پارسا یعقوبی جنبه سرایی

In every text, there are two levels of ambiguity of translation and ratio, which are the basis of the rhetorical explanation of the text from different perspectives of textual analysis, whether formalistic or discursive. In most of the classical texts, the aforementioned levels of ambiguity more or less exist, but in some texts, one aspect outweighs the other. Sa’adi's Golestān is one of the texts whose rhetorical basis is based on the ambiguity of ratio and types of displacement and articulation. In this article, the rhetoric of Golestān or the confrontation of the author-narrator with the listener/reader is classified and interpreted based on the ambiguities of the relationship between the creator of the text in the form of displacement and the significance of linguistic-narrative articulations. The basis of the analysis is the concepts and terms of several communicative fields such as semantics, rhetoric, narratology and discourse analysis. The result shows that, according to the dominant aspect of ratio ambiguity in Golestān, the author-narrator of the text uses four levels of extension / floating, pre-information, connection / eclecticism and repetition/accumulation in order to convey meaning or communicate the "Message–Force." Some of these cases, while creating diversity, contain the type of openness and polyphony, which help to draw the attention of listeners/readers. In some cases, the direction-inhibition aspect of the text restrains the listener/reader under the support-control umbrella of the author-narrator. Of course, all cases considered, while directing the listeners/readers, in most cases the text leads them to an open state of reality, which does not limit inferences in the reader’s encounter with the textual and conceptual representations.

Etiquettes have played a predominant role as educational texts among Iranians. The dominant method in these contents is one-sidedness and the inclusion of some pieces of advice for doing or prohibiting doing things. It is also noted not to be accompanied by rational reasoning, to a great extent. The concepts and topics contained in these texts are political and moral. Furthermore, they tend to use religious, mystical, and customary supports and, accordingly, the structure and necessity of social institutions, including the institution of education, are used as a model of instruction-suggestions with the listener/reader. To add up, the method of disseminating the mentioned knowledge with the repetition-reminding structure is based on the compliance strategywhich has usually suspended the principle of questioning and dialogue in educational interaction. In this article, the aspects of question avoidance and the reasons for its refusal are indicated and interpreted in five political-ethical etiquettes that appeared or were re-considred in the 5th to 7th centuries of AH. The results have indicated the author-narrators of the mentioned texts sometimes directly and explicitly invite the listener/reader to refrain from asking questions. Sometimes they have dealt with this matter indirectly by telling stories and planning punishment/encouragement discourse. The discursive order of the proposition/production anecdotes/prevalence of questioning in these texts is organized around the two elements of the nature of the subject and the position of the narrator, which seems authoritarian based on the vertical structure hidden in the theory of education. Of course, in explaining this authoritarianism and interpreting it as educational tyranny, one should think about it because there are other textual and extratextual implications that modify such a view.

In the contemporary world, by passing the universal epistemological-disciplinary system and the aristocratic/class belief of the classical world, it became possible to pay attention to the individual world and the individuality of individuals, and the identity of textual subjects based on their lifestyles and types of personal and social capitals is the subject of representation, Literary narratives were placed. Based on this, the lack of some capitals or a defect in them, which is supposed to be a form of stigma of the subjects, was narrated. Among the contemporary Persian novelists, Sadegh Hedayat is one of the most prominent representatives of the forms of stigma and the discourse of rejection associated with it. In this writing, the stigma of the subjects and the discourse of rejection associated with them have been guided and interpreted in several honest short stories. The result shows that the narrator of Hedayat's stories in the representation of the textual subjects has represented their grief in the form of three physical, personality/psychological and tribal/kinship forms, which are the basis for the formation of some of them such as The noble status of the story of Bonbast and Davood Ggozheposht is seen as a historical or philosophical matter, and in some cases, the basis of the disgrace of subjects such as Abji-khanom, Ismat-al-Sadat, Hassan and Haji Murad is a historical matter; It is the result of unbalanced social relations. What is important is that the representation of the mentioned cases, on the one hand, indicates the desperation of the current human being along with individuality and independence arising from contemporary individualism, on the other hand, it contains aspects of philosophical and social questions/objections that were previously They are not formulated in this way; Although, in some cases, the position of the hidden author of the stories and in continuation of that, the narrator's personal view has also had an effect on the intensification or frequency of the mentioned questions/objections.

In the Persian Lyrical genre, the relationship between the lover and beloved has varied into different forms from the beginning to now. This relationship seems too distant and unusual in classic Persian odes, while the situation of the subjects must be discovered in the concept of their social class, which is hidden in the context. Explaining this issue requires finding the implication of the textual agents’ actions and situations as the lifestyle and the separation of their identity and social classes. Based on this, in addition to explaining the aspects of spacing between the lover and beloved, the reasons for their spacing are interpreted, based on the opinions of some philosophers of cultural studies, anthropology of space, and sociology of the body, considering the social-cultural background of creating the text, in Saadi's ghazal. The result shows that in Saadi's ghazal, the beloved's lifestyle can be classified into three levels: belongings and possessions, state of physical activity, and actions, as her class and personal and social distance symptoms. All three levels are graded refusals, which appear as a form of natural or stilted superiority by beloved: starts from a mild and relatively implicit form, i.e. displaying assets and expressing specific body gestures or an apparent refusal that arises from defensive actions - forms of disregard- and continue in its violent and aggressive form under all kinds of spoliation. Spoliation in the Turk governors' culture or bondman and bondwoman is assumed as the example of identity and social class dignity and honor and a sign of natural or stilted convenience.

Ahmad Mahmoud realistically narrates his The Neighbours to represent/popularise party belief/knowledge. In this regard, its decoding necessitates an understanding of the textual discursive conflict and its fabricating modalities. This study employs the three modalities of name, adjective, and adverb of implication to interpret the discursive conflict in The Neighbours. This article claims that the ideological nature of the subject of representation and the inevitable transcendence of the associated subject has leveled the plot sequence, which, in turn, has divided the narrative into pre-heroic, heroic, and reinforced-heroic segments. Although the pre-heroic possesses four discursive conflicts/agreements, modalities tend to represent a sense of intellectual and emotional stagnation which surrounds the subjects, such as Khaled, who is the protagonist and the actor-narrator of the narrative. During the heroic era, a critical conflict between the party subjects and the authority, invokes the implicit author and the three modalities to condemn the authority and glorify the fights of the party subjects. Lastly, the reinforced-heroic regards the hardships that Khaled and his associates endured in prison as their legitimisation and heroism. In this regard, in accordance with all the modalities and both narrational trajectories, the narrative attempts to legitimise the fabricated reality built around the party-belief, so much so that, at times, the text suffers from propagandism.

In love mysticism, the issue of encountering the systems of signs and the act of signifying in a special way has led to the representation and organization of the macro-sign of the world unity or the state of presence. That is the way that the referential and arbitrary function of language turns to be absent, and the signs acquire symbolic functions and deeper layers of meaning. The signifying aspects of allegories and metaphors reconstructing the atmosphere of presence in the world before the annihilation dates back to the pre-language stage. Based on this, the experience of presence in line with the experiencer's lived time, and the time split in the place dimension with a different structure and passing from an active and physical place comes out in atmosphere in the field of intuitive experience in a different surface structure, and passing over an actional and physical place. Among the mystic writings, Rumi’s sonnets, from semiotics’ perspective, are allegories and metaphors reconstructing presence atmosphere or diverse and multi-layered unity. The main question in this article is that how the artistic reconstruction of the author-narrator of Shams-e Tabrizi’s sonnets in representing the atmosphere of presence existent in the lingual-narrative codes of the text is organized? The research methodology is descriptive-analytical, and properly in line with the epistemology that governs the text. The result demonstrates that, through narrating based on the presence, the author-narrator of Shams-e Tabrizi’s sonnets has utilized each of the allegories and micro-macro metaphors with signifiers of biological and epistemological domains so as to explain the nature of the mysterious, ambiguous, opaque, devouring, indeterminate, inseparable, infinite and extended atmosphere of the unity world.

Persian political-ethical books are a set of policies that prescribe or implicitly shared aspects of social etiquette directly with the audience and the listener. In other words, these works are a source for a variety of customs and a model for how to regulate distance and social space among people. In this article, aspects of distancing based on the contexts and topics of social etiquette such as speech and listening, nutrition and food, covering and disguise, sitting and standing, friendship and enmity are interpreted in six important Persian moral-political works. The result shows  that all areas and topics under investigation are based on creating a distance and observing pre-established order or existing natural rules that are represented in each of the areas with specific indications/signs. In the matter of speech, the words of the upper class, such as kings and sages, regardless of the subject matter, are regarded as advice and wisdom, and listening to it is considered a legitimizing blessing. In terms of eating etiqutte, they bring examples of the elaborate dining tables of the upper class, who want to keep their distance from others as a dramatic consumption. The etiquette of covering and disguise also serves as class distinction and social distancing in a marked way. In the manners of sitting and standing, distancing is based on body management. The upper class acts with a free and relaxed body, while the lower class maintains their distance with the upper class by sitting on two knees, talking slowly, etc.  For the etiquette of friendship and enmity, which is a part of social etiquette, keeping a distance from the enemy is necessary in any case, and not observing it is the cause of loss and deterioration. According to the epistemological model of the classical world and the attached socio-aristocratic aristocracy, all the mentioned fields and subjects serve in a marked way to differentiate and create a hierarchical distance. In these works, whether prescriptive propositions or narratives, they invite the audience-listener to class discipline and assume it as a form of tradition or an aspect of rationality. Such a call would automatically tie the discipline to sources of legitimacy.

The tradition of mystical biography by writing both forms of collective and personal writing biography is a continuation of Islamic historiography that uses the tradition of documenting and objectification of the science of hadith to validate itself and it creates facts about mystics or a mystic. From an epistemological point of view, the construction of the mentioned reality is the result of selecting the author-narrator or narrators who represent it according to special epistemology or ideological attachments, this point is especially noticeable in personal biographies due to the density of events and many details. One of these biographies is Manaqib al-Arifin al-Aflaki, which has been written about Rumi and his entourage. In this article, the narrative-discourse validity of Aflaki constructed reality in representing the events of Rumi's life has been identified and interpreted in a descriptive-analytical manner. The theoretical basis of the research is the opinions of some experts in social semiotics and critical discourse analysis, whose meanings have been explained in both quantitative and qualitative levels.  The result shows that the author-narrator documents some of his constructed facts from a quantitative point of view by using four categories of number modality, emphatic, narrative frequency and continuity with high causality. At another level from a qualitative point of view, some other events are first objectively and perceptibly based on the narrator-focal cognitive tools, such as the sense of sight, hearing and touch, which indicate the perceptive "here" and "now"...

Mystical biography is a form of mystical writing that has organized narratives about mystical subjects from the narrative point of view with two propositional-explanatory and narrative aspects and from the discourse point of view by modeling and legitimizing mystical subjects. Of course, in spite of sharing in the literary genre or following the common narrative tradition, the construction of the narrative and discourse of the memoirs differs from the concept of identity-class according to the author-narrators' special perception. In this article, the authors-narrators of the two mystical collective biography, the classes of Ansari Sufism and the biography of Attar's saints, are defined and interpreted from the concept of identity-class and the epistemological and ideological underpinnings that organize them. The result shows that the author-narrator of the Sufi classes, following the tradition of collecting hadith and emphasizing the rigid reality in explaining the identity-class of the subjects of his representation, relied more on the pre-established elements of their identity, it has largely avoided explaining a lifestyle based on taste and consumption. In addition, in the continuity of the text, it devotes a considerable part of the textual space to the explanation of mystical concepts or prayers. In contrast to the author-narrator of Tazkereh al-Awliya, according to the tendency to romantic and reckless mysticism, attachment to madness is made with full openness, aspects of the elements that make up taste and consumption of subjects such as speech, nutrition, clothing, worship and rituals, represents relationships and assets.

One of the most successful and popular novels of recent years is "Autumn is the last season of the year", which also won the Jalal Literary Award in 2015 and was published for the fortieth time in a short period of time. The main subject of the novel is the "existential" and "situational" preoccupations and anxieties of three girls from the sixties named Roja, Leila and Shabaneh. Each character faces the challenges of experiencing metropolitan life such as immigration, personal and social identity, and emotional relationships with an emphasis on the anxieties of the new generation. This descriptive-analytical study seeks to analyze and critique the element of ecology as one of the most important narrative elements according to David Herman's theory in this novel. The result of the analysis shows that the author uses homogenization techniques such as loneliness struggle as one of the most tragic aspects of modern life, the issue of love and accurate description of inner feelings, existential and situational apprehensions including loneliness and failure to achieve ideals. Optimal; It has been able to induce a sense of ecology along with other narrative techniques. Despite Maten's success in inducing a sense of ecstasy in the character of Leila and Roja, he has not been very successful in inducing this sense in the character of "Shabaneh" due to his constant doubts in inducing a sense of ecology.

One of the topics in the sociology of language is the linguistic taboo, which imposes varying degrees of restriction and prohibition on the speakers of each language. Accordingly, language users avoid using taboo words and expressions by applying methods regarding the types of commitment, concern, or necessity of social order, which is called euphemism. The present study adopted a descriptive-analytical approach to classify, signify, and interpret aspects of euphemism in Central Kurdish based on the Warren model. According to the socio-cultural context of the Central Kurdish speakers, the result showed that linguistic taboos mainly include moral, religious, political, and customary issues, and the sexual and physical aspects were more prominent. Therefore, Central Kurdish speakers tended to construct different avoiding techniques to euphemize the linguist taboos by using semantic and formal constructions. Due to their specific nature, metaphor, metonymy, ambiguous words, allusive expressions, synonyms, and neutralizing words were more common. In some cases, a great social action was initiated because of semantic conflict, resulting in the names of six villages being changed. Regardless of its form and quantity, linguistic euphemism avoids verbal violence, creates security and empathy, and ultimately understands the presence of others.

...communicative sense is based on the "I-you" interaction. Due to this type of interaction in the construction of the identity-status of the subjects, in other words, their placement in the interaction of the agents of the context of romantic mysticism is different from other classical literary genres And this leads to the formation of a distinct aspect of perceptual-aesthetic ambiguity. Ghazaliyat Shams is one of the texts in which the interaction of the subjects within its text and consequently the epistemological-artistic ambiguity that has been formed on the basis of the me-you interaction has been formed, ignoring it will cause a purely tasteful interpretation of it. Accordingly, in this article, the action of constructing the "I-you" interaction of the narrators-textual agents of the narrator-lover and the beloved in Shams's sonnets with the intention of reading in line with the epistemology governing the text has been identified and explained. To denote this interaction, some concepts and terms of thinkers in the field such as Buber, Levinas, Bakhtin, Sartre, Gabriel Marcel, Landowski and Byung-Chul Han have been cited. The result shows that the logic of "I-you" in the sonnets of Shams can be divided under four headings: a) expression of silence and lack of precise coding b) disregard for hierarchy and passing through confrontations c) incompleteness Invisibility d) Postponement of the "self" formulated, all of which symbolically represent the passage of the common order of symptoms and the experience of the world of unity.

Ode as the main form of praise literature is one of the most common propaganda and ideological tools of the power apparatus in the classical Persian world. In ancient Persian literature, Farrokhi's poems, within the framework of a poetic narrative, try to support the political discourse/ thought of Iranshahri, which represented the authority and legitimacy of the Shah in a charismatic or cultured way; he is the successor of God, the identity of the subject of "king - praised" representing the supposed authority as a singular and divine concept. In this paper, the representation of the king- praised as being "superman" has been investigate focusing on the semiotics and lifestyle -taste- consumption in Farokhi Sistani's odes. The result shows that the narrator of Farrokhi's odes, in his praiseworthy narratives, describes the life style of the "king -praised" and his vicarious class as three types of capital: "physical", "possessive", and "institutionalized social-cultural", and at two levels representation "direct" and "vicarious" consumption. The result of this representation is the formation of the identity of the king- praised subject on three singular levels of "innocence-immortality", "possession-incompleteness", and "justice-discipline". These cases, as the presumed characteristics of the chosen or ideal king, were the political-sacred "desire-expectation" of most of the "king - praised" of that time, especially the Ghaznavi kings, in which the ode has fulfilled a part according to its hegemonic intention or mission.

One of the central and common concepts in areas such as mysticism, philosophy, psychology, psychoanalysis and postcolonial studies is specifying the status of the paradoxical double-edged marking action – the being-identity and nonexistence – which is the subject of the representation of some literary narratives including fiction written for children and adolescents. The novel, The Emperor of the Words, written for children, is a good example of the aforementioned concept in Persian fiction. The novel utilizes spatial-topographical techniques to represent the concept. In this essay, the representational aspects of the spatial-topographical metaphor have been analyzed with a descriptive, interpretive approach. Findings of the essay show that the author forces the author-narrator of the novel break the boundary of narrative levels from the top to the bottom level and vice versa to create, on the one hand, the being-identity of the subjects and the objects of the narrative with spatial metaphors, working with two dominant symbols: lining and word coinage; and, on the other hand, map the nonexistence and lack of identity with different types of trials, examination, imprisonment, and separation. Meanwhile, the author-narrator of the novel attempt to depict different aspects of ambiguity created by the story agents, blurring the easy interpretation of the signs of the text. These include: erasing the lines, poetic asides, pretending to be mad, state of frenzy, dumb looking, wordlessness, namelessness and mixing narrative levels. These states, however, provide the opportunity of symbolic movement from nonexistence and identity.

  The contemporary party poetry as a leader of the committed literary has intended to redefine and reconstruct fundamental concepts such as the history, consciousness, equality and reality under the umbrella of the thoughts of Marxism in order to reorder its dissident against the authoritarianism.  The spread of Marxist beliefs in Persian and Kurdish societies has led to the appearance of comparable topics while they were differed in representation method. Comparative explanation of ideological implications can help to epistemologically-aesthetically decipher of the poets works. Relying on an analytical-descriptive methodology, this study aims to explain and illustrate the reconstructed reality in the poems of Ismail Shahroudi and Abdullah Goran as the two prominent representatives of the political committed literary. Results show that despite the climatic and social differences, the presence of an ideological commitment as a prior order has led to the resemblance of the subjects of representation while they are differed in their representation method. Thus, the difference of representation of the reality in the works of the two can be considered in their contextualization or de-contextualizing of the representative subject. Shahroudi neither expresses his own lived experience or the experience of the Iranian society nor shows the signs of leftist idioms and concepts in his poems. In contrast, Goran’s expression is based on contextualization. He simultaneously refers to the lived climatic-social experience of the Kurds and the as the epistemological context puts the idioms and concepts of leftism in his poems.

Due to the post-Reformation socio-cultural events in Iran, forms of the Interpellation of humane subjects and the origin of their identity formation have changed, and this has consequently affected the construction of story subjects. Unique Interpellation of female subjects in the early stories of Persian literature, especially in those of Hedayat's, could be cited as a great example of this phenomenon. Employing a constructivist viewpoint, the present paper seeks to interpret and classify the gender-based addressing and Interpellation of subjects in Hedayat's stories. In doing so, Althusser's theory has been referred to for macro discussions, and for more micro analyses of textual signs, Goffman, Brown and Lewinson's theories have been used. The results show that the construction of location-situation of each fictional subject is in fact resulted in three layers of bodily, reaction-oriented and belonging-oriented interpellation which have been expressed by narrators and fictional subjects and have accordingly created positive or negative faces for the subjects. Although bodies have been objectively described in bodily Interpellation, the final assessment of the same bodies, as the main criterion of face-formation, is basically done by mental factors, on the basis of classical aesthetics. On the contrary, due to the dominance of realism on texts, in reaction-oriented and belongings-oriented layers of interpellation, class relations, forms of consumption, and taste of subjects are among the main criteria for face-formation. Though the gender-based construction of female subjects in Hedayat's stories, in line with the attested individuality in the contemporary world, is mainly based on personal and historical relations of subjects, its face-forming criteria have been formulated on the basis of a variety of epistemic and aesthetical factors.

Due to their written characteristics, mystic biographies are subject to the restrictions of recorded discourse. However, conversational features like turn-taking, participant’s tone and turn sequences, which are inserted in biographical dialogues, reproduce some spoken language rituals. These dialogues contain some implicit information that can be described and interpreted through a systematic approach to conversation. Tazkirat al-Awliya is the most remarkable mystic biography whose dialogues are organized by following several procedures of spoken language. However, its conversational potentials have not been examined through Conversation Analysis. Therefore, in the following paper, by applying Hymes’ conversational analysis model — known as SPEAKING model — we distinguish and analyze its most frequent speech events in descriptive and interpretive levels. The results indicate that despite the previous findings about dialogue in Tazkirat al-Awliya, which were limited to analyzing dialogue content, the conversational features are produced and formulated in such a way that they can reinforce the intended meaning the author/narrator was trying to convey. This phenomenon can be perceived by studying the author/narrator’s attempts in creating contextualized dialogues with classified and purposeful participants whose tones, conversational sequences, and turn-taking dynamics are profoundly articulated. Such features not only reveal the hierarchal structures of episteme among different groups of mystics, but also cross-examine their loyalty to this hierarchal system.

Regarded as the climax of the text-narrative, the ending of a text is often seen as the resolution of the subject being represented. However, in certain ways, and depending on the dominant epistemology of the text and the status of the textual subjects, the ending can lead to special implications. Due to the mystical epistemology, the endings of some classical Persian mystical texts, including the ghazals in Dīvān-e Šams, are distinctive. In this paper, the endings of the ghazals in Dīvān-e Šams have been interpreted in a descriptive-analytic way. The result shows that the narrator-lover of the ghazals, in line with the ruling epistemology of the text and the identity or temporal subject-position which he obtains in the early and middle sections of the narrative, in the ending recourses to speech acts of silence to reject its idiomatic sense and prevent it from being consolidated. In other words, the narrator-lover in most of the ghazals, after representing the anxiety and longing for the lost presence and unity, tries to perform haal-e hozoor, according to the circular metaphor of return to the origin and the pre-linguistic world, and through performing two sets of" speech acts" of silence, including "silence as not speaking" and "silence as speaking for another one.". Due to this performance, the endings of the aforementioned ghazals do not come to closure, rather, through a circular structure, perplexes the participant-reader with an unfinished experience or allows his/her participation in that experience.

In every era there is a dominant stream of thought that epistemologically all areas of knowledge of a society are more or less in tune with. This dominant stream of thought, represented by terms such as paradigm, epistemic, and so on, as an epistemic pattern, explicitly or implicitly, influences the knowledge organization of a society and the discursive articulation of the texts produced in that space. The placement of subjects in literary texts is the result of a variety of discourse articulation that is shaped by the epistemic patterns that govern each period. To better understand this, we can refer to stories that have been narrated or allegorized over several periods with distinct epistemic worlds; one of these is the story of "fish and ponds", which are independently represented in Kalila and Demna, and Rumi's Masnawi as independent narratives and in the story of the Little Black Fish. In this article, how the paradigms influence the placement of the fictional subjects from the perspective of the hero's who and why are they described in a descriptive- analytic manner. The result is that this anecdote has been represented in the classical world in the form of two inner narratives and as parables in the Kalila and Demna and the Masnawi Rumi. According to the epistemic paradigm of Holism and individualism/escapism in the classical world, the hero/ heroes are both the parables of those who have used their action to serve themselves and to become the victim of or absorbed in being or society. Of course, the holism and individualism/evasion that governs the articulation of the Kalila and Demna allegory in its own Geographical -cultural context, namely the caste of Indian foundations and Iranian political thought, seeks to legitimize and stabilize its class order. Despite the participation in the epistemic paradigm that governs the texts of Kalila and Demna and the Masnawi Rumi, the process is described in another way in the allegory of Mathnawi. In its mystical context, the universalism of the classical world, instead of consolidating social order, seeks to create ontological unity between all manifestations of being, especially between human beings and existence. In contrast to the generalism and anti-individualism/evasion that dominates the classical world and its texts, the macro-epistemic model of the contemporary world and the modern world focuses on the centrality of human subjectivity and individualism. The discourse articulation of the parable of the little black fish is arranged on the basis of this epistemic paradigm, so the placement of the subjects in it is substantially different from the preceding two parables. From the discursive point of view of the protagonist of this allegory, it is a little black fish that expresses its agency to express and establish individuality in the form of a variety of philosophical-epistemological questions to some form of symbolic body confrontation. However, the paradigm of generalism and individualism/aversion to the classical world has led to the heroic allegories of Kalila and Demna and the Masnawi of those who have used their agency to transcend themselves and maintain class order or unity with being. In contrast to contemporary humanism and individualism, it has assumed a hero who goes beyond self-expression and proving individuality, In order to awaken others and defending them in various ways interfering with social and political order; it has sought to create balance or symmetry a social interactive space.

Hypertexts, both interpretive and critical, are formed around the texts, and they play a significant role in the dissemination, consolidation or distortion of the organized knowledge order. Therefore, even those hypertexts formed out of sympathy or empathy cannot be overlooked. A Little Rude, Much Courteous in Mathnavi, as a hypertext has described and interpreted a number of subjects in Mathnavi, claiming a triple analysis of Mathnavi and Rumi based on sympathy, contemporary readings, and debates. In order to avoid any misreading of the present article, the reading paradigms in this book have been reviewed and evaluated in the light of general reading principles and the author's claim on methodology. The result shows that the present book, despite some of its apparent attractions, contains weaknesses such as decontextualization - whether through an overlooking of the subject matter or the confusion of epistemic domains, neglecting the temporality of a dialogue between past and present, generalization as well as unnecessary wordiness as aspects of reading that each can lead to misunderstandings in some readers.

Forough Farrokhzad and Simin Behbahani are contemporary poets who have discussed poetry in both their poems and paratexts like lectures, interviews, letters and articles. These theoretical remarks are worth attention from a number of perspectives particularly because of their being poets. In this paper, in addition to introducing and comparing their textual and paratextual comments, we endeavor to study how their theoretical comments are different from the classical and canonical ones. The result shows that Forough and Simin, along with similar theoretical outlooks, have come up with different degrees of authority over the classical theories. The views of both poets on the nature of poetry, the nature of the poet as well as the content are almost similar. Despite their similarities, their views on language, music, and form have a clear difference. Forough is the follower of Nima and in her theoretical remarks puts aside tradition in all aspects of poetry. Contrary to Forough’s fragmentary poetry, Simin’s poetry remains to be just a metamorphosis. She sometimes, and in some cases, eliminates the definitive boundaries of the traditional poetic and allows for innovation

Many Persian classical historiographers try, directly or indirectly, to show their objectivism and impartiality to the audiences. Among them, the "author/narrator" of Saljuqnama does not clearly claim such a statement within the text, despite years of service at the court of the Seljuk kings and being the teacher of two of them. But referring to the textual signs, one can find some forms of his indirect struggles to reflect his narrative accurately, and precisely, with no political positioning, in order to create or promote the facts in a special way while attracting the audience's trust. Various types of discourse, and the conscious or unconscious interferences made by the "author/narrator" of Saljuqnama to concoct the reality or historical realities of Seljuk dynasty are categorized and analyzed, in present study, based on the distinction between two terms of "story" and "discourse", and also on the basis of the types of discourse in the formulation of Zheplint Volts. The results show that the "author/narrator"  has propelled or fixed,  either deliberately or not, levels of reality for or against somebodies in a variety of discursive forms such as: modal, explanatory, abstract, emotional and appraisal, and the consequence has been  legitimizing certain events and individuals or vice versa.

Socio-religious discourses, based on polarist epistemology, form the epistemic world into a system of Center and the Periphery and then subject the periphery to suppression and silence. This practice has extended to most signifying systems, including literary genres. Among the literary genres, the super-genre of Iranian-Islamic mysticism, titled love mysticism displays a different account of the construction of the periphery and the binary system governing that construction. In this paper, along with introducing the construction of the margin and its examples in the dominant Socio-religious discourses, the different accounts of the mystics are classified and interpreted with the reasons for each of them. The result shows that the mystics apply a deconstructive reading, building their argument on the unitarian discourse of love mysticism, the ontological requirement of the existence and presence of margins, the necessity of a romantic relationship, the denial of mediation, and similar reasons, to take the three fixed categories of the peripheral, including humans in the general sense, the un-prostrating, and the unreasoning, from the margins of the system to its center. Then, on another level, via a dialectical reading and the suspension of the objectifying process, they go beyond the binary of the center and the periphery. The suspension of the objectifying process in mystics’ representations is the equalization of the center and the periphery, such as the equality of disbelief and belief, the world and the hereafter, and so on. Although the function of these readings in the social context is a change ...