فهرست مطالب محمدکاظم یوسف پور

By the year the Islamic revolution in Iran overthrew the former regime, a Marxist system in Afghanistan took the power, the anti-religious nature of which caused many mass uprising against it. The civilian resistance continued till the complete withdrawal of the Russian military and overthrow of Marxist system in 1993. The conquest of Mujahedin ended up with civil war, which in turn caused the appearance of Taliban, and consequently their complete conquest of the country. Playing a savior role, the US and the NATO established the Islamic republic of Afghanistan in 2001. This government, again, was brought down by Taliban. But throughout all these periods, what kept the nation of Afghanistan on their feet was their indomitable spirit. The role of poetry of resistance in the history of Afghanistan is something remarkable. Widely calling the national and religious figures, and using the old patterns of poetry and mythological elements, contemporary poetry of Afghanistan traveled a long way of resistance, and strengthened the morale of resistance of the people. Mythological sources, in addition to enforcing the aspects of the poetry, have been used as the tool for the poets to scandal the invading and intervening strangers, their puppet governments, and the traitors. This study aims at criticizing and evaluating the mother archetype as the strongest, and most substantial archetype which is deeply affecting the unconscious mind, as the most important, and the key archetype of Afghanistan resistance poetry. After recognition of these manifestations, it aims at investigating the relation between them and the resistance thought in resistance poetry.

Among the numerous corrections of the spiritual Mathnavi, the edition of Mohammad Ali Movahhed is the last and without a doubt the best. More than four years have passed since the first edition of this work, which has now reached its third edition. The professor has put corrections on eight complete and monograph versions, all belonging to a maximum of fifteen years after Rumi's death, and three other auxiliary versions. Of these, seven copies were probably written under the supervision of Hossam al-Din Chalabi, the last caliph, and Sultanwaleed, the son of Maulana. Of the other three versions, two versions were written during the lifetime of Sultan Vold. In this article, we have evaluated this magnificent work, while enumerating its advantages, in the following four areas:1) Correction and recording of verses: In this section, due to the avoidance of word length, we have only discussed the correction of a number of verses in the first book. In order to understand the meaning of some verses according to their recording, because the professor did not say anything in the correction of the book (and we hope that they will clarify the point in the annotations or commentary of the Masnavi later), we have no choice but to speculate. The priority of recording some verses or some words in Masnavi verses, considering the possibility of different readings in the recording of words and combinations such as Bad/Yad, Karkan/Karn, Kardi/Gardi, forms the main topics of this part of the article. In this section, we have reviewed 14 examples, which are mainly related to the meaning and sometimes the validity of the verses included in the margins of the versions.   2) Spacing between the verses of the Masnavi: One of the interesting features of this correction is the spacing between the verses throughout the Masnavi. What obligates this work is the most obvious characteristic of Masnavi in ​​telling stories and parables, which, apparently, is the horizontal line of travel And they are not straightforward. The professor listed three goals for these intervals: 1- to guide the reader in the content; 2- Preventing the possible boredom of the singer due to the repetition of monotony and continuity on a single song; 3- Paying attention to the turn of Rumi's words according to the situations of the narration and reflecting on his narrow thoughts. (Rek: Molana, 1396, vol. 1, introduction one hundred and fifty-five). The author considers spacing between the verses of the Masnavi useful and worthy of appreciation due to the possibility of easier communication of the modern reader with this text. According to the author, out of the three goals that Professor Mowahed has set the foundation of spacing on, the second goal, especially with the clause "probable boredom of the reader", is not very evaluable, because in fact it is not known which reader gets bored where. Therefore, in this part of the article, we have examined and analyzed the first and third reasons, which are responsible for the plot of Rumi's continuous twists and turns from the straight line of the speech, and we have shown that in some cases, the application of scholarly correct spacing may not be justified. 3) Script: Although the Persian Language Academy has made efforts to organize the Persian script for many years, among the high-quality corrections and numerous editions of ancient texts, one can find less evidence that the correctors have a single policy in writing all kinds of Persian words throughout the text. Applying a single policy to distinguish word types, especially in rhymed texts, can guide readers to "correct reading". Even though Professor Mowahed did not use a single procedure in writing in this correction, his precision in calligraphy is noticeable. According to the author, adopting a well-thought-out and uniform script in the correction of texts, based on what has been determined by the Persian Language Academy, both arrests the reader in correct reading and frees the printing of old texts from confusion. In this part of the article, we first pay attention to examples of the teacher's correction, which correct handwriting prevents reading and, as a result, misunderstanding of the verses. Then, in this edition, we will review some mistakes made in typesetting and failure to adopt unity of procedure, especially in writing compound words. About the typesetting of the book, it seems that the beauty of the letters and the arrangement of the words of each stanza was much more important than determining and limiting the privacy of the words. 4) The use of punctuation marks: it is clear that the use of these marks (dot, colon, comma, semicolon, etc.), in its right place, guides the reader in reading and understanding sentences and verses correctly. In the master's printing, the use of signs, without the usual extremes, is interesting. In this part of the article, while showing some examples of the master's accuracy which is the way to the correct meaning of the verses, we have briefly examined the use of the comma and mentioned the cases where the comma has limited the meaning of the verse, or caused a defect to it. In this article, to avoid the length of words, we have examined only the first book of the Masnavi, although sometimes we have given examples of verses from other books to confirm or strengthen the content. In reciting the verses of the Masnavi, we have used the exact writing and recording of the master's edition as a criterion everywhere.

Entering the field of religious studies, hermeneutic phenomenology encloses the authority of the sacred texts as a normative guide with specific and defined patterns in brackets. This suspension opens up the field of non-descriptive poetic reference to the world. The events recounted in the Holy Book, regarded as historical events, now enjoy a textual existence which has distanced itself from its previous origins. Their current meanings are the product of their registration within a network of texts that consecutively support and displace each other in an intertextual whole. Accordingly, the Holy Book is above all a discourse that the general theory of the text recognizes as a link in a chain of communication. Paul Ricoeur, in compiling her hermeneutic arc, by emphasizing the stage of critical explanation (literary criticism), enables the transition from the initial superficial and biased interpretation to a deep reading that stands against the confrontation with objectivity. In this article, taking into account Ricoeur's views, we examine the concepts of “revelation and testimony” in Goran's holy texts; then by analyzing the poetry and discourse of “Nowruz Sorani” in this context, we try to demonstrate the objective pattern of these concepts in the sacred texts of Goran (Yarsan/Ahl-e-Haq). This suspension causes the revelation to be comprehended according to the unique features of discourses and, at the same time, through their mutual relationships. Paul Ricoeur's hermeneutic phenomenology, emphasizing the stage of critical explanation, enables the Holy Book to move away from the culturally dependent mental interpretations as well as fundamentalist interpretations and continues to be a point of reference and utilization in today's modern world.

Sanāʾī is one of the epoch maker and eloquent poets in history of Persian literature. Among survived works by him one can name the short mathnavī Taḥrīmat al-qalam. This mathnavī has been edited by Mujtabā Mīnuvī (1957-8), Riżā Māyil Hiravī (1967) and Muḥammad-Taqī Mudarris Rażavī (1969). The last effort, i.e. the edition by the late Mudarris Rażavī, has been the target of researchers' attention and reference during the last half century. But in this edition one can still see a variety of omissions and slips which is mostly emerged through partial deficiency of editor's sources as well as methodological mistakes. In this research, after searching for and acquiring all of the known manuscripts up to now, we have dealt with their examination and genealogy, in addition to the history of the text. Then we have edited and reformed a remarkable number of couplets in Mudarris Rażavī's edition, with regard to manuscripts of the text, the text's evidence, analogous concepts and structures in other literary and mystical texts, old and new lexicons, in addition to the contemporary researches.

Monajatname of Khajeh Abdullah Ansari is one of the most important mystical texts in which Khajeh speaks to the Creator using a delicate language and melodic prose. The conversations are replete with religious and mystical experiences. Tending to share with the interlocutors a different type of Human-God relationship, the utterances that are close to the mystical level extend beyond the common beliefs and general doctrines of a Muslim. This shows Khaje's devotion to Kharghani. It also indicates the attraction of mystical discourse alongside the jurisprudential and theological discourses. The authors of the present study try to categorize the utterances and their relationship with God into three discourse fields: romantic, treacherous, and shrewd. The method of the study is critical discourse analysis by which the structures of the utterances are evaluated and explained in three different levels: description, interpretation, and illustration. The results of this study show that, from a discourse point of view, the relationship between humans and God in Monajatname encompasses a vast scope of fear and asceticism, love, and shrewdness supporting various discourse aspects and truth regimes to which these conversations belong.

Association is one of the mental capabilities.This category as a style in instruction, has got a particular position in literary texts, especially mystical ones. In style of educational association, the nature of education is not predetermined, fictitious.this style makes the text produce, in other words.It produces writerly.The direction, and educational orientation is determined through the process of teaching and training. The principle and the essence of association is movement and dynamism. The topic of this rserarch is to stady the instructional of function of masnavi’s Inter and outer story based on association theory.our research shows that the association is an educational and instructional style and molavi’style in masnavi. Of the association, features in Masnavi of maanavi are speech processing, thoughtful variation, dynamism, multilayer text and unmonotonousness instruction. Molana’s creativity applied the association which is a compulsory process on the service of instruction, a voluntary one in which the instruction has been used for a change.

Different theories in various literary or non-literary fields, including psychology, have led to multidimensional relationships between different sciences; such as interdisciplinary studies between literature and psychology. This relation has made literature a platform for up-to-date attitudes and analysis and different readings. The use of psychological theories has created a context in which literature becomes more tangible, more objective, and more practical, and its attractiveness is manifested in literary, and especially mystical texts. Sigmund Freud's theory of psychic structure and Carl Gustav Jung's Individuation process are both among these type of theories. Based on Freud and Jung's theories, it has been tried, in present study, to explore and analyze the instructional aspects of dreaming through the tale of "the prince who got the real kingdom" in mathnavi's fourth volume. The results show that "dream" is the highway through which achieving the man's unconsciousness would be possible. Mowlavi teaches the audience, in this tale, that a balance in personality is essential to get equilibrium and to reach individuation, one should be able to create integrated interaction in all dimensions of his psychic personality.

On the notion of Sukr, well-known mystical sources have drawn upon an array of different features. Synecdoche and metonymy, componential plurality and heterogeneity, proximity, overlapping, and the essential complexity of mystical concepts have caused much confusion and uncertainty in the process of the interpretation of the notion of Sūkr. Using a concept-based approach and a description-analysis method, the present article investigates the analytical and theoretical dimensions of Sūkr in the Quran, Hadiths and Islamic, mystical, and traditional narratives. The article also investigates twelve aspects of Sūkr in mystic texts and divides them into the four categories of the fundamental, the essential, the peripheral, and the more-peripheral. These aspects are as follows: the unity and union with the beloved, the “Mohebbins” status, irrationality, shirking duty, discursive speech, the exhaustion of patience, secret divulgence, bewilderment over vice and virtue, the “Samā”, disqualification as a leader or a guide, spontaneity of Sūkr as regards the beloved, consecration, and myth-making. This study has benefited from the theoretical elements associated with these notions in the speculative system of mysticism and Sufism. The results of the study indicate that the only substantial and essential aspect of Sūkr is the unity and union with the beloved and other aspects are superfluous. The spontaneity of Sūkr, as one of its characteristic features, implies that in the classification of the bits of jargon linked with Sufism.

Contemplation on language as the main indicator of ideas and mystic beliefs is so important. Hallaj is one of the mystics whose lingual symbols in his works and words has distinct his language from common language. It is needed to be analyzed due to find his mental and experimental approaches. This paper seeks to survey Hallaj’s lingual symbols in three parts: letters, words and pictures in a descriptive-analytic way; and before that, it will explain the symbols and its direct relationship with Hallaj's mystical experience. The role of symbol in Hallaj’s language, relation of his symbolic language with his spiritual experiences and its role on recognition of his experiences and thoughts will be analyzed in this paper. According to the subtle differences between Shat’h and symbol, discovering Hallaj’s lingual symbols reveal the kind of his experiences and beliefs. Shath and symbol in language are the main and most significant part of Hallaj’s words and Shat’hiat has been considered in his languages more, so analyzing the symbols in his words is necessary.

This article, upon adoption of an approach based on theories of Hermeneutics and Narratology of Paul Ricoeur, and upon emphasis on the factor of action in fiction and historical texts, intends to study the similarities and differences of the historical section of acclaimed Iranian Poet, Ferdowsi’s collection of poems, referred to as Shah-Nameh, with fiction. This is because although the historical part of Shah-Nameh could have been a unique account of historical events; the actions enlisted by Ferdowsi, which have been accounted within a narrative and fictional framework, has turned the historical section of Shah-Nameh into a blend of history, epics, legends, and myths.

In Persian literature, Ferdowsi’s Shahnameh has been used as the resource of many researches and an interesting subject for many literary and non-literary scholars. The special multidisciplinary structure of this masterpiece and the diversity and the extent of its narratives provide an opportunity for different interpretations using methods like historicism, discourse analysis and narratology in contemporary research arena. Searching in historical origins, this article aims at studying the way of narrative building in narratives about Rostam and Goshtasb, and they interacted in epic. The use of cyclic pattern in codification and organization of historical narratives mainly leads to the formation of narratives with mythical and epical contents that limits and transubstantiate events and historical characters in the predetermined substructure patterns. As much as the historiography method under the influence of cyclic pattern of time leads to the ambiguity of historical origins of events and characters, identification, and repetition in this method of historiography, the linear transition of events with story-like narrating ploys, provides narratives about events with different historical and temporal origins that appear to be coherent since they are formed under the domination of cyclic perception of time, and they do not transfer the whole past. For this reason, and according to neo-historicism perspective, every historical narrative is a story about the past which is not equal to the past. After matching the dual patterns of time perception with epistemology schools of history, by using discourse and narratology approaches, this article displays how the cyclic and linear patterns influence the narratives related to Rostam and Goshtasb, and their permutations.

The narrative of Hallaj’s life and death always has had the capacity and potential to introduce the themes and signs of mystical discourse. Some of these discourses absorb symptoms as "floating signifiers" gradually and articulate them with a different nature and provide some changes for mystical discourse. Under the Constitution, unlike the past that the mystical discourse and narrative texts related to Hallaj were dominant and reading Hallaj was a reflection of his spiritual authority, leftist movements highlighted elements of the Hallaj’s mystical discourse with reductionism and stereotyping and representing two different types of mysticism and separation the passive and inefficient mysticism of revolutionary one, and articulated them with central slab left discourse. The most obvious example of this discursive turn is seen in two distinct readings by Massignon and Mirfetrus that one of them based his narrative on the context of spiritual discourse and documented historical fact and another on the form of left-wing ideological discourse,as Mirfetrus can be the culmination of change mystical discourse into revolutionary one. This article is an overview of the two types of indented deal with mysticism,change and absorb of some elements of mystical discourse in the revolutionary discourse. The result of this change and absorb is replacing divine love- as the base of Hallaj’s live and death- with materialism and humanism on one hand and replacing spiritual and mystical sermons with witchcraft and promoting atheism on the other hand toward the popular revolution.

The analysis of the discourse formation of Farrah-e Izadi (divine glory) in texts belonging to different periods, with a special focus on Avesta and Shahnameh, Shows that formation of this discourse has undergone various metamorphoses. From among the vast meanings and propositions in these two works, the gift of the divine glory among Iranian kings, being divine mediators, and having a divine right to govern the people have been articulated and foregrounded as special signifiers in an interrelated and interconnected network. Other meanings of the divine glory discourse have been kept on the periphery to harmonize other properties around this central point and to reduce or block their meanings. This study shows that divine glory discourse has been formed and fixed as an obvious truth, using language strategies such as repetition of the compatible propositions, otherness, finality of its own discourse, reductionism, elimination of the rival discourse, and marginalization of lots of properties.

Many researchers have researched the source of Islamic Sufism from a certain intellectual disposition. The prevailing view of these research works, is based on arbolic thinking and having centralized roots. According to the theory of allegorical Metamorphosis, each of the topics discussed in Islamic Sufism, can have separate roots. The present paper aims to show that Iranian Culture is one of the sources of Islamic Sufism, and formation of Mystical Supervision Theory in Iran can be a result of an evolution in Iranian beliefs about Divine Glory. In this paper, the environmental and intellectual backgrounds affecting on the compilation of the discussion of Mystical Supervision by Hakim Termazi, will be discussed. And also by showing the pathway of Mystical Supervision Theory till the era of Sohrevardi and its effect on the works of great Mystics and Intellectuals, the theory of Sohrevardi and its relevance to the theory of Mystical Supervision will be discussed. Moreover the combination of these ideas – that despite the evolution in elements, has preserved its semantic nature- is examined. The present research, shows that the link between Khosravāni wisdom and Iranian Mysticism and the gradual evolution in the theory of Mystical Supervision, how prepared the intellectual and theoretical backgrounds for what later called the Safavi Supervision. The primary backgrounds of this evolution, was present in the Iranian Culture and a great thinker like Sohrevardi gave it a new life.Manyresearchershaveresearchedthesource of Islamic Sufism from a certain intellectual disposition. The prevailing view of these research works, is based on arbolic thinking and having centralized roots. According to the theory of allegorical Metamorphosis, each of the topics discussed in Islamic Sufism, can have separate roots. The present paper aims to show that Iranian Culture is one of the sources of Islamic Sufism, and formation of Mystical Supervision Theory in Iran can be a result of an evolution in Iranian beliefs about Divine Glory. In this paper, the environmental and intellectual backgrounds affecting on the compilation of the discussion of Mystical Supervision by Hakim Termazi, will be discussed. And also by showing the pathway of Mystical Supervision Theory till the era of Sohrevardi and its effect on the works of great Mystics and Intellectuals, the theory of Sohrevardi and its relevance to the theory of Mystical Supervision will be discussed. Moreover the combination of these ideas – that despite the evolution in elements, has preserved its semantic nature- is examined. The present research, shows that the link between Khosravāni wisdom and Iranian Mysticism and the gradual evolution in the theory of Mystical Supervision, how prepared the intellectual and theoretical backgrounds for what later called the Safavi Supervision. The primary backgrounds of this evolution, was present in the Iranian Culture and a great thinker like Sohrevardi gave it a new life.

From an epistemological perspective and in a terminological system the concepts of Khouf (fear) and Reja’e (hope) in Quran have special places in mystical works especially Masnavi-e Manavi. Therefore this article has tried first to analyze the concepts of these two words in Holy Quran and then to examine the mystical interpretations of them in Moulavi’s view and thought. Through this way the conceptual and historical course of these two concepts in the ideas and words of Sufis and mystics until the age of Moulana is also investigated briefly. The results of research indicate that Moulana have looked upon these two supplementary concepts based on the holy Quran and religious teachings, Hadiths, and accounts and in explaining the concept and truth of Khouf and Reja’e he was influenced by the universality of the ideas of love drunken mystics and has applied his own idea and way of thinking. Moulana by integrating Reja’e and love prefers Reja’e over Khouf so that the dominant idea in Masnavi, that is love and reunion, would also be crystallized in its components.

Mystic expression and interpretation has always been a challenging issue in the field of mystic language. This challenge, which stems from the inadequacy of language in dealing with mystic experiences, has led to the mystic application of the artistic possibilities of language. One such possibility is allegory. This article studies the allegories of light and water as two of the most significant allegories regarding the concept of 'the unity of being' in Mathnavi. In addition to denoting the existential concept of 'the unity of being'(the relation between truth and individuals), these allegories cover many of the other features of this notion. Relying on the uncountable nature of light and water, this research explores the capability of these allegories in mirroring the semantic clusters of the experience of unity. Among the issues that these allegories reflect are the paradoxical relations between such dichotomies as unity and division, appearance and reality, similarity and difference, the concept of the perfect man, mortality, and the theory of constant creation.

Mathnavi is a rule-rejecting and deconstructive text that destroys the accepted presuppositions of its readers about language, form, meaning and narrative of the text. The first impressive point about the tales is their innovative structures. The present article, after a brief review of the literary deconstruction, on the basis of the original version of tales and anecdotes and by disregarding the digressions and detachments of the narrator, investigates the deconstructive reading of tales by Mowlavi, trying to search for the additions and omissions of the poet in four selected tales in order to draw out the principles of his reading. In the world view of Mowlavi, all things and objects find their final meaning in relation to The Spiritual and The Creator, and at the same time they reveal all the explicit and implicit elements and concepts such as movement, collapse of absolutes and possibility of impossible, which are the sources of different readings of the tales as well as the reason for their dynamic and generative character.

“Dialogue”, in Bakhtin’s thought, is a term which has a methodological nature. This term shows a method for facing cases which are not hegemonic. Dialogue, therefore, is in opposition to the hegemony of monophonic forces. The origins of the dialogical aspects of humor, laugh and carnival are in very character. In this article, we want to investigate the bases that make the dialogical carnival and form the humorous elements. In the first section, we illustrate the subversion of the superior voice as a semantic and formal structural method in Mathnavi. In the second section, the reflection of this method in formation of humor in the stories of Mathnavi has been investigated. In these stories, presence of the superior voice in the public space and its dialogue with the suppressed voices makes a space steeped in the elements of carnival and laugh. It can be said that the humors in Mathnavi are not the techniques for embellishing the text but the affects of the transcendental method of Mathnavi for interpreting the world.

Underlying structures of literary or artistic works are shaped by implied and multilayer semantic relations among their constituents. At the surface structure, they manifest as aesthetics of the works. So, their key concepts and symbolic meanings should be sought at the layer of deep structure. Shahnameh is a literary work having rich meaning depth, and broad underlying semantic relations. The variety and multiplicity of its constituents open it up to study from different perspectives. Focusing on two frequent structural elements in an episode in the story of 'Rostam and Sohrab', namely, 'the color of Sarapardeh' and 'the figure of Darafsh', this article reveals the their implicit relations, and sheds light on one part of the colorful and mysterious world of this masterpiece, in order to show to what extent the overall meaning and the numerous concepts of the text have been conveyed through these two elements alone.

Fasting, as a common practice in mystic schools, has a special status due to religious obligation it demands, its constructive nature, and its role as the first step in spiritual aspiration. In the context of mystical thought, and due to interpretive and spiritual quality of mysticism, fasting goes beyond the boundaries of superficial religious interpretations, expands its meaning and finds a meta-religious stance, so that sometimes attention to religious fasting itself defiles such meta-religious fasting. The dialectic/interactive structure of mysticism which, in the process of presence and absence, constantly exposes the phenomena to "becoming," is comprised of three common mystical principles and patterns: religion, spirituality, and truth. In this structure each concept or category is an element or component which, immediately, gains an interpretive dimension and can be placed under the principles of religion, spirituality and truth with different semantic dimensions. A diachronic and historical study of fasting reveals that in the early stages of mysticism and Sufism, what matters most for mystics is the religious aspect of fasting. In recent years, however, the practice of fasting has come to exhibit a closer relationship with interpretation, in alignment with its three-partite structure. In this article, we review the various approaches to fasting in prominent mystical texts and analyse the similarities and differences among these approaches in a structuralist reading.

The elements of Semiotics as an interdisciplinary study have been applied in interpreting the literary texts. The approach which has made use of the principles of Linguistics, sociology, psychology and literary criticism is a remarkable way to analyze the texts. Application of the semiotic's principles to study literature can offer a new way to look at the literary works. In the present study semiotics and its use in the analysis of the literary works is introduced. As a sample, Gheisar Aminpour's poem of "alephbaye dard" (the A, B, C, of pain) is analyzed respectively. In the same way, the aesthetic, text interrelationship, place and time, structure, syntax and the narrative elements of the poem are presented.

The present article intends to examine the various epistemological and ontological aspects of the element "Light" in Mathnavi and compare them with the function of "Light" in the other important mystic works of Persian literature. According to the findings of the article, Mathnavi is mostly concerned with these epistemological aspects of "Light" which deal with The Law and The Quran, and its interpretation of "Light" and the related concepts differ from both ontological and epistemological interpretation of the mystics such as Ali-ebn Othmān Hojviri Hamedāni and Ahmad Ghazzāli, and the systematic and coherent understanding of Ibn-Arabi and his followers. Molavi, although exploring the multiple features and values of "Light", never goes beyond the epistemology of Holy Quran and Tradition.