فهرست مطالب mahdi hamidi parsa

The hero’s journey is a symbolic paradigm that many researchers in the field of art utilize. Christopher Vogler, based on Joseph Campbell’s theory that all myths adhere to ancient archetypal patterns, introduced the concept of the “hero’s journey.” This article, using a descriptive-analytical approach and relying on documentary and library sources, aims to explore the life of Prophet Jonah (peace be upon him) as narrated in the Quran, following the hero’s journey pattern proposed by writer Christopher Vogler.The hero, who curses his own people and embarks on a journey, eventually returns to them after overcoming challenges. He dives into the belly of a fish, reminiscent of Vogler’s deepest cave. Ultimately, this hero’s life story becomes an elixir for future generations. Successfully completing both external and internal journeys, the tale of Jonah’s sea voyage and transformation into a fish is found in historical, interpretive texts, and even Persian literature. Finally, this hero and his life story became an elixir for future generations. A hero who successfully completes both external and internal journeys. The story of Yunus being thrown into the sea and being caught in the mouth of a fish is mentioned in historical and commentary books and even in Persian literature, however, the place of this story and this great hero is empty in screenplays and plays, and there is a place with a look The story of this prophet should be mentioned again.

The present article, which is written in a qualitative and descriptiveanalytical method; It tries to critically analyze hopelessness and despair from the perspective of Marcel’s philosophy of hope in one of Saedi’s plays. Despair and hopelessness are among the concepts that can be seen in the works of some Iranian writers after the collision between Iran and the modern civilization. Therefore, Gholamhossein Saedi has written plays centered on the average urban society of Iran and has displayed the layers of despair in the life of the Iranian society of his time. On the other hand, Gabriel Marcel; The Christian philosopher and French dramatist, faced with the despair caused by the world wars and the collapse of philosophical systems, defined the possibilities of his philosophy of hope to overcome the despair and hopelessness which were as result of the events of the first half of the 20th century, to achieve human excellence in a concrete way. Now, the main question of this research is how to criticize and investigate the components of despair and hopelessness in the play Root of misery by Gholam Hossein Saedi, relying on Gabriel Marcel’s philosophy of hope, And how, relying on concepts such as the dialectic of hope, the metaphysics of hope, and absolute hope, can we analyze the components of despair in the play Root of misery? Also, in this essay, it is discussed how to provide a solution for excellence and hope in the characters of the play, relying on Marcel’s philosophy of hope.

The Sufism of Sheikh Ahmad Ghazali is a love-based mysticism in which virtue and love are considered as the main elements of a mystical journey. Virtue follows manifestation, tajalli, and love follows virtue. A mystic, having seen virtue, attain the love-based passion. Love, therefore, always follows the manifestation of virtue. In this article, first, we have explained love and virtue as viewed by Ghazzali and, then, we have examined some of their main features in relation to one another as: love`s state of being for mankind, inviting glance of virtue and that of being loved, derivation of lover and loved from love and manifestation of virtue respectively and gradual state of virtue and love. Finally, we have discussed art as viewed by Ghazali. He relates art with simile. An artist sees virtue and represents it in his work; an artist, therefore, as sees virtue, is lover and as represents virtue is of simile. In the end, we speak Ghazali's desirable art; the one coming from the selflessness of the artist, and is technically called "artless art".