فائزه واعظ زاده

Mirza Ali Khan Zahir al-Doulah, with the support of his political position in the Qajar court and his belief base in the Safi Alishahi Tariqat, and by creating intellectual and freedom-loving organizations, is considered one of the influential figures in the course of constitutionalism. The current research, using Farklaf's discourse analysis approach, seeks to answer the following questions: How is the discourse order of Qajar era Iran reproduced in Zahir al-Doulah's poems? Discourse actions of his poems reflect which of the social actions? And what is Zahir al-Doulah's solution to get out of the ruling discourses? The results showed that the social structure of the Qajar period was reflected in the discourse functions of Zahir al-Dawlah by choosing names based on expressive values, and the participants were categorized into two groups: 1- "Positive" group including God, religious and mystic elders, and positive personalities; 2- "Negative" group including oppressive rulers, tyrannical powerful, ignorant and oppressive classes of society. Zahir al-Douleh, by empathizing with the people, from the position of a critic, has created a discourse confrontation and believes that the way to get rid of the ruling discourse is everyone's movement towards anti-oppression and awareness.

With the aim of identifying the linguistic features and expressive creativity of Rozbahan Baghli Shirazi, the present research has analyzed the "Sharhe Shathiyat" based on Roman Jacobsen’s (1982-1896)"Communication Pattern". The results of the analysis show that in the process of communication between himself and his audience, Roozbahan has used the capacities of language in its six roles, including: referential, emotional, persuasive, empathetic, meta-linguistic and literary (poetic). In the meantime, due to the fact that the author's goal was to decipher the shenanigans of famous mystics, the "referential role" and news reports have been used the most frequently. Roozbahan has also created empathy with the audience by widely using Quranic verses and hadiths in terms of intellectual and ideological sharing. Although this feature is in the conceptual field of the "role of empathy" of Jacobsen's model, it is different from this model and is considered among Rozbahan's linguistic creativities. The "persuasive role" of Sharhe Shathiyat is manifested in the form of addressing all the phenomena of existence, and the "paralinguistic role" in Sharhe Shathiyat is used to describe more than 200 scientific terms of Sufism. Payam's "literary/poetic role" is very frequent in this work, and due to Roozbahan's pure personal and intuitive experiences and his creative interpretations, the metaphorical mentality has dominated the Sharhe Shathiyat. However, among the types of roles, "emotional role" is more prominent because it is the present language of the speaker and his special feeling about what he said, in such a way that it dominates all propositions and even referential propositions.

Tamhidat is the most important work of Ayn al-Quzat Hamadani, a free-thinking mystic of the Seljuk era, and one of the most famous works of Islamic mysticism, which has been examined in the present research through Norman Fairclough’s “critical discourse analysis” approach. The purpose of this research is to answer several questions: How has the discourse order of Iran’s Seljuk era been reproduced in Tamhidat? Which of the social acts do the discourse acts of Tamhidat reflect? And what was Ayn al-Quzat’s solution to dispose of the discourse of dominance and prejudice in the Seljuk period? The findings of the research show that the social order of the Seljuk era which was based on the authority of political rulers over the people, religious scholars over the followers, and Sufi sheikhs over the disciples, representing various types of social classification, has been reflected in Tamhidat via “naming” the participants. By using two pre-existing genres, “Qur'an exegesis” and “Sermon”, which were considered two distinct cultural and social acts, Ayn al-Quzat, while instilling his beliefs in the audience, created a counter-discourse in opposition to the existing discourses; and even from the position of a social critic and thinker proposed the novel idea of knowledge and “love” in order to dispose of the discourse of domination, violence and radical religiosity of his time. The use of affirmative sentences and special imperative and interrogative patterns in Tamhidat shows that in this discoursal confrontation, the stance of Ayn al-Quzat is an authoritative one; epistemic authority against the authority of domination and the authority of love against the authority of prejudice and violence. These features move Tamhidat beyond the didactic and interpretive position and even consider a social mission for it.

Today, the stylistic study of literary works based on linguistics has expanded. Paul Simpson is one of the contemporary theorists who has provided practical and methodological strategies in the field of stylistics. The "transitivity" is one of his precise and methodical models, which is based on Halliday's "functional grammar". Transitivity is a special grammatical tool used to visualize experience in language and include the three elements of the process, the participants, and the circumstances. Therefore, in the stylistic analysis of texts with the model of transitivity, the above linguistic elements are emphasized.Moreover, research in the field of Persian mystical literature has often been done on the internal structures such as conceptual content and intellectual areas of the authors and less attention has been paid to the external structure and linguistic levels of these works; while evaluating them with new criteria is very effective in further understanding this precious heritage.Tamhidat is one of the richest writings of Sufis in expressing the principles of the path and mystical secrets and the result of personal experiences of Ein al-Qozat Hamedani, which has been conceptually analyzed and interpreted many times but has been less evaluated in terms of external and linguistic structures. The present study, using Paul Simpson's "transitivity" analysis model, analyzes the text and evaluates the components of that model, including phrases and verbal groups, nominal groups, circumstances (adverbial group and Preposition groups) and has dealt with all the frequent elements that have given this work a stylistic specificity in various forms.According to the results of the research, Ein al-Qozat, depending on the subject, has quoted 493 Quranic verses and 98 narrations of the Prophet. In addition, he has quoted in his work the words of 8 other prophets, the four caliphs, and 46 great men of religion and Sufism in his work. Apart from ideological sources, Ein al-Qozat has used 267 verses of Persian poetry and 11 verses of Arabic poetry in his book to emphasize various topics. For this study, some parts of Tamhidat have been selected that show the thought and art of Ein al-Qozat. A stylistic study of the transitivity in Tamhidat suggests that Ein al-Qozat, through the intellectual or experimental function of language, has used mental actions and processes (relations of the outside and inside world) in the service of the educational and doctrinal content of his work. He also used the interpersonal function more than any other type of language function in which language regulates the relationships between participants through indication, command, and interrogation in the form of verbal actions. Therefore, in Tamhidat in general, the use of relational and verbal processes is much more than other types. Material, behavioral, existential, and to some extent mental processes have not received much attention from Hamedani and are much less present in the Tamhidat.The relational processes of Tamhidat (how a phenomenon or a situation is reported) are expressed in the form of indicative sentences, which make up about 89%  of the total sentences and are used to report and teach. This feature introduces the Tamhidat as a news and reporting work. In the verbal process, which has the second place of application, some examples of stylistic features have been found:1-Using different types of “vocative sentence" and especially the call "O friend!" and "Dear!" with high frequency. This feature indicates the sincere communication of  Hamedani with the audience. 2- The use of "verbs" with first and secondary meanings, especially the specific use of "be" which is not used in the true sense of "being", but evangelism and in a way encouraging to be patient and carries a kind of definite prediction.3- Using "interrogative propositions" with secondary purposes such as denial questioning, denial of the subject, bowing and glorifying the subject, a small number of the audience and even blaming the audience.These characteristics show that the Ein al-Qozat has recognized and used different ways and methods of dialogue. Although the mental process is not used in high-frequency, the specific use of "sounds", especially with the implications of "sorry!", is a stylistic aspect. Ein al-Qozat has used it 177 times in various states, such as the inability to be puzzled, the intensity of the onslaught of meanings in his mind, pettiness, and regret. This feature shows the author's extreme pain (consciously).The high use of superhuman contributors and spiritual worlds introduces the Tamhidat as a spiritual book; on the other hand, the high frequency of employing human participants, as well as the high rate of use of emotions, positive and negative human actions make this book dedicated to human beings and the human world. Therefore, according to the research data, it can be said that the Tamhidat of Hamedani is a work in which the man has been depicted in a spiritual world.

The collection of the precious heritage of mystical literature, despite the variety of themes and subjects, falls into the general category of interpretive texts, educational works, and biographies. Although these works have thematically followed their non-mystical examples, the style of Sufism in entering these categories has always been special. The present study seeks to identify a part of the collection of mystical memoirs entitled  Tabaqat Alsufia and to explain the genre position of these works. Investigating the historical course of ‘class writing’ and especially Tabaqat Alsufia and case evaluation of existing samples shows that the two works of Tabaqat Alsufia by Abu Abdul Rahman Solami Neyshabouri and Tabaqat Alsufia by Khajeh Abdullah Ansari can be considered as the most complete and best examples in the literary-mystical genre. Also, a brief comparison of  Tabaqat Alsufia with different genres of historiography and mystical memoirs and the study of the characteristics of superior examples show that although the aspect of recording events of  Tabaqat Alsufia is attributed to historiography, it is also attributed to the biography. Also, the biography feature links people to the autobiography, but the special structure of  Tabaqat Alsufia and the mission of classifying the mystical periods along with the various functions of this particular species, such as Sufi guidance and education, transmission of social and cultural values and beliefs of different periods, the expression of social and sectarian customs and traditions have been more important than the recording of events and biographies. Such features are so obvious and special that they introduce  Tabaqat Alsufia as an independent genre in the field of mystical literature.