Fiction and Interdisciplinary Studies

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

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

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

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

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

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

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One of the most prominent evident features of Mathnavi Movlavi is its unique of story telling and association. In this article attempts are made to explore the distinguishing feature of Mathnavi Movlavi`s narrative style against those of former man of letters. Meanwhile, the author, highlighting the similarities in the narrative style of Mathnavi and Qazalyyat-e Shams and particularly Attar works, proceeds to comparing the narrative styles of Mathnavi ad the Holy Qoran and comments on movlavi`s innovations.
 

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This article attempts to discuss freedom, liberation and deliverance in language and literature. To this end the author uses two theories: Bloomfild`s “language application” theory and Karl Popper`s “Conjecture and Refutation” theory. It is  argue that language may considered as a substitution for stimulus and real responses and in  so doing it rescues man from the nature determination. Moreover drawing upon Popper`s the paper indicates how literature may exceed real world limitation and constructions and in so doing, paves the way for individual innovations. Literature in deed goes beyond the limits imposed by the two worlds – the real world and the language system and ends p with liberty.
 

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In this article, first, the effect of poets on each other has been discussed. The author emphasizes formal and semantic resemblance in poet’s works as a means to determine whether resemblance and counter resemblance is a case of borrowing or not. Both these cases apply to Sheikh Farid-o-din Attar, the author of Mantegho-tair and Tazkerat-ol-olia and Sheikh Mohammad Shabestari, the author of Golshane Raz. On the one hand, Shabestari feels honor in studying some eloquent literary men such as Attar and, on the other hand, considers borrowing meanings as eavesdropping on angel and conceptual and semantic resemblance as Tavarod (a kind of plagiarism). Admiring Attar, Shabestari considers his own works as a small part of Attar’s Tableh ( Box). In this Study, all the similar matters used by the author of Golestan-e-Raz and Sheikh Mohammad Lahiji are gathered. Moreover, some Gnostic terms such as the unity of existence, manifestation, love, hate, and death are examined for the purpose of clarifying the two poets’ verses.   
 

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In this article, first, the author introduces Abolhassan Kharghani – the great Iranian Sufi- in brief. Then, the remains of old language in Ghumis region (a part of the newly-established province of Semnan) will be sought. The old language of Ghumis has lived on in the words of Kharghani through a thousand years. This language manifests the differences between modern terms, verb structures and prefixes of Dari and those of Ghumis language dating a thousand years ago. Up to now, no study -neither Iranian nor Orientalist or European one- has been carried out on Ghumis language. Thus, this work can break the ground for such studies. The newly-discovered, yet old, sources of Maghamat– e Kharghani and Maghamat-e bayazid upon which this study builds have not been accessed by researchers.
 

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A highly popular poem of Hafez opening with ‘zolf Ashofte o khoui karde va’, starts with such an unexpected turn-up of ‘the beloved‘ that many researchers have considered it as traces of an implied metaphorical love in the poet′s works. In this article, having examined the early literature on this type of emergence of ‘the beloved‘ and communication with the beloved, the researcher has indicated how poets′ recounting of this experience varies according to their worlds of thinking as well as their competence and mastery in language and arts. The range of variations in poets′ reflections and interpretations is as wide and sharp as their conceptualization of ‘love’ itself. Also, in this analytic study, the readership is exposed to the essence of thoughts of Sanaee, Attar, Moulavi, and Hafez and awarded the opportunity of a friendly visit to these poets. Meanwhile, this study may be considened as a search for the geneology of Hafez ′s above – mentioned lyric poem.
 

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In this article, attempts are made to examine Moulana's views concerning the relation between text, the author, the audience and other texts against the contemporary hermeneutics theories. Further, after interpreting the modern theories and matching them with Moulana's poetry in his six versified books, the author presents an account of Moulana's innovations regarding the relation between text and audience. Although this article takes a deconstructive approach to analyzing Moulana's theoretical issues, it does not deal with Moulana's ideas concerning hermeneutics deconstructively. The article, as its immediate implication of the findings, implies the possibility of uncovering many hermeneutic theories in Mathnawi.
 


 

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This article attempts to present a comprehensive scheme for the analysis of poetic language. To this end, first, the classical theory of poetic language is examined. Then, the positions of early and contemporary researchers concerning poetic language are critically reviewed. It is argued that, so far,  despite the invaluable research findings, no exhaustive model for the analysis of all aspects of poetic language has been provided. Finally the author introduces his own model consisting of three layers along with some distinctive criteria for establishing the artistic value of each layer.
 
 

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Unlike general linguistics which, practically speaking, prefers spoken language to written language, in studying the standard language and standardization, priority goes to written language. The logic behind this phenomenon must be found in social, cultural, and technical bases as well as the unique functional and structural characteristics of the written mode. Whereas features of written language contribute to its tendency for standardization, the nature of the spoken language has proved it more standard-resistant, so that some scholars, even, push the argument further denying the existence of any standard spoken language. Nevertheless, the sociolinguists have identified a standard variety for the spoken language but they have hardly suggested any precise definition for it yet. Although, standard spoken language should, by nature, have its own norms and criteria, in practice, the norms and criteria of written language dominate it and the written language functions as a prototype model. It is argued that the narrower the gap between the written and spoken modes in a given language, the higher the standard value of that language would be. The gap between written and spoken language has, at times, resulted in language death.
 

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The similarities between Moulana's (Roumi) poetic style and Surrealism have been widely studied for many years. After reviewing the relevant literature, this paper revisits the topic more intensively and cites some supporting arguments to that claim. To this end, the similarities between the above styles are discussed from two perspectives. First, the similarities between Moulana's views concerning poetry are compared against those of the manifesto of surrealism. In the second part, the distinctive features of surrealist imagery in Moulana's poetry are portrayed. Then, it can be convincingly argued that what Andre Brereton and his contemporaries (1924 -1930) presented about madness and self-directed writing, marvelous phenomenon, the spark nature of poetic discourse, etc. in their poetic manifesto in Paris had indeed been experienced and realized in poetry by the great Persian Poet Moulana Jalal Ol Deen Mohammad Moulavi (604 – 672 A.H.) as early as eight centuries ago.
 

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One of the main educational principles of Safavieh and schools of mysticism is preserving the mysterious and keeping the rights of Magoaw's secrets. This way, Gnostics and the followers of ways tested the competence of the  beginner disciples and the pioneers of difficult ways. By choosing the silent pen-name in Shams 1yrics and by emphasizing on silence at the end of each short story and midway of long stories of Mathnavi, especially when his dreadful waves of knowledge over the unfounded world remove the covers of mysterious houses, Jalaloddin Romi records his name as the greatest preserver of the rights of the secrets of the mysticism.
In this research, we find that Jallaloddin Romi's silence  originates from factors such as misunderstanding of his addressers, inviting to identify addresses  to identify powers, his great ability, richness of speech and, finally,  his endless interest in removing covers from the face of the bride of secrets. Perhaps, through being silent and not paying attention to external tools of recognition, the divine knowledge is acquired and Jallaloddin Romi had experienced this recognition for many times.

 
 

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Parvin Etesami, as one of the poets of the recent century, was affected by the social  structure  of Iran of both Pre-Constitutionalism and Post- Constitutionalism. In her poetry , she dealt with issues which were both reflected in the Iranian traditional culture and affected by the new culture of Iranian society flourishing following constitutionalism and the global society as well. In her later poems, based on her Negating approach, she criticized the contemporary social conditions. In so doing, she was affected by traditions and inspired by modernity. Her poetry, akin to her personality, the primary concern of the present article is the study and analysis of Parvin's sociological thoughts in the light of the social ups and downs in the Iran of late Ghajar dynasty and First Pahlavi.
 


 

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In this study, attempts have been made to illustrate the formation and movement of a human theme in an international context. Among the available viewpoints concerning comparative literature, Remarque was adopted. He has considered comparative literature not as an independent subject but as an interdisciplinary one and as a bridge between literature of all nations. From among a wide variety of methods of comparative literature, George Brady suggests a method comprising four stages: description, interpretation, juxtaposition, and comparison.
The poem "heart of mother" was composed by Iraj Mirza, a parliamentary poet, and has been murmured and taught by our  sympathetic teachers.  Joan Rich Pen is the main part of it, and France is the main source of it.  A comparative survey of this theme indicates that people irrespective of all distinctions, originating from their cultural differences,  have a great number of things in common. These commonalities originate from their human spirits. Comparative literature, then, can manage to transfer feelings, emotions and wisdom to peoples and nations in order to provide positive relationships and connections between them and foster their thoughts and  feelings as  well as  mutual understanding.