مهسا رون

Persian novels of the 1930s and 1940s contain common themes such as loneliness, despair, disillusionment, fear and suspicion of personal and social relationships. Taghi Modarresi wroteYakolia & her solitude under the influence of the social-political atmosphere of the 1950, especially the situation after the coup of August 28, 1953. The traces of the author's familiarity with the Holy Book are also evident both in the writing style and in the content of this novel. The suffocating atmosphere of that time forced the writer to express his political concerns behind the myth and symbolic language. Mikhail Lermontov, a Russian poet, was also affected by the political and social situation of Russia, after the failure of the Decembrists' uprising, to escape from the disappointment and rejection of the intelligentsia, he took refuge in biblical myths and composed the narrative poem "Devil" which was a reflection of his frustrations. This research with a comparative approach between these two literary works in a descriptive-analytical method is important, because of The similarity of the social-political origins of the creation of these two works, the thoughts and opinions of the two authors, the common themes and the use of the creators of both works from the Old Testament and the story of "Tamar". This study shows that Modarresi and Lermontov used the story of Tamara in book of Creation and the second part of Samuel from the Bible to create their works, and common themes such as: despair, loneliness, rejection, protest, love, etc

In contemporary psychology, color is regarded as one of the personality measurement criteria. This is due to the fact that each color has a special effect on the viewer’s mind and body, representing their mental state. Poetry of the poet's entire mental and spiritual makeup, as it is derived from her emotions and sentiments. Max Luscher’s color psychology is a method that utilizes the selection of colors to gain insight into the human psyche. This investigation has examined the poetry of Forough Farrokhzad and Khaleda Forough, two contemporary poets associated with the Romantic Movement in Iran and Afghanistan, in accordance with the aforementioned theory. The quality and extent of the use of colors in their poems demonstrate that Forough Farrokhzad’s poetry prioritizes black, which reflects her inner conflicts, dissatisfaction, and disgust with the environment, as well as her depression and isolation. However, her frequent use of green in conjunction with black suggests her aspiration to alter the course of history and revolutionize society. Khaleda Forough's initial selection is green, which is a symbol of faith, freedom, and serenity. The color black, which is situated adjacent to green, is associated with tyranny, suffocation, and social unrest. The examination of the poetry notebooks of these two poets reveals that the use of calm and optimistic colors progressively replaces the use of dark colors. This demonstrates their aspiration and optimism for a more fulfilling existence, as well as their interest in implementing appropriate modifications to the image that evokes their emotions.

"Women's Writing" is a significant approach in feminist criticism. This approach is a distinct female narrative element of male writing, which represents the difference in the application of emotional lexis, more use of colored phrases, oaths, principles of procrastination, losers and syntactic characteristics such as the use of prayer sentences (curses and prayers), Descriptive sentences, questional sentences appear in the form of self-esteem, and, finally, short and simplified sentences. Contents and issues such as historical affliction of self-confidence, and misandry, self-discovery, life concerns and overcoming romantic love are also from the feminine content. Nasim Marashi in Haras and Hanan al-Sheikh (the Lebanese female writer) in Beirut Blues, have different perspectives over war and human relations in the war condition and, in particular, position of women in the family and society. Using a descriptive-analytical method and a comparative approach of the female narrative of war, the effect of war on women's lives and their gender restrictions in the patriarchal society is described in this study and, furthermore, it was shown that female writers emphasized the terrible consequences of the war and expressed its affection and devotion based on their female spiritualities. They have never praised war, though. Both writers, by using emotional interpretations, of colored phrases, oaths and the emotional and praying sentences, and the simplicity and short sentences have considered contents such as historical affliction of self-confidence, and misandry, self-discovery, life concerns & overcoming of romantic love.

Some mystical texts narrate spiritual and mystical experiences with strange and cryptic expressions, and these transcendent experiences are only articulated in symbolic language. With the discovery of the collective unconscious by Carl Jung and his theories on dream interpretation, researchers have paid more attention to the relationship between symbolism and psychology, as well as the deeper layers of the human mind. Jung believed that archetypes present in the unconscious appear manifest symbolically in dreams; therefore, the dreams and revelations of mystics can also be seen as manifestations of human myths and archetypes from Jung's perspective. The “Badwo-Sha’n” treatise" which is an autobiographical account of the life of Hakim Tirmidhi and the dreams he and his wife had about him, symbolicly reflects the evolution and spiritual progress of this hadith scholar and the third century mystic . In this research, the authors attempt to show based on which of the Jungian archetypes these dreams can be interpreted, and how the mystical symbols in Tirmidhi's dreams align with Jungian symbolism.

In this research, based on Carl Jung's "analytical psychology" approach,  the dreams  presented in “Badwo-Sha’n” treatise have been interpreted from an archetypal perspective. Jung believes that when we want to investigate the talent of symbolization, dreams are the best materials and  symbolic expressions can be the individual or collective unconscious messengers; of course, Jung believed that individuals' dreams  may have roots in  mythological foundations or mythological cognitive units, which he calls "archetypes." Some of the most significant archetypes include "Self," "Anima," "Animus," "Persona," "Shadow," "Wise Old Man," "God," and "Death." Archetypes play a crucial role in shaping the collective unconscious and are transmitted from one generation to another. Reflections of archetypes or contents of the collective unconscious can also be observed in some secret mystical texts. The “Badwo-Sha’n” treatise is a relatively short description of Tirmidhi’s condition by his own pen. A major part of this treatise, which appears to be the first self-written biography of a mystic, includes reports of Tirmidhi's dreams and those of others, particularly his wife's dreams about him; it has the ppotential of being  interpreted from the perspective of Jung's archetyps and symbology.

The dreams presented in “Badwo-Sha’n” treatise with symbolic and imaginative content, narrate the spiritual and mystical evolution of Tirmidhi. Familiarity with Jung's symbolism and the views of this great psychoanalyst shows that Tirmidhi's dreams have the capacity of Jungian interpretation. In analytical psychology, one of the most basic archetypes is "self". The process of individuality or realization-self, occurs when a person, on the way of his evolution, travels inside himself and in this journey gets to know the different dimensions of his personality, dimensions emerging from archetypes that exist in his subconscious. In one dream, Ahmad ibn Jibril sees Tirmidhi performing the Tawaf around Kaaba, which is a symbol of the mystic's achievement of individuality and his inner journey of conscious and unconscious unity. In another story, Tirmidhi's wife hears a voice in her sleep and sees Tirmidhi praying in a kind of alter surrounded by light. Tirmidhi's wife follows - anima /inner guide - the voice  and reaches the gate of a palace full of light. From Jung's point of view, sometimes the unconscious guides us. Another archetype that appear in Tirmidhi's dreams is the "Wise Old Man"  which psychologists consider to be the manifestation of the hero's concentration of his spiritual and physical powers.This archetype appears to the seeker in various forms and situations and guides him. In Tirmidhi's dreams, "prophet", "white-haired old man", "angel" and "Amir" are symbols of "Wise Old Man".  "Shadow" is also another archetype which is a collection of raw and unformed feelings and desires, and the origin of human temptations and sinful tendencies, and appears in dreams and myths as an enemy, a magician, a deceiver, a dragon, a devil or a demon. In Islamic mysticism, knowing the self and fighting against it goes on from the beginning of one's spiritual practice  to the end of one's life, and one of the symbols of  the shadow is the commanding self (the inner devil) or external devils. Jung, in the journey of awakening the inner hero, considered the meeting with the shadow as the first stage of individuality and believes that the first layer that is discovered from the unconscious is the shadow. In a dream, Tirmidhi's sees a Wise old man, who prevents him from engaging in worldly affairs. Arif's drowning in worldly affairs is a symbol.

The dreams presented in “Badwo-Sha’n” treatise by Tirmidhi's are connected to the unconscious mind of this mystic and possess symbolic content that can be aligned with Jungian symbolism. Among the most significant Jungian symbols reflected in the narration of these dreams are the the process of individuality, the Self, the Shadow, the Anima, and the Wise Old Man. One manifestation of the process of individuality is the experience of traveling to Kaaba in Tirmidhi's dreams, which can symbolize his inner journey. Another archetype of Jung is the wise old man who appears in Tirmidhi's dreams in the form of the Prophet, the Old Man with White Hair, the Angel, and the Prince, guiding him through the difficult path of spiritual practice toward the ultimate truth. The Shadow is also another archetype that corresponds to the commanding self in Islamic mysticism and appears in Tirmidhi's dreams through symbols such as the commanding self (the inner devil) or external devils (worldly affairs). The Self, representing the deepest aspect of the dreamer's personality, also appears in Tirmidhi's dreams through symbols like plants, geometric shapes, rocks, birds, and trees. With guidance from these symbols, Tirmidhi must navigate through the challenges of spiritual practice and attain self-awareness. His wife also symbolizes the anima of the mystic and serves as his helper in recognizing his inner shadows and guiding him along his path.

Feminist criticism is concerned with women's issues and the ideas regarding women in a text. As an approach to the differences between speech and texts of men and women, female writing is a valuable theory in feminist literary criticism. By drawing on a descriptive and analytical methodology, the present study analyzes the language and content of two women's journals in the Constitutional era, i.e., Danesh (“knowledge”) and Shokoufeh (“bloom”), using a "feminine writing" feminist approach and based on the perspectives of linguists such as Mills and Lakoff. Linguistic and content analysis of these magazines suggest that although the prose of female journalists in the earliest women's journals is void of heavy feminist connotations, the syntax contains many components of feminine writing style, such as high frequency of vague words, swearing on divine authority, use of intensifiers and adverbs expressing doubts, feminine emotional phrases in vocabulary, utilizing short sentences, relative and independent clauses, use of unfinished sentences, and questions. Thematically, too, female journalists discussed subjects different from those reflected in men's journals, like the imperative of female literacy, female health care, and hygiene, respecting their choice of spouse, revising men's conduct in interacting with them in the household and community, and comparing the conditions of Iranian women with women in advanced countries, to advance their social and individual demands.

Love is one of the main elements of Islamic mysticism and the main stimulus for the manifestation of truth in the world of possibility. This element plays an essential role in the emergence of the manifestations of creation, worship, return, and basically throughout the angles of mystics' view of existence and creation. In this article, through a descriptive-analytical method and based to Rumi's view on love, we have tried to re-read the scope of the idea of divine love in mysticism and Sufism, and to analyze the intellectual source of love in Jami's Masnavi and finally to examine the quality of reflection and the effect of the pattern and concept of love from Rumi's point of view in Jami's Masnavi. The results of this study show that one of the keys to understanding the mystical views of Abdul Rahman Jami is to pay attention to the meaning and concept of love and discover the source of his views on divine love. The study of Haft Aurang shows that the basis of mystical views and thoughts reflected in the poems of Abdul Rahman Jami is a combination of the views of earlier mystics, including Jalaluddin Rumi, which were influential in his works, especially in the Masnavi of the Selselat-o-lzahab.

Research on the contemporary mystical literature of Afghanistan is a neglected field. Despite the current sufferings inflicting the country, the literature has more or less remained an active area. In this research, three mystical poets, Mastan Shah, Majnon Shah and Heydari Wojodi, who lived in the last one hundred years, have been briefly introduced and the concept of love, as the underlying theme of mystical literature, has been examined in their poetry. This study, adopting a descriptive-analytical method, sought to explore the following questions: What are the commonalities and possible differences between the poems of Majnon Shah and Mastan Shah, who followed Chishtiyyah order, and those of Heydari Wojodi, who followed the Naqshbandiyyah order; What is the place of love, as a condition for attaining perfection and knowing God, in the ontological orientation of Chishtiyyah and Naqshbandiyya orders? How have important issues like the contrast between love and reason and the relationship between material and real love reflected in the poems of these three poets? The results show that the poets, influenced by the unity of existence and the unity of intuition, considered love the origin of the universe and indefinable, and introduced it as the world of unity and the ultimate goal of the seeker; which frees him from reputation and shame. In the poems of Majnon Shah and Mastan Shah, whose mystical state is somewhat reminiscent of the state of Maulana's sonnets, also in the poems of Heydari Wojodi, which are influenced by his long engagement with Maulana's Masnavi, true love is considered as evolved form of material love and regarding the contrast between love and reason, all three poets have given priority to love over reason.

"Self-knowledge" is one of the most important topics that ethicists, mystics and philosophers have long emphasized. Muslim sages and mystics, based on the verses of the Qurchr('39')an and hadiths, especially the famous hadith " Whoever knows himself has known his Lord" have considered the most important way to know God from the path of true knowledge of "self".  Rumi and Jami in their works, especially mystical poems, have referred to self-knowledge and its importance and effects in various ways. Rumi considers self-knowledge as the essence of all sciences and ignorance of the truth as the plague of the human world and considers inner purification as a way to reach the divine truth of man. Jami, one of Rumichr('39')s followers, has spoken about the necessity of self-knowledge in his various works, with the aim of achieving the realm of nearness to the truth. The findings of this research, which has been done by descriptive-analytical method, show that both poets, by emphasizing the attainment of the right from the path of self-knowledge, have also mentioned conditions for the realization of this matter. Rumi and Jami believe in divine love as a prelude to emptying themselves of egoism and think that man can reach his true position through jihad with the soul, commitment to acts of worship, solitude, solitude and recreation, constant attachment to others and constant vigilance.

The contemporary Persian literature of Afghanistan, affected by the social and cultural factors of the constitutional revolution and then the 7th Soar coup (7th Ardibehesht), was transformed and became the basis for the formation of different poetic movements. Each of them interpreted poetry based on their idealistic ideas. The poets of these poetic movements have also used colors as a tool to express their political and social goals; especially the poets of the movement of resistance. One of the best movements of contemporary poetry in Afghanistan, have used a range of different colors in expressing their thoughts.Since colors play an important role in reflecting the emotional and spiritual personality of a human being. They have also been considered in the modern psychology and thus, Psychologists can understand the mental states of the composers by considering the quality of the choice of colors in poems. One of the tests that can tell the artist's mental state based on the quality of the use of colors, is Max Luscher's theory of color psychology.This article is looking for a precise and methodical reading of the poetry of Afghanistan resistance based on the theory of Max Luscher, so that it can help us in a comprehensive and accurate understanding of the thoughts and personalities of the poets of this movement and the important reflected elements of their poetry. To introduce the hidden layers of contemporary poetry of Afghanistan and the way of thinking of its contemporary poets.The present study, using the descriptive and analytical method, investigates and analyzes the colors used in the poetry of the first poet of the Afghanistan resistance, Khalilullah Khalili. In this article, Luscher's applied colors and their evocative have been collected first. Then each of them has been classified, analyzed, and studied with the approach of Max Luscher's theory.A case study of Lusher's use of eight colors in Khalilullah Khalili's poems shows that his first choice in his poems is red and black. Red is a symbol of life and death. The symbol of death with burning flames that destroys everything and the symbol of life that pours the passion of love in the heart. The choice of black color next to red in the first choice expresses his displeasure and disgust with the surrounding environment and his protest against the current situation, hatred of aggression, injustice, and the suffocating atmosphere of the society. But the green and blue color in the second choice, which reflects the real situation and the desired goal of affairs, shows his desire for a better life and hope for the future, which requires peace and intimacy. The choice of brown and gray colors in the third step shows that due to social unrest, Khalili expresses his feelings and emotions in a hidden manner, and this issue makes his poetry more mysterious and consequently more artistic. And the choice of yellow and purple in the fourth step shows the poet's desperation, which has led him to take refuge in himself. He hides his natural passion and imaginative nature as much as possible, and this issue has made his poetic language symbolic.As a result, it can be inferred that the abundant use of red and black colors in the first situation shows the poet's tendency towards the concept of the uprising and struggle against aggression, tyranny, and social disorder.  The red color in his poems tells about martyrdom and struggle, and he seeks the way out of black color in red color, and therefore all his poems are covered with blood and martyrdom, and it tells about struggle. But also, the frequency of green and blue colors in the second situation which indicates the real situation, manifests the poet's desire for a better life, the end of aggression, tyranny, the creation of deep change and transformation in the society.

The connection between Sufism and politics in the contemporary history of Afghanistan began with the establishment of Ahmad Shah Abdali's Government (1747). Ahmad Shah Abdali had a good relationship with other Sufis. The Dastarbandi (turban ceremony) tradition has been established for the kings at the hands of Sufi elders and gained their support in his campaigns. The role of Sufi elders during the reign of Durranis and Muhammadzais is also very important. With the invasion of Britain and the Soviet Union and the emergence of internal conflicts between local rulers, the presence of Sufis in the country's politics increases. From the perspective of "Political Sociology" whose main topic is the analysis of mutual relations between the government and social forces? The possibility of finding the open and hidden role of the leaders of the Naqshbandiyya, Qadiriyya and Chishtiyya sects, opposing political officials, supporting them, reacting against the British aggressors has been investigated. Sufis have always played a role in the political and social developments of Afghanistan and have enjoyed great respect and closeness in the government systems. With the British and Soviet invasion of Afghanistan, the Sufis mobilized the people against the colonial forces by organizing their political and jihadi activities in the form of political organizations. Although the relationship between Sufism and politics in Afghanistan had ups and downs but Sufis have always been respected in the government. Kings and ministers participated in their assemblies and monasteries and were consulted for the administration of the country. In the contemporary history of Afghanistan, Sufis have always resisted internal oppression and injustice and foreign aggression, as mentioned earlier.

The main question of the article is how has been the quality of relationship between the Sufi sects and the political ruling in contemporary Afghanistan and their role in the country’s political power?

The hypothesis is that Sufis, within sects of Naqshbandiyya, Qadiriyya and Chishtiyya, have had a significant influence on high-raking offcials, and the courtiers and royals in Afghanistan. Their elders and leaders have played a crucial role in the Afghan politics and power systems. They often played greater contributions in the removal, appointment of kings and political leaders and legitimizing the power as well as creating political parties in the country.

The current study has been conducted, based on content analysis method which is a type of qualitative analyses and from the point of view of "Political Sociology" whose principle subject matter is the analysis of mutual relations between governmental power and social forces in contemporary history of Afghanistan. One can examine the visible role of the leaders of the Naqshbandiyya, Qadiriyya and Chishtiyya sects in confronting political officials or supporting them or their reaction against the British and Soviet aggressors.

The link between Sufism and politics in the contemporary history of Afghanistan is undeniable. The elders of Sofia always have a special place in the political and power apparatus of Afghanistan.  They have played an important role in deposing and installing kings and emirs and legitimizing their power.  As mentioned, Ahmad Shah Abdali was a follower of Naqshbandiyya sect and he established the tradition of coronation and turban cermony by the Sufis elders. He enlisted the support of Sufi masters to persuade his followers and disciples in the fields of warfare and politics.  But his sons and descendants could not use the capacity of the Sufis like him. With the arrival of Muhammadzais, the amirs of that time also maintained the relations by establishing causal links through marriages with the Sufi families, in order to gain their support. With the invasion of British troops into Afghanistan, a new chapter was established in the relationship between the Sufis and the government, and the Sufis took a step with political and jihadist movements established in the political and power scene of Afghanistan and engaged in armed struggle with the aggressor forces and their internal agents.  In general, elders and followers of Naqshbandiyya and Qadiriya sects have been more involved in the politics and power system of Afghanistan than other sects. Basically, in the contemporary history of Afghanistan, apart from legitimizing the political government, Sufi leaders played a prominent role in resolving the family disputes of the nobles or taking power by the local rulers. Sometimes they themselves had a place in the governing body. But with the passage of time and the involvement of new elements and factors in the political situation of Afghanistan, it seems that the influence of this group in politics and power has decreased compared to the past. The responsible factors can be analyzed in other research works.

The results of the research show that the connection between Sufism and politics has always been accompanied by ups and downs since the beginning of Ahmad Shah's reign. he had a good relation with other Sufis. The Sufis also supported him during his campaigns. But with the invasion of British forces and then Russia into Afghanistan, the Sufis rushed to the political and power scene of Afghanistan with greater coordination and started an armed struggle against the aggressor forces and their internal agents.  In addition, Sufis have played an important and prominent role in various political and governmental positions in recent years.

The Symbols manifest role in creating images and conveying poetic concepts. Colors find a symbolic form in poetry to express emotions viz, anger, fear, and love. Poets use colors in the real sense to sensualize beauty. Sometimes, considering their symbolic aspects, they draw abstract concepts. The movement of socialist poetry in Afghanistan, poets, with a deep look at the phenomena of existence and awareness of the diverse and symbolic concepts of colors, have used different colors to express their ideals and desires. Present study, actualizes descriptive-analytical method to analyze the symbolic position of color in the said movement. The results show that the symbolic use of colors is prominent in this poetic movement. The color, red: is a clear symbol of freedom and communist thought; black is a symbol of suffocation and tyranny ruling the society. Poets of this realm have found a way out of the black symbol in red color. The white color is a clear symbol of peace and victory while other colors such as green, blue, and yellow, which have the highest frequency among the main colors along with other colors, are considered important elements of symbol creation in the movement of socialist poetry.

A major part of adaptation studies, as an interdisciplinary branch, is devoted to the process of transmitting the written fiction such as novels and short stories to the visual medium of film.  Experts of cinema and literature have spoken about the quality of cinematic adaptation, suitable works for adaptation, types of adaptation, their quality, etc.; Sabouraud has argued that a correct understanding of the style of the original work and the use of cinematic tools to turn the fiction into a film are necessary for successful adaptation, and twentieth-century critics have emphasized the preservation and transmission of the "spirit of literary work" in the adaptation process. In this research, by looking at the theories of adaptation studies, in a descriptive-analytical method, the quality of adaptation in two films adapted from the short story of The People’s Child written by Al-Ahmad has been analyzed. The results show that in the film called A Beautiful Snowy Day, despite being more faithful to the events of the origin story, the choice of melodrama genre is contrary to the realist style of Al-Ahmad story, he has caused the spirit of the work not to be transferred, but in the short film entitled Before Darkness, despite the significant differences, in the plot, characters, time and place, etc. with the original story, the filmmaker adherences to the story style and the use of appropriate cinematic tools have reflected the spirit of the work well.

As Perfectionism is inherent in human being, paying attention to present a symbol and paradigm of perfect human emerges as an important concept in all of the divine religions and human schools. The perfect ideal human is among the deep-rooted and established topic in Islamic mysticism. Which always have been considered by scholars. This issues along with mono theism principle, from the main core of Islamic mysticism. The present paper through descriptive-analytical approach examines the perfect ideal man in thesis of shah Nematollah-e- Vali. The suggest that he speaks in a detailed and lengthy manner with his Elm-al-Asma’e approach about this topic. He also discusses on intuitive and mystical aspect and then based on inspirational (Vahyani) doctrine. He predicates Elm-al-Asma’e system and through which clarifies the relationship between lord and perfect man and the whole universe. He believes that the perfect human considering Al-Amanat Verse is like a mirror in which God (Allah) observes himself in his being. Because the perfect man is the symbol of divine Asma’e (names) and attributes of God. Perfect man is an intermediate between God and the people. He is the reason of God’s divine grace and help for the world. He is the best and nearest represention of God. So he is the symbol of divine authority (Velayat), A Being-everywhere who is the medium of blessing to all existances in the universe.

The story of Aziz and Ghazal (1914), written by Seyed Ashraf al-Din Hosseini Gilani, known as Nasim-Shomal, is a  not well known romance in which is narrated the love story of two Aleppo lovers from two hostile families. The content similarity of  this story with Romeo and Juliet Shakespeare's play encouraged us to review and analyze the similarities and differences between the two works by considering the adaptation theories as well as the analysis of common style and context in translations and adaptations of Qajar era. The descriptive-analytical study of this story and the many content and structural similarities between the two works assumed that Aziz and Ghazal have been a free adaptation of Shakespeare's tragedy, but since there is no evidence that Seyed AShraf al-Din was fluent in English, it seems that he  has achieved translations of Romeo and Juliet, then he has created Romeo and Juliet for satisfaction of Iranian readers by using the style of adaptive translations of his time such as adding poetry to prose, using proverbs and sometimes slang catchphrase and socio-cultural discourse.

The narrators of the war, with the oral reflection of the memories and events of the holy defense era and the narration of an important moment in the contemporary history of this land, play a prominent role in introducing the holy defense era to today's generation and modeling it. The Supreme Leader has always emphasized the important role of narrators in accurately identifying the cultural treasures of sacred defense and modeling martyrs, without exaggeration or provocation. Meanwhile, the narrator of the memorial of Martyr Hassan Bagheri narrates a lesser-known period, namely the first years of the war, focusing on the role of Hassan Bagheri. He is the producer of a different discourse, which can be called the discourse of "spirituality-based rationality." In this descriptive-analytical study, we have examined and analyzed a total of 90 minutes of narrations recounted in Esfand 98 in the memory of Martyr Hassan Bagheri from the perspective of "discourse analysis." The analysis of these narrations, in three levels of “description”, “interpretation” and “explanation” from the aspect of critical discourse analysis of Fairclough and tracing the articulation based on laclau and Mouffe’s theory includes outstanding and decenteralize in the language of narrations toward the reasonable clarification of it; Therefore it has a high capacity to communicate with today's addressee.

What structuralist narratologists have in common is that, instead of analyzing the actants of a literary genre based on traditional rhetoric, they analyze a literary genre as a systematic structure whose actants have internal links together. The plot or the sequence of events is the most significant element that both the first and the second generation of Narratologists have considered attentively. Although the first generation emphasizes on causative and effective sequence, the second generation, especially, Raymon Kenon, has also added the periodic sequence to that. The present study aimed at considering 300 Sufis’ revelations selected from 30 mystical prose from the 4th to the 7th Century. It was found that even though the combination of events had numerous superficial differences, they followed few similar patterns. The results also showed that, in addition to the causative or periodic relevance, the revelations had another kind of sequence whereby a unique moment of the mystic’s incoming is briefly narrated. These kinds of revelations are highly inspired by a type of French story which is called “Nouvelle - instant” revelation.