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Sain al-Din Ali known as Ebn-e Torkeh Isfahani (770-835 AH) is one of the philosophers and mystics influenced by the school of Ibn Arabi. Therefore, he has explained the meaning, language, and words in the framework of the unity of existence. In the present descriptive-analytical study, the authors have tried to extract semantic explanations and the related components from Ebn-e Torkeh's printed works, letters, and manuscripts and discuss the central concepts of his theory. The results of the study show that the unity of existence has provided a possibility for Ebn-e Torkeh to be able to explain the worldly and abstract dimensions of language together in a dialectical unity, and based on that, to plan the theory of Ish'ar. According to Ebn-e Torkeh, Ish'ar is the goal of human creation. Man is in the place of Ish'ar in the universe. Ish'ar is used in the works of Ebn-e Torkeh to mean to inform. One who does the Ish'ar actually discovers the truths of the universe and learns its secrets. Because all of existence is the word of God and man is the reciter and impersonator of these words. Ebn-e Torkeh seeks to combine the analogical and metaphorical dimensions of the universe, and considers verbal language, which is the extension of Nafs al-Rahman in the Microcosm, to have two aspects of beauty and glory. In this regard, he examines the situation of words with a two-dimensional explanation.

Sain al-Din Ibn Torke Esfahani is one of the mystics and philosophers influenced by Ibn Arabi’s school of thought. In addition to the commentary he wrote on Ibn Arabi's Fusus al-Hekam, he has shown this influence in his various works. The view of existential unity as well as the streaks of literalism is evident in his works; therefore, it is necessary to pay attention to this point in the examination of Ebn Torkeh's view on meaning.
Meaning is one of the concepts that has been discussed in the tradition of Islamic mysticism and has evolved under a central discourse. In the beginning, the theory of meaning had an abstract aspect, and with the emergence of Ibn Arabi, the practical aspect of language was also explained along with its abstract dimension. In other words, the mysticism of existential unity and its dialectical nature has provided a capacity to find an argumentative explanation for the practical aspects of language and meaning and issues related to them. In the view of the mystics of the first mystical tradition, it is God who created the meanings, and the words of human contracts have been degraded several times from their true meanings. Kamal al-Din Hossein Khwarazmi says in his commentary on Masnavi: If the words that were created in the rank of God's oneness do not descend from their position several times, the understanding of any creation will not reach the surroundings of its articles. This results in putting the meaning first over the form. In this way, the truths from the field of discovery and intuition enter the field of acquisition science and are expressed with language.
The spoken language can also tell many of those intuitive facts. In the field of science, the interpretation of mystical facts is not a true interpretation. Because only a reflection of mystical experiences has made its way into the field of science, and basically, mystical experience is inexplicable. Such a perception has always been of interest among scholars.
In interpreting these mystical experiences, human intellect and thought distance themselves from their pure abstraction. This distance is actually the distance of the material world. In other words, those meanings find a new form in the degradation of their identity, which is a reflection of single worlds and, at the same time, is also contaminated by the reflections of external factors. In the definition of this meaning, Mustamli Bukhari believes that this science of thoughts, observations, and revelations is dedicated to being called the science of pointing. So, something appeared in his head, which means the phenomenon of truth, not the phenomenon of non-righteousness. And it is like this that no matter what they express in the language, it is not the exact expression of the truth; Rather, the meaning of the phrase is right (n.d, p. 1135).
The discussion of meaning in the tradition of Islamic mysticism will be incomplete without paying attention to the category of interpretation and its components, so it is necessary to emphasize two points:1) In mystical interpretation, attention is paid to the source of meaning. The literal meaning of interpretation also conveys the same point. Henry Carbon (2008) considers the ultimate goal of mystical interpretation to return the text to its "true and original" meaning. The meaning of this contrast is that the ‘text’ is degraded from an inner meaning and the work of the interpreter is to reach again the inner and original meaning of the text. The words are outwardly disguised and the interpreter must penetrate into their innermost being. In these interpretations, it should be noted that the main meaning of the text is not the same as the figurative meaning of the science of rhetoric; rather, according to his interpretation, the interpretation of the apparent text is returned to its true original meaning, in which the analogies of the apparent text are its codes.
2) Another component is the balance of the Macrocosm and the Microcosm and the equivalent relationship between them. The basis of this idea is the belief in the existence of a kind of correspondence and equivalence between the classes of the world. Generalizing this correspondence and equivalence to the relationship between the parts of the world also makes each phenomenon understood as a representative of something else. Based on this, tanzil and taweel also express the back-and-forth course of meanings in these worlds. Every meaning in the higher world (inner) becomes a phenomenon (text) in the lower world (appearance) as a result of the reduction, and the interpreter tries to discover the inner or truth by interpreting that phenomenon.
In addition, in the continuation of the tradition of Islamic mysticism, the discussion of the spirit of meaning has also been taken care of. This discussion, which has been raised among the commentators and in an effort to understand similar verses, emphasizes the point that words have been established for the souls of meanings. This view indicates a special view of language. In modern linguistics, it is a well-known opinion that each word carries only the meaning in which it appears. For example, when someone uses the word "pen" because the word "pen" is used for a specific meaning, the audience understands the same specific meaning, and it is not possible to choose another meaning from this word without analogy. In contrast to this approach, the mystics, by establishing a rule called the use of words for the spirits of meanings, aim to say that the words are not used for external and objective objects. For example, the pen is not an external object, wood, or colored ink that writes. Rather, the word pen is used for everything he writes. In Jawaharlal Qur'an, Ghazali proposed the theory of the spirit of meaning with an argumentative expression and argues that nothing exists in the realm of martyrdom unless its example exists in the spiritual realm. This view has gradually spread to the commentators of the Qur'an. Interpretations that have an interpretive approach are influenced by this view.
In the present study, after explaining the nature and essence of meaning in the tradition of existential unity mysticism, by analyzing the concepts related to the theory of meaning in Islamic mysticism, we have tried to measure the relationship between the existential unity attitude and its perspective on meaning by examining the works of Ebn Torkeh, while showing the intertwining of his perspective. In other words, the study aims to explain innovative ideas about meaning with the tools of ontology and epistemology of existential unity.

Review of the Literature:

In the mysticism of existential unity, several issues related to meaning have been considered. The first is the discussion of how to put words and the relationship of meaning with God. The next issue is the two-dimensionality of language and the explanation of meaning in its context.
Some mystics of existential unity, such as Shabestari, under the influence of Ibn Arabi, have paid attention to both the material and abstract realms of language. Two-dimensional attention to the nature of language makes both the practical nature of language not to be neglected and its deep origins to be explained. In the mysticism of existential unity, the ontology of meaning is taken into consideration and the question is answered whether meaning is an objective matter outside the mind or is equivalent to the mental concept of the word. Mystics consider the concept of mind to be different from meaning and believe that meaning is something determined beyond the mind. In mysticism, the existential unity of the whole world is the manifestation and degradation of the truth of the world, and every phenomenon, including language, must be examined in relation to the truth of existence. If we consider the meaning to be subjective, the relationship between the mind and the word will be disconnected and the mind and the word will not be affected. But in mysticism, the existential unity of meaning is not an incidental matter; rather, it is a matter of length and in connection with the truth of existence. In this view of existential unity, the meaning is the scientific form that God has given to the interior of a phenomenon.
In Ibn Arabi's view, the signification of a word is not separate from the signification of letters, whether spoken letters or written letters (both external and internal letters). Also, the meaning of linguistic words, whether written or spoken, is not separate from the meaning of existential words (phenomena). Ibn Arabi's view on the meaning of words originated from his theological view. In other words, Ibn Arabi's point of view originates from the sum of God's nature and attributes in that they are on the one hand the mediator and link between the nature of God and the world, and on the other hand the mediator and link between the nature of God and man. In this view, the duality of essence and attributes, as well as the duality of step and occurrence, which is caused by the difference of opinion about the linguistic meanings (inherent or conventional meaning of words), is eliminated. According to this view, the phenomena of existence are the words of God. And because they appear objectively, they are connected with occurrence. And since the human language is the outward representation of the word of God, the conventionality of the signification in the human language will only be a matter of credibility. if the meaning of human language is like this, the meaning of divine words, which is actually the innermost part of human language, will not be based on convention. In the view of existential unity, existence has many levels which are called plurality in manifestations. But a unity connects these multitudes, which is its soul. And what exists in the abundance of the universe is the existence of God (Ibn Arabi, n.d, p. 38-39). This view also extends to Shabestri's Gulshan Raz. Shabestari's point of view also has innovations in explaining the meaning and implication of words (Shabestri, 2004, pp. 13, 75).

The aim of the present study is to analyze Ebn Torkeh's semantic and linguistic explanations in accordance with his epistemology and ontology of existential unity with a descriptive-analytical method. In this regard, all the works of Ebn Torkeh have been examined and an attempt has been made to explain Ebn Torkeh's semantics under his ontology and epistemology. From the ontological components, the balance of the Microcosm and the largest world, expression, and emergence, and from the epistemological components, inspiration and fantasy, perception of meaning, meaning, and silence have been mentioned. Also, the components of poetry and consciousness, gestural expression, the placement of words and the two-dimensional nature of the language indicated the compatibility of the two sides of Ebn Torkeh's ontology and epistemology.

By examining the works of Ebn Torkeh and the ontological and epistemological analysis of his works, we come to the conclusion that Ebn Torkeh is firstly influenced by Ibn Arabi and Shabastri and in some cases he repeated their same point of view. The view of existential unity on the existence and truth of the world and its generalization to the world of human existence, in other words, establishing a balance between the greater world and the Microcosm within the framework of the view of existential unity, is the most important approach of Ebn Torkeh in his explanation of meaning. In this view, the universe is multidimensional and all the multitudes are the words of Allah, whose true meaning has been scientifically determined in the unseen identity, and words are one of these multitudes and are at the end of the arc of descent. In his opinion, the meaning is related to the real and main subject of the words. And he examines the words like the manifestation of God in three forms and on three levels.
In Ebn Torkeh's epistemology, the role of imagination is its discovery of occult meanings. The discovery of the Macrocosm has a questioning nature that Khatam-ul-Rasul is at the highest level or the level of total revelation. Man is in a position of awareness in the universe. The reciter actually discovers the truths of the universe and learns its secrets; Because all existence is the word of God and man is the reciter of these words.
Ebn Torkeh, following the fusion of similarity and metaphorical aspects of being, considers the language of Malfuz, which is the extension of Nafs al-Rahman in the lower world, to have two aspects of beauty and glory. The glorified form is related to the common sense of the words and the glorified state is related to the true meaning of the words. According to the first method, the position of Ish'ar is two-fold in the view of Ebn Torkeh, which means that having reached this position, he has made his perceptive powers capable of receiving the lower meanings and he can also find the jewel of the lower letters. The first aspect is related to the order of spirits and the world of the unmarried, and the second aspect is related to the Book of Allah and understanding the meanings of the words contained in it.
Ebn Torkeh considers verbal forms to be a continuation of the emergence of existential expressive forms (ayan shabiteh). And Malfouz's language and, in his words, verbal forms have an inherent meaning, but in the passage of centuries and the development of customs, inherent meaning and the subject of the original letter have been forgotten.

The data about the eventful life of Abolghasem Lahuti (1264-1366 AH), a contemporary poet of the constitutional era, reflected in Iranian sources are so ambiguous, deficient and contradictory that it is difficult to draw a clear picture of his life. The sources that have described his life have been written mainly after his unfortunate uprising, escape, and absence from Iran; therefore they are not empty of various kinds of rumors and myths. His adventurous life, half of which was in the turbulent years of the constitutional era and World War I in Iran and Turkey, and the other half was beyond the iron walls of the Soviet Union, provided the necessary grounds for storytelling and gossip about him and has made it difficult to obtain accurate information. Therefore, not only what the reporters of his life have narrated about the events of his life is not precise, but also recent researchers of his biography have not been safe from making mistakes in mentioning the events of his life. This study tried to use some documents and sources that have been less considered by researchers in his life, to analyze the content of some of his poems, to criticize the information contained in Iranian sources, to shed some light on the existing ambiguities and contradictions, and to give a more accurate picture of some aspects of his literary and political life.

This article examines the story of Asqar Elahi: “Salmergi” from a monophonic and polyphonic perspective. The theoretical basis of this study is based on the view that Bakhtin has formulated and explained in “Problems of Dostoevosky’s Poetics, 1984”. Throughout the article, we first try to give a precise definition of monophonic and polyphonic, and then we will use the principles and criteria that can be obtained through Bakhtin's work to explain the subject, and finally we will study the novel “Salmergi”based on them. In general, the article tries to answer the following questions: 1. According to what criteria can a novel be considered polyphonic? 2. What is the relationship between polyphony and character development in the novel? 3. Can the story “Salmergi” be considered a polyphonic work? And if so, what features put it in the style of such stories?

One of the lasting legacies of Islamic mystics and Sufi elders is their maktoobat (writings). Maktoobat are letters that mystics and Sufis used often to write to their contemporaries with the aim of expressing their own teachings, advices and mentioning some of the mystical mysteries, theological truths and divine teachings. In other words, maktoobat have long been common among the mystics as a means of teaching, questioning, and answering, and the Sufi elders used letters to express their thoughts. The letters of Dhul-Nun al-Misri and Junayd of Baghdad are the first surviving writings of the pioneers of Islamic mysticism. These letters are among the first-hand sources written in Arabic, with mystical prose and phrases, describing mystical teachings and beliefs. The present article, by using descriptive-analytical method, attempts to analyze the structural and content characteristics of these letters and explore their hidden themes. The results of the research are as follows: compiling a systematic list of scattered correspondences of Dhul-Nun al-Misri and Junayd of Baghdad; providing an analysis of the structure and form of correspondences; explaining the types, elements, styles of writing and contents of the letters; introducing the narrators and the audiences of the letters.

The use of ambiguity and amphibology in speech, by arranging the setting for multiplicity of significations and delaying the process of meaning comprehension, leaves a significant impression on the creation of  artistic aspects of the literary work and to the extent that the speech is free of such expressive techniques, it turns into a single meaning proposition, and its artistic worth is diminished. In this paper, based on such a presupposition, we have revisited the poems of Hazin Lahiji (1103-1180 A.H.) and examined the multiplicity of significations in his poems at both lexical and textual levels. At the lexical level, some figures of speech such as amphibology and its types, coincidence, and derivative puns pass beyond the limits of significations of the couplet and open new horizons of meaning to the audience. This study confirms that 192 cases of amphibologies were used in his poem. At both the sentence and couplet levels we classified the types of ambiguities and multiplicity of significations and the causes of their emergence into three categories of linguistic, logical and tonal and in each category we investigated and analyzed the techniques used by the poet to create ambiguity and various significations.

Iran and Turkey, as the remnants of two great empires, have long had various relations with each other. This relationship, with its many historical ups and downs, has been of particular importance in the last two centuries. One of its manifestations can be seen in the convergent relations of the intellectuals and the people of knowledge and culture of the two countries, especially during the constitutional period. These interactions have had reciprocal effects in the field of culture and literature of both countries, and in particular Iran. One of these influences is the reflection of the intellectual and political events of the late Ottoman era in the poetry of the Iranian constitutional era. The present article is responsible for examining this issue between the years 1309-1343 AH / 1891- 1924 AD, ie from the formation of the Islamic Unity Society led by Seyyed Jamal al-Din Asadabadi until a few months after the establishment of the Republic in Turkey. The article examines the historical contexts of influential intellectual and political events in Turkey and their reflection in the collective poetry of poets of the constitutional period. Mirza Agha Khan Kermani, Adib al-Mamalek Farahani, Malek al-Shoaraye Bahar, Seyyed Ashraf al-Din Hosseini Qazvini (Nasim-e Shomal), Farrokhi Yazdi, Aref Qazvini and Mirzadeh Eshghi are among the poets who have reflected these events in their poetry. After referring to the ups and downs of the relations between the intellectuals of the two countries, the article seeks to answer the question of what factors in the last years of the Ottoman rule and after, damaged the process of empathy and cooperation of intellectuals and thinkers of the two countries and the divergence between them. The final approach of the article is that since the last decades of the twentieth century, the scope of divergences has diminished and the trend of cultural convergence has expanded and in recent years has continued with greater vigor.

Mostamli’s "Sharhe al-Ta’arrof" is one of the first Sufia mystical works in Persian literature. Its theological dimension overshadows the mystical one. Despite the high position of this work among the important Sufi texts, its basis dogmas and theological aspects has not been yet investigated fully and considerably.
In this paper, we have shown that the author's Theological perspective and his Method of reasoning, contrary to prima faci, are not conformed to the foundations and beliefs of Asharites. A variety of textual texts, reflections on the geography of the book and dominance of the belief in the theological foundations and the theological views of Matoridites, among the Transoxiana's scholars, confirm that in the compilation of his book, Mostamli, in spite of being an independent author, has been influenced more from Matoridites than Ash’arites.

The cultural ties between Iran and modern Turkey have long lasting historical roots, apart from the ancient relations associated with the old history, from the Seljuks onward, the ties between this strong culture have become so intense that in some historical time period we can hardly draw a sharp line between the cultural borders of the two countries. One of the most outstanding ties is manifested in literary relationships between Iran and Turkey. Through examining the literary ties and relationships between the two nations we can divide it into two time periods: premodern (the Seljuks and the Ottoman empire periods) and post-modern (the periods of Tanzimat/Transition, the Constitutionalism and the Turkish Republic).
The present paper, in addition to pointing out the history of the cultural and literary relationships between Iran and Turkey and the prevalent of Persian language and literature during pre-modern era and its impact on the Turkish court literature of this time period, known as Divan poetry, attempts to study the literary relation of the two countries during the Tanzimat period, especially during both the Ottoman and Iran Constitutionalism, The presupposition of the present paper is that since the Ottoman Constitutionalism the influential process has been reversed, as a result Persian literature, especially Persian poetry has been affected by the Turkish modern literature.
The author, by citing some evidences, has tried to explain the process of this impact.

Hushang Moradiyani Kermani is one of the writers of children literature, who due to his differing storytelling style has succeeded a national and international honor. The present paper endeavors to study his style and evolution of storytelling in the stories of Majid’s stories and cistern. The authors wish to answer the following questions:1. What type of style, the author applied in his stories?2. Whether his style has been evolved in different periods?3. How is his style of storytelling?4. Has his characterization been altered during the writing?5. What are the features of his language and prose?6. What kinds of issues have been proposed in his stories?7. What is his audience age-range and social class?

The review of the literature reveals that there have been studies on Chahar Payeh (Couplets) in Iran. However, the evolution and the influence of Othman poetry on Iranian poets have not gained enough attention. The researcher, along with the analysis of the origin of this style, and its wide spread use in French tries to answer the following questions: 1. Did Iranian poets start composing couplets based on the Europeans especially French influence? 2. To what extent had the Othman poetry influenced Iranian poetry? 3. When did the poets start reciting couplets in Iran? 4. Who were the first Iranian poets that started reciting poems within this framework? The paper examines the hypothesis that during the Tanzimat, and Othman Mashrothe period, Turkish poets started reciting poems after getting acquainted with this style. This has continued until Mashrothe in Iran when the Iranian poets also started composing poems after their Turkish compatriots. Through examining the initial couplets this paper tries to shed lights on the evolution of composition of couplets in Iran.

The ruling of Saljoughi Dynasty in Asia Minor is worth studying and research from different perspectives. Numerous events in the last century of Salioughi era in Asia Minor make the issue very important. One of the important events in this period is the massive migration of people, great characters, and social groups from different parts of Iran to this area prior to and after the invasion of Mongols.These migrants could be categorized based on their social statues into two groups of army on one hand and ordinary and also famous people on the other. This later group includes people from different walks of life such as Sufis, poets, scholars, judges, historians, ministers, and royal court officials. In this study the reasons for migration of Iranians to Asia Minor, their geographical spreading, and interaction between them and national governments and local people have been discussed.

The special position of Simin Daneshvar in the realm of Short Story, her priority in the scope of feminist literature, and her contribution to developing different levels of these two areas make it urgent to investigate different aspects of her works.Deliberating on Daneshvar's works affirms that she, during her literary activity, by using varied methods and approaches, has advanced the artistic aspects of her stories. The aim of the present study is, hence, to examine the line of development and transformation in "Narrative" and "Viewpoint" in her short stories. The study illustrates the stages Daneshvar has gone through from the first collection of her short stories to the last collection, and how she, by using varied artistic approaches, has managed to advance theviewpoint and the narratives of her stories.

Despite much research about pure-writing, no satisfying one about its history and theories has been conducted to date. The present paper aims to study the historical background of this writing method and its theoretical bases up to the constitutional era. This study shows that, contrary to what it seems, pure-writing is not a new method and its history dates back to the fifth century AH. Referring to remains of past periods, the article emphasizes that this kind of writing got increasing attention since the second half of the thirteenth century AH, under the influence of widespread Dasatiri terms especially the nationalism movement. This paper addresses the following questions: 1- Was pure-writing based on any particular theory of Shuubiyya in the previous periods? 2- Was there any relationship between pure-writing and nationalism? 3- If there were such a relationship, did all nationalist movements propagate pure-writing or just a some particular ones insisted on it?