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

Lakoff and Johnson's research in the field of metaphor proved that the uses of metaphor are not limited to the field of literary studies and are rooted in human thought that one of the manifestations of it is language. Conceptual metaphor is a term in cognitive linguistics that explains most of the metaphors around us along with the origin-destination pattern. In Masnavi, Rumi has used the conceptual metaphor of light as a linguistic tool to expand cognitive meanings and concepts. This research answers the question through a descriptive-analytical method How does the contemporary theory of cognitive linguistics match the conceptual metaphor of light in Masnavi? Finally, we concluded that the conceptual metaphor of light refers to the absolute essence of Hazrat Haqq, the mirror of guidance, the guide of the religion, the sun of truth, and the expression of Ana al-Haqq (I am the Truth) of selected saints. Due to the large volume of Masnavi's hundred verses, a statistical sample was selected from the second book, in which the word "light" is used 122 times.

Likoff and Johnson"s research in the field of metaphor proved that the uses of metaphor are not limited to the field of literary studies. They believe that metaphor is rooted in thinking and one of its manifestations is language. Therefore, conceptual metaphor is a term in linguistics that refers to understanding an idea or a conceptual field based on another idea or conceptual field. . Based on this theory of contemporary metaphor, the functions of the metaphor of noor and image clusters related to it, i.e. vision and hearing, knowledge, noor, God, etc., were expressed and discussed in Masnavi. The purpose of this research was to find out how the conceptual metaphor of noor in the Masnavi can have a purposeful semantic correspondence with the contemporary theory of linguistics.

Therefore, in this research, the conceptual metaphor of noor based on the theory of Likoff and Johnson in the first book of the Masnavi has been investigated with a descriptive analytical method.

Rumi has used the conceptual metaphor of noor in Masnavi as a linguistic tool to expand the meanings and epistemic concepts. For this reason, the writers have analyzed the first book of the Masnavi to get the conceptual metaphor of noor along with the semantic mediators and they have found that knowledge in the first book of the Masnavi is an epistemological category and Rumi is in agreement with this conceptual idea that the universe is light. He considered pure noor as vision, hearing, noor, existence, etc., as well as a means to explain the category of annihilation and survival.

In this regard, significant results have been achieved. Several meanings have been obtained, including noor as a perfect human being, as the sun, moon, food, etc. And the general result is that the assumptions of conceptual metaphor are suitable for analyzing and explaining the abstract categories considered by Molavi Bastari.

Comparative studies of the poems of great poets assists in the affinity among different nations and the recognition of their outlooks and sometimes under the aegis of these studies, the possibility of better understanding of their poems and their effective criticisms is ensured. Sohrab Sepehri and Octavio Paz are among those poets who, due to their excessive interest in the culture of India and world mythology, have a similar poetical approach specially towards the basic elements of the entity, tree, water and light and since in mythological context these elements have a coherent relationship, they have been appeared with a same function in the poems of Sepehri and Paz. In this study, the functions of these natural elements in their poems have been studied and expressed in a descriptive-analytical method. Both of these poets, using mythological construct, have reflected the union between the human and tree, the union among tree, water and light, and the union between water and light, and finally the deep relationship among human, tree, water and light have reflected in a similar poetical utterance which understanding this not only helps in the analysis of many of the odd and weird poetical compounds of these two poets, but also in the demonstration of their poetical pulchritude and under the aegis of this study the link between Sepehri and Paz from a poetical and mythological approach is revealed.

This article assesses the quality of rhetorical imagery translation of verses 35-40 of Surah An-Nur in selected Persian and English translations using Julian House's approach. The rhetorical imagery of light and darkness is a crucial image related to the concepts of good and evil, with diverse interpretations presented in interpretive books. House's model examines the user and application aspects of the original text to create functional equivalence. The user aspect pertains to language, dialect, time, and domain of function, while the application aspect relates to media and audience. The selection of translations was based on popularity and acceptance among readers and scholars. Results show that all translators have faithfully recreated the rhetorical imagery of this surah in the target language, while adhering to the form and structure of the target language. They have provided a literal translation of these images aligned with the religious goals of the verses. Overall, translators have presented an overt translation of these images, with no significant deviation from the original Quranic text. Translators have translated these images based on the linguistic characteristics of the target culture. Combining approaches may be more effective in evaluating the quality of Persian and English translations of the Quran.

Due to the fact that most of the works written in the field of "farr" are focused on its literal meaning, its derivatives and mythological manifestations, and also because the concept of "Farr" in our time is the basis of many topics of modern physics, including luminous aura, energy chakras and it is energy therapy, in the review of Ferdowsi's Shahnameh, the historical roots of "Farr" and its various forms are less mentioned in connection with the manifestations of cosmic energy. The authors, looking at the concept of "Farr" and its characteristics, with a descriptive-analytical method and a library approach They have investigated the metamorphosis of "Farr" and its connection with cosmic energies, how it has appeared in today's world issues and what are its main sources? What are the types and interpretations of "Farr" and today's manifestations, and what is the reflection of "Farr" in Ferdowsi's Shahnameh. This article aims to investigate the material and spiritual forms and incarnations of "farr" and its connection with cosmic energy, and to analyze and investigate its transfer from the Mehri religion to the Avesta and then from Ferdowsi's Shahnameh to the present age. Some of the researches that have been written in connection with the theoretical foundations of this article in the field of cosmic energy include books on traditional cosmology and modern science, the quantum ideas of Rumi, the quantum world, research in Iranian mythology, Yashta, Farrah Ezadi in the ancient Iranian monarchy. and the article "Farah, this magical and heavenly force". The conducted research shows that human beings are surrounded by a subtle energy called aura of energy. In the past, this subtle energy, especially in the area of the head chakra, was known as "farr", and it is the most important discipline that connects humans to the beyond; At first, the donors of the "farr" were Mehr and Apam Nepat, and "farr" belonged to the sun and water, but after Zoroastrianism came into use, Ahura Mazda became the donors of the "farr" and fire became its main element. In the Shahnameh, "farr" is the main pillar and the fundamental element and in its incarnations it is transformed into an alive creature or objects and manifests itself in the form of strength and talent in the form of beauty, wisdom and power or mysterious objects. The appearance of the "farr" in Mehri religion, Avesta and Shahnameh is a luminous aura, and the appearance of the "farr"  has been attributed to tangible signs and forms, for example, in the Avesta, it is the bird of Verghan and Ghorm, and... after that in the Shahnameh, it is called Simorgh, Homa, A deer, a horse, a Jahanbin Cup, a ring, etc., and also the effect that this energy had on the head chakra and made the aura of energy  around the head brighter, they called Shamse, Crown, Dastar, Dihim, etc. as well as the effect that this energy had on the head chakra and made the aura of energy around the head more luminous, were like Shamse, Taj, Dastar, Dihim, etc., of course, in the Shahnameh, "Farr" is a divine gift, and sometimes it shines in the form of light from the faces of kings, etc., and sometimes it is manifested in the form of a divine thought in finding secrets and breaking magic.

From an expert's perspective, color and form are human visual perception's most significant visual elements. Nowadays, a significant number of theories have been proposed in the field of color recognition, and the advancement of science and research experiences have paved new ways for feeling and perceiving it. Ethan, the author of "The Art of Color", claims A physicist studies the energy and particles in light, the composition of colored lights, the spectrum of elements, and the frequency and wavelength of colored rays. The molecular structure of pigments is of high importance for a chemist. A biologist examines the distinct impacts of light and color on the visual system and how the eye adjusts to them. The psychologist considers the effect of color on the psyche and mental understanding of colors. Artists are interested in color aesthetics and weigh on the representation of it in artworks. Thus, all these sciences were historically regarded as a subset of philosophy. Therefore, the most comprehensive theories on color were considered a tangible quality issued by philosophers. However, a lack of familiarity with these theories has recently made colorology a new science, concomitant with Newton's experiences and experiments. It is assumed that its origin goes back to the era of specialization of sciences. Historically, philosophers in Iran and Greece have paid attention to the issue of color regarding light, and unknown secrets are written with the source of conceptual or visual sensory perceptions. 
Therefore, these writings continued with the emergence of Islam, influenced by the Arabic translation movement in the Abbasid era, and were closely related together; they framed the mind of Muslim philosophers by creating developments and new perspectives and the foundation of the philosophical school of illuminationism by Sheikh Shahabuddin Suhravardi at the height of this interaction in the following centuries. 

Similarly, this study tries to analyze its philosophical data about colors comparatively and to extract the similarities and differences in their opinions about the perception of this visual element based on light. It is assumed that: Therefore, in all of their comments, the philosophers of Iran and ancient Greece explained the same color by taking the model of light; the perception of this element, a combination of conceptual and visual perception has been manifested. Zoroaster and Mani, in Iran, were regarded as the philosophers and wise people to accept or reject these hypotheses. While describing their religious-knowledge system, they have explicitly or implicitly referred to color manifestations in a written or visual manner. The thoughts of Empedocles, Democritus, Socrates, Plato, and Aristotle were studied in Greece.

Analyzes of the common and distinct aspects of various visions of philosophers suggest that color in their opinions is not only a mixture of the two conceptual and visual senses; each has only stressed one of these two. Thus:Colors emerge in the form of lights with a metaphysical and spiritual nature either in the stand of the soul and its darkness or in the stand of God's manifestation and approaching to Him, and can carry a meaningful quality for humans and finally provide the basis for symbolic spiritual interpretations. Iranian philosophers paid extensive attention to seeing this visual element in the conceptual sense. They perceptually and intuitively substantiated the perception of color and defined ranges of pure and raw colors between white and black. In this range, they valued content and the concept of colors.
Likewise, Greek philosophers heavily emphasized seeing this visual element in their vision. Colors that regularly emerge in the shape of various lights with physical nature can potentially convey the tangible quality of the object and the form in isolation as well as in combination with each other for humans and finally form the basis for the sensory interpretations. Therefore, perception of color and its context leads to the emotional and tangible substantiation of its existence by the power of vision, the three components of the object's essence, the way the light shines, and the condition of the eye state. 
Everybody has considered the existence and the human reaction to their perception certain and expressed comprehensive comments focusing on how to view this visual element. However, should we profoundly consider the thoughts and ideas of these philosophers as the final point, we will find out the correspondence of their opinions with colors and their conversion and combination, which God has created in nature. Ironically, this has been the turning point in their effect on each other and building common interests. It means they spiritually contemplate God's signs, whether in a perceptible or over-perceptible world. The contrast between white and black and various colors between these two are shared among Iranian and Greek philosophers; the red color is also formed by the combination of white and black, whether physically or metaphysically. Greek philosophers emphasized the tangible quality of colors and immediate and direct feeling. On the other hand, Iranian philosophers heeded attention to the mental perception of colors by their mythical and symbolic functions. The functions are based on a stable mental process and are considered the reason for viewing various colors without a sensory organ. According to the belief of Iranian philosophers, the nature of light and color are not separated, and their difference and how color is affected by light is not considered in viewing various colors. The Greek philosophers believed that the difference in how light is affected by colors caused the eyes to see the colors differently. Greek philosophers have expressed some conditions in their ideas to realize the color vision and the perception of it beyond the vision power.  However, Iranian philosophers considered human efforts the condition for the light seeker in symbolic transit from darkness and the evils to brightness and the goods in the evolution of the soul. In the scope of Greek philosophy, color is a material element and the product of the dissociation of light to reveal several defined objects from which the primary colors are taken, and from the combination of them, the secondary colors are produced.  However, light is synonymous with the existence and manifestation of God’s infinite nature from which various colors are produced in Iranian philosophy. It is the cause of the realization and emergence of colors in the realm of human existence. From Iranian philosophers’ point of view, white and black colors are created based on how much they benefit from the source of God’s grace; thus, they have semantic and symbolic value.  Nevertheless, these colors are created based on the extent to which the physical radius of light increases or decreases.

Unlike Socrates, who briefly and concisely proposed his thoughts on how he sees colors, other philosophers in these two countries have pointed out the details of the emergence of colors based on light and its different types. The difference is that Iranian philosophers studied the classification of colors and the Greek philosophers examined their combinations. The former have always considered colors in the longitudinal hierarchy and the latter in the transverse hierarchy. Although the Greek philosophers' opinions are distinct from each other, i.e., Empedocles and Democritus studied colors based on the movement of light particles, Socrates reviewed them based on eye frictions with light rays, Plato considered the outcome of the exit of the radius, and Aristotle examined them based on their impressions. Thus, they have proven all these topics based on the visual sense. On the other hand, Zoroaster and Mani saw colors from another angle of view and considered the intuition of the human soul in gaining the grace of Ahura as evidence for different colors. 
The Greek philosophers believed that the difference in how light is affected by colors caused the eyes to see the colors differently. They believe that the nature of light and color are not separated, and the difference and how color is affected by light are not considered in viewing various colors. Therefore, they explained the perception of this visual element regardless of the arguments of physical logic about the perception of colors based on conceptual sense.

Abhar-ol-Asheghin, as a volume that uses complex, metaphor-based language, is thought-provoking and obscure. Despite the fact that previous studies have been conducted on the book, its linguistic and intellectual features are not yet fully known. Due to the linguistic features of Abhar-ol-Asheghin and the capacity of conceptual metaphor theory for simultaneous analysis of language and thought, the current study investigates the conceptual metaphors in Abhar-ol-Asheghin by relying on the structural relations between them. This study does not consider the metaphors to be of the same value; instead, it deals with the structure arising from the relations between conceptual metaphors by considering ‘the expansion of the mappings of a conceptual domain’ in the process of ‘entailment’. ‘Paradise’, ‘light’, and ‘beauty’ are the most significant conceptual domains in the text and have been used for the metaphoric understanding of the fundamental concepts in Rouzbehan’s mystical thinking. Other conceptual domains in the text are activated through the expansion or re-examination of these domains. It can be said that the structure arising from the relations between conceptual metaphors in Abhar-ol-Asheghin has three layers: first, Paradise, light, and beauty; second, the expansion of the conceptual domains in the first layer; and third, the re-examination of the conceptual domain in the first layer with the aid of a few other conceptual domains.

The Shahnameh embodies the culture and ideas of the ancient Iranians through numerous elements, including myths, epics, and stories of kings and heroes. These ideas narrate the cosmological perceptions, social structures, traditions and moral and behavioral examples of the ancient Iranians which is known as Khosravaniphilosophy. These profound thoughts have been formed in a philosophical way from various religions such as Manichaeism, Mithraismand most of all Zoroastrianism; The basis of Khosravi's wisdom is light And the manifestations of this issue in Shahnameh  with high-frequency components such as wisdom, Light, Fire, Splendor (Farr), Angles (Emshaspandan), Goddess (Izadan) and dark forces like the Devil (Ahriman) and Demons (Divan) which are in contrast to the light and Ahuraian Lighting, along with its romantic and lyrical aspects, express the philosophy of life from the perspective of Khosravi wisdom.In this study, using the method of content analysis, components of Khosravani'sphilosophyhave examined in Shahnameh and shown that the brilliant reflection of these themes interrelated to its roots in Shahnamehhas provideda ground for establishing transcendental ideas, creating free thinking space with flowing it to the the heart of society and literary works, as well as a situation for the dialogue of texts throughout history.Therefore, by recognizing this trend, a systematicperception of Iranian literary, historical and religious works can be achieved.

The philosophy of ancient Iran, known as the " Khosravani’s  wisdom ", is an enlightened thought based on light and darkness in which existence has a hierarchical and skeptical structure. Over time, the connection of this system of thought with the post-revolutionary period has not been broken, but has been reproduced in various forms throughout history. This thought, after being mixed with some Islamic components, has found its way into the epic and mystical works of this period. When studying Iranian mysticism, Researchers have to study the “Mantegh-O-TTeyr”, so clarifying its various aspects in terms of content, cultural fusion, roots of thought, and ideological exchanges and the like to understand This work, followed by a more complete understanding of Khorasan mysticism, will help. The compatibility of the issue of the unity of existence in Islamic mysticism and the creation related to the single point of Ahura in Khosravani's wisdom, as well as the hierarchical levels of existence and light In these two currents of thought, has led to the fusion and connection of these concepts as much as possible in “Mantegh-O-TTeyr”. Influenced by the ancient heritage of Iranian culture and philosophy, Attar has described mystical concepts in the form of allegories and stories. In the present study, we have examined the covert reproduction of the components of Khosravani's wisdom in the " Mantegh-O-TTeyr ".

Impressionism is in fact the first modern movement in European art, and the successor to realism, which first appeared in the second half of the nineteenth century in the art of painting and then in the art of literature; because the relationship between painting and literature is a long-standing relationship that literary critics have affirmed from the past to the present time, and it is not unreasonable to refer painting as "silent poetry" and poetry as "illustrative painting". In Impressionist thought, the artist's momentary view of natural phenomena and the evidence around him, under the influence of the amount of light and the difference and type of light radiation in different modes of the day has a special place, in addition Impressionist artists had interest in color and light which this feature is well reflected in their works. Ibn Khafajah (451-533 AH) as one of the most famous poets of Andalusia also known as “The poet of nature” created the dynamic, fluid and unique images that are somewhat similar to the works of Impressionist painters inspired by the beautiful landscapes of Andalusia nature. This paper is the result of a research with a descriptive-analytical method that has explored and researched Ibn Khafajah's poetry with the purpose of acquiring a modern attitude toward old poem as well as studying and analyzing the visual features of his poetry according to the Impressionism view.

The factors of nature have long been considered by many Persian language poets. In the meantime, morning and dawn have been depicted in the poetry of poets more than other factors due to their aesthetic, artistic and semantic capacities. This study intends to investigate the use of these words in terms of additional combinations, metaphors and poetic images in the poetry of great Persian poets up to the eighth century.

In this research, with the method of theoretical analysis and library study, the use of the word morning and dawn in different dimensions in the poetry of great Persian poets such as Rudaki, Ferdowsi, Manouchehri, Naser Khosrow, Masoud Saad Salman, Khayyam, Sanai, Anvari, Khaghani , Nezami, Attar, Rumi, and Saadi.

The image of morning and dawn in the poetry of Persian poets was at first realistic and aesthetic, but after the introduction of mysticism to the language of poetry that Sanai started, morning and dawn due to night solitude and the time of revelation and Mystical manifestations and, on the other hand, the inclusion of the temporal capacity of prayer and supplication in the Qur'an, found a high frequency in mystical poetry. After Sanai, among the poets Khaghani, Rumi, and Hafez, they used the most semantic and metaphorical uses with morning and dawn.

These words were first developed by mystical poetry in Persian language and finally, both in semantic level and in linguistic level, they have expanded the vocabulary and richness of Persian language to the extent that few poets can be found who illustrate with This word is not paid

Light is the inherent characteristic of the Almighty God which has devoted a great amount of inner observations by manifesting itself in the form of a phenomenon or absolutely from the form. Phenomena are of two kinds: macro and micro which can be followed by their especial instances. Color is the main feature of Illuminations. We took a glance at the concept of color in psychology and tried to explain the relation between color and light in invisible observations especially in the case of Latāyef –e- Sab'a (seven subtelities). This article therefore - without any relation to the realm of psychology - tries to understand and recognize colorful ascensions of light and analytically explore the position of color in Simnani's Ideas. We have explained our own understandings in the interpretation of unique colors of Atvār –e -Sab'a using the method of analyzing the practical concept of color. The results show that the colors of Yellow (Soul), Blue (Self) and Red (Heart) are three main colors in the chromatics of Simnani's mystic ideas. These three colors, as they are considered primary in the nature, are also regulated in the realm of Metaphysics according to their message and special effect resulting from the ascension of the traveler on the mystic way in the approximately different exaltation of change of heart and stable and legal phenomena. By analyzing and exploring the issue of color recognition, we aim to prove this question that the colors and colorful spectra of the seven lights, while having effectiveness and reality, have a kind of balance and equilibrium or in other words, a kind of order and regulation in the horizon of spectra. Therefore, what is mentioned in the analysis of light and color of each subtlety, follows a logic which we understood and recognized in Simnani's chromatics.

Zoroastrianism of the oldest religions, which contains principles and a genuine mystical and profound influence on Eastern and Western religions have. Undoubtedly, the mysticism than any other discipline, Zoroastrian heritage conservation and new and appropriate interpretations of Islam has been presented. We should pay to this point regarding the light importance in Zoroastrian mysticism فاشفng the light importance in nged to new commrnts gions  that Moulavi was a popular mystic such as pre-yourself other mystics that under that effect of Zoroastrian mysticism is paid attention to the light symbol and is thought its lofty or high meanings and concepts. He is explained and extended also mystic institutional topics such as existence fact, the prophets and saintschr('39') fact, visit issue of right or God, pantheism issue and death and live by the light symbol is most complicate of mystic topics. Of course we should mention that in Moulavi works the light symbol has high frequency than its protection and support and it has attracting imagination form and signs.The Moulavi On the basis of his own mystical experience, light word to describe the reality of being right applies, which is discussed in this article.We are far from images and delusions  /The light, the light, the light, the light, the light

Succession is the most basic part of mysticism. The philosophy of doing it relates to the various desires of mankind that the return to the land of light and the acquisition of eternal life, which is called "survival" in Islamic mysticism, is the most important reason. Following the fall of man, what "The Descending Arrow" is completed, and human beings, as the only being able to climb and return to the true city, have to move" ascended arc "towards the city of John. The pathologist sees in the path of conduct an inventory that is sometimes categorized and sometimes lacks a definite benchmark for this; for example, the multiplicity of titles, as well as their displacement over the proposed divisions, is the main obstacle to this process, In this research, which is carried out in a descriptive-analytical manner, we study the parables of light in Islamic mysticism.The obtained result was that all these divisions have had the stem in mystic’s gravitation(tendency)to symbolization and allegory.

In The context of Islamic culture and philosophy, Sufism and mysticism always have been a special capacity. The background of this realm of our wisdom culture always have been the place of later section of various traditions especially oriental periphrastic and inward traditions. We should seek the most reflection of Hermetic thoughts in Islamic mysticism and wisdom. This article devoted to Sohrewardi’s thoughts and Hermetic thoughts with comparative- analytic look. Hermetic religion one of the oldest thought traditions in the history of human civilization that greatly affected on philosophical and mystical after itself. This article written in the method of Analytical descriptive and it shows that Sohrewardi’s philosophy is influenced by Hermetic tradition even more than sohrewardi directly confesses. And the base of his thoughts get on the same way of Hermetic thoughts, especially on knowing Preceptor, light scales, First intellect, Perfect natures, Alchemy, Transmutation, intuition, Soul captivity

In this research, the functions of light in Sepehri’s poem were studied and analyzed based on the semiotics-semantics view. The main purpose of the present research is to study the discursive state and transformation of light in Sohrab Sepehri's poetry, based on his four poem books entitled "East of Sorrow", "Traveler", "The Water’s Footfall" and "Green Volume". Our main questions are what status the light gains, how it comes to operate and spread, how light can create meaning, and what meanings and values it develops as well. Also, what semiotics-semantics systems such as tension, perceptual-sensory, feeling, aesthetics are related to light and light-correlated concepts? And is it possible to introduce a pattern for the light system in Sepehri’s poem? Our hypothesis is that the light operates as a semantic-made word and it creates meaning through the chained relation of senses and with interaction of different senses such as visual, sensual, tactile, olfactory and sensory-kinetics. In fact, the incident lighting system prepares the underlying light to form a sensory chain system. As a result, the subject and object interact in this system and in the perceptual-sensory relationship. The result of such a process is the presence of the subject from transcendental presence. The present study, by analyzing the optical discourse system, has been able to present a model of how to transform and transcend discourse from the perspective of light into Sepehri poetry. One of the methods for analyzing the contents of Persian literary texts is the use of new literary ideas. Using these ideas in the field of poetry and Persian prose can be found in a precise and scientific way for interpretation and analysis of Persian literary texts. Semiotics, as one of the literary theories, can open new horizons to contemporary Persian poetry with the help of different knowledge domains such as philosophy, linguistics, phenomenology, and discourse analysis. In this study, the light function in Sohrab Sepehri's poetry has been studied and analyzed based on the semiotic point of view. This approach provides a suitable ground for explaining the discursive state of light in Sohrab Sepehri's poetry. Since in Sohrab Sepehri's poetry, light creates an emotional spatial role, the light system of this poem is related to semiotic systems. The element of light containing various functions in his poem interacts with different senses. This function places light in tensions that fluctuate from surface to depth. This indicates a state atmosphere in discourse, and the semiotic approach also examines the same situation in relation to light. In the foregoing article, to analyze the data, one of the new methods of critique and one of the critically acclaimed theories of discursive semantics have been used. This study is a library research using an analytical-descriptive research method. This theory analyzes the optical system in Sepehri's poetry by studying the human perceptual-sensory conditions and its role in the process of meaning and creation, and the use of various types of inspirational systems and the study of emotional, sensory-perceptual and aesthetic systems. Semiotics in a paradigmatic turning point tends to a phenomenological approach. His approach introduces state and tension discourse systems. In state system, without any plans or goals, he will be aware of the moment he is present in relation to the position in which he is located and with the help of it, makes himself available to himself and to the other. This links the state system with the phenomenological discussion of presence. Based on this, the present study, by analyzing the optical discourse system from this perspective, has been able to explain the pattern of how to transcend discourse from the perspective of light in Sepehri poetry. Also in the present discourse, light is reflected in various forms including explosive, focused, transparent, and multiplied. In this discourse, various aesthetic, eventful, perceptual-sensory, emotional-state and transcendental systems play a role, and these systems have the characteristics and functions of tension, state, intensity and extensity. In Sohrab Sepehri's poetry, the light appears as a mediator in the form of an eventful and tension-state system of discourse.The incident and state light system lays the ground for interaction among different senses and thus triggers a perceptual-sensory interaction between subjects and discursive factors. As a result of this process, presence is located in the path of transcendence. In addition, an interaction is formed between the intensity and extensity in continuous discourse. This interaction puts the light in a fluid state, which results in a transformation from an evolving state to a transcendental one. Using the proposed model in this study, we can accurately map the light discourse and the formation of meaning in discursive systems.

Ayat al-Nour is among those verses which contain wonderful allegories about a supreme and supernatural truth. In this beautiful allegory, there are mysteries that are sometimes required to be expressed in a symbolic language.Islamic mysticism in the light of the holy Quran and hadiths of the Infallibles (A.S.) is rich and profound in the debates of Ontology and monotheism. With close attention in these teachings, new horizons and broader perspectives are explored.Some of these concepts are the result of absorption and inspiration and some are considered to have the aspects of reasoning and describing, which are acquired in the light of Qurnic instructions. Some main words in this verse include: Nour, Meshkat, Mesbah, Zojageh, Shajareh, Zaitooneh,La sharghiyah, La gharbiyah.These words contain various literal, metaphorical and allegorical implications. This study has been conducted to discuss and analyze the suggested interpretations of Ayat al-Nour by referring to Ibne Arabi’s and molana’s works and the scholar’s analyses, and then to describe and analyze.

In this research, the language –tension function of light has been studied and analyzed in Sohrab Sepehri’s poem statement system. This research’s main goal includes studying and specifying the tension system function, the tension layer and the light semiotic aspect in Sepehri’s poem language by emphasizing on the East of Grief and the Green Volume poems collection. Our main question is how language-tension system of light leads to generation of aesthetic process and how this system can perform a role in semiotic process. In fact, the goal of present research is to represent how language-tension system of light creates a permutation situation for statements and how this process can lead to light notability. The research’s theoretical framework is tension pattern based on the post Greimassian semiotic systems. In tension system, the intensive and extensive layers play the roles together in interaction. Our hypothesis is that the light statement system of Sepehri’s poem subordinates to ascendant tension structure and the descending tension structure is in the service of ascendant structure. The language-tension system of light plays the key roles both with permutation and notability function and ultimately the process of aesthetic statement comes off with light notability.