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Dr Maryam Haghshenas, Dr Nematollah Iranzadeh,
Volume 30, Issue 93 (1-2023)
Abstract
The story of the descent of the soul as a symbolic language has been adopted by philosophers, mystics, and men of letters for years. The systematic investigation of this symbolic language in Suhrawardi’s works, which is often represented in the form of a story, reveals that this image is interwoven with philosophers’ reminiscence theory on the one hand and the myth of awareness and oblivion on the other hand. Suhrawardi’s distinct intellectual and ontological system turns the “image of descent” into a meaningful symbol through which the state of oblivion is depicted as man’s superior gain. The motif of descent, which is symbolized by a bird in most stories, is the tale of a wayfaring soul who has departed from its origin and descended into the corporeal world. The characters of Suhrawardi’s symbolic stories sink into oblivion after their descent, and this stage prepares the wayfaring soul to realize its limitations and abilities while many of its profound beliefs turn into frail notions. Oblivion and descent in those stories provide conditions through which the wayfarer experiences boundary situations that can lead to knowledge, excellence, and elevation. The present study adopted a descriptive-analytical approach to analyze the stories of “The Red Intellect”, “Resalat ol-Tair”, “Language of the Ants”, and “The Nostalgic Story of the West” and concluded that oblivion is some sort of pre-awareness or pre-understanding which plays a fundamental role in experiencing boundary situations.
Ebrahim Mohammadi, Effat Ghafouri Hassanabad, Seyyed Mahdi Rahimi, Hamed Norouzi,
Volume 30, Issue 93 (1-2023)
Abstract
Ahou Khanom (Madam Ahou’s Husband) novel, written by Ali Mohammad Afghani and its movie adaptation directed by Davood Mollapour. The noteworthy point in both works is the existence of different sense-maker layers and components in the novel and movie threshold that reveals the quality of the relationship between husband and wife in the traditional and pseudo-modern discourse. By highlighting the dispute between traditional and modern discourse, the writer and the director, invisibly and intangibly, try to present the audience the image of an oppressed and alienated woman around whom the patriarchal discourse has always formed a chain to subjugate her due to the natural differences between men and women, and has regarded her as the other and inferior and has marginalised her. So, in the present research based on a comparative-interdisciplinary approach and Laclau and Mouffe’s critical discourse analysis the structures of the thresholds of the two media were investigated. First, the micro-texts of thresholds in the novel and movie were identified, and then with the analysis of the existing point in their structure, the connection among thresholds, the nodal text and its outside world, and ways of creating meaning in different layers of micro-text were examined. Two points were revealed by studying threshold structures in Showhar-e Ahou Khanom’s novel and movie: 1. All the points found in the thresholds of both works were formed based on a macro-clash between men and women. 2. The existing points reveal patriarchally created discourse which always equates men with the nodal point, as superior, active, independent, and free, while introducing women with concepts such as marginal, inferior, passive, dependent and limited, and using the rational of the difference between men and women it excludes and rejects this rival.
Masoumeh Mahmoudi,
Volume 31, Issue 94 (6-2023)
Abstract
Research shows that the study of literary texts about an illness, especially from a phenomenological perspective, can contribute to a better understanding of the patient and the illness and lead to knowledge of the world and the human way of thinking. Obviously, this approach increases the appeal and interest of the audience in the study of literary works and opens up new horizons for them. On the other hand, among human emotions, the expression of love and behavior related to romantic feelings is more frequent in literary works, especially in the works of female writers, and erotomania, or romantic psychosis, is one of the delusional disorders reflected in these works. This descriptive-analytical study examines how the symptoms of erotomania are described in two short stories, named “Rana” from Nazli story collection written by Moniro Ravanipour and “Bad az Tabestan” from Chahar Rah story collection by Ghazaleh Alizadeh, according to DSM-5 diagnostic criteria. The results indicate that the fictional characters in the works studied show symptoms that meet the clinical diagnostic criteria of the disorder in question. In these stories, in addition to the description of clinical symptoms, the authors have also considered sexual, social, economic, and cultural factors. This shows the ability of the writers to create realism and credibility in the plot of the story, which makes the reader better connect with the text and get influenced by it. Moreover, the description of the feelings and beliefs of these characters and their effects on their lives and personal and social relationships can help readers to better understand the way of thinking and the life experience of those people and create communication that comes from understanding a psychotic person in the real world.
Research shows that the study of literary texts about an illness, especially from a phenomenological perspective, can contribute to a better understanding of the patient and the illness and lead to knowledge of the world and the human way of thinking. Obviously, this approach increases the appeal and interest of the audience in the study of literary works and opens up new horizons for them. On the other hand, among human emotions, the expression of love and behavior related to romantic feelings is more frequent in literary works, especially in the works of female writers, and erotomania, or romantic psychosis, is one of the delusional disorders reflected in these works. This descriptive-analytical study examines how the symptoms of erotomania are described in two short stories, named “Rana” from Nazli story collection written by Moniro Ravanipour and “Bad az Tabestan” from Chahar Rah story collection by Ghazaleh Alizadeh, according to DSM-5 diagnostic criteria. The results indicate that the fictional characters in the works studied show symptoms that meet the clinical diagnostic criteria of the disorder in question. In these stories, in addition to the description of clinical symptoms, the authors have also considered sexual, social, economic, and cultural factors. This shows the ability of the writers to create realism and credibility in the plot of the story, which makes the reader better connect with the text and get influenced by it. Moreover, the description of the feelings and beliefs of these characters and their effects on their lives and personal and social relationships can help readers to better understand the way of thinking and the life experience of those people and create communication that comes from understanding a psychotic person in the real world.
Zohreh Fallahi, Ahmad Khiyali Khatibi, Mohammad Sadegh Farbod,
Volume 31, Issue 95 (11-2023)
Abstract
In Bourdieu's theory of action, the literary work is the reproduction of cultural capital and the result of a combination of economic capital and the habitus. Additionally, it is a social action that a person shows in the literary field. Poetry, as a literary work, is a product of the mental dimension of cultural capital, which appears as a material success and objectified by the poet. This research compares the poetic actions of Nima and Akhavan with an approach to the capital and field based on Pierre Bourdieu's sociological theory in order to answer the questions of how the actions of these two poets are expressed with their decisions and how they react to the actions of others and the socio-political conditions of the society. The background of the research shows that many researchers paid little attention to this matter. The methodology of this study, in terms of nature and method, is descriptive-analytical and regarding its purpose, is fundamental-theoretical. The results indicated that both poets have similarities in some poetic actions but have different reactions in some others, the process of which is writing social-political poems in the field of Persian poetry production.
Gholâm Rezâ Pirouz, Hourâ Âdel, Msr Gharib Rezâ Gholâmhosseinzâdeh, Fattâneh Mahmoudi,
Volume 32, Issue 97 (1-2025)
Abstract
Poetry and painting are two different paths for creating works of art, and their close relationship has always been of interest to art history researchers and literary critics. Sohrab Sepehri is an artist who tested his taste in both poetry and painting. Therefore, using purposive sampling of Sepehri’s paintings of trees and his Hasht Ketab (Eight Books) poems, and based on Panofsky’s theory of iconology, the present research is a comparative study of these works. It focuses on the images of trees in his poetry and painting to analyze and explain various structural and semantic aspects of common icons to discover the characteristics and connections between his poetic world and his art of painting. The current research tries to answer the questions of why and how the tree image acts differently in the two linguistic and visual systems. Sepehri’s approach to the ‘tree image’ in both poetry and painting is contrasting in such concepts as dynamism and staticity, life and death, rootedness and rootlessness, fertility and infertility, openness and closure, and disconnection and connection, while it is sometimes approaching in themes such as strangeness and the sense of suspense. The results showed that Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is mainly contracted, dark, and desperate. Hence, the trees in his works move in the direction of disconnection from the world and the essence of existence which can be an allegory of Sepehri’s objective world. However, the image of the tree in his poems is in line with the dominant common concepts - a symbol of growth, freshness, and vitality - which is far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is, in a way, an explanation of the ideal world of the poet.
Masoumeh Taheri, Dr Mahin Panāhi, Dr Ali Muhammadi Āsiābādi,
Volume 32, Issue 97 (1-2025)
Abstract
The concept of happiness has always been a subject of morality and mysticism. It has been studied in philosophy from two perspectives: Epicurean hedonism and Aristotelian bliss. Epicurus (341-270 BC), a philosopher of the Hellenistic period of ancient Greece, considered lasting pleasure as the ultimate good of man and presented a practical method that leads to happiness and is sustainable. For Rumi (1207-1273 AD), happiness is similarly sustainable and does not decline with external and internal factors. In this article, an attempt has been made to investigate whether there is a connection between Epicurean hedonism and Rumi’s hedonism through library study and data comparison and analysis. We compared several features from Epicurean and Rumi’s perspectives on happiness based on historical genealogy. The results showed that pleasure from Epicurus’s perspective is lasting and expressed in the end as eudaimonia or happiness (bliss). The goal of his philosophy is to achieve lasting happiness. In this way, man tries to achieve ataraxia by creating limits to his temporary and unstable pleasures. On the other hand, Epicurus’s practical philosophy expresses features that have commonalities with some of the views of Muslim mystics, including those of Rumi.
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