جستجوی مقالات مرتبط با کلیدواژه « سهروردی » در نشریات گروه « ادبیات و زبان ها »

In the works of Persian Sufis and mystics, alongside national, historical, and religious epics, there exist mystical epics as well. These mystical epics feature the holy traveler (sālek), who, like the hero of the epic, continually faces conflicts with his/her hidden devil or carnal soul. In Suhrawardi's treatise, Aql-i Surkh (The Red Intellect), the author employs symbolic language to depict the soul's entrapment within the body's prison, and through the words of a wise old man, he illustrates the intricate twists and turns of the path towards spiritual rediscovery.
The current research, utilizing an analytical-descriptive method, examines the epic elements present within Aql-i Surkh. This analysis reveals the mystical-epic components embedded within the treatise. The study's findings suggest that epic components and symbols, such as the struggle between good and evil, the journey, the Haftkhān (Seven Labours), the need for a wise old man's companionship during Haftkhān, Mount Qaf, Simorgh, epic warriors, Jam-e Giti-nama, weapons, and the Water of Life, imbue the treatise with a distinct mystical-epic flavor.

As a modern genre in literature, the biographical novel occurs in light of philosophical, social and cultural developments, taking an evolutionary process. The present study has attempted to consider the transition of a biography to a biographical novel, as well as to explain the intellectual discussions and controversies led to this Genre. In addition, the research introduces some of aesthetic values for biographical novel, using a descriptive-analytical method. By emphasizing on the interdisciplinary nature of a biographical novel, this study shows that this modern genre is a field that represents the interactions among literature and the other fields such as science and art, so we can name this new genre as “Hybrid Genre” which matches with today’s multifaceted world. At the content aspect, the biographical novel turns from history to the individual, emphasizing on the role of human in making history, and at the form level, it enjoys special aesthetic values consistent with its content. The study has focused on “Qalandar and Qala” (the Sufi saint and the Castle), a novel written by Seyed Yahya Yathrebi as a biographical novel. The novel based on biography of Shihabaddin Suhrawardi a Iranian philosopher and founder of the Iranian school of Illuminationism in 12th century, and his philosophical thoughts. In this novel the symbol has played a central role as an aesthetic value. Moreover, the representation of a biography in a biographical novel has created discourses, having emerged because of the author’s attitude towards the subject, which are in accordance with the process of perceiving Suhravardi's thoughts.

Plants, especially trees, have always had a symbolic presence among various religions and denominations. An example of a tree is full of mysteries that humans are a part of, or rather the central part of this image. The tree is a kind of link between earthly and celestial elements due to its distinctive properties. Suhrawardi and Rumi, by combining the mythological and mystical features of the tree, created an image that is multifaceted, evasive, ulterior, and at the same time comprehensive of opposites. In their works, they used the image of the tree to express various meanings and concepts. In other words, the tree has been used as a single image for several meanings. This article tries to study the image of the tree as an image that is a constructor of meaning and at the same time the life and worldview of the mystic with this image and the like by defining descriptive and analytical methods and relying on the allegorical stories of Suhrawardi and Rumi's Masnavi. It becomes

According to many experts, Sheikh Shahabuddin Suhravardi has proposed common aspects between ancient Iranian wisdom and Islamic philosophy and mysticism in his works. By entering the world of symbolic signs, he approached the field of conceptual metaphor. Light (Noor) and Divine Glory (Farr-e Izadi) are macro metaphors containing smaller metaphors, which will be obtained from the purity of the soul and as a result of a sensory-perceptual interaction between the subject and linguistic signs. The semantic connection of the linguistic signs of divine glory and light in the divine narrative discourse is highlighted under the correct cycle of interaction and exchange of value. Although divine glory is related to the chosen man of truth, and light is related to the creator of man and the world, they pass through a path from Earth to Heaven. Also, the relationship between this light and ‘black light’ in mysticism is worthy of investigation. Are truth and metaphysics, according to post-structuralists, illusions formed in the system of metaphors? Verse 35 of Surah Noor is the most important metaphor of the Qur'an, which has an absolute general and special relationship with the conceptual metaphor of the divine circle. In mystical thinking based on unityism, light cannot be completely separated from darkness because the existence of both is necessary in the world and light is the origin of all light and darkness. The present study, with the approach of semiotic-semantic analysis, deals with how to produce meaning from similar linguistic signs and uses the theory of imperfection of meaning by Greimas to achieve its goals. Among the four narratives proposed by him, ‘adaptive narrative’ and ‘mixed narrative’ will be a guide for the interpretation of the conceptual metaphor of light and its connection with divine glory. IntroductionSheikh Shahabeddin Suhrawardi was the initiator of removing the distance between the wisdom and myths of ancient Iran, Islamic philosophy, and mysticism. His attention to Divine Glory (Farr-e Izadi) and light in his writings is one of the reasons to prove this issue.The conceptual metaphor proposed by Likoff and Johnson (1980) has a broad concept beyond rhetorical metaphor to the extent that the frequency of conceptual metaphors in any text is considered an indicator of the author's style. According to Greimas, every text contains conceptual metaphors that can be analyzed by semiotics. The metaphorical function of language in the direction of knowing the truth is not hidden from the researchers, and Suhrvardi also approached the field of metaphor, especially conceptual metaphor, by entering the world of symbolic signs. Among all the signs, this study investigates light and divine glory with the approach of truth analysis and metaphysics. The relationship between this light (pure light) and black light in mysticism is worthy of consideration. In this research, these two issues have also been explained. A semiotic-semantic method will be discussed in order to prove the capacity of mystical texts in revealing the meaning in this way. Materials and MethodsQualitative content analysis of the text in an inductive way was chosen among several methods in this research in order to discover their hidden meanings by analyzing the linguistic messages of the target words. Therefore, we deal with the metaphorical function of language in recognizing the truth, conceptual metaphors, and the relationship between light and divine glory in Sohrawardi's view. Research FindingsTaking into account its dimensions and the abilities it creates in its owner, divine glory is a conceptual metaphor that has an absolute general and particular relationship with the conceptual metaphor of Surah Noor verse 35: "Allah is the light of the heavens and the earth...". That is, divine light includes that divine glory that deserves competent people. The outstanding point about divine glory is its connection with light as if in addition to the unique features that appear in someone after divine glory is assigned, a light can be seen in his face that distinguishes him from others. The light that is taken from the source of light, which is God, and according to verse 35 of Surah Noor, is an inherent light from which the incidental lights come into being.Suhrawardi considers light and darkness as the bases for dividing the universes, emphasizing light and the power of light over darkness, and establishes a relationship between light, science, and power. He divides the universes into four groups: Anvar Ghahreh, Anvar Modabareh, Sourolmoalegheh, and Barzakhan (the world of senses).In this division, Anvar Ghaherh, or the intellectual abstract is placed in the highest rank which dominates all other universes and the shining of these lights creates some abilities in competent people. Efforts to purify the soul and maintain inner purity are directly related to preserving divine glory and divine confirmation. Discussion of Results and ConclusionsSheikh Shahabeddin Suhrawardi by creating the link between wisdom and the ancient Iran myths and Islamic mysticism, on the one hand, provides the ground for receiving the interactional tradition among the followers of both spectrums. On the other hand, by discussing an adaptive and mixed narrative, he has made the perception of the indescribable truth possible to some extent. In his belief, mystical conduct provides a basis for people to benefit from divine glory.In mystical thinking based on unification, light cannot be completely separated from darkness because the existence of both is necessary in the world, and light is the origin of both light and darkness. The black light design among mystical experts and attributing it to the metaphysical world first caused the astonishment and opposition of religious people and experts. But by separating its multiple meanings in a hierarchy into ‘praised blackness’ and ‘reprehensible blackness’, this doubt was resolved. The black light of ‘praised blackness’ means the manifestation of the unknown essence of truth, the qualities of glory and love mixed with ecstasy. Iblis is the manifestation of the black light of ‘reprehensible blackness’ that constantly distances itself from the other levels of this light.In Greimas’ belief, when facing anything, its true meaning is always hidden and its deviant meaning is revealed, hence the relationship between the signifier and the signified is not responsive to semantic productions, and this lack of meaning is compensated by referring to the science of phenomenology. If Suhrawardi considers the sun as a tangible sign, a symbol of Noorolanvar in this universe is to compensate for this lack of meaning. Out of the four narratives proposed by Greimas, the ‘adaptive’ and ‘mixed’ narratives will be helpful for the interpretation of the conceptual metaphor of light and its connection with divine glory.

In the period of new criticism and with the formation of new methods of narratology, several patterns emerged in the field of narrative recognition and criticism. In the meantime, Greimas’s model, inspired by Propp’s narratology, and relying on the philosophical principle of contrast, tried to analyze narratives based on the six actants of subject/object (goal), helper/opponent, sender/receiver in a new text analysis system. On the other hand, Suhrawardi, in a pre-textual style, and relying on his philosophical data, used the language of narration and allegory to explain his thoughts in such a way that some of his narrations can be analyzed from the perspective of Greimas. Based on a descriptive-analytical method, this research has analyzed the structure of contrasts in Fi Halat al-Tufulliyah treatise. The results indicated that the structure of this narrative is in a layered and nested form, arisen from the thought characteristic and dominant patterns in Suhrawardi’s mind and the presence of actants in this narrative can perfectly be seen and in some micro-narratives it is in the fluidity of roles. On the other hand, despite the presence of all three action elements in the macro-narrative and micro-narratives, the dominant action element can be considered as a covenant that plays a role in the attractiveness of the narrative compared to that of other Suhrawardi’s treatises. Finally, the object/goal alignment in the macro-narrative and the other four micro-narratives would lead to the prominence of this goal i.e., “reaching peace” in his thought system.

One of the major approaches to understanding the structure of narrative is its analysis based on Greimas’s system of binary oppositions. Greimas strived to achieve a comprehensive pattern in analysis of stories by dividing the actants into three binary oppositions and a tripartite division of events. This research aims to comparatively analyze the narrative structure in three Persian epistles of Suhrawardi by applying Greimas theoretical framework. The findings of the research point to the lack of formation of a complete narrative based on the actants in Greimas model. The reason is the dominance of knowledge-building, as the primary goal, over the narration form, as the secondary goal of Suhrawardi. As one of the consequences of this dominance, we can point to the spread of disjunctive progression across the epistles, which also arose from the dominance of discourse over structure. The research also reveals the formation of the same form of narration in terms of the system of actants and the type of layered narration. This style of processing the story indicates Suhrawardi’s understands of the concept of the nine planets and their connection with the soul. The similarity in the object/aim actant as a conceptual matter and the weakness in form indicators are other findings of this comparative study.

The story of the descent of the soul as a symbolic language has been adopted by philosophers, mystics, and men of letters for years. The systematic investigation of this symbolic language in Suhrawardi’s works, which is often represented in the form of a story, reveals that this image is interwoven with philosophers’ reminiscence theory on the one hand and the myth of awareness and oblivion on the other hand. Suhrawardi’s distinct intellectual and ontological system turns the “image of descent” into a meaningful symbol through which the state of oblivion is depicted as man’s superior gain. The motif of descent, which is symbolized by a bird in most stories, is the tale of a wayfaring soul who has departed from its origin and descended into the corporeal world. The characters of Suhrawardi’s symbolic stories sink into oblivion after their descent, and this stage prepares the wayfaring soul to realize its limitations and abilities while many of its profound beliefs turn into frail notions. Oblivion and descent in those stories provide conditions through which the wayfarer experiences boundary situations that can lead to knowledge, excellence, and elevation. The present study adopted a descriptive-analytical approach to analyze the stories of “The Red Intellect”, “Resalat ol-Tair”, “Language of the Ants”, and “The Nostalgic Story of the West” and concluded that oblivion is some sort of pre-awareness or pre-understanding which plays a fundamental role in experiencing boundary situations.

One of the most comparable common themes in Hafez's poems and Sheikh Ishraq's Persian works is the concepts of love and wisdom. As much as Suhrawardi as a sage has dealt with wisdom in his Persian treatises, the whole Divan of Khajeh of Shiraz is full of love and both, in turn, had an opinion on the opposite meaning. If Suhrawardi is a sage who also depends on wisdom and love, Hafez is also a thoughtful poet who has not neglected the category of intellect and he has always criticized it in his poems. However, in Suhrawardi's collection of Persian works, only one treatise is dedicated to love. It is safe to say that he has completely explained about love and tells about it in different stages and levels and also the role and place of love in enlightened wisdom well. The authors have also used the treatise Fi Al-Haqiqah Al-Eshq (about truth of love) more than other treatises, because it is more comparable and compatible with Hafez's poems. A comparative study of Hafez and Suhrawardi's views on the categories of wisdom and love and discovering their place in cosmology and epistemology are the subject of this research. As a result according to Sheikh Ishraq, wisdom and love are necessary for each other. Love is the offspring of wisdom, and there is no other way than love to reach the whole intellect, which is closest to Nooralanvar. On the other hand, Hafiz seldom speaks of the sacred intellect, and except for a few verses, wherever he speaks of the intellect, he means partial intellect, and in comparison with intellect and love, what is most original to him is love. Despite their differences of opinion, these two thinkers are in agreement with each other in expressing the method of achieving Truth and in the preference of love over wisdom for achieving absolute beauty and perfection.

The most dominant theme of the richest works on mysticism is perceptive imagery which has its origin in mythology and philosophy. Given their intrinsic link to the meanings and concepts, images are considered as the intellectual life of the writer and the poet. They attempt to create images depending on their own mental and intellectual capacity as the very same images distinguish the poets and writers from one another. One of these images is the "Sun or Sunlight" which is abundant in Masnavi as a macro metaphor and in Sohervardi's works as a pattern of thought. The present study aims to first decode the dominant thoughts which led to the creation of the image of "Sun or Sunlight" for the concept of the "Perfect Man" and second, to analyze how a single image is created for different meanings or how the same concept is depicted in different images. One possible answer is that man's understanding of various phenomena is influenced by the different "states and situations" he experiences to attain different perceptions leading these understandings to be pictured by various images.

Mythological views about creation describe the way man thinks about existence and creation; they often try to remove the ambiguity from the stage before creation and creation. In his literary-mystical works, Christian Bobin has dealt with the ontology of creation, sometimes in a descriptive way, and sometimes with a literary and metaphorical language. His views on the system of existence are significantly similar to Suhrawardi's views on the “controlling lights” (al-anwar al-ghahirah) and “managing lights” (al-anwar al-mudabbirah). Bobin also considers transcendental factors such as divine light and angels, along other factors, to be effective in the creation and guidance of Nature. The present article tries to deeply read Boban's literary-mystical works and to better understand his worldview in accordance with Suhrawardi's philosophy of illumination (ishrāq). The result of the research indicates that Christian Bobin, based on a kind of illuminational self-knowledge and with a poetic-mystical appraoch, believes the myth of creation is in a continuous and permanent relationship with the "face of God". His view is similar to the Quranic view that every day God is engaged in some work (Kulla Yawmin Huwa Fī Shanin, Quran: 55:29). In his works, the myth of creation refers to a chain-like and eternal birth of "being" which is associated with luminous eternity. Like Suhrawardi, Bobin sees light as the basis of "being" and the cause of its continuity; his view is a kind of quasi-illuminational view.

Mega-metaphors or central images, as propositions, contain profound thoughts originated from the mystic's personal experiences. Hence, decoding and clarifying the secondary meanings of these mega-metaphors will help to have a closer look at the mystic's worldview. These epistemological images can be represented in both superficial and intuitive levels. The present study aims to explore the connection between sun and the philosophical and mythological concepts (Active Intellect and Light of the Lights), on the one hand, and some other images like Simurgh, tree, Keykhosro, and Pir (Wise Man), on the other hand, and to explicate the function of sun image as a symbol that has become unified with meaning. One of the findings of this descriptive-analytical research is that it is the intuitive representation of the sun phenomenon which makes Suhrawardi’s symbolic stories distinct. This makes the sun transcend the language levels and turn into a conceptual perception. This study also sheds light on the interconnection between image and meaning in Suhrawardi's intellectual and linguistic doctrine and presents two key findings first, the images create meanings and not the other way round; second, phenomenal images create a mutual identity between the mental perception and the outside object. Therefore, in addition to being elusive and convoluted, such images are unconditional and ever changing, and are deployed for diverse meanings.

This study is going to show the metaphoric nature of a text and the metaphoric relationship between the title and the text - one of the components of modern narratives- in the classic works. It is claimed that there are works among the classics equivalent to the modern ones. This merely means that some of the modern features and potentials are derived from the old works. Modern works may earn the specific features of their own by condensation, proliferation, and reproduction of some certain features of the old works. Amplification of the metaphoric pole in prose (stories/ novels) should be regarded as one of the characteristics of the modern narratives. This characteristic could be observed in the title of modern woks as well. We have shown that this trait exists in the works of Shahāb ad-Dīn Suhrawardī as well and has transferred from the text to the title of his works through the paratextual connections. This article is founded theoretically on the David Lodge's point of view in his well-known work The Modes of Modern Writing: Metaphor, Metonymy and the Typology of Modern Literature. We also applied Jacobson's Theory of Metaphoric and Metonymic Poles in a new way so that we can declare the distinctiveness of Suhrawardi's titling from that his contemporaries.

One of the most comparable common themes in Hafez's poems and Sheikh Ishraq's Persian works is the concepts of love and wisdom. As much as Suhrawardi as a sage has dealt with wisdom in his Persian treatises, the whole Divan of Khajeh of Shiraz is full of love and both, in turn, had an opinion on the opposite meaning. If Suhrawardi is a sage who also depends on wisdom and love, Hafez is also a thoughtful poet who has not neglected the category of intellect and he has always criticized it in his poems. However, in Suhrawardi's collection of Persian works, only one treatise is dedicated to love. It is safe to say that he has completely explained about love and tells about it in different stages and levels and also the role and place of love in enlightened wisdom well. The authors have also used the treatise Fi Al-Haqiqah Al-Eshq (about truth of love) more than other treatises, because it is more comparable and compatible with Hafez's poems. A comparative study of Hafez and Suhrawardi's views on the categories of wisdom and love and discovering their place in cosmology and epistemology are the subject of this research. As a result according to Sheikh Ishraq, wisdom and love are necessary for each other. Love is the offspring of wisdom, and there is no other way than love to reach the whole intellect, which is closest to Nooralanvar. On the other hand, Hafiz seldom speaks of the sacred intellect, and except for a few verses, wherever he speaks of the intellect, he means partial intellect, and in comparison with intellect and love, what is most original to him is love. Despite their differences of opinion, these two thinkers are in agreement with each other in expressing the method of achieving Truth and in the preference of love over wisdom for achieving absolute beauty and perfection.

Sohrevardi’s “Simurgh-become hoopoe” passes by meandrous physical lingual paths and creates new concepts under their influence. In the discussion of “Simurgh-become hoopoe” by Sohrevardi, we are encountered with a type of indication that not only appears in the status of a bird, but also emerges in other status as well. Investigating this, we enter the realm of structural lingual substitution. In this study, the researcher has tried to investigate conversational and cultural functions with an analytical-descriptive approach in order to pass from a physical-action status to a symbolic tranxendental one and to delineate indication-semantics characteristics in the story of “The Calling of the Simurgh” by Sohrevardi. “Hoopoe” as a substitutional order in Sohrevardi’s discussion, is gradually forgotten as a bird and is altered to a meaningful indication through the impact of conceptual transformation: in fact, “hoopoe” is everything besides being “hoopoe”. Such transformation that leads to an alteration from appearance to multi-conceptual and tranxendental type in language is called evolutionary path of indication.

Shahab al-Din Yahya Suhrawardi, also known as “Sheikhe Ishragh”, (1154–1191) or the founder of the Iranian school of illumination, is an Iranian philosopher who has widely deployed semantic functions of narrative mode in his mystical works. Going beyond the conventional and traditional approach of narrating allegorical anecdotes, he started to create his own narratives to present his intended philosophical and mystical concepts to the audience in form of “plotted” narratives. Fi Haqiqat al-'Ishq  (On the Reality of Love) treatise also known as Munis ol-Oshaq (Companion of Lovers) is one of Suhrawardi’s distinguished and valuable Persian writings in the field of narrative. In this work, he describes the reality of life and the beginning and destination of existence from his own philosophical-mystical view. This treatise—which is an interpretation of the Qur’anic story of the Prophet Yusuf (Joseph) and based on Suhrawardi’s illuminationist view—is presented as an independent narrative more detailed than his other narrative-based writings and with a more elaborate plot. Unlike other dialogic narratives, Fi Haqiqat al-'Ishq is an action-based one that has been considered one of the most elaborate and structured narratives of Suhrawardi.   The story begins with the first step of creation, which is the creation of the intellect by Noor ol Anvar (Light of Lights). From the outset, the intellect is endowed with three features: “beauty”, “love” and “sorrow”; all three are brothers and from the same origin. However, despite the devotion of “love” and “sorrow” to “beauty”, who is the eldest brother, “beauty” inhabits Joseph’s body, reaches the peak of independence and autonomy, and spurns the brothers. Yearning for reunion with “beauty”, the two brothers set out on a journey of austerity so that in companion with Jacob and Zulaikha they could set the ground for reaching their goal. Examining the structure and plot of this narrative based on structuralist theories reveals multifaceted dimensions of its hidden semantic layers regarding Suhrawardi’s illuminationist doctrine. Since Fi Haqiqat al-'Ishq is centered on the binary oppositions between the “material” and “spirit” as well as “light” and “darkness”, the actantial model proposed by Algirdas J. Greimas (1917- 1992), the famous French semiotician, was applied to achieve a kind of detailed analysis of the narrative. The model is built on binary oppositions by which different structural elements of a narrative, including the plot and the characters in both deep and surface levels, are analyzed. In Suhrawardi’s illuminationist philosophy, which emphasizes on the originality of “light”, there is a basic binary opposition between “light” and “darkness” and consequently between “heaven” and “earth”, “abstract” and “material” as well as “ignorance” and “knowledge”. In Fi Haqiqat al-'Ishq, which briefly reviews the great event of creation alongside the spiritual journey of soul to the source of life in two parts, this thinking system dominates; a manifestation of which is the binary opposition between “beauty” and “love”. As it continues, the independence of “beauty” and its separation from “love” kindle the “love’s” passion for reunion, which turns him into a traveler (Salik) in the second half of the story.   Studying the actions and the arrangement of the narrative actors, based on the actantial model, proves that the main action in the first half of the story is “creation” which has been performed by different actors throughout successive stages. The result of this action is the creation of the heavens and the earth as well as endowing the earth and earthly creatures with the grace of creation. The main action in the second half of the narrative is the “spiritual journey”; which is known as a way for the earth inhabitants to return to the spiritual and heavenly origin of life. In this regard, the transformation of the actors both on the side of the earth and the heaven (transformation of “beauty”, “love” and “sorrow” to the earthly characters of Joseph, Zulaikha and Jacob) displays the extension of the great event of “creation” in both heavenly and earthly realms (both deep and surface levels). The contrasting plot of this narrative demonstrates the confrontation of the two main substances of “light” and “darkness” (spirit and material) and briefly explains the descending arc of life (the extension of the grace of creation from Light of Lights that resulted in the creation of the heavens and the earth) and the ascending arc (spiritual journey of human being to reconnect to the source of light). This structure adjusts to theory of opposition and actantial model of Greimas. Examination of this narrative based on the mentioned model shows that the two basic actants (“beauty” and “love”) in deep level accompanied with the two actors in the surface level (Joseph and Zulaikha) are the different manifestations of the light and darkness who have been integrated in the process of the creation. Considering the existing opposition in the deep structure of the story, which causes the separation between the brothers, the most important sequence in this narrative appears to be disjunctive.    Fi Haqiqat al-'Ishq is a brief literary and artistic expression of the author’s philosophical mindset. In this work, Suhrawardi briefly reviews the great event of the creation and the origin of the life to initially remind the reader of the spiritual history of the world and to show another dimension of the truth in the second half of the narrative; the fact that we, human beings, are prisoners in the dark well of the mundane world and the only way of liberation and reconnection to the source of “Light of Lights” is awareness and setting out on a journey of austerity. In this story, “love” is the actant who firstly made this hard journey but in fact the actors of this action (spiritual journey) are all devoted travelers who have stepped on this path to reach the eternal truth and “Light of Lights”.

The aesthetics of Iranian cinema based on illuminated stranger consciousness under the title of exemplary cinema is the subject of this article. How the concept of stranger consciousness which means reminding human of his homelessness is created. Escape to the world above in traditional art is the beginning of our reflection on the connection between illuminated aesthetics and cinema. With Sohrevardi's objective aesthetic approach and with exploring beauty from premiere hypostase de la lumiere des lumieres to the world and confinement of human in exile under the management of the lord of all kinds, one can analyze exemplary films in the Iranian cinema. In this article the theme of homelessness in the Iranian cinema with reference to sheikh Ishraq 's allegorical treatises and with the help of Henry corbin's interpretation and phenomenology has been examined. On the basis of descent and enlightment, in the narratology of films with the theme of stranger consciousness it has been revealed that in the three – dimentional unity of the story ( narrator, narration, and the subject of narration), the narrator is the subject, object and the theme of the epics

Beauty and love in Iran have a very ancient history. Although Iranian writers and poets have spoken much about beauty and love, But they have not given a clear definition of this concept, Rather, they have always found themselves fascinated by beauty and love. The aesthetic structure that emerges among these research topics, It looks different from what is said in today's aesthetics. Suhrawardi has used the word Hassan in his speech about beauty and has considered Hassan as synonymous with beauty and perfection. The connection between Suhrawardi beauty and love are two fundamental categories that can be cautiously attributed to today's aesthetics. As Bamgarten first put it in a Latin-language book called Aesthetics in the West, which is not entirely about beauty. Rather, parts of it are about beauty, and in fact most of it is about epistemology. However, Suhrawardi also has few references to beauty in his treatise "The Truth of Love" and does not deal directly with aesthetics and art. For this purpose, considering the position of beauty and love in Suhrawardi's intellectual system, in this article, an attempt has been made by citing sources and by descriptive-analytical method. Let us first deal with his treatise "Haghihgat ul Eshgh", Then answer the question: what is beauty and mystical love? And how can it be adapted to modern aesthetics?

Mystical epistemology is in intuitive knowledge that deals with the heart and there is no sense and intellect in it. From the point of view of mystics, this cognition is not obtained through the external senses or argumentative processes, but it is a knowledge resulting from discovery and intuition, as a result of which the inner universe can be understood. The aim of the present study is to examine mystical epistemology from the perspective of Sheikh Shahabuddin Omar Sahrurdi, a mystic of the seventh century AH, which has been conducted by descriptive-analytical method. According to Sahrurdi, one of the types of knowledge, which includes sensory, intellectual, innate and heart knowledge, the place of knowledge is the heart, and with the heart knowledge, true cognition can be achieved. Like other mystics, while confirming the sense and intellect in acquiring knowledge, he does not consider these two to be sufficient to achieve the knowledge of God and gives originality to the knowledge of heart. In the path of knowledge, which is gradual, man goes through different stages and does not enter the next stage until he passes a stage.

This article tries to examin and analyze various allegory in Persian literature and in the paper of In Reality of iove sohrevardi.
It is worth mentioning that they are compatible with each other and existential temperament.That is, in analytical and comparative thought, the above philosophical treatise on Persian literature is controversial. There is a kind of linguistic, empathetic and intellectual harmony between literary and Philosophical Lliterature as well as sohrevardi.This article deals witg the category of allegory in the paper of In Reality of love. It also examines the tree themes of love,Goodness or Beauty, and Grief.To Sohrevardi love belongs to goodness and beauty On the earth, as Goodness comes whith Zoleikha, Grief comes with Jacobe. It has been said that the speaker expresses his intention in a mysterious and closed way.

Khosravani's wisdom is an unreasonable charter and a great legacy of the teachings of ancient Iran, which shows a wide range of wisdom and philosophy, poetry and literature, and even mysticism and Sufism in a frame. This study aims to compare the views of three great Iranian thinkers Ferdowsi Hakim, Sheikh Ishraq and Najmuddin Razi to answer the fundamental question that how is it expressed the eternal myths of Khosravi wisdom in the thoughts of Sheikh Ishraq, "Shahnameh" Ferdowsi and "Mersad Al-Ebad" Najmuddin Razi? The method of conducting the present research is a library study and in a descriptive-analytical and comparative method. This issue is the heritage of Iranians for thousands of years to institutionalize love, light, goodness and beauty. Among the important results of this research are the myths from Ferdowsi's "Shahnameh" to Sahrurdi's "Wisdom of Illumination" that always carry mystical and heroic messages and symbols, and many of them are derived from the long-standing wisdom of Fahlavi scholars. These ideal heroes, by defeating the evils and the blacks, are the manifestation of the eternal opposition of good and evil.