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

In contemporary theories, metaphor is considered not only an aesthetic tool, but also a fundamental cognitive process of the human mind. According to the theory of conceptual metaphor, the metaphor is understanding of a conceptual domain in the terms and expressions of another conceptual domain. This research is an attempt to analyze a key conceptual metaphor in the book Kashf al-Asrar by Ruzbihan Baghli.

The method of this study is library-analytical and it focuses on the issue of conceptualizing Union with God with the terms of the conceptual field of marriage in the book Kashf al-Asrar; however, by necessity, the other important works of the sheikh, i.e. Abhar al-Asheqin and Sharah Shathiyat, are also discussed.

Ruzbihan in the book Kashf al-Asrar - his spiritual autobiography, which is dedicated to the report of his revelations - tried to describe the abstract concepts of the conceptual field of Union with God by using the concepts of the conceptual field of "marriage". In this metaphor, the origin realm is the conceptual domain of "marriage," which is a tangible concept, and the destination realm is the conceptual domain of “Union with God” which is a metaphysical and abstract concept. Rozbahan explains the abstract concepts of love relationship with God with the terms and words of the field of marriage, such as bride, bridegroom, celebration ceremony, and the offerings made by the groom to the bride.

According to the theory of conceptual metaphor, Ruzbihan by choosing the conceptual field of "marriage" to describe " Union with God", explains both his perceptual and cognitive system about Union with God and adjusts his and the audience's expectations towards it. In fact, this metaphor transfers the intellectual system and the atmosphere governing "marriage" to the intellectual system and atmosphere governing the concept of "Union with God". Through the study of this metaphor, a concept that is unparalleled in the space of Islamic mysticism, we are introduced to new aspects of Ruzbihan's approach achieves the category of Union with God.

Apocalyptic literature is a kind of literature based on apocalyptic prophecies. This type of literature expresses what will happen in the end of the world and studies issues such as the apocalypse, resurrection, catastrophe, savior, and so on. Existing examples of this type of literature can be seen in Persian poetry today. The present article examines the themes of apocalypse in contemporary Iranian poetry. In this apocalyptic study, the emergence of a savior, death, resurrection and eternity have been studied as components of the apocalypse. Examining the poems of Ahmad Shamloo, Forough Farrokhzad, Mehdi Akhavan Sales and Sohrab Sepehri, it became clear that in most cases there is a pessimistic and despairing view among these poets about the fate of the world and the future of history. In the poetry of these poets, the tools of sleep, dream and poetic inspiration have been used for revelation. At the same time, these space discoveries are mysterious, ambiguous and mixed with fantasy.

One of the main images in Ruzbihan's works, especially in his two main books, namely Abhar al-Asheqin, and the Sharh-e Shathiaat is the image of the "bride". On the other hand, Ruzbihan, in his revelations that he reports in the book Kashf al-Asrar, frequently sees God, the prophets and the angels, and himself in the face of the bride. This article tries to explain the connection between these two phenomena, i.e. the frequent existence of the image of the bride in the language of Ruzbihan in his theoretical books on the one hand and the seeing of the bride in his mystical experiences on the other hand based on the theory of constructivism. The theory of constructivism in mystical studies expresses the idea that the mystical experiences of a mystic are formulated by his mind and language, and no mystical experience is made independently of the mystic's previous mental and linguistic models and patterns. The mystic, therefore, experiences in his mystical experiences what has already been placed in the realm of his mind and his language. From this perspective, it can be said that knowing the key metaphors and images of the language of a mystic is the key to understanding why he experiences such revelations.

One of the issues that the mysticism of all nations revolves around is the issue of discovery and intuition. In general, mystical revelations in the Divan of Ala al-Dawla Biyabanki can be divided into two categories: formal and spiritual discovery and intuition, and each of them has its types. These formal and spiritual revelations in some respects with the theory of W.T. Stacey is applicable to discovery and intuition. In this research, the revelations of Ala al-Dawlah based on formal and spiritual conditions have been studied and then their common features such as feeling of trust, objectivity, happiness, etc. have been explained. Of course, in some of these cases, Stacey's view differs or is not compatible with some of the characteristics of Islamic revelation. In addition, the specific characteristics of formal and spiritual states have been studied, and we have finally come to the conclusion that the revelations of Ala 'al-Dawlah, in addition to conforming to some patterns of Western mysticism, are unique in their kind and in some ways superior to Western mysticism. In this research, the author also tries to answer the question of descriptive-analytical method and library method whether the poems of Ala Al-Dawlah, in spite of their abundance, expressions related to discovery and intuition, adaptability and classification in the field of literary type "Literature" Does it have "prophecies and revelations" or not?

‘Observation and certainty’ is a mystical condition. Mystics observe the intuitions of manifestations and confidently call the proof of the truth of things, without any doubt (certainty). In this comparative study, the authors, while examining the type of Ibn Arabi and Rumi's perception of the mystical state of ‘observation’ and ‘certainty’, have revealed the common and different thoughts, beliefs, and experiences of these two scholars in the field of Sufism and Islamic mysticism. This study is based on the descriptive-analytical method, explaining the commonalities and structural and general differences. The results of the study show that Ibn Arabi and Rumi use observation in relation to manifestation. They believe that observation is about observing the manifestations of God, not God himself. However, Ibn Arabi presents a different discussion of revelation and believes that revelation is higher than observation. In describing the first and second levels of certainty, Rumi presents two aspects of knowledge and insight, and both thinkers believe that it is certain that man has some vision and insight. Moreover, the last point regarding ‘certainty’ is when God puts the mystic in the essence of the work and in the occurrence of a mandatory sentence. Ibn Arabi tries not to step outside the scope of Shari'a in explaining certainty. That is why, in his view, certainty has a religious and mystical value, the condition of which depends on worship.

According to phenomenologists of religion, revelation means the manifestation of the sacred based on divine grace to man, the output of which is a spiritual experience, unity, novel recognition, and rebirth. On this basis, the phenomenon of revelation can be studied regarding three aspects: the manifestation of the sacred, man, and the role of revelation. Since the writings of Ruzbihan Baqli and Hildegard of Bingen are based on the experiences of revelation, the researcher seeks to explore the conception of revelation on the basis of the three angles of revelation considering the mystical findings of these two mystics. The comparative method adopted in this study, in place of a framework called similarities and differences (Essentialism and Structuralism), first examines the main characteristics of each angle and then confronts them like two mirrors facing each other. Our findings show that Ruzbihan seeks mystical experience from God and participates in revelation with God; Hildegard, on the other hand, finds knowledge of the divine mystery in revelation and, as the third person, narrates it to the Christian community.

Although it is believed that the mystics are not sad, the passion for the origin of being and separation from the homeland make them sad. Believing the unity of existence, Rumi does not accep the separation from the truth of the being for himself, so he expresses gratitude and complacency in his poems, especially when he discovers his existential relation to God; indeed, he realizes that greatness understands him; the one who wishes to be united with the sea of existence which is sometimes realized in revelation. In this sense, mystical sadness is part of mystic spirit which is sometimes interpreted as ecstasy giving it some degree and hierarchy. The current study aims to analyze Divan Shams's lyrics in terms of the themes of sorrow and mystical homage according to the concepts of ecstasy and sadness, in Islamic mysticism with sadness. The findings reveal that the poet has not been alienated by sadness and joy; indeed, he is suffering from sadness which is in relation with self-discovery and self-finding.

Forecast or Apocalypse is discovery, intuition and telling about future information, regardless of whether it will occur or not. Often, apocalyptic thoughts have emerged in Iranian myths and in popular beliefs because of the humans concern for the future and disposing of anxiety. The main motive for the emergence of these kinds of revelations, is the psychological pressures on humans; so that these thoughts play a role in promoting the future hope. In Iranian legends, various apocalyptic roles and numerous functions have been created due to the existence of the legend itself; most of these concepts are inextricably linked with the material and natural features of legend. The compatibility of natural states with their roles in popular belief is the main reason for these revelations.This research in a descriptive-analytical way, tries to answer the question: what is the most significant part of the revelations in Iranian legends? This study tries to answer the question in a descriptive - analytical way: what is the most important of all types of Revelation in Iranian legends? According to the research achievements, the most kind of revelation in iranian legends is related to “inspiration” and its least, the use of sleep language and dream as the most important manifestation of its expression.

One of the fundamental topics in the Ghazalat of Faiz Kashani is the beauty. Faiz considers the ontological view of beauty to be external and objective and the epistemological view of beauty as inward and subjective that their source and origin are the beauty of God, which provides the inner motive of the demanding solicitor to achieve divine beauty.This article deals with the analytical method of explaining the beauty of the pure lyrics of Faiz Kashani and it is also a process in the discovery and intuitive exploration of this filed mystic, the Divine of God about the definition of beauty, the origin of beauty, kinds of beauty and , …., with the result that the solicitor must pass through the manifestations of beauty and visual and virtual beaut, in order to achieve the true beauty and abserve witness divine to create a magnificent bridge so that it will be faced with a marvelous beauty that is enduring and eternal that it does not come in to existence or disappears and it is the absolute beauty of God , the mirror of the heart shows it compeletely.

Djamal Al-Din ABU MUHAMMAD ILYAS b.Yusuf is the sixth century great poets and narrator. The influence of Nizam’s work on the subsequent development of Persian literature has been enormous. Not only his unique style but also his profound effect on other poets is obvious. The Haft Paykar is the fourth course of his poetic idea. Using code of human’s transcendence, them of most “flash fiction” is journey, imaginary aspect.  To find out way back to his orgin , whitin undergoing rituals, Wayfarer( Salik) ,in these journies, passes several valleys so that he reaches high peak of luminosity from depth of soul.  Through analytical method, the paper interprets content based on the  mystical foundations of text. The black dome is the first story of the Haft Paykar’s ladies whose analysis is an important issue. On the contrary  past researches that  indicate  wayfarer’s falling of the personality, the present study shows this journey is a mean of ascension and transcendence. Journey doesn’t have a negative consequence in it, but, the journey makes wayfarer ascend heaven to meet the eternity beloved .The king, in this spiritual journey, convey boundless enthusiasm that emerges in the black passenger to return his origins. He steps in a circle of progression in the path and, while power of compassion  encompasses  him, In every stage, by eliminating the contamination of the senses, it finds that it is possible to cast a burqa out of a curtain,looks at the wayfarer and sees the signs and wonders of the realm of the kingdom. This mode is called mystic interpretation and intuition. There are changes in the personality of the wayfarer ,which are formed  in three stages.  In The stage of the call, the first stage of” progression in the path”,wayfarer  decides to change inside and outside  unfavorable situation.In the same way,a kind of inner temptation tries to make wayfarer gives up his decision .Meanwhile, the mentioned stage the ‘director must be required to awake the  wayfarer’s seductive psyche while uncovers its mysterious mystery in the world of affairs At this juncture, wayfarer concludes that the mortal universe is not his official, so the craving to his original source is prompted in his heart in way that Shah decides to put in effort to find out his answer the answers. (This determination [tells] a deep desire for internal change. This stage begins in the story of the black dome when a black man comes to the king's presence. Therefore, by gaining some kind of knowledge the wayfarer begins his inner journey to achieve perfection, which is necessary to provide spiritual reciprocity. It is not possible unless through the “progression in the path”, thus, the wayfarer must go through the levels and authorities to achieve it In the aftermath of this transformation, he will achieve self-cultivation, which is interpreted  in mysticism as evaporation and analysis, respectively. Therefore, the king, in search of the discovery of his own darkness, decides to abandon the world of monarchy and conspiracy, and move to the clear horizons in search of a secret secret slowly. To get a clue of the existing fact. The Shah must go to the planet to enter the next stage and cultivates the soul, (evolution). The sky in this story (the story of the black dome) is a big boon The place where the ghosts climb right. In the sky, the king descends on a lush and beautiful land within a half-day; A crowd of Houris with a beautiful lady suddenly attracted his attention. These women are manifestations of divine nature and promising joining him; that the wayfarer for divine knowledge should see their beauty The king at the same meeting wants to join the queen, but in pursuit of such a status, the seeker must  go through the levels and authorities to achieve it In the aftermath of this transformation, he will achieve self-cultivation, which is interpreted  in mysticism as evaporation and analysis, respectively. Therefore, the king, in search of the discovery of his own darkness, decides to abandon the world of monarchy and conspiracy, moving to the clear horizons in search of a secret .To get a clue of the existing fact. The king at the same meeting wants to join the queen, but in pursuit of such a status, the wayfarer must learn the philosophy of patience that entails the pleasure of connecting. This land is a (Agitation Office ) who is trait of” possessor spiritual states”. Therefore,as  he is not allowed to stop him permanently its ruler is in any case condemned to return. (So asking for a visit and joining with him is not an answer anything than ‘You will not see me". Haft Paykar is the fourth revolutionary circle of Nizami's poetic idea in which he explains human's transcendence in form of mystical ascension. It involves in three ways in which wayfarer not only achieves mystical stations but also finds out what makes the city silent and wearing in black is anything than comprehension of the spiritual unveiling.

One of the major subjects in Mysticism is its path to gain Mystical knowledge and certitude; a path which is different to that of science and philosophy. In fact, using unveiling, Semi Dream (Vaghe'eh), intuition and generally mystical experiences and the manner of intuition in gaining Mystical knowledge, are the most basic subjects in mystical studies.  For better understanding the nature of unveiling (kashf), finding the manner of the perception of these experiences is more important than anything else. Scrutinizing human perception especially Mystical perceptions like unveiling (kashf) requires an opportunity for studying history of thought in Philosophy and Mystism, since Plato till now. But when the viewpoints of Sofia, philosophers and thinkers meet, it suggests that mystic creates the context of realization of unveiling (kashf) with spiritual struggle (mujahidah), endeavor (riyadah) and dhikr in an intermediary world, called Mundus Imaginalis. The heart of the mystic is the part for perceiving these experiences that makes the experience of unveiling (kashf) possible by gaining insight (Basirah) and applying a power, called active imagination and spiritual energy (himmat).

One of the common grounds of religious and gnostic texts is the presence of “apocalypse or revelation”. The presence of apocalypse in the course of religious, gnostic, epic and myth of various nations’ texts is an indication of the profound presence and unique role of supernatural elements in creating the inseparable unions among old religious, gnostic and mythological works. The similarities of world’s saint texts such as; the Old and New testaments, the creative mystical and gnostic works (like Masnavi by Molana, the poems of Shah Nemat-Allah Vali and even in Sohrab Sepehri’s poems, and also in Zoroastrian’s religious-mythological books, the epic texts of Shahname, Iliad and Odyssey etc.) in paying the similar attention to future events and sometimes past-based events is the sign of these commonalities or structural similarities. Due to the vital role of this element in creating the dynamism and stability of creative works, the authors of this descriptive-analytic research aim to carry out apocalypse from myth to epic meticulously. The research results indicate that attention paid to various kinds of apocalyptic epic texts reveals the mythological ranks of epic texts more than before. With this in mind, the more we get closer from mythological era to epic myth, the metaphysical elements such as fateful revelation get a more logical and abstract tinge.

Revelatory literature is considered as a literary genre in the field of religious and mystical literary texts and it has been well received due to the function of hope and promise for the "future", while communicating the mysteries of "the past." After reviewing this literary genre, its history, and types of revelations, Hafez Shirazi’s prophetic revelations are analyzed and similarities in the attitudes and motifs of this great poet and scholar compared to the basic principles of this literary genre are discussed. The results of the research indicate that the frequency of messenger symbols such as Hatef, Soroush, Saba, and Nasim, confirms the deliberate use of prophetic and revelatory purposes in Hafez’ poetry. This literary genre, in the words of Lassan al-Gheyb, has helped to extend ontological, sometimes mystical, sometimes humorous, and often promising and hopeful goals by using elements such as myth, revelation, dream, allegory, symbol and metaphor.

Intuition and sensing (unveiling) are regarded as the fundaments of mystical insight; through sensing، mystics directly and without any mediator experience the reality. Therefore، ways of sensing and intuitional ability have always been in the center of mystical studies. Jalal ad-Din Muhammad Rumi، as a thoughtful mystic، literarily and based on theoretical Sufi teachings expresses forms of sensing in Mathnavi. Mystics have explored two forms of sensing: sensual and spiritual. This paper، drawing upon Gheisari’s introduction to Fusus al-Hikam، tries to deal with forms of sensual sensing in Mathnavi. Besides all forms of sensual sensing (except tactile sensing)، Mathnavi includes numerous minute teachings about each of them which have not been seen in Gheisari and Heidar Amoli’s classification. It seems that Rumi has dealt with auditory sensing more than the other sensual forms of sensing.

Carl Gustav Jung has paid more attention to arts, including literature, in the study of the psyche. He has divided the artistic creations manner into two parts: psychological and visual (Didehvaraneh). The psychological manner results from consciousness and involves the current and usual experience of life and it seems more logical than Didehvaraneh manner. However, the latter originates from the unconscious and is beyond wisdom, thought and understanding of the human being. In this article, first in an introduction, we have studied the relationship between the art of literature and psychology science within the psychoanalysis school of Jung, and then, the artistic creation’s manner of Didehvaraneh is explored in some of Molana’s Sonnets in two parts: Didehvaraneh poem and Didehvaraneh poet. The writers of this article believe that Jung’s Didehvaraneh manner is the same as the revelatory manner from which Molana has been changed while saying his sonnets. This manner has its own movement; it means that spiritual exploration happens first; then the poem is written, based on the capacity of the poet to attract revelation and his preparation of intuition. But because this kind of poetry is formed in a particular context, it has an ambiguous language and capability of paraphrasing. Thus, Didehvar artist (i.e. Molana) is both universal and controversal.

The purpose of this paper is firstly to show that dreams are not futile, because they are fed from a noble and ancient source on the one hand, and come from a mythical time and on the other hand. They are having a spiritual color and they are valuable. So unlike vulgar imaginations, dreams are not meaningless and futile. But the dreams are full of moral values ​​and teachings. And also dreams have effects on different functions, including changing the character, views, and consequently dreams change the life principles. Secondly, it is shown that, depending on the dreams, the concepts of them are different. If the dream is the Azghas Ahlam type, various factors are involved in creating and shaping it, so it can be the reflection of daily activities. If your sleep is a kind of Sadegheh, then there is surely interpretation of it. And the purpose of dream is beyond its the formation and carries a message from the unconscious that necessarily assign duties to us. In this article it has also been shown that the distortion and individual inter pretation of dream do not change the truth of it.

Shaykh Abu Nasr Rouabahan Baghli Shirazi is one of the greatest figures of Sufism in the sixth century A. H. His book «Kashf al-Asrar» is a reportand description of dreams and revelations wich have occurred on Sheikh Roozbahan during forty years of his conduct. One of the main figures of Rozbahan''s revelation is Muhammad، the Prophet. In this paper، we have addressed the classification of presence and effect of Prophet Muhammad on Rozbahan''s revelation in Kashf al-Asrar and briefly explain them. In this revelation، the Prophet''s face is very luminous، which before anything narrates the Rozbahan''s «affection» and «love» toward Prophet''s character. Prophet in the book is God''s friend، the bride of divine court and intoxicated with divinity. The Holy Prophet is the special and superior character who possesses «intercessory and mediation rolein thegrace». On the other hand، Kashf al-Asrar، is a letter in eulogy and praise of Prophet Muhammad and emphasis on the prophet''s central role in Islamic mysticism and Sufism.

What kind of resemblance exists between super nature on one side, and dream and imagination on other side? Can we stop our mind receiving any imagination or dream at any condition? Human true dreams and his imaginations can function similarly as they seem to be the origin of human understanding and revelation. Majority of mystical works and some psychological books define these concepts. In Mathnavi, like some psychological texts, some provisions have been made about dreams and imagination and their relation to super nature. Thus, can it be stated that some similarities exist between mystics and psychologists approaching these phenomena? In this article, these questions have been addressed and we will see how Moulavi's poems deal with these concepts. The results show that dream and imagination can be the foundation of human development and revelation. Dreams and imagination happen unconsciously and help human to understand super nature.

The eternal and permanent art works mostly have been created in unconsciousness and involuntary moments. Whereas the basis of the creation of existence as evidenced by this Quranic verse “His command, when he intends anything, is only to say to it: be, so it is (Ya-Seen, 82)” has been destined out of the compass of tense, place, means, and media; undoubtedly, art works are the result of a kind of inner revelation and illumination of the talented. The first question that made author’s mind busy was the meaning of “grace” in Mowlana’s view. What is Mowlana, Kant and Socrate’ definition of grace? What is the difference in the viewpoint of Plato, Mowlana and Kant about the creation and sourse of beauty? According to two different theories of aesthetics, i.e. subjectivism, objectivism, are beauty and art related to morality? The kind of relation among these three subjects confirmed subjectivism and objectivism depending on the fact that whether its nobility belonged to the literary and art work or to its creator and audience. Seeking aesthetical reasons in Mowlana’s poems was another part of the paper. Orators considered unity along with repetition and variety as the most important criteria of aesthetics. How the phenomena of multiplicity within unity and unity within repetition appear in Mowlana’s poems? Which one of the two theories of subjectivism and objectivism matches with Mowlana’s two masterpieces?