Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 02 20 Significant presence of narrative texts in Shams generalities (importance of narration in semantic understanding of Shams lyric poems) Significant presence of narrative texts in Shams generalities (importance of narration in semantic understanding of Shams lyric poems) 1 19 28325 10.22108/jpll.2023.134338.1714 FA Amir Soltanmohamadi PhD in Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran Journal Article 2022 09 24 Abstract Rumi's lyrical poems are one of the most unique mystical works in the world. Attention to this work has not been as much as attention to Masnavi, another work of Rumi. It is enough to pay attention to the works and explanations that have been written about these two books. One of the reasons for not paying enough attention to Shams’s lyrical poems is the specific language and the space produced by it. Rumi's special spiritual atmosphere is another reason for the difficulty of this text. One of the reasons for the difficulty of the text of Shams's lyrical poems is Rumi's use of previous narrative texts. In this study, by examining the verses written with narrative contexts, it is determined how effective these narrations have been in the formation of verses. Using different narrations, Rumi has created images that even the correct form of his poetry can be seen according to the narration. These narrations are sometimes obvious and sometimes hidden. Sometimes it is a choice between several narrations and sometimes a combination of narrations. Introduction Every work of art is a product of thought and emotion on the one hand and the influence of previous works on the other hand. Every poet or writer consciously or unconsciously reflects the works produced before him. In the pre-modern era, religious sources were one of the most important sources influencing the mind and language of a poet or writer. Few literary works can be found that do not reflect religious sources or other narrative sources in his work. In Persian literature, the same rule applies to poets. Rumi is one of the poets who was deeply influenced by religious sources before him. This point indicates that this principle should be taken into account in understanding and correcting Rumi's works. Understanding this point helps a lot in understanding Rumi's poems. The three research questions that this study seeks to answer are as follows: What is the quantity of Rumi's use of hadiths? What is the quality of Rumi's use of hadiths? Are narrations effective in understanding the poems of Shams Ghazliat? Review of the Literature Since the foundations of education in the ancient world were various traditions, poets were also influenced by these traditions. Rumi also followed the same principles in his works under the influence of the mentioned narrations in his world. Along with Masnavi Manavi, Ghazliat Shams by Rumi is one of the most important mystical works. This important work of Rumi has also had the same effectiveness as the narrations. Among traditions, religious traditions have the most important reflection in Rumi's works. Works like Manaqib al-Arifin have reflected this issue from the very beginning. Other works such as ‘The Story of the Prophets’ by Poornamdarian (2014) reflect the same point. After Poornamdarian’s study, attention has been given to the selections of Shams's poetry and the books written about this work. Methodology Understanding some of Rumi's verses in Shams requires understanding the sources of his poetry. This point is even helpful in correcting some of his verses. Searching for these sources in verses and narratives, especially religious narratives, makes his poetry easier and more accurate to understand. Referring to library sources, examining various narrative books, and comparing Rumi's verses with them are the best ways to understand his poetry. Of course, sometimes in one verse, it is necessary to receive different narrations that express the deep layers of Rumi's poems. Results Examining Rumi's verses in Ghazliat Shams with the framework of narrations led to obtaining notable results. The most important result of this research is that it is rare to find a verse in Gharliat Shams that is not reflected in those narrations, especially religious narrations. These narrations are reflected in different forms and expressions in Shams's poetry. Another notable result shown in this study is that sometimes the correct meaning of the verse can be understood through narration. A narrative is sometimes hidden in the depth of the verse, and by perceiving it, the space of the verse is understood. This principle sometimes even causes the correction of the verse, which doubles its importance. Abstract Rumi's lyrical poems are one of the most unique mystical works in the world. Attention to this work has not been as much as attention to Masnavi, another work of Rumi. It is enough to pay attention to the works and explanations that have been written about these two books. One of the reasons for not paying enough attention to Shams’s lyrical poems is the specific language and the space produced by it. Rumi's special spiritual atmosphere is another reason for the difficulty of this text. One of the reasons for the difficulty of the text of Shams's lyrical poems is Rumi's use of previous narrative texts. In this study, by examining the verses written with narrative contexts, it is determined how effective these narrations have been in the formation of verses. Using different narrations, Rumi has created images that even the correct form of his poetry can be seen according to the narration. These narrations are sometimes obvious and sometimes hidden. Sometimes it is a choice between several narrations and sometimes a combination of narrations. Introduction Every work of art is a product of thought and emotion on the one hand and the influence of previous works on the other hand. Every poet or writer consciously or unconsciously reflects the works produced before him. In the pre-modern era, religious sources were one of the most important sources influencing the mind and language of a poet or writer. Few literary works can be found that do not reflect religious sources or other narrative sources in his work. In Persian literature, the same rule applies to poets. Rumi is one of the poets who was deeply influenced by religious sources before him. This point indicates that this principle should be taken into account in understanding and correcting Rumi's works. Understanding this point helps a lot in understanding Rumi's poems. The three research questions that this study seeks to answer are as follows: What is the quantity of Rumi's use of hadiths? What is the quality of Rumi's use of hadiths? Are narrations effective in understanding the poems of Shams Ghazliat? Review of the Literature Since the foundations of education in the ancient world were various traditions, poets were also influenced by these traditions. Rumi also followed the same principles in his works under the influence of the mentioned narrations in his world. Along with Masnavi Manavi, Ghazliat Shams by Rumi is one of the most important mystical works. This important work of Rumi has also had the same effectiveness as the narrations. Among traditions, religious traditions have the most important reflection in Rumi's works. Works like Manaqib al-Arifin have reflected this issue from the very beginning. Other works such as ‘The Story of the Prophets’ by Poornamdarian (2014) reflect the same point. After Poornamdarian’s study, attention has been given to the selections of Shams's poetry and the books written about this work. Methodology Understanding some of Rumi's verses in Shams requires understanding the sources of his poetry. This point is even helpful in correcting some of his verses. Searching for these sources in verses and narratives, especially religious narratives, makes his poetry easier and more accurate to understand. Referring to library sources, examining various narrative books, and comparing Rumi's verses with them are the best ways to understand his poetry. Of course, sometimes in one verse, it is necessary to receive different narrations that express the deep layers of Rumi's poems. Results Examining Rumi's verses in Ghazliat Shams with the framework of narrations led to obtaining notable results. The most important result of this research is that it is rare to find a verse in Gharliat Shams that is not reflected in those narrations, especially religious narrations. These narrations are reflected in different forms and expressions in Shams's poetry. Another notable result shown in this study is that sometimes the correct meaning of the verse can be understood through narration. A narrative is sometimes hidden in the depth of the verse, and by perceiving it, the space of the verse is understood. This principle sometimes even causes the correction of the verse, which doubles its importance.

https://jpll.ui.ac.ir/article_28325_1050565d15498d55dc75a5972b95936a.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 02 20 Examining Molla Hādi Sabzevāri’s Form and Content of Sharh-e Asrār: A Commentary on Maulavi’s Masnavi Ma'navi Examining Molla Hādi Sabzevāri’s Form and Content of Sharh-e Asrār: A Commentary on Maulavi’s Masnavi Ma'navi 21 40 28384 10.22108/jpll.2024.139394.1795 FA Majid Houshangi Assistant Professor of the Department of Persian Language and Literature, Alzahra University, Tehran, Iran Mahdi Nikmanesh Associate Professor of the Department of Persian Language and Literature, Alzahra University, Tehran, Iran Fatemeh Mohammadi Mazraee MA of the Department of Persian Language and Literature, Alzahra University, Tehran, Iran Journal Article 2023 10 07 Commentary on mystical works holds a significant place in the history of mysticism and Sufism with Masnavi being a captivating subject that has been extensively discussed. Among these discussions, the depiction by Molla Hādi Sabzevāri, a late philosopher of the Islamic world, is particularly important and valuable due to its coverage of legal and philosophical issues. This research aimed to explore the relationship and correlation between the form and structure of this depiction and the intellectual approach that governs it. By understanding its macro pattern based on the key constituent elements, we could better appreciate its significance. To achieve this objective, the present study examined the structural framework that governed the depiction of verses and analyzed the interpretive features observed in Molla Hādi Sabzevāri's methodology, focusing on his descriptive-analytical approach. The findings of this study revealed that Molla Hādi's method of unraveling secrets was primarily characterized as eclectic and comprehensive, taking into account both general and specialized audiences in different contexts. Furthermore, his methodological model was primarily influenced by Quranic interpretations in terms of its form. The textual evidence indicated that Sabzevāri surpassed the audience's expectations by providing theological and philosophical explanations of Maulavi's verses, demonstrating a greater inclination towards clarifying legal and philosophical viewpoints. Commentary on mystical works holds a significant place in the history of mysticism and Sufism with Masnavi being a captivating subject that has been extensively discussed. Among these discussions, the depiction by Molla Hādi Sabzevāri, a late philosopher of the Islamic world, is particularly important and valuable due to its coverage of legal and philosophical issues. This research aimed to explore the relationship and correlation between the form and structure of this depiction and the intellectual approach that governs it. By understanding its macro pattern based on the key constituent elements, we could better appreciate its significance. To achieve this objective, the present study examined the structural framework that governed the depiction of verses and analyzed the interpretive features observed in Molla Hādi Sabzevāri's methodology, focusing on his descriptive-analytical approach. The findings of this study revealed that Molla Hādi's method of unraveling secrets was primarily characterized as eclectic and comprehensive, taking into account both general and specialized audiences in different contexts. Furthermore, his methodological model was primarily influenced by Quranic interpretations in terms of its form. The textual evidence indicated that Sabzevāri surpassed the audience's expectations by providing theological and philosophical explanations of Maulavi's verses, demonstrating a greater inclination towards clarifying legal and philosophical viewpoints.

https://jpll.ui.ac.ir/article_28384_14717f8e5e343f2745c2f882bb34df2d.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 06 18 A Reflection on the Report of Verses from Shams' Generalities in the Jahangiri Dictionary A Reflection on the Report of Verses from Shams' Generalities in the Jahangiri Dictionary 41 55 28515 10.22108/jpll.2024.139578.1800 FA Hamid Aghajani Assistant Professor, Ministry of Science, Research, and Technology, Tehran, Iran Majid Mansuri Associate Professor, Department of Persian Language and Literature, Arak University, Arak, Iran Journal Article 2023 10 25 One of the important and prominent features of the Jahangiri Dictionary (published around the year 1017 AH in India) is bringing examples of poetry from poets of different centuries to explain the meaning of words. Of course, a large number of these poetic witnesses were distorted and many words have entered the dictionaries due to their misreading. But at the same time, a number of these poetic pieces of evidence have been recorded in this book with accurate and correct reports, according to the old manuscripts that the owner of Jahangiri and the writers of the sources had before him. By using them, a large number of verses can be found. He corrected the Divans of Suzani, Sanai, Athir Akshikti, Molavi, etc. By using some verses of Shams' generalities which are given in the Jahangiri Dictionary as a poetic witness under different words and also by referring to other verses of Molavi in Masnavi and Shams' Generalities, an attempt has been made to reflect on some verses of Molavi's ghazals in this dictionary. In this study, using Jahangiri's Dictionary, seven verses from Shams' Generalities have been examined. The difference between the words "چند" and "جند", "بخسیدن" and "پخسیدن", "زرینک" and "چوبینک" are among the cases that have been discussed in this research. In addition, based on the last paragraph, a new possibility has been raised regarding the reason for the attribution of "چوبینه = red headscarf" to "Bahram VI". One of the important and prominent features of the Jahangiri Dictionary (published around the year 1017 AH in India) is bringing examples of poetry from poets of different centuries to explain the meaning of words. Of course, a large number of these poetic witnesses were distorted and many words have entered the dictionaries due to their misreading. But at the same time, a number of these poetic pieces of evidence have been recorded in this book with accurate and correct reports, according to the old manuscripts that the owner of Jahangiri and the writers of the sources had before him. By using them, a large number of verses can be found. He corrected the Divans of Suzani, Sanai, Athir Akshikti, Molavi, etc. By using some verses of Shams' generalities which are given in the Jahangiri Dictionary as a poetic witness under different words and also by referring to other verses of Molavi in Masnavi and Shams' Generalities, an attempt has been made to reflect on some verses of Molavi's ghazals in this dictionary. In this study, using Jahangiri's Dictionary, seven verses from Shams' Generalities have been examined. The difference between the words "چند" and "جند", "بخسیدن" and "پخسیدن", "زرینک" and "چوبینک" are among the cases that have been discussed in this research. In addition, based on the last paragraph, a new possibility has been raised regarding the reason for the attribution of "چوبینه = red headscarf" to "Bahram VI".

https://jpll.ui.ac.ir/article_28515_4487cb8826e1a79083183765c8ab7611.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 08 12 Exploring the Foundations of Ibn Arabi's Thought about the Meaning and Significance of Life Exploring the Foundations of Ibn Arabi's Thought about the Meaning and Significance of Life 57 79 28640 10.22108/jpll.2024.140866.1824 FA Seyyed Amir Muhammad Tabatabaei Vaez Ph.D. student in Islamic Mysticism, Faculty of Humanities, Semnan University, Semnan, Iran Ghodratollah Khayatian Assistant professor, Department of Religions and Mysticism, Faculty of Humanities, Semnan University, Semnan, Iran Azim Hamzeian Assistant professor, Department of Religions and Mysticism, Faculty of Humanities, Semnan University, Semnan, Iran Journal Article 2024 03 02 This abstract delved into the paleontological exploration of the concept of life and the methodologies employed to comprehend its multifaceted meanings. It specifically focused on the perspectives of renowned experts and philosophers from both the Eastern and Western worlds throughout the history of thought, such as Thaddeus Metz and Robert Nozick (1974-1938). The article centered on the viewpoints of Ibn Arabi (560-638 AH), a Muslim mystic and Sufi, regarding the understanding of life's essence. Although Ibn Arabi did not directly address the concept of meaning or explicitly seek to uncover the meaning of life within his mystical and philosophical framework, one could perceive the quest for understanding life's significance as an inherent facet of his philosophy. Through an analysis of the foundational principles underpinning Muhyiddin Ibn Arabi's mystical theories, it became possible to formulate a definition of life's meaning and his approach to discovering it. Of particular significance in Ibn Arabi's mystical discourse is the continuous "dialectical movement" stemming from his belief in the "unity of existence in bein", which manifested itself through the interplay of opposing elements, such as God and man, contrast (Tanzih) and comparison (Tashbih), and consequently, the naturalistic and supernaturalistic approaches. Thus, this article endeavored to comprehensively analyze and examine the Sheikh's viewpoints concerning various aspects within the realm of life's meaning. This abstract delved into the paleontological exploration of the concept of life and the methodologies employed to comprehend its multifaceted meanings. It specifically focused on the perspectives of renowned experts and philosophers from both the Eastern and Western worlds throughout the history of thought, such as Thaddeus Metz and Robert Nozick (1974-1938). The article centered on the viewpoints of Ibn Arabi (560-638 AH), a Muslim mystic and Sufi, regarding the understanding of life's essence. Although Ibn Arabi did not directly address the concept of meaning or explicitly seek to uncover the meaning of life within his mystical and philosophical framework, one could perceive the quest for understanding life's significance as an inherent facet of his philosophy. Through an analysis of the foundational principles underpinning Muhyiddin Ibn Arabi's mystical theories, it became possible to formulate a definition of life's meaning and his approach to discovering it. Of particular significance in Ibn Arabi's mystical discourse is the continuous "dialectical movement" stemming from his belief in the "unity of existence in bein", which manifested itself through the interplay of opposing elements, such as God and man, contrast (Tanzih) and comparison (Tashbih), and consequently, the naturalistic and supernaturalistic approaches. Thus, this article endeavored to comprehensively analyze and examine the Sheikh's viewpoints concerning various aspects within the realm of life's meaning.

https://jpll.ui.ac.ir/article_28640_4173e1620806f4a69ece4ded281e087e.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 08 12 A Review of the Ontological Analysis of Symbol A Review of the Ontological Analysis of Symbol 81 93 28639 10.22108/jpll.2024.140619.1817 FA Masoud Algooneh Associate Professor, University of Isfahan, Iran Journal Article 2024 02 04 Research on the topic of symbols generally falls under two major traditions. The first tradition considers meaning to be a priori, flowing from the context of language rooted in Platonic ontology. This perspective is referred to as the ontological tradition of symbol analysis. The second tradition views meaning as fundamentally enabled through the symbol itself. This perspective encompasses both realistic and idealistic approaches. Language dominated by symbols, such as poetic, allegorical, or mystical language, has long been a subject of discussion and investigation. The present study adopted a diachronic, historical approach to provide a concise overview of the ontological tradition of symbol analysis. It examined the dominant features of this tradition and the historical periods, in which it had been prevalent. In doing so, the research clarified the position taken by the ontological tradition regarding the concept, placement, and function of symbol. Research on the topic of symbols generally falls under two major traditions. The first tradition considers meaning to be a priori, flowing from the context of language rooted in Platonic ontology. This perspective is referred to as the ontological tradition of symbol analysis. The second tradition views meaning as fundamentally enabled through the symbol itself. This perspective encompasses both realistic and idealistic approaches. Language dominated by symbols, such as poetic, allegorical, or mystical language, has long been a subject of discussion and investigation. The present study adopted a diachronic, historical approach to provide a concise overview of the ontological tradition of symbol analysis. It examined the dominant features of this tradition and the historical periods, in which it had been prevalent. In doing so, the research clarified the position taken by the ontological tradition regarding the concept, placement, and function of symbol.

https://jpll.ui.ac.ir/article_28639_63f3a1114436e500a41ab8a6a81e832e.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 02 20 Discourse Formulation of Fatalistic Propositions in Hafez's Poetry (With Emphasis on Mystical Discourse) Discourse Formulation of Fatalistic Propositions in Hafez's Poetry (With Emphasis on Mystical Discourse) 95 110 28633 10.22108/jpll.2024.138280.1775 FA Hatef Siahkuhian Department of Religions and Mysticism, Faculty of Humanities, Islamic Azad University, Takestan Branch, Takestan, Iran Fatemehّّّ Rahimi Department of Islamic Philosophy and Theology, Payame Noor University (PNU), Tehran, Iran. Hossein Arian Department of Persian Language and Literature, Zanjan Branch, Islamic Azad University, Zanjan, Iran. Journal Article 2023 07 03 Hafez's poetry has the greatest capability to be analyzed from the perspective of discourse analysis due to the accumulation of metaphors and ambiguities that double its evasiveness and fluidity. In the meantime, examining the fatalistic propositions in Hafez's poetry, beyond their apparent implication of extreme belief in fate reveals the connection of these propositions with the social, political, and ideological realities of the time of the narration of the text, and factors such as "historical context" and "power relations in the society". Considering the discourse of fatalism in Hafez's poetry as a construction of the relationship between the structure and themes of his poetry with extra-textual factors, the present research tried to give a new formulation of it that is compatible with Hafez's free-thinking and critical views. This study is written using a descriptive-analytical method. The research showed that Hafez, behind the face of the text, and beyond the outward expressions of his poetry, which speaks of submission to fate, is trying to build a critical discourse through the use of language, to bring about changes in the macro social structures and struggle with power institutions and ideologies related to them. In the process of a language game, while expanding his popular ideology under the guise of fatalism, he pursues a goal beyond the spread of fatalism in his poetry and tries to reproduce and induce a new message and meaning of fatalism in the audience's mind. Hafez's poetry has the greatest capability to be analyzed from the perspective of discourse analysis due to the accumulation of metaphors and ambiguities that double its evasiveness and fluidity. In the meantime, examining the fatalistic propositions in Hafez's poetry, beyond their apparent implication of extreme belief in fate reveals the connection of these propositions with the social, political, and ideological realities of the time of the narration of the text, and factors such as "historical context" and "power relations in the society". Considering the discourse of fatalism in Hafez's poetry as a construction of the relationship between the structure and themes of his poetry with extra-textual factors, the present research tried to give a new formulation of it that is compatible with Hafez's free-thinking and critical views. This study is written using a descriptive-analytical method. The research showed that Hafez, behind the face of the text, and beyond the outward expressions of his poetry, which speaks of submission to fate, is trying to build a critical discourse through the use of language, to bring about changes in the macro social structures and struggle with power institutions and ideologies related to them. In the process of a language game, while expanding his popular ideology under the guise of fatalism, he pursues a goal beyond the spread of fatalism in his poetry and tries to reproduce and induce a new message and meaning of fatalism in the audience's mind.

https://jpll.ui.ac.ir/article_28633_e3af4af85f8de7192630921c39937f69.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 02 20 Criticizing Mohammad Hassan Alvan's Novel Mot Saghir Based on Van Leeuwen's Theory of Discourse Criticizing Mohammad Hassan Alvan's Novel Mot Saghir Based on Van Leeuwen's Theory of Discourse 111 126 28663 10.22108/jpll.2024.139999.1807 FA Malakomidi Chahartagh Ph.D. student in the Department of Arabic Language and Literature, Islamic Azad University of Mahabad, West Azerbaijan, Iran Ardeshir Sadruddini Assistant Professor, Department of Arabic Language and Literature, Islamic Azad University of Mahabad, West Azerbaijan, Iran Mostafa Yegani Assistant Professor, Department of Arabic Language and Literature, Islamic Azad University of Mahabad, West Azerbaijan, Iran Journal Article 2023 12 02 Characters are considered an important element of narrative in a novel and a narrative work. This element, in addition to the structural aspect, is also responsible for a large part of the ideological form of the story in terms of thematization. In his theory of discourse analysis, Van Leeuwen links the element of character and the discourse of the work. He talks about the representation and non-representation of actors and their relationships with the discourse of the work. Based on this theory, this study aims to analyze the famous novel Mot Saghir by Mohammad Hassan Alvan. It is a character-oriented novel that deals with the life of Ibn Arabi, a famous Sufi of the 6th century, in the form of a narrative mixed with the author's imagination and reality. Ibn-Arabi encountered various personalities in his mystical journey and in the journeys he followed to achieve his mystical goals and purposes. The narrator of the story, according to the historical aspect of the work and the influence of each of the personality types in the formation of the discourse has focused on their representation by relying on different methods of elimination and expression. Characters are considered an important element of narrative in a novel and a narrative work. This element, in addition to the structural aspect, is also responsible for a large part of the ideological form of the story in terms of thematization. In his theory of discourse analysis, Van Leeuwen links the element of character and the discourse of the work. He talks about the representation and non-representation of actors and their relationships with the discourse of the work. Based on this theory, this study aims to analyze the famous novel Mot Saghir by Mohammad Hassan Alvan. It is a character-oriented novel that deals with the life of Ibn Arabi, a famous Sufi of the 6th century, in the form of a narrative mixed with the author's imagination and reality. Ibn-Arabi encountered various personalities in his mystical journey and in the journeys he followed to achieve his mystical goals and purposes. The narrator of the story, according to the historical aspect of the work and the influence of each of the personality types in the formation of the discourse has focused on their representation by relying on different methods of elimination and expression.

https://jpll.ui.ac.ir/article_28663_81605bcb50b4e707ef6060c63ab7ef6a.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 02 20 The Theory of Mystical Poetry Viewed From Rumi's Poetical Experience The Theory of Mystical Poetry Viewed From Rumi's Poetical Experience 127 143 28690 10.22108/jpll.2024.140612.1816 FA Alireza Mozaffari Department of Persian Language and Literature, Faculty of Humanities, Urmia University, Urmia, Iran 0000-0002-9586-4527 Journal Article 2024 02 19 Mystical poetry, as it expresses the mystical experiences of poets, can be considered from different points of view. In this research, with a Hegelian approach and with an emphasis on the spiritual realm, the author examined Rumi's mystical poetry as a clear example. Iranian mystical poets have chosen a distinct language for their works, considering the drive of differentiation in the field of expression as in other aspects of their material and spiritual life. The main difference between their language and the language of other linguistic groups is the restriction of the language of their poetry to the mental text, the personalization, the symbolic nature of that language, and the breaking of the relations between the signifier and the signified to add physical and emotional dependencies between the two. Mystical poetry, where it is limited to the expression of purely mystical experiences, is affected by the poet's unconscious mind, it is the supplier of the poet's main suppressed and unfulfilled desires and interests. Imagination in such poems to make tangible the intangible and meaningful dimension of the world beyond nature is one of the essentials of mystical poetry. Mystical poetry is not just a confrontation between two spiritual and physical levels; rather, the third element, the mediator of the two, has the most active and effective role in that field. Although "love" often appears in the role of the intermediary element, in the poem of a poet like Rumi, Rumi himself contributes with "love" to achieve such a role. Beauty in such poems is more concentrated in the field of meaning. The pleasure of reading mystical poems mainly depends on the principle of "tazkar". This means that reading these poems evokes eternal memories and the desire to experience those memories. Mystical poetry, as it expresses the mystical experiences of poets, can be considered from different points of view. In this research, with a Hegelian approach and with an emphasis on the spiritual realm, the author examined Rumi's mystical poetry as a clear example. Iranian mystical poets have chosen a distinct language for their works, considering the drive of differentiation in the field of expression as in other aspects of their material and spiritual life. The main difference between their language and the language of other linguistic groups is the restriction of the language of their poetry to the mental text, the personalization, the symbolic nature of that language, and the breaking of the relations between the signifier and the signified to add physical and emotional dependencies between the two. Mystical poetry, where it is limited to the expression of purely mystical experiences, is affected by the poet's unconscious mind, it is the supplier of the poet's main suppressed and unfulfilled desires and interests. Imagination in such poems to make tangible the intangible and meaningful dimension of the world beyond nature is one of the essentials of mystical poetry. Mystical poetry is not just a confrontation between two spiritual and physical levels; rather, the third element, the mediator of the two, has the most active and effective role in that field. Although "love" often appears in the role of the intermediary element, in the poem of a poet like Rumi, Rumi himself contributes with "love" to achieve such a role. Beauty in such poems is more concentrated in the field of meaning. The pleasure of reading mystical poems mainly depends on the principle of "tazkar". This means that reading these poems evokes eternal memories and the desire to experience those memories.

https://jpll.ui.ac.ir/article_28690_91854845c564ba16a1857403aee246ed.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 02 20 A Study of Fitzgerald's Rewriting of Jamī's Mystical Poem, Salamān and Absāl, Based on Lefevere’s Perspective (1992) A Study of Fitzgerald's Rewriting of Jamī's Mystical Poem, Salamān and Absāl, Based on Lefevere’s Perspective (1992) 145 163 28713 10.22108/jpll.2024.141717.1841 FA Abolfazl Horri Associate professor of Translation Studies, Department of English Language and Literature, Faculty of Literature & Languages, Arak University, Arak, Iran Journal Article 2024 06 03 Based on qualitative-explanatory research grounded in the concept of "rewriting" within the "School of Manipulation", this article demonstrated how Fitzgerald rewrote the poem of Jamī based on the two types of poetic and ideological rewriting. The former followed the rules of the era, while the latter referred to the role of supporters among others. The findings showed that Fitzgerald's numerous manipulations were due to not only facing linguistic and poetic differences, but also adapting to the culture and ideology of his time. The most important results included representation of Iranian cultural and literary elements, particularly those related to Sufi literature, in Fitzgerald's rewritings. He created a different and sometimes imaginary representation of Iranian culture and literature, which was more in line with Western expectations. Additionally, Fitzgerald rewrote the text to conform to the cultural capital in English networks and social circles. These adaptations included selecting new words, changing sentence structures, and even deleting or adding parts of the original text to make the final product more appealing to English readers. The overall conclusion was that Fitzgerald's rewritings of Jamī's poems were not just simple translation, but a complex process of cultural rewriting and representation that involved ideology, poetics, and social expectations. These findings helped to better understand cultural interactions between East and West in the modern era and demonstrated how literary translations and rewritings could be a means of cultural transmission and transformation. Based on qualitative-explanatory research grounded in the concept of "rewriting" within the "School of Manipulation", this article demonstrated how Fitzgerald rewrote the poem of Jamī based on the two types of poetic and ideological rewriting. The former followed the rules of the era, while the latter referred to the role of supporters among others. The findings showed that Fitzgerald's numerous manipulations were due to not only facing linguistic and poetic differences, but also adapting to the culture and ideology of his time. The most important results included representation of Iranian cultural and literary elements, particularly those related to Sufi literature, in Fitzgerald's rewritings. He created a different and sometimes imaginary representation of Iranian culture and literature, which was more in line with Western expectations. Additionally, Fitzgerald rewrote the text to conform to the cultural capital in English networks and social circles. These adaptations included selecting new words, changing sentence structures, and even deleting or adding parts of the original text to make the final product more appealing to English readers. The overall conclusion was that Fitzgerald's rewritings of Jamī's poems were not just simple translation, but a complex process of cultural rewriting and representation that involved ideology, poetics, and social expectations. These findings helped to better understand cultural interactions between East and West in the modern era and demonstrated how literary translations and rewritings could be a means of cultural transmission and transformation.

https://jpll.ui.ac.ir/article_28713_95ee37d2350219138cca427700ea1778.pdf

Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 17 2 2024 02 20 From Linguistic Experiences to the Metalinguistic Realm: Stages of Niffari’s Behavior From Linguistic Experiences to the Metalinguistic Realm: Stages of Niffari’s Behavior 165 182 28804 10.22108/jpll.2024.141835.1843 FA Mostafa Mirdar Rezaei Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Human Sciences, Gilan University, Rasht, Iran. Farzad Balou Farzad Balu Associate Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, Mazandaran University, Babolsar, Iran. Mobile: 09119085691; Email: f.baloo@umz.ac.ir Journal Article 2024 06 15 Most research on the role of "language" in Niffari's Al-Mavāghef val Mokhātabāt has focused primarily on "silence", often overlooking other linguistic and meta-linguistic elements in the text or giving them only cursory attention. However, this focus does not imply neglect of the objective manifestations of language—namely, "speech" and "silence". Rather, it suggests a progression through these linguistic dimensions to explore the extra-linguistic realm (extra-speech, extra-silence) or the domain of "manifestation". This study conducted in a descriptive-analytical manner using library resources aimed to discover, explain, and analyze 3 distinct stages of the journey and behavior outlined in Al-Mavāghef val Mokhātabāt, employing a phenomenological approach to engage with the text. The essay also sought to classify and define the linguistic reflections of mystics, particularly their ontological insights. The findings indicated that two of the three behavioral domains pertained to language—specifically, "speech" and "silence". The mystic traversed these stages to enter a third realm: that of manifestation and intuition. More precisely, the seeker’s journey began in the realm of "speech", advances to "silence", and ultimately reached the threshold of manifestation (extra-speech, extra-silence). Remaining in the stage of "silence" without acknowledging the significance of "speech" and especially "manifestation" risked neglecting essential aspects of behavioral experiences, leading to an incomplete understanding within Niffari’s epistemic framework. Most research on the role of "language" in Niffari's Al-Mavāghef val Mokhātabāt has focused primarily on "silence", often overlooking other linguistic and meta-linguistic elements in the text or giving them only cursory attention. However, this focus does not imply neglect of the objective manifestations of language—namely, "speech" and "silence". Rather, it suggests a progression through these linguistic dimensions to explore the extra-linguistic realm (extra-speech, extra-silence) or the domain of "manifestation". This study conducted in a descriptive-analytical manner using library resources aimed to discover, explain, and analyze 3 distinct stages of the journey and behavior outlined in Al-Mavāghef val Mokhātabāt, employing a phenomenological approach to engage with the text. The essay also sought to classify and define the linguistic reflections of mystics, particularly their ontological insights. The findings indicated that two of the three behavioral domains pertained to language—specifically, "speech" and "silence". The mystic traversed these stages to enter a third realm: that of manifestation and intuition. More precisely, the seeker’s journey began in the realm of "speech", advances to "silence", and ultimately reached the threshold of manifestation (extra-speech, extra-silence). Remaining in the stage of "silence" without acknowledging the significance of "speech" and especially "manifestation" risked neglecting essential aspects of behavioral experiences, leading to an incomplete understanding within Niffari’s epistemic framework.

https://jpll.ui.ac.ir/article_28804_a9ed01746583708f416d16dca148b934.pdf