژوهش نشان‏دادن ارتباط متنی پنجاه و یک حکایت مشترک تذکرة‏الأولیا و مثنوی‏های عطار با رویکرد بیش‏متنیت ـ یکی از ارکان پنجگانۀ نظریۀ ترامتنیت «ژرار ژنت» ـ است که با روش توصیفی ـ تطبیقی به انجام رسید. یافته‌ها و نتایج: یافته‏های پژوهش بیانگر ارتباط گستردۀ تذکرة‏الأولیا و مثنوی‏های عطار است. هر دو نوع بیش‏متنیت (همانگونگی و تراگونگی) در این آثار مشاهده می‏شود. این ارتباط بیشتر از نوع تراگونگی است. از میان مثنوی‏های عطار، بیشترین درصد حکایت‌های مشترک با تذکرة‏الأولیا به‏ترتیب در منطق‏الطیر، الهی‏نامه، مصیبت‏نامه و اسرارنامه مشاهده شد.

https://jpll.ui.ac.ir/article_27051_f5586cf8cbecdcea0de36c5d41ac7cc8.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 Analyzing the Story of "Pir Changi" Based on the Narrative Pattern of Grimas تحلیل داستان پیر چنگی برپایة الگوی روایی گریماس 111 130 27054 10.22108/jpll.2021.128832.1616 FA شیرزاد طایفی دانشیار زبان و ادبیات فارسی، دانشگاه علامه طباطبائی، تهران، ایران نصیراحمد آرین استادیار زبان و ادبیات فارسی، دانشگاه البیرونی، کاپیسا، افغانستان همیلا آرین دانشجوی کارشناسی ارشد زبان ادبیات فارسی دانشگاه الزهرا (س)، تهران، ایران Journal Article 2021 05 23 The story of Pir-e Changi is one of the interesting stories of Molavi in the first book of Mathnavi, from which different readings have been made, and in each reading, somehow one of the semantic dimensions and hidden aspects has been reviewed. In this study, we analyze the narrative structure of this story based on the narrative pattern of Grimas, whose main goal is to draw the narrative plan of the story and while answering the following questions in specific ways: What is the main function of this story that forms the basis of its narrative design? What are the accessory/implicit stories that have been included in this story? Do the components of the whole narrative system reinforce problems as the main function of this story? It is assumed that among all the functions included in the story of Pir-e Changi, two functions can be considered as the main functions in it that produce two themes, ‘seeking wealth’ that Pir Changi demands from God by playing the harp and superficial judgment, and ‘lack of awareness from the truth’. From among these two important functions, drawing the plan of the story and appropriate meanings of the implicit stories with the help of the Greimas narrative model, one of the functions can be considered the main core of all functions. The results of the study show that based on the deep structure of narrative and actants, Pir-e Changi’s outgoing from a closed place to the desert is the main function of the story that forms the fundamental theme that is ‘lack of awareness of the truth’, because both deep narrative structure and implicit stories make a system to form this function and theme. Introduction Algirdas Julien Greimas (1917-1992) a Lithuanian-French expert on narratology is one of the most significant figures of structuralism and post-structuralism theories. Some of the narrative experts have divided Greimas’s academic life into three parts: 1) Greimas as a structural narratology scholar, 2) a narratological semiotics scholar, and 3) a discursive semiotics scholar (as cited in Shairi, 2019, p. 13). The story of Pir-e Changi is one of the most attractive stories in Mathnawi that scholars have presented various interpretations and have unfolded some of the secrets and hidden angles of the story. The story would have two basic functions for the readers, the functions that lead to two possible themes. The first theme is Pir-e Changi’s going to the desert from home and playing the harp. The exterior layer of the story vehemently amplifies this theme and function of the story, because the first verses of the story speak about Pir-e-Changi’s poverty and destitution. He tries to solve this problem and eventually found 700 dinars. The story ended at this point. The issue that we think is important in this story is the importance of margins over the main text. These margins are the accessory/implicit stories that are more valuable to recognize the main function and deep layer of the story. The narrative structure of this story tells us that there are two possible themes, the invoking of commodity and superficial judgment of the main fact, and lack of awareness of the truth. According to the actantial function of the narrative, among the two themes, the latest one is going to be the correct function of the story. Review of the Literature There are many studies conducted on Pir-e Change, since this story is one of the interesting stories in Mathnawi and, on the other hand, it is important according to both narrative structure and mysticism. Mirbaqerifard et al.’s the sin of repentance; the analysis of the repentance stage from evil to innocuous in Pir-e-Changi’s story (2011), interpreted the repentance types in this story. Farhad Doroodgarian’s analysis of the Pir-e-eChangi’s rebirth in Rumi’s Mathnawi based on Carl Jung’s Theory (2014) explained this story in an archetypical base. One of the most significant studies written in the Persian language based on this theory is the Analysis of the story Kachal Mom Seia in the second chapter of the book New Semiotics: Basics by Reza Shairi (2019). He has explained in this part of his book the narrative sequences of the story with its contrast by narrative, discourse, and narrative actants. He analyzed this story based on the veridictory square and eventually concluded that events are the generator aspects of the meaning in the narrative of this story. Dezfooladian et al.’s the study of actantial model and narrative sequences in the story of Rostam Death (2019) argued that the narrative sequences and binary oppositions are the main elements of the narrative structure in this story and concluded that the narrative structure of the story has a good correspondence with the actantial model of Greimas. Meanwhile, Yaqubi Junbe Sorayi and Mohammadi in a writing titled: ‘the Structuralism model and Postmodern Narratives; assimilation or heterogeny’ (2015) write that the structural models as the actantial model of Greimas in divergence narratives stand versus itself. Roohani and Shobkolai (2012) have also studied the Shaikh Sanan story of Attar based on the actantial model of Greimas. This writing is titled ‘the study of Shaikh Sanan Attar based on the Actantian model of Greimas. They concluded that according to the narrative structure, there is nothing without functioning in this story and all the parts of the story play role in the movement of the narrative. They also emphasize the role of the reader as the final receiver of the meaning. Many other stories have been studied based on this theory and the narrative structures of the stories have been explored, but the story of Pir-e Changi has not been the subject of study based on this theory. On the other hand, most of these studies have only applied the theory to a story and they do not have any new findings. We have tried in this essay to find the main function and the main actant of the story through the explanation of the narrative deep structures. Methodology The theoretical framework of the present study is the Actantial Narrative model of Algirdas Julien Greimas, but the outcomes of the study are completely the reflections of our own idea. We used this theory to substantiate our new finding regarding the main function of the story of Mathnawi that we think no one has found before. Results Narratology is looking to find how the meaning of a story derives from the deepest structure (langue) of the narrative, not from the independent and solitary subject or content of every single story. The study of Pir-e Changi story of Mathnawi based on the actantial model of Greimas and the explanation of the narrative structure shows that the deep structure (langue) of the narrative verifies the second function and, on the other hand, the content of the accessory/implicit stories also certifies our claim that the main function of the story is the superficial judgment of the main fact. Therefore, the main functions of the stories depend on analyzing and unfolding the narrative structure of the stories. The narrative structure and plot of this story, besides the actantial model of Greimas, is one of the exact ways to study and portray the actants and the accessory stories’ roles in recognizing the main function of the Pir-e Changi story of Mathnawi. Readers may consider both of these functions in their minds without knowing which one would be the exact and correct function, but in order to be sure which function is the best option regarding the narrative structures, we need to study this story according to the Actantial model of Greimas and realize the main function through analyzing deep layers of the plot and narrative. The present study definitely answered the mentioned questions of the research based on the actantial model of Greimas and concluded that the main function of this story is the superficial judgment of the real fact, yet it can function as a return to God and commodity evoke. The main reasons for the results are as follows: The study of the narrative structure based on Greimas’ actantial model shows that all the actants with the function we mean have an active presence and can be portrayed in the deepest structure of the narrative while the first possible function of the actants is omitted from the deepest structure; On the other hand, all of the accessory stories as parts of an organism strongly support our assumption. Finally, the main meaning and function of this story is the superficial judgment of the main fact and lack of awareness of the truth. بیان مسئله: داستان پیر چنگی ازجمله داستان‏های جذّاب مولوی در دفتر اول مثنوی است که خوانش‏های متفاوتی از آن صورت گرفته و هر خوانش، یکی از ابعاد معنایی و وجوه پنهان آن را برکاویده است. در این پژوهش، به تحلیل ساختار روایی این داستان برپایة الگوی روایی گریماس پرداخته‏ می‏شود. هدف اصلی، ترسیم طرح روایی و فهم موضوع اصلی داستان از راه تشخیص کارکرد و کنش است؛ ضمن اینکه به پرسش‏‏های زیر به‏گونه‏ای مشخص پاسخ داده می‏شود: کارکرد اصلی این داستان که پایة طرح روایی آن را شکل می‏دهد، چیست؟ داستان‏های ضمنی‏ای که درون این داستان آمده‏اند و به‏‏نوعی اجزای تشکیل‏دهندۀ کل نظام روایی هستند، چه مسئله‏ای را برای کارکرد اصلی در این داستان تقویت می‏کنند؟ فرض پژوهش بر این است که از میان همۀ کارکردهای شامل در داستان پیر چنگی، دو کارکرد می‏تواند کارکردهای اصلی باشد؛ این دو کارکرد، دو درون‏مایة اصلی را در این داستان می‏پرورد؛ نخست «طلب مال» که پیر چنگی با نواختن چنگ از خداوند می‏طلبد و دوم، «قضاوت سطحی و آگاهی‏نداشتن از حقیقت اصلی». از میان این دو کارکرد مهم، یکی از آنها را میتوان به کمک تحلیل ارتباطِ معانی پنهان داستانهای ضمنی، با یکی از این دو کارکرد و ترسیم طرح پیرنگ داستان براساس الگوی روایی گریماس، هستۀ اصلی همة کارکردها شناخت. روش: در این پژوهش، ساختار روایی داستان پیر چنگی مثنوی برپایة الگوی روایی گریماس تحلیل می‏شود. یافته‌ها و نتایج: نتیجۀ پژوهش نشان می‏دهد که با دقت در ژرف‏ساخت روایت و عامل‏های کنشی در این داستان، کارکرد پایۀ «بیرون‏شدن پیر چنگی از مکان بسته به بیابان» برای شکل‏گیری درون‏مایة اصلی داستان، یعنی «‏آگاهی‏نداشتن از حقیقت اصلی» است؛ زیرا هم زیرساخت روایی و هم داستان‏های ضمنی، نظامی را برای فُرم‏بخشیدن به این کارکرد و درون‏مایه شکل می‏دهند.

https://jpll.ui.ac.ir/article_27054_2b690f5c1118ef2849993f3ac6a1b0cd.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 A Contemplation on the Frequent Question of “What Did the God Almighty Do to You?” in Mystical Prose )Characters, Reasons, and Details of Mercy and Torment) تأملی در پرسش متداولِ «خدای-تعالی- با تو چه کرد؟» در متون منثور عرفانی (شخصیت‌ها، دلایل و جزئیات رحمت و عذاب) 131 152 26336 10.22108/jpll.2022.130148.1638 FA امیر حسین مدنی استادیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و زبان‌های خارجی، دانشگاه کاشان، اصفهان، ایران، Journal Article 2021 08 19 The dream is one of the most frequent motifs in mystical proses, which was considered a kind of honor. It is used as a medium to gain knowledge and understanding because it brought information from the unseen world (the afterlife). In these dreams, the question of “What did the God Almighty do to you?” is very frequent because of the fear Sufis had of the afterlife and the consequences of their actions. The inquirer asks the teller to enlighten him about the events of the purgatory. If God has absolved him of his sins, what was the reason for that? And if he has been tormented or punished for his sins, what negligence or mistake was he punished for? To answer the abovementioned questions, eighteen mystical proses were analyzed. The analysis of the obtained results showed that, in most cases, the teller talks about the favor and mercy of God and that the affairs of the afterlife are easier than what people think, so much that for fifty-nine cases of God's mercy, only nine cases of punishment were seen during the analysis. Contemplation on the proses shows that first, God’s favor and “causeless mercy” or, to be more precise, His “generosity and beneficence” are not only toward mystics and righteous people but also toward normal people, sinners, and murderers; hence God’s true nature is of justice and mercy. And second, that heaven and its blessings are the least of rewards given to the blessed by God; while the more exclusive rewards are seeing God and His companionship, God’s consent and satisfaction in His servants, the prophet greeting the mystic, and being the companions of prophets and righteous people. Keywords: Dream, the Inquirer and the Teller, God’s Behavior, Mercy and Forgiveness, Torment and Rebuke. Introduction The afterlife and the good or bad ending for people in that world is one of the most critical concerns of a believer in the hereafter and reckoning. This concern, or in other words, the ‘pleasant panic’ has a double function and importance among the Sufis; because to them, knowing that the end of all that worship, obedience, and austerity is a reward or punishment is considered vital. Will the mystic face the God who deals with him with his ‘justice’ and does not ignore the slightest neglect and carelessness and takes into account every bit of a person's good and bad deeds? Or will he find a deity who forgives mistakes and sins on a large scale with his grace and mercy and it creates the idea in the mind of the mystic that the work was much easier than he thought? This concern and worry, or in other words, the excitement and passion that arises from fascination, hope, or fear, is the reason that in most of the Sufi texts, we face the common question: "What did God do to you?" and in fact, a person who has recently passed away talks about his destiny in a dream and informs his friends and disciples about the facts and events of the world after death and purgatory. If God forgave him, what would be the reason or reasons for forgiveness, and if perhaps he was punished by God, what would be the reasons and details of the punishment and the blame? Talking about God's forgiveness, mercy, and ease led to a more hopeful and encouraging life and increased their enthusiasm for death and release from the prison of the body. On the other hand, God's strictness and narrow-mindedness resulted in more fear and worries for the mystic and strengthened the idea of a "whip in hand" God. The present research was performed to answer the following three key questions: What were the reasons for asking the frequent question: "What did God do to you?" in mystical texts? What were the reasons for God’s forgiveness or perhaps God’s punishment based on the narrator of the dream? Which details and side information of mercy and punishment have the narrators mentioned? Review of the Literature Although several articles and works have been written so far about the importance of dreams in Sufi texts and moral-mystical teachings contained in these dreams, as well as the effect of such dreams on disciples and students, none of them have specifically investigated the subject and questions of the present research. Rezaei and Eskandari in the article ‘Dreams of Mystics in Risala Qushayriyya: An Analysis’ (2014), while paying attention to the lexical and idiomatic meanings of the dream and the views of Sufis and contemporary thinkers about it, have only analyzed and categorized the dreams narrated in the Risala Qushayriyya. Also, in the article ‘The Origin of the Dreams of Saints of God in Tazkirat-al-Auliyā’ (2019), Najafi and Alirezaee first analyzed the dreams narrated in Tazkirat al-Auliyā and the themes raised in them quantitatively. Then, they considered the relationship of the dreams with those people's facts of life. They concluded that the mystics intended to express their dreams because they were considered part of the Prophecy and messages from the Divine world. The difference between the present study and the two mentioned studies is that each one has only examined and analyzed the dreams of one of the mystical prose books, while this study has analyzed eighteen mystical prose works and separated them thematically. Second, contrary to the present study, the approach of the two mentioned articles was to examine all dreams with any subject and concept, not just the accuracy of the statement and question. Obviously, in the two articles mentioned before, there are a few discussions about the dream with the topic "What did God do to you?". However, specific categories and analyses of this study do not exist in the two articles. Methodology This descriptive-analytical study aims to point out the reasons and details of God's forgiveness or punishment from the point of view of the character in question. This can be done by following up the main mystical prose texts, from Khargushi's Tahdhib al-asrar to Jami's Nafahat al-Uns (Lives of the Saints) (Eighteen Texts), to examine, separate, and analyze the answers given by personalities, mystics, elders, and other deceased people to the common question: "What did God Almighty do to you?". The data collection method is a library, and the tool is taking notes. Results A good or a bad ending and how God treats a servant after death is always one of the concerns of people who believe in the resurrection and the afterlife, especially mystics and pious people. Will God deal with a person with His ‘justice’ and count every bit of good and bad deeds, or will He grant His special mercy to the servant with his ‘grace’, and ignore neglect and carelessness? This concern and somewhat worries and fear in the common question: "What did God Almighty do to you?" has been mentioned in mystical texts and the narrator or a person who has just passed away spoke about God’s behavior after death, and in most cases, he mentioned about God’s forgiveness and mercy. In the mentioned stories, God’s grace and honor do not only include the well-known mystics; rather, lesser-known elders, pious and ascetic, Sunni leaders, reciters and memorizers of the Qur'an, princes, and even sinners and murderers have also benefited from the source of God’s grace so that God’s mercy in these stories is more than five times the amount of his punishment. Of course, in most cases, God’s forgiveness has had a reason or reasons. In this study, we have mentioned thirty-nine reasons for forgiveness, and sometimes, awareness of these reasons caused a change and evolution in the personality and life of the questioner and the audience. The results of the study show that despite the fear and sadness and constant crying of some mystics and warnings about God's strictness and inflexibility, they have encountered a merciful and forgiving God. In some cases, God’s mercy did not have a special reason, and He forgave a person for no reason. Also, actions and behaviors that did not come to the eyes of the mystic, or He considered insignificant and small, resulted in his forgiveness. The fact that the mystic facing God’s punishment is more likely to face a kind of reproach, rather than the punishment in the usual sense, is another sign of God’s mercy and that "If there is wrath, it is not from the essence of God". بیان مسئله: یکی از پربسامدترین بُن‏مایه‏های متون عرفانی، خواب و رؤیا‏ست که نوعی کرامت به شمار می‏رفته و به‏سبب إخبار از عالم غیب، ابزاری برای کسب شناخت و آگاهی بوده ‏است. در میان این خواب‏ها، به‏دلیل نگرانی و ترس صوفیه از عالم پس از مرگ و عاقبتِ کار خود، پرسشِ «خدای ـ تعالی ـ با تو چه کرد؟» بسیار متداول ‏است؛ پرسشگر از راوی می‏خواهد که او را از سرنوشت خود و حوادث عالم برزخ آگاه ‏کند. اگر خداوندْ راوی را آمرزیده‏ است، دلیل آمرزش چه بوده و اگر احیاناً عتاب یا عذاب کرده، به تاوان کدام غفلت و اشتباه او بوده ‏است. روش: نگارنده در این مقاله برای پاسخ به پرسش یادشده، هجده متن منثور عرفانی را بررسی کرده است. یافته‌ها و نتایج: با تحلیل حکایات مرتبط، این نتیجه حاصل شد که در بیشتر اوقات، راوی از آمرزش خداوند و لطف او خبر می‏دهد و اینکه کار، آسان‏تر از آن ‏است که خلق می‏پندارند‏؛ به‏گونه‏ای‏ که در مقابل پنجاه‏ و ‏نه حکایت رحمت خداوند، تنها با نُه حکایت عذاب و عتاب او مواجهیم. تأمّل در حکایات نشان ‏می‏دهد که لطف و «رحمتِ بی‏علّت» خداوند و به عبارت دقیق‏تر «فضل و کَرَم» او افزون‏بر عارفان و پارسایان، مردمان عادی و گناهکاران و قاتلان را نیز در بر می‏گیرد و از این نظر، اصل نقدش، داد و لطف و بخشش ‏است؛ همچنین بهشت و نعمت‏های بهشتی، کمترین پاداش خداوند به رستگاران ‏است؛ در‏حالی‏که رؤیت خداوند و همنشینی با او، رضایت و خشنودی حق از بنده، استقبال پیامبر (ص) از عارف و همنشینی با پیامبران و صالحان، پاداش‏های ویژه‏تری به شمار می‏روند.

https://jpll.ui.ac.ir/article_26336_84143ec7a0456d5d4d4f199c8585854e.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 Critical discourse analysis of the book Esrar al-Tawhid based on Van Leeuwen's model تحلیل گفتمان انتقادی کتاب اسرارالتّوحید بر مبنای الگوی ون لیوون 153 166 26885 10.22108/jpll.2022.127653.1590 FA فائزه عرب یوسف آبادی دانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشگاه زابل، زابل، ایران زهرا داور کارشناس ارشد زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشگاه زابل، زابل، ایران Journal Article 2021 03 03 The book Asrar al-Tawhid is a mystical work in which social agents are represented in different ways. The purpose of the present study is to analyze the discourse of this book based on Van Leeuwen's model relying on the descriptive-analytical method. Preliminary results of the study indicate that in this work, Abu Saeed Abu al-Khair is introduced as a dynamic and effective force through activation. The highest frequency of writing after Abu Saeed Abu al-Khair is related to Khajeh Hassan Modab, the special agent of Abu Saeed and Abolghasem Qashiri. It is obvious that the frequency of naming this prestigious figure due to his final inclination towards Abu Sa'id has had a tremendous impact on the image and spiritual legitimacy of Abu Sa'id Abu al-Khair. In Asrar al-Tawhid, the highest frequency of groups is related to Sufi elders, dervishes, and disciples, all of whom belong to their own group and to the sect-oriented discourse. In the non-identification section, it was found that the identities of anonymous agents were not important in propagating the method-oriented discourse. However, what matters is what they do. The actions of these anonymous agents always have a similar and effective function in expressing the author’s mystical views, which often include observing and perceiving the greatness and importance of the spiritual personality of Abu Sa'id Abu al-Khair. In the book Asrar al-Tawhid, the humanization of animals has an ideological burden, because the presence of these wild animals is one of the virtues of Abu Sa'id Abu al-Khair to be a sign of his legitimacy, consolidation of power, and truth. From the point of view of the deletion component, it was proved that parts of Abu Sa'id's knowledge include the category of fading, since the producer of discourse in this work, like other seekers, is obliged to refrain from revealing the secrets of God and not to share the secret of truth except with the people of truth. Introduction To perceive a literary work more deeply and to understand the essence of the text, one must go beyond the surface and refer to layers beyond the surface. Linguistics is one of the tools of deep knowledge and understanding of literary works, which pays attention to the religious, social, political, etc. aspects of literary works through the analysis of critical discourse and examines a text from all aspects and layers. It checks its hiddenness. The book of Asrar al-Tawhid is a mystical work that consists of three chapters. In these three chapters, there are 271 anecdotes in which social agents are represented in different ways. The existence of this feature, on the one hand, and the lack of fundamental research on this subject, on the other hand, led the authors to examine and explain the ways of representing social agents in the book Asrar al-Tawhid. Therefore, the purpose of this study is to identify social agents and to explain the ways of representing them in the text of the book Asrar al-Tawhid Fi Maqamat Abu Saeed written by Muhammad Bin Manwar, a descendant of Abu Saeed. Theoretical Framework Leeuwen’s model consists of two main branches: elimination and statement. According to him, whenever the social agent is clearly present in the discourse, the phenomenon of expression has occurred. Self-expression manifests itself in two ways: determining the role and determining the type of reference in words. On the other hand, based on the elimination component, a number of social agents are not represented during the discourse. Methodology To discover the components of the discourse centered on Asrar al-Tawhid, the present study is based on the descriptive-analytical method by taking notes and using library resources. Results and Discussion From the totality of what was said about the ways of representation of social agents based on Van Leeuwen’s discourse analysis model in the book Asrar al-Tawhid, it can be said that the method of representation is based on the main component of expression in Asrar al-Tawhid through determining the role and the type of gesture in the word of manifestation. In this work, role determination is done in two ways: activation and passivation. Through the activation of Abu Saeed Abu Al-Khair, he is introduced as an active, dynamic, and effective force that was clearly acting against some of the society’s values. In the passivization section, it was concluded that the activities of Abu Saeed Abul Khair as an active agent of this mystical discourse in his time caused his mystical discourse to be considered a dominant and hegemonic discourse temporarily.In the book of Asrar al-Tawhid, depending on whether the social agent has a human characteristic or not, the type of reference is divided into two parts: identification and de-identification. In this book, the identification of the agents who are represented in the form of human characteristics has been done by naming and linking methods. In the naming section, it was concluded that the title ‘Sheikh’ was used for Abu Saeed Abu Al-Khair as the great agent and the central character of the stories in all the pages of the book and most of the lines. After that, the highest frequency of naming is related to Khwaja Hasan Modab, the special agent of Abu Saeed Abul Khair, who often did the Sheikh's work. Another method of identification that is manifested in Asrar al-Tawhid is the linking process, through which the identified social agents are represented in the form of groups that have a single point of view about an activity, or perform a single action.Accordingly, there are more than sixteen types of groups in the book Asrar al-Tawhid. Regarding the mystical theme, the most frequent works are related to Sheikhs/Sufis, Dervishes, and disciples, all of whom are related to their own group and Tariqat-oriented discourse. In the sub-branch of impersonalization, it was concluded that in the book Asrar al-Tawhid, the highest frequency of impersonalization is related to an old man, someone, a man, and unknown people, respectively. In this case, the agent's identity does not play a role in the discourse; rather, what matters is what he does. What these anonymous agents do in many stories always has a similar and effective function in expressing the author’s views. This work includes observing and understanding the greatness and importance of Abu Said’s personality. Conclusions and Suggestions Based on the author's de-identification, the conclusion was reached that in the book Asrar al-Tawhid, the anthropomorphism of animals has an ideological load and the presence of these wild animals is in line with the proof of the greatness, spiritual power, and dignity of Abu Saeed Abul Khair. In addition, from the point of view of the author of the deletion, it was also concluded that parts of Abu Saeed's knowledge include the category of dimming, because the producer of the discourse in this work, like other seekers, has been obliged to avoid revealing the secrets of God and not to share the truth except with the people of truth. It is suggested to analyze and examine all mystical prose works, especially the mystical works of the Khorasan province using the method mentioned in this study. بیان مسئله: اسرارالتوحید اثری عرفانی است که در آن، کارگزاران اجتماعی به‌شیوه‌های مختلف بازنمایی می‌شوند. روش: هدف در این پژوهش، تحلیل گفتمان این کتاب بر مبنای الگوی ون لیوون و با تکیه بر روش توصیفی ـ تحلیلی است. یافته‌ها و نتایج: نتایج اولیه بیانگر آن است که ابوسعید ابوالخیر در این اثر ازطریق فعّال‌سازی، نیرویی پویا و اثرگذار معرفی شده است. بیشترین بسامد نام‌دهی پس از ابوسعید ابوالخیر مربوط به خواجه حسن مؤدب، کارگزار مخصوص ابوسعید و ابوالقاسم قشیری است. آشکار است که بسامد نام‌دهی این شخصیّت معتبر به‌دلیل گرایش نهایی او به ابوسعید، تأثیر شگرفی بر وجهه و مشروعیت معنوی ابوسعید ابوالخیر گذاشته است. در اسرارالتوحید بیشترین بسامد گروه‌ها مربوط به مشایخ/ صوفی، درویشان و مریدان است که همه مربوط به گروه خود و گفتمان طریقت‌محور هستند. در زیرشاخة نامشخّص‌سازی مشخص شد که هویّت کارگزاران ناشناس در تبلیغ گفتمان طریقت‌محور اهمیتی ندارد؛ بلکه مهم عملی است که آنها انجام می‌دهند. عمل این کارگزاران ناشناس همواره کارکردی مشابه و مؤثر در بیان دیدگاه‌های عرفانی نویسنده دارد که اغلب شامل مشاهده، دریافت عظمت و اهمیّت شخصیّت معنوی ابوسعید ابوالخیر است. در اسرارالتوحید، انسان‌نمایی حیوانات بار ایدئولوژیکی دارد؛ زیرا حضور این حیوانات وحشی از مقولة کرامات ابوسعید ابوالخیر است تا نشانی بر مشروعیّت، تثبیت قدرت و صدق او باشد. ازنظر مولفة حذف ثابت شد که بخش‌هایی از دانسته‌های ابوسعید شامل مقولة کم‌رنگ‌سازی می‌شود؛ زیرا تولیدکنندۀ گفتمان در این اثر، مانند دیگر سالکان، موظّف است از افشای اسرار ربّوبی بپرهیزد و سرّ حق را جز با اهل حق در میان نگذارد.

https://jpll.ui.ac.ir/article_26885_35801eaaf1892c8536c5d88def3fd718.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 An Epistemological Critique on the Story of ‘the Jewish King and the Minister’ in Masnavi Ma'navi نقدی شناخت‏شناسانه بر داستان «پادشاه و وزیر یهودی» در مثنوی معنوی 167 184 27052 10.22108/jpll.2022.127168.1572 FA فرهاد محمدی استادیار گروه زبان و ادبیات کردی، دانشکدة زبان و ادبیات ، دانشگاه کردستان، سنندج، ایران Journal Article 2021 01 24 Abstract The story of the ‘Jewish King and Minister’ in Masnavi Ma'navi, in the first reading, shows a way in the policy that the landlords divide the followers of a religion. From epistemological and intellectual perspectives, it has also shown the misconceptions and mistakes of human beings in reasoning. In this story, Mowlana, by showing the plan of the minister to destroy the religion of Christianity, has practically shown how wrong reasoning, as well as judging and acting on that argument, causes disaster. The results show that the mistake of the Jewish king and the minister has a cognitive origin and it goes back to their misconceptions. They have thought about the subject (= Christianity) with a bipolar fundamentalist mentality and based on this mentality, they have evaluated, judged, and finally issued a verdict. Keywords: Epistemology, Reasoning, Fundamentalism, Mowlana, the Jewish King and the Minister. Introduction Mowlana in Masnavi Ma'navi, in addition to proposing theological, mystical, epistemological, and ontological issues, also paid thoughtful attention to social harms resulting from people's misunderstandings of spiritual concepts and issues and has shown their unfortunate consequences in the form of a story. The story of ‘the Jewish King and the Minister’ in Masnavi is an example of religious wars and tensions in which Mowlana explained its causes and factors and showed its unfortunate consequences. Mowlana has given great importance to how people think and imagine. In his thought, it is important that people's imaginations are correct. Therefore, criticizing people's mentality and how they think is one of the topics that Mowlana tackled. In Mowlana's thought, it has been very important that what a person imagines to be true may not be true. In other words, the thought and belief that a person has a correct idea is not really correct and is wrongly formed. He has mentioned this issue in Masnavi with various parables. For this reason, he has emphasized correct thinking and avoiding perceptual errors, because the occurrence of such errors will lead to unfortunate consequences such as wrong valuation, wrong judgment, and wrong behavior. In the mentioned story, Mowlana shows the work of the king and the minister in creating division among the Christians in such a way that the reader realizes their mistake at the end, and by reflecting and following the source of this mistake, he finds out that the way of reasoning. The result obtained from this reasoning has caused the formation of wrong ideas in the minds of the king and the minister. By criticizing the fundamental propositions hidden in the justifications that the king and the Jewish minister had in mind for their actions, it is determined that there are logical objections to some of them. In some cases, even though there is logical truth in the inference, the assumptions are incorrect due to contradictions with the realities of the outside world. Therefore, it is possible to determine and explain precisely why and how the king and the minister had a mistake in thinking and made a wrong judgment due to a mistake in knowing the facts and committing a crime. Review of the Literature In the explanation of this story, according to the tradition of explanation and interpretation in the past, Masnavi commentators explained the important mystical concepts and terms, mentioning its sources and background in the works before Mowlana, and also deciphering the characters and elements of the story. Commentators have preferred to pay more attention to the story at a symbolic level than a real and historical level. For this reason, elements and persons have interpreted it mystically. For example, Nicholson (1999) has stated in the description of the story that in the physical world, the secret king of the sensual soul, the secret minister of the false illusions of the mind, Jesus, the soul, and Christians are spiritual powers. Angharawi (2002) also wrote about the conclusion of the story, which can be interpreted both in relation to the real world and the mental world. According to the real world, what is meant by the King of the Jews is the devil of an elf and the minister is the devil of a man. But as for the mental world, what is meant by the King of the Jews is the soul, and the minister is the power of illusion, and what is meant by Jesus is the spirit, and Christians are spiritual powers. Regarding the general reference to the story, Sheikh Adina Mohammad Khwarazmi (n.d) has stated that the purpose of mentioning the story is to express the envy and hatred of their false thoughts and their tricks toward their true thoughts. As it appears from these researchers, the mentioned story has been interpreted from a mystical point of view and in a symbolic way to express spiritual concepts. Of course, sometimes it has been noticed at the social and political level, like what Forouzanfar (1993) said in the description of the story, the main aim and purpose of this story is to criticize the religious prejudices that ignorant people are caught up in any age and the presidential aspirants use it as a museum of their dirty teachings to deceive the common people and achieve the presidency and wealth. In addition to such materials that are mentioned in the explanations of Masnavi Ma'navi regarding the mentioned story and are directly part of the background of the debates about this story, there are also materials about Mowlana's point of view about the errors of thought that are related to the present topic. Regarding the errors of thought, Golizadeh et al. (2011), after expressing the similarities between two thinkers, Francis Bacon and Rumi, consider their differences in the way to get rid of these errors to reach the truth. Methodology In the present epistemological study, the reasoning and justification of the Jewish minister and king for what they do are analyzed in an analytical way, so that the flaws and defects of their thought structure emerge. Results In this story, Mowlana has shown the misperceptions and miscalculations of the Jewish minister and king so that the role of cognitive errors in the occurrence of a disaster can be seen. By focusing on the assumption that "anyone who has a religion other than Judaism is an enemy of God and His religion", the king and the minister committed such a criminal act and justified their work with the same premise that they are destroying the enemies of God and the divine religion. However, all those justifications are false, because they are based on false assumptions. Their cognitive structure about religion is a two-pole fundamentalist, who have made propositions on the basis of truth for themselves. Based on those propositions, they have argued and justified Christianity. There are false presuppositions in the cognitive propositions of the king and the minister, and their knowledge about religion lacks the necessary conditions. The mind and thoughts of the Jewish king and the minister have been formed in such a way that they consider Christians as infidels and enemies of God. This is why they consider it permissible to kill and betray them. It is clear that such thinking originates from the fact that the king and the Jewish minister consider themselves right and the other wrong. All the justifications are incorrect because they originate from misconceptions and anyone who reads the story with an epistemological pathology approach will understand that the Jewish king and the minister are cognitively mistaken. Therefore, the main cause of all the actions of the Jewish king and the minister has been wrong ideas about other religions and a wrong understanding of the truth of religion. The king and the minister are examples of one-dimensional and absolutist characters. When in power, such personalities adopt authoritarian policies and always seek to suppress the opposition and limit them. Such characters do anything to achieve their goals, contrary to the principle that "the end does not justify the means". For them, due to the fact that they have Machiavelli's personality traits, the goal justifies the means, and in order to reach the goal, they consider all the ways and means to be permissible and legal for themselves, and they justify them to themselves. Therefore, their personality traits, each of which is influenced by the other, can be drawn as the following chain: Appearance → One-Dimensionality → Absolutism → Extremism → Authoritarianism بیان مسئله: داستانِ «پادشاه و وزیر یهودی» در مثنوی معنوی در خوانش نخست، بیانگر روشی در سیاستِ صاحب‏منصبان برای تفرقه‏افکنی میان پیروان یک دین و آیین است. این داستان از دیدگاه معرفت‏شناختی و اندیشگانی نیز تصوّرات غلط و اشتباه‏های انسان را در استدلال به نمایش گذاشته است. مولانا در این داستان با نمایش طرح و نقشة وزیر برای نابودی دین مسیحیّت، عملاً نشان داده است که چگونه استدلال نادرست و نیز قضاوت و عمل مبتنی بر آن استدلال باعث فاجعه می‏شود. روش: در این جُستار چگونگی استدلال و توجیه وزیر و پادشاه یهودی برای کار آنها به‌صورت توصیفی ـ تحلیلی نقد و بررسی می‏شود تا نقص‏ها و ایرادهای ساختار اندیشة آنان پدیدار شود. یافته‌ها و نتایج: دستاورد پژوهش بر این موضوع دلالت دارد که اشتباه پادشاه و وزیر یهودی منشأ شناختی دارد و به تصوّرات نادرست آنها برمی‏گردد. آن‏ دو با ذهنیّت بنیادگرایانة دوقطبی، به موضوع (دین مسیحیّت) اندیشیده‏اند و برپایة همین ذهنیّت به ارزشگذاری، قضاوت و سرانجام صدور حکم اقدام کرده‏اند.

https://jpll.ui.ac.ir/article_27052_d93401a06d09a3c662a6e286ea77b2b9.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 What and Why of the Impact of Mystical Literature on Iranian Miniature (With a Semiotic Approach) چیستی و چرایی تأثیر ادبیات عرفانی بر نگارگری ایرانی (با رویکرد نشانه‌شناسی) 185 210 26475 10.22108/jpll.2022.129518.1630 FA علیرضا شادآرام استادیار زبان و ادبیات فارسی، دانشگاه پیام نور، قزوین، ایران زهرا نامور استادیار زبان‌شناسی، دانشگاه پیام نور، قزوین، ایران Journal Article 2021 07 11 Abstract The gradual Sufi approach to Islam made mystical discourse one of the dominant discourses after the sixth century AH. Mysticism and Sufism have been manifested more than anything else in Persian literature. Persian mystical literature gradually formed the ideology of a large part of the Iranian society and influenced other Iranian arts, including miniature. The study of Iranian miniature, as a cultural-artistic text, leads the audience to a set of symbolic codes that have been formed in the context of Islamic mysticism. In this regard, the aim of the present study is to analyze the relationship between mystical literature and Iranian miniatures. Therefore, through the semiotic approach, the impact of mystical literature on the signifying system of Iranian miniature has been shown. Furthermore, we have examined how characteristics of mystical literature are manifested in the visual signs of the paintings. We have performed a content analysis with an intertextual semiotic approach using a descriptive-comparative method, and explained the relationship between mystical literature and Iranian miniature, by using semiotics, analyzing, and comparing verbal and visual signs in the mystical literature and miniatures. Analysis of visual signs such as perspective, face painting, color, light, framing and imaginary images in Iranian miniatures in this study shows that the significance of these visual signs is about mystical themes such as unity in diversity, the quality of the human soul and spirit, spirituality and the best system that rules the world, the movement of the transcendent man from the material world to the spiritual world, and immortality. Introduction During the Islamic period, numerous mystical works were created in prose and verse in the Persian language due to the gradual dominance of Islamic mysticism. These works greatly influenced other arts such as calligraphy, painting, and architecture. The themes of mystical literature are the subject of many Iranian miniatures. The influence of mystical philosophy is more important than the thematic commonalities. The Iranian miniaturist and mystic poet have the same point of view about the world. In other words, Iranian painters follow the ideas of mystical literature through the language of images and depict the mystical world of literature via images. Also, in terms of time, Iranian painting was developed shortly after the peak of the flourishing of Persian mystical literature in the 7th and 8th Islamic centuries AH. Different schools of Iranian miniature, in spite of technical differences from each other, are influenced by Persian literature. We can observe the general spirit derived from Persian literature in many Iranian miniatures. In Iran, since the Safavid era, the dependence of painting on literature has decreased. During this period, the familiarity with western painting brought new subjects and methods to Iranian painting. Finally, during the Qajar period, with the decadence of Persian literature, Iranian painting also declined. So, the painters focused on the objective-materialistic world instead of the abstractive-mystical world of Persian literature. According to these explanations, the understanding of Iranian painting (until the Qajar period) irrespective of mystical literature is impossible. Semiotics is one of the most important tools that explains the relationship between painting and literature. One of the tasks of semiotics is to investigate signs and signifying phenomena in different fields of literature, photography, miniature, advertisements, etc. Charles Sanders Peirce, one of the founders of semiotics, believes that a sign is something that is used instead of something else. Peirce's semiotics is based on interpretation. In his opinion, every sign must always be accompanied by an explanation and reasoning so that it can be considered a sign. Peirce believes in interpretation as a result of the signification of signs. The first effect of the signification of a sign is the feeling that it creates in the audience. This so-called emotional interpretation is sometimes a consequence of signification (Peirce, 2002, p. 52). According to semiology followers, the text (including words, images, sounds, and writing) is a system of signs. The most prominent commonality of literature and painting is their signification. Mystical literature and Iranian painting are two different artistic signifying systems with different signs, but common referents. So our research is a study of signs. The spiritual-philosophical interpretation of visual signs in miniatures can open a new bridge between miniature and mystical literature. Through this bridge, the audience can know more about these two arts and share a part of what the mystic artists have experienced in their solitude. This research is about how the characteristics of mystical literature have been manifested in the visual elements of painting and influenced their meanings. Therefore, we want to analyze the impression of mystical literature on Iranian paintings through visual signs to gain a deeper and more complete understanding of the works of mystical literature and their influence on painting. Review of the Literature Several studies have been conducted regarding the relationship between Persian literature and Iranian painting, and the semiotics of image and literature. Hamidreza Shairi did not directly focus on the Iranian miniature. But in his works such as Analayse semiotique du discours (2019), Commentary on the philosophy of illumination, Visual semantics: Theory and analysis of artistic discourse, he has tried to present the appropriate principles of image analysis based on semiotics. Mohammad Hatefi in his thesis entitled ‘Review and analysis of the Semantics: the relationship between text and image in literary texts’ (2012) and other articles, while presenting the principles of image semiotics, has presented examples of the analysis of literary works from this point of view. Among the works that have dealt with the relationship between Iranian literature and painting, 'Persian-Tajik poetry In XIV-XVII Centuries Miniatures’ written by Ashrafi (1988) is one of the most complete and important works. Alimohammadi Ardakani in his book ‘Synchronization of Qajar literature and painting’ (2013) has studied the relationship between Qajar era paintings and Persian literature. Ishaghpour in ‘La miniature persane: Les Couleurs de la lumière: Le miroir et Le jardin’ (2000) has mentioned the mystical figures of Iranian paintings. Nasr, in his short article ‘The world of fantasy and the concept of space in Iranian miniatures’ (1994) emphasizes that the miniaturists have drawn beyond the materialistic world and got inspired from the religious and holy atmosphere in the society. Yazdani, in her book ‘The philosophy of Eshragh and painting’ (2018) introduced some characteristics of Iranian painting stem from Eshragh philosophy. Bolkhari in ‘Mystical foundations of Islamic art and architecture’ and other works has explained the role of mysticism in Iranian painting, especially by focusing on the two elements of light and color. Among other studies on this issue, we can refer to the works of Khalifeh Banarvani (2012), Esamati and Rajabi (2012), Mohammadi Vakil (2009), Azhand (2008), Zabolinezhad (2008), Zarrini (2008), Bozorg Bigdeli (2007), Azari Dehkordi (2006), Alboghobeish (2018), Karimi (2016), and Kevorkian and Sicre (1998). There are two differences between our research and the aforementioned studies: 1) focusing only on mystical literature rather than other genres; and 2) using the semiotic method to show Persian literature’s influence on Iranian painting. Methodology We have performed the content analysis with an intertextuality semiotic approach in a descriptive-comparative manner. We explained the relationship between mystical literature and Iranian miniature by using semiotics, analyzing and comparing verbal-visual signs in the mystical literature and miniatures. Results Analysis of visual signs such as perspective, face painting, color, light, framing, and imaginary images in Iranian miniatures shows that the significance of these visual signs is about mystical themes such as unity in diversity, the quality of the human soul and spirit, spirituality and the best system that rules the world, the movement of the transcendent man from the material world to the spiritual world, and immortality. The common references in the two different systems (Iranian literature and Iranian miniature) stem from common culture. بیان مسئله: رویکرد تدریجی صوفیانه نسبت‌به اسلام باعث شد از قرن ششم هجری به بعد گفتمان عرفانی در ایران به یکی از گفتمان‌های غالب فرهنگی تبدیل شود. عرفان و تصوف پیش و بیش از هر چیزی در ادبیات فارسی تجلی یافت. ادبیات عرفانی فارسی به‌تدریج جهان‌بینی بخش عظیمی از جامعة ایرانی را شکل داد و توانست سایر هنرهای ایرانی، ازجمله نگارگری را تحت تأثیر قرار دهد و در خدمت خود نگه دارد. ادبیات عرفانی به‌صورت خاص در تکنیک‌های زیبایی‌شناسیِ هنر نگارگری ازجمله نشانه‌های دیداری و دلالت‌های آنها بسیار مؤثر واقع شد. مطالعة نگارگری ایرانی ـ اسلامی به‌مثابة متن فرهنگی ـ هنری می‌تواند مخاطب را به مجموعه‌ای از رمزگان نشانه‌ای رهنمون کند که در بستر عرفان اسلامی شکل گرفته‌اند. روش: در این پژوهش با هدف تحلیل ارتباط ادبیات عرفانی و نگارگری ایرانی با رویکرد نشانه ـ معناشناسانه کوشش شد تا نشان داده شود که تأثیر ادبیات عرفانی بر نظام دلالتگر نگارگری ایرانی چه کیفیتی دارد و ویژگی‌های آن چگونه در نشانه‌های دیداری نگاره‌ها متجلی شده است. برای این منظور مجموعه‌ای از نگاره‌ها مطالعه شد که از آن میان به شش نگاره در این مقاله استناد شده است. یافته‌ها و نتایج: در میان انواع نشانه‌ها، واکاوی شاخص‌ترین نشانه‌های دیداری مانند پرسپکتیو، چهره‌پردازی، رنگ، نور، قاب‌بندی و صورخیال در نگاره‌های ایرانی نشان می‌دهد که این نشانه‌های دیداری غالباً بر مضامینی عرفانی، مانند وحدت در کثرت، کیفیّت نفس و روح انسانی، معنویّت و نظام احسن حاکم بر جهان، حرکت انسان متعالی از جهان مادّی به جهان معنوی و جاودانگی دلالت می‌کنند. اشتراک مدلول‌های دو نظام متفاوت ادبیات و نگارگری برخاسته از فرهنگ غالب و مشترکی است که این دو نظام، از یکسو در بستر آن شکل گرفته‌اند و ازسوی دیگر در تثبیت و شکل‌گیری آن مؤثر بوده‌اند.

https://jpll.ui.ac.ir/article_26475_66eae4e33c61e67e0bd9f24b0bcac337.pdf

انجمن ترویج زبان و ادب فارسی ایران پژوهش‌های ادب عرفانی HTTPS://JP 15 2 2022 02 20 A Comparative Approach to the Quranic story “Moses and Khidr" and Tolstoy's “The Godson” story نگاهی تطبیقی به داستان قرآنی «موسی و خضر» و داستان «پسرخوانده» از لِف تالستوی 211 226 26600 10.22108/jpll.2022.128931.1620 FA سیده مهنا سیدآقایی رضایی استادیار گروه زبان روسی، دانشکدة ادبیات فارسی و زبان‌های خارجی، دانشگاه مازندران، بابلسر، فرزاد بالو دانشیار گروه زبان و ادبیات فارسی، دانشکدة ادبیات فارسی و زبان‌های خارجی، دانشگاه مازندران، بابلسر، ایران Journal Article 2021 05 30 Introduction The East, as the cradle of human civilization, appeared more and more in the works of Russian thinkers and writers since the 1940s. The name of Lev Nikolayevich Tolstoy is also connected with the culture and philosophy of the East, and the influence of the philosophy of the East on the formation of his worldview is very great. He considered the oriental way of life, the peacefulness and hard work of his people, and the cultural heritage of the Orient as the saviors of humanity. Tolstoy's familiarity with Eastern culture and wisdom goes back to his teenage years, when he moved to Kazan, an ancient and Muslim city on the banks of the Volga River, at the age of thirteen, prepared to enter the Faculty of Philosophy, the Department of Arabic and Turkish Languages of Kazan University. The young count learned Arabic and Turkish languages under the supervision of the great scientist Mirza Kazem Beyk, one of the first founders of Oriental studies in Russia. By studying Mirza Kazembeik's works (Persian literature, Iranian epic, and Iranian mythology from Ferdowsi's point of view), he got acquainted with Ferdowsi, Rumi, Saadi, Hafez, Jami, and other great Persian poets and literature. By serving in the Caucasus and participating in the Crimean War, the young Tolstoy became more familiar with Islam, Eastern culture and the temperament of the Crimean Muslim Tatars, and he did not stop learning more about Eastern religions and wisdom until the end of his life. In this way, it can be said that Eastern religions, especially Islam and Islamic mysticism, have played a significant role in the formation of the author's intellectual and worldview. Tolstoy, a great Russian writer, was well aware of the literary role of language in education. He used literature to explain moral, religious, philosophical issues, and the impact of his words and created works whose educational aspects are as rich and strong as his literary aspects. Tolstoy defined a new semiotic system by creating allegorical stories for audiences who were often deprived of reading and writing or had little benefit of knowledge. He sought to teach religious and moral concepts to the mass of people, especially children, with narrative, simple, and clear language. Review of the Literature Tolstoy's works were created in different genres, including novels, long and short stories, folk tales, etc. The audience of the works of this well-known writer and thinker was different strata of society, from children and teenagers to adults, from ordinary people to educated people and intellectuals. If it is mentioned, Tolstoy suffered a mental crisis in the 1970s, a crisis that ultimately led to the formation of a new worldview in the author's life and works, and religion and spirituality became the focal point of his works: he turned to create moral and instructive short stories in simple language and tried to create works for common readers.Tolstoy, as a teacher at Yasnaya Polyana School, dealt directly with children and attached great importance to their education. He believed that teaching with the help of epic and historical stories, allegorical stories, and stories taken from legends and popular culture, songs, and stories is far more efficient than teaching with the help of common scientific sources.Also, he was of the opinion that, to educate the common people, it is necessary to have books with a lot of content, which should have a simple language, and that great literary works belong to the educated stratum of the society and are not useful for the common people. It should be noted that the emergence of this type of Tolstoy's works was not only for the purpose of creating literature with simple and understandable language for the common people, but he wanted to convey his worldview and beliefs and tell people about the meaning of life. He believed that the most important duty of a writer is to teach the right way of life.Tolstoy's folk stories were created between 1880-1890. These short religious-philosophical stories have signs of allegory, legend, admonition, story, and anecdote. The story of ‘the godson’ (Крестник) can be classified under folk stories and in the genre of allegorical instructive stories. Tolstoy wrote this story in 1886. He started writing, but the audit did not issue permission to publish this work as an independent book, and in a letter to the publisher, he called it "the most anti-God work". Finally, in 1906 AD, he succeeded in obtaining permission to publish the work ‘Posrednik’ (Посредник). The Qur'an, as a religious book and a true guide for mankind, contains many instructive stories and anecdotes. The story of ‘Moses and Khidr’ is one of the wonderful and mysterious stories of the Quran and it is mentioned in Surah Kahf, verses 60-82. Human wisdom is hidden in the story of ‘Moses and Khidr’ about the external and internal aspects and destinies of this world, and the philosophy of creation is in line with Tolstoy's religious and moral thoughts. Therefore, knowing that the author is familiar with the Qur'an and has even mastered it, it is possible that the wonderful story of ‘Moses and Khidr’ in the Qur'an is one of the sources of inspiration for the author in creating this work. In the following, we will examine the stories ‘the Godson’ and ‘Moses and Khidr’ in terms of their structure and content. Methodology In this descriptive-adaptive study, we examine the quranic story ‘Moses and Khidr’ and Tolstoy's ‘the Godson’ story in Surah Kahf from the Qur'an. By delving into the structural and content elements of these two stories, we find remarkable similarities that cannot be considered coincidences. In this research, we try to answer three research questions: 1) Can these similarities be considered proof of Tolstoy's influence from Islam and the Quran? 2) What truth do these similarities come from centuries of time and cultural differences? 3) Can we come to the conclusion that the spirit of truth is a constant thing and has found a different form and language only in the eyes of each nation? Results With a comparative approach to the Quranic story ‘Moses and Khidr’ and Tolstoy's ‘the Godson’, we reach remarkable similarities in terms of structure and content: 1) the central existence of the guide (first the godfather and then the deserter of the world in the story of ‘the Godson’ and the Lord and Khedr in the story of ‘Moses and Khidr’), 2) the existence of allegorical income (the story of the bear and its cubs in the story of ‘the Godson’ and the story of the fish coming back to life in the story of ‘Moses and Khidr’), 3) three events that are unfair on the surface and force the disciple (adopted son/ Moses) to break the covenant and do prohibitions, and 4) interpretation of the wisdom of those events by the mentor (adopted father/ Khidr). A similar message is also hidden in the heart of both stories, that the fate of this world is not incalculable, and knowing the mystery that is covered by wisdom and expediency on people requires a special ability and capacity. Both stories invite their audience to patience, inaction, submission and satisfaction, and unquestioning following of the mentor. Therefore, by putting these two stories together and examining them, we reach almost identical and similar results, a similarity that helps us to answer the question raised in the introduction with more certainty. Tolstoy was most likely influenced by the Quranic story ‘Moses and Khidr’ in creating this story. He benefited from other religions and rituals, especially Islam, and was constantly searching and accepting for knowing the truth, and avoided dogma, religious fanaticism, and belonging to a religion and culture. By comparing these two stories, we realized that the truth is a constant issue and continues to live beyond time and place and religious and ethnic affiliations. بیان مسئله: لِف تالستوی، فیلسوف، متفکر دینی و نویسندۀ روسی، از چهره‌های برجسته در ادبیات داستانی جهان است. او در آفرینش آثار خود از دستاوردهای فرهنگی ملل مختلف، به‌ویژه مشرق‌زمین و آموزه‌های اسلامی بهره گرفته است. دستاوردهای پژوهش نشان می‌دهد تالستوی در خلق داستان معروف «پسرخوانده»، از داستان قرآنی «موسی و خضر» تأثیر پذیرفته است. روش: نویسندگان در این پژوهش می‌کوشند با روش توصیفی ـ تطبیقی، تأثیرپذیری تالستوی را در آفرینش داستان «پسرخوانده» از داستان قرآنی «موسی و خضر» بررسی کنند. یافته‌ها و نتایج: میان این دو داستان یادشده، چه ازنظر ساختاری و چه محتوایی شباهت‌های عمده‌ای دیده می‌شود: در هر دو داستان شخصیت‌های اصلی نمادین هستند و در نقش مرشد (پدرخوانده، تارک دنیا/ خدا، خضر) و مرید (پسرخوانده/ موسی) ظاهر می‌شوند؛ خواننده شاهد درآمدی تمثیلی بر متن اصلی داستان‌ها و رویدادهای سه‌گانه‌ای است که در ظاهر ناعادلانه و غیراخلاقی است و اعتراض پسرخوانده/ موسی را به همراه دارد؛ اما با رمزگشایی پدرخوانده/ خضر حقیقت نهفته در ورای این رویدادها آشکار می‌شود و اینچنین به مخاطبین خود می‌آموزند که انسان به مقدرات الهی آگاه نیست؛ بنابراین نباید در جایگاه خدایی بنشیند و قضاوت کند و در جریان طبیعی حوادث دست برد؛ بلکه باید به خدا توکل کند و تسلیم تقدیر الهی باشد.

https://jpll.ui.ac.ir/article_26600_64d9c899d8d8f6a13a008d262e105320.pdf