مقالات رزومه دکتر حبیب الله عباسی

The present article aims to elucidate the role of Ibn Qaysarani in defending Sufism and solidifying its position from the perspective of Sama’. By using an analytical-descriptive research method, a brief report of Ibn Qaysarani's two narrations in Safwa al-Tasawuf and Kitab al-Sama’ is provided. Then, his method in substantiating the permissibility of Sama’ is clarified. Furthermore, Ghazali's view of Sama in Ehyaye Olum-e-Din is examined and its similarities and differences with Ibn Qaysarani's view are shown. The importance of this discussion lies in the fact that both of them were among the prominent scholars of religion and among the elders of hadith, who sought a root for their fatwas in the Qur'an and the Sunnah, and they figured out a way to the Sunnah of the Prophet and the Companions for all the movements and states of the Sufis in the monastic system. With their knowledge both in the field of theology and jurisprudence as well as the Book and Sunnah, unlike the conservative Sufis, they issued verdicts concerning permissibility of Sama’, through deploying the methods of scholars and jurists and relying on verses, hadiths, and Sunnah.

The reading of ancient Persian heritage, and especially historical narratives based on cognitive theories such as Text World Theory is necessary, because new scientific approaches provide space for accurate identification and discovery of the hidden layers of texts. In this study, with the analytic-descriptive method, we applied the Text World Theory in the analysis and study of the narrative construction of the first volume of the Tarikh Jahangooshay-e- Jowayni and figured out that the propositions related to Character descriptions are more than preposition related to scenes description also because the Deictic sub-worlds are less, so the reader does not travel much in the different, temporal and spatial spaces in a narrative, and thus does not experience and conceptualize the text worlds that differ from the original text world in terms of temporal and spatial variables. Temporal pointers are no more accurate than space pointers. The Attitudinal sub-worlds and epistemic sub-worlds are scarce, and one of the reasons for this is the narrator's unchanging viewpoint. Jowayni reports narrations more than characters.

Scholars of mystical poetry believe that a great number of Persian mystical Mathnavīs, especially the three wonderful works of Persian literature, namely Sanai’s Ḥadīqah al-Ḥaqīqah, ʿAttar’s Manṭiq al-Ṭayr and Mowlana’s Mathnavī Maʿnavī, have a common narrative structure based on their main plot and design. However, the Ilāhī Nāmah, Manṭiq al-Ṭayr and Muṣībat Nāmah of ʿAttar, which are considered as spiritual travelogues, in addition to having a main plot, benefit from different micro-narrative structures. In the present research, adopting a descriptive-analytical method and narratological approach, the goal of which is to discover a comprehensive model of narration, attempt has been made to decipher the anecdotes-allegories and their main function by exploring the narrative structures of the three Mathnavīs mentioned above. We came to the conclusion that ʿAttar, in addition to the unity-plurality structure based on the main design of these Mathnavīs, has also deployed the narrative structure of travelogues, the Arabian Nights and the Holy Scriptures. The main secret of his anecdotes-allegories is that he measures the history of his time with the narrative pattern of the history of prophets and does not refer to the historical events of his time.

Ambiguity of space in Shāhnāme is an interesting subject which attracts reader’s attention in the mythical and heroic parts of this epic. Irān is one of those ambiguous places which plays important roles in different stories. In three stories of Iraj’s enthronement, imprisonment of Kekāavoos and The Great War of Keykhosrow and Afrasiab, Iran plays an important role in the narrative of the story. Also, ambiguity of Irān as a place and its mythical characteristics is eminent in these stories. In these stories, Iran is not just a political unit but according to mythical thought of the creators of these stories is something beyond the logical entities and cannot be limited to what we understand of space. In this study, with the use of desk study and content analysis and emphasis on Lévy-Bruhl’s theory of mythical thought we have tried to reach an anthropological reading of these three stories. We have found out that ambiguity of space is rooted in the mythical thinking of the creators of these stories. In these stories, Irān and Iranians are not independent entities but participate in meaning and cause mystic emotions. In other words, Iran and Iranians can be used interchangeably as the context of stories suggest, meaning Iran is Iranians and Iranians are Iran. In Addition, mythical thought considers any threats to the members of a group as a threat to the group as a whole because it perceives the member and the group as one. A member of a group is not just a person but contains the mystical powers of the whole group. So what happens to one member of the group, happens to the group as a whole. If a member is injured, the whole group is considered to be injured. Furthermore, According to this kind of thinking, this perception of group and its members is not paradoxical.  So, wars between Iranians and Turanis are something beyond political wars and are an effort to protect Irān and Iranians. In these stories, taking revenge is not simply a political act but is an ethical responsibility of all members of the group in order to protect and preserve the group as a whole. So in these stories that we have analyzed, revenge plays an important role in the narrative of the stories since taking revenge is accepted as an ethical act to save the group in the mythical thinking. Alongside other reasons, our findings show that the ambiguity of space in Shāhnāme can be the product of mythical thinking.

Belief in superstition and surrealism as well as loneliness that causes anxiety and fear, especially  existential  anxiety,  is  one  of  the  basic  themes of  Persian  social novels. The novel of Derakht Anjir Maabed by Ahmad Mahmoud, the whole structure  of which is based on the theme of belief in superstition and surrealism, as well as  the isolation of existence, is a good platform for exploring this theme; especially  existential  anxiety.  In  this  article,  using  descriptive - analytical  method  and  existentialist approach, we tried to analyze the fear of death as one of the four  components  of existential  anxiety  and  fear  in  this  novel  and show  that  fear  of  death is one of the most frequent components that is manifested in the actions  of  its  three  main  characters:  Faramarz,  Farzaneh  and  Taj  Al-Muluk.  Finally,  we  came to the conclusion that this social novel not only partly reflects the  realities  of  Iranian  society,  but  also  the  existentialist  fear  and  anxiety as its  fundamental  theme  that  exists  in  the  main  characters  of  the novel  and  their  actions.

Persian literature, especially Sufi literature, as a mirror of human thought and behavior, functions as the source of a lot of seven arts, specifically cinema. Dariush Mehrjui, as an Iranian filmmaker, has been able to establish a new philosophical thinking in cinema. Although cinema is an imported product and is not that much old in this ancient land, the precious heritage of Iranian Sufism, which is a symbol of our rites and traditions, can be considered one of its main sources. Although some of the people well educated in cinema have a certain opinion about its origin and find its roots in the Western world, there are filmmakers who are familiar with artistic and human concepts and who are not intimidated by the West, but are trying to give their art a local color. Dariush Mehrjuim, the Iranian filmmaker who has studied philosoiphy in the West, has been the founder of a new way of thinking in cinema. In this research, we have adopted content analysis and an intertextual approach to explore Sufism, as the hidden layer of the film called Hamoun, through symbols and signs. Finally, we came to the conclusion that modern man needs to pay attention to his past traditions and customs to acquire deeper knowledge and know himself. Therefore, Mehrjui finds common ground between Iranian Sufism and Western philosophy, especially some of the key principles of existentialism, which considers pragmatism and human agency very important to achieve excellence and a better. Similarly, Sufism emphasizes special human capacities and following a path based on one’s own abilities, to reach true happiness and perfection.

There is a difference between a historical event and the historical narrative of that event, whether it is oral or written. That is why an event is something that happened once in a specific time and place, but the historical narrative is multiple and numerous and does not completely agree with the historical event and is an interpretation of the original incident. Using the descriptive-analytical method and the intertextual approach (based on the three intertextual axes of Genette) in this article, the repetition, reconstruction, and reproduction of the past have been analyzed in two historical narratives of Zahiri Nishaburi and Rawandi about the incident of Ghoz riot, two narratives which are temporally and expressively different. Moreover, it has been shown that these two texts, which have a common theme and are related to each other have been influenced by each other and much communication has taken place between them. In addition to relying and emphasizing on the linguistic features of Rahat al-Sudur, especially its syntactic system, the intertextual relationship of the two works, similarities, and differences in the way of their reporting and narrating of Ghoz riot have been discussed. The result of the research highlights the influence of Seljuq Nameh on Rahat al-Sudur in the historical report, which accuses its author of plagiarism.

The abstract concept of hedonics (sense of happiness and joy) in the modern world today in the context of humanism (An overall humanistic look) and romanticism (A slightly individualistic look) has always been one of the problems of the human mind. Due to the extremism in societies and the expansionist plans of governments in human life It has evolved in a very tangible way and has made man on it In order to achieve true happiness, she turns to "backwardness" and "minority". This is important in the leftist and socialist literature of Iran and Iraq, especially the poetry of two contemporary Persian and Arabic poets: the Akhavan Sales and Al-Bayati. The Akhavan Sales and Al-Bayati, whose expectations of life were low due to their socialist tendencies, have become more crystallized. In this paper, we tried to use a descriptive-analytical method based on Brinkman's view Let us explore the concept of hedonics in the poems of these two leftist poets And express their attitude to this abstract concept.Given that both poets were involved in political commonalities Which is influenced by the climate of their time , Although there are similarities between the humanist view, But their romantic experiences differ from the hedonistic concept Reminders of youthful nostalgia should prevail in the poems of the Akhavan Sales, and childhood nostalgia should prevail in the poems of Al-Bayati.

There are so many similarities between some cultures and civilizations as to say that the principle of Communicating Vessels is common among them. Therefore, Sufism in Iran has the status of philosophy in Greece, especially the Sufism of the first period – before the sixth century – which has been interpreted as Sufism of the intuition in contrast to the Sufism of later centuries, i.e. Sufism of the rhetoric and of the deception. The ideas and concepts in the Sufism of the first period as well as the words and deeds of some famous Sufis, especially the Sufis of Khorasan, confirm this proposition. For example, manifestations of Greek rationality, crystallized in the behavior and speech of Socrates of Athens, can be found in the behavior and speech of Abu Sachr('39')id Abuchr('39')l-Khayr of Mihana. In this paper, using the analytical-descriptive method and the comparative approach, we have determined the commonalities in the words and deeds of Socrates and Abu Sachr('39')id Abuchr('39')l-Khayr, and have tried to prove the principle that “water stands at the same level in all communicating vessels”.

In Statement of the Problem, we refer to the meaning of jurisprudence and its role in Islam. Jurisprudence means knowledge in general and knowledge of Islamic rules in particular, which is known as minor jurisprudence and is generally divided into Imamiyya or special jurisprudence and Sunni and Jama'at or public jurisprudence; each of these two branches has several subdivisions. In general, faqih means scientist, as Iranians usually call the community of faqihs scholars or people of science. It could be inferred that where Shams Tabrizi said to Rumi, “leave science and pursue insight” he meant abandon the science of jurisprudence and become a Sufi. In general, independent publications relevant to the subject of this article were not found among Persian books and articles; however, concerning certain subjects, some writings and articles have been printed, such as Molavi Nameh by Jalaluddin Homayi which discusses nine jurisprudential headings mentioned in Masnavi. Abdolhossein Zarrinkoob also refers to the jurisprudential characteristic of Rumi in his book Serre Ney. Mohammad Reza Shafiei Kadkani in his articles "Sufi jurisprudence" and "Sufi Hajj", in the book The Language of Poetry in Sufi Prose, has talked about the issues of jurisprudence in the speeches of Sufis. Also, the articles "The function of jurisprudential discourse in Masnavi Ma’navi" written by Habibollah Abbasi and Gholam Ali Fallah; "The relationship between jurisprudence, ethics and theosophy" by Morteza Javadi Amoli; and "Introduction to the influence of Sufism from jurisprudence" by Hadi Adalatpour show the deployment of jurisprudential concepts by Sufis in their works. Nonetheless, they do not make a mention of the interaction of discourses or discourse transformation, and their points of discussion in these three Masnavies are not the concern of the present article either. The research method adopted in this study is a descriptive-analytical one, relying on the theory of discourse analysis, and it is delimited to three anecdotes about “judgeship” and “judge” and some jurisprudential terms that have been used in all three Masnavies. The Discussion section begins with an explanation of “discourse”; continues with a study of theosophical poetry and a brief reference to its history; and finally focuses on the triad of Persian theosophical poetry wonders, namely Sanai Ghaznavi, Attar Neyshabouri and Mawlana Jalaluddin Rumi with references to their biography and works. Explanations have also been provided about the three Masnavies, Hadiqah al-Haqiqah, Mantiq al-Tair and Masnavi Ma’navi. All three theosophical Masnavies, which are the subject of this article, have been composed by poets who deployed a variety of discourses; these discourses both embody the mentality of the poets and display the nature of religious, social and political interactions of their era. Besides the theosophical discourse, which is the dominant discourse, one of the main discourses used in these Masnavies is the jurisprudential discourse which has a prominent and important presence. The jurisprudential sub-discourse in all three Masnavies often turns into a theosophical discourse in interaction with the theosophical discourse. This change does not occur due to the difference or conflict between the two discourses, but in tandem, convergence, and interaction with the jurisprudential discourse in the theosophical discourse. In some cases, it becomes a theosophical discourse, and in some cases, it retains its jurisprudential characteristic and is used only to prove theosophical content. Based on this, we traced the process of interaction and transformation of jurisprudential and theosophical discourse in Hadiqah al-Haqiqah, Mantiq al-Tair and Masnavi Ma’navi via examining three anecdotes with the jurisprudential themes of “judgeship” and “judge”. An anecdote about the justice of kings from Hadiqah, the anecdote about the mystic Vaseti in a Jewish cemetery from Mantiq al-Tair, and the anecdote of a judge complaining and arguing with his deputy about the difficulty of the job of judiciary from Masnavi Ma’navi were selected and analyzed and the process of discourse transformation from jurisprudence to theosophy was explained. Also, the four jurisprudential terms of purity, peace, Hajj (pilgrimage) and repentance, which have been used in all the three Masnavies, were selected and their relevant verses were extracted and analyzed, and their process of discourse interactions was explained briefly. After analyzing the anecdotes and the aforementioned jurisprudential terms, the findings of the study were explained. It was shown that both jurisprudential and theosophical discourses represent a different view of existence as well as a different interpretation of its events. This difference in the orientation of these two discourses with that of Sharia institution and its premises causes the identification and distinction of these two discourses. For example, the jurist's view of religion and its categories is like a biologist's view of a cypress tree, but the Sufi approach to theology is an artistic one resembling a painter's look towards the beauties of a cypress tree. In this article, we observed the varied encounters of jurists and mystics with religious phenomena. Relying on his intuitive knowledge, the mystic presents a new reading of religious concepts, adopted from the reading of the jurist, which indicates the interaction between and convergence of jurisprudential and theosophical discourses. We have also observed that as we move from the stage of development of theosophical poetry to the stage of its elevation and evolution, this convergence of discourses becomes more artistic. As Rumi was both a jurist and a perfect Sufi, he has displayed the issue of discourse interaction or transformation in his Masnavi in a more literary and artistic way.

There are hypotheses in the history of human culture and civilization in which we can find undeniable similarities and commonalities among them, despite their vastly different cultural and historical contexts. For example, finding commonalities between the language of two artistic aesthetic hypotheses, Sufism and Surrealism, which are very different from each other in terms of context, time as well as cultural and historical emergence, is so difficult. Our main issue in this paper is that there are undeniable similarities between these two hypotheses. This is done by means of a descriptive analytical method and comparative literature approach, particularly in American mode of it, whose aim is to study literature across the borders of given territory and research about the relation among literatures and any other epistemic areas such as art, history and philosophy. We found several common aspects between the languages of these two movements. For example, they use rebelliousness and innovative imagination, symbolism, dream, subconscious mind, love, satire, automatic writing, and madness. They also both guide humans to what is superior and profound.

The Discourse of the power of Genghiz was formulated in a specific social and political context. Although it was well articulated in the seventh century AH, its roots go back even before its discursive life, that is, to the Seljuk period, especially to the attack of the "Ghoses" to Khorasan and the "Kharazmshahi" period. In this article, we examine the development and dominance of discourse of the power of Genghiz based on Ata-Malik Jovayni’s historical narrative in Tārīkh-i Jahāngushāy. To this end and considering from among different approaches, Laclau and Mouffe’s discursive approach proved to be the most effective in examining the development and evolution of the discourse. The relationship between power holders and writers has always been central and Ata-malik Jovayni is no exception. In the position of an observer and historian, he recorded the adversities brought by the Mongols, while he remained loyal to the Mongol court. The point is that Jovayni adopted an approach different from other historians, especially Bayhaghi, in delineating the characteristics of Genghiz, the central figure of the text. The main task of the historian is to select a particular narrative from among available narratives. What is Jovayni’s method of narration for establishing the meaning of his text? What comes out of this history is the reverberation of Genghiz’s unparalleled power in the regions under his rule which is different from other voices narrating the horrible events in Tārīkh-i Jahāngushāy. In the end, we conclude that, according to the aforementioned theory, the text of Tārīkh-i Jahāngushāy has a consistent semantic system, and this ability helps to fixate the meaning of the text. This harmonious system functions to modify Genghiz’s image and justify his violence.

Hardly could any poet, like Al-Mutanabbi, draw to himself the constant attention of scholars, literary man and poets. In this article, we try to find the secret of the admiration that Al-Mutanabbi’s poetry has won and see why he is one of the most preferred poets and considered the prophet of Arab poets. Scholars have studied this issue from various perspectives. In this article, however, I will examine this issue taking a number of points into account: first, two terms of “presence” and “absence” in Sufism, wherein like poetry the emphasis is on intuition; second, concepts such as “experience-near” and “experience-distant” and, finally by relying on this verse of Al-Mutanabbi: “the horse and night and dessert are known to me / also sword, paper and pen”. Al-Mutanabbi by his constant presence in his poetic experience has been able to see so openly what has been hidden from many scholars that this spiritual perception turns into an objective reality to him. We can seek the secret of Al-Mutanabbi’s immortality in the constant presence or, in other words, in his “experience-near” and in his deep wisdom which made his poetry to be considered “the true reference of life”.

The literature scholars of the subcontinent were the vanguard and the pioneers in various fields in Persian language, such as rhetoric, biography and especially lexicography. Unlike the Iranian literati, they are the initiator and founder of the theoretical basis of lexicography, rhetoric, biography and even criticism to the extent that the theoretical principle of each of these arts can be extracted from the content of the works in each subject. In this article, first we briefly review the development of Persian language in the subcontinent during different periods, and then we discuss the lexicography in the subcontinent and show how effective the subcontinent was in the formation and development of this process. Therefore, we will explore the written dictionaries in India and mark their most distinguishing features. In the end, we point out the important functions of these dictionaries.

In this research two kinds of critical approaches are introduced and then some examples of these two approaches are selected and discussed. The aim of this article is to consider the critical fields in Constitution period in Iran, which is counted as the turning point in passing from tradition to modernity. The first approach, in-group criticism, is criticism among the members of one group; the second approach, out-group criticism, is done among the members of two different groups. The example selected for the first approach refers to the “Association of the Faculty” and its two members Mohammad TaghiBahar and Abbas EghbalAshtiani, who stand for Neoclassicism. The second example refers to the “Association of the Faculty” and Bahar in particular and Tajaddod-e Tabriz Journal and TaghiRafat at its heads. The latter group represents revolutionary Romanticism. The method of this research is based ontextual analysis.The analysis of the content of these two approaches shows that the in-group approach in Constitution period was more moderate compared tothe out-group approach and sometimes personal prejudices had a role in the process of criticism. There has been difference in taste in the first approach, and in the second approach the difference is in thought and ideas. If approaches like these could have changedinto movements, they could have been useful in criticism of literature and also in widening the field of criticism. These two approaches, however, had been stopped gradually. Moreover, out-group criticism is considered as the opposition of Neoclassicism and Romanticism in Iran.

Nehzat Age was Time of Renewal in Arab Life. More than، Political and Social Change the Whole Literature also Revolutionized in this Period. With this Literary Changes، the Fiction in its Modern Usage as a Literary form Interred to Literature and Created Different Species that didn’t Exist Before or They had a Different form. Short Story was One of These new Species that Emerged in the Literature of that Time. Mahmoud Teymour Pioneer Writer of Short Story in Egypt was Eminent in this Field who is Known as the Father of Arabic Short Story. In this Study after Explaining the Social and Political and Literary Atmosphere of Nehzat، the Changes of Mind and Language and form and Structure in Two Teymours Early Stories: Al-Sheykh Jome and Am Motawali by Structural Method are Studied. The First Story، «Alshaykh Jom`a»، Belongs to Realistic Category of Short Stories in the form and Content، it also has Features of an old Romantic Story and it’s Traditional Aspects are more Prominent While the Second Story، «Am Motavaly»، is Closer to the new Realistic Short Stories.