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

In Nietzsche’s point of view, tragedy includes the real art and culture, because tragedy is contrary to church based on disorder, mortality, injustice and disaster in human life. According to Nietzsche, tragedy introduces us to disorder. Although the approach leads to absurdism and nihilism, it gives birth to art and culture; in another word, mortality is the price that we have to pay for awareness and culture. For Nietzsche and Steiner, old Greece achieved the real art by the birth of tragedy, which Socrates, Plato and Aristotle weakened so that the church could sound the death knell of tragedy later. Now, we have to think about the birth of tragedy once more. The purpose is to say that another type of tragedy has been born after new theater: Folk-tragedy. Whereas ancient great tragedy dealt with death of special characters, in Folk-tragedy, especially the six plays of Folk-tragedy that we examine in this article, tragic death happens to common people, even in everyday life.

Although Mysticism and Sufism are usually applied interchangeably, Mysticism may be considered as the theoretical aspect of Sufism, and Sufism is the practical aspect or the mystical progress. Some researchers believe that in Sufism there is a phase called "chrisma" after the emergence in which Sufism absorbs some element of mysticism of the other nations in itself and develop them; however, studying the fundamental elements of the Islamic Mysticism like the unity of existence, love, governorship, progress, mortality, eternity, etc. and comparing them with the Holy Quran challenges this theory. Governorship is not only a connection between Shiite Mysticism with the thoughts of Ibn-Arabi and his followers, but also a point of unity and a coverage which gathers all the mystical dispositions together. Moreover, the combination of theory and practice or Mysticism and Sufism with each other, or the priority of practice to theory and the fact that the knowledge of Mysticism is the subsequent of spiritual progress and the record of the innermost reception which occurs in the atmosphere of Islamic religious law can be another endorsement on the foundation of the Islamic Mysticism on the Holy Quran.

The words and meanings of the Holy Quran are rich and have terms and mysteries that often form the basis of Islamic mysticism. Verse 143 of Sura Araf called "sighting verse" or "verse of manifestation" is one of the most widely used verses of the Holy Quran in explaining the mystical foundations that describes the ascension Moses (peace be upon him) and referred to as "Len Trani" and has a wide reflection in Persian scriptural and mystical books. In contrast to the commentators, mystics did not appreciate the slight and simple analysis of the subject matter of this verse, and have always sought to draw new and profound impressions through the story of Moses (peace be upon him) expressing their mystical teachings and mentioning the status of the seeker on the path to the journey. The purpose of this paper is to compare and distinguish between the opinions of commentators and mystics about this verse, and to analyze the utilization of this verse by mystics. This has been done by comparative analysis of texts. What is achieved by studying these works indicates that these two groups repeatedly invoke the verse in five major topics of the demand for sight, the Lord's witness, the Lord's response, the manifestation of the Mount, and the anesthetics of Moses (peace be upon him). Using their codenames and references, mystics have interpreted them as love, enthusiasm, observance, zeal, manifestation, and mortality of the seeker, and have explained and described these topics.

Fereidoddin Attar Neishaboori is a mystic and famous poet whose glorious position and magnificence in Gnosticism and poetry are appreciated by everyone. His poetry and works enjoy appropriate research capabilities in Persian literature due to the frequency and the extent of contents.  His  poetry can  be  investigated  on  a  variety of  perspectives. Nostalgic look to his poetry is an example. In fact, Nostalgia means sentimentality for the past or irrecoverable condition. When a poet discusses such issues as death, human's mortality and its subsequent grief and expresses his hatred of the Existence, the theme used in his/her poetry is Philosophical Nostalgia. This kind of attitude is manifested in the poetry of some poets and scholars such as the Sage of the Secrets, Attar Neishabouri.   This study has been conducted employing a descriptive- analytical methodology aiming at investigating Attar's poetry in the area of Philosophical Nostalgia so that, finally, his look to the philosophy of death and human's mortality and his pessimistic look to the world will be further clarified.

«Nostalgia» or homesickness is a poet or writer’s same sense of nostalgia، in the absence of the things that are، in the current situation، out of reach for him. Changes and evolution in social and political circumstances is very effective in stimulating this strange feeling of nostalgia. One type of nostalgia includes a pessimistic and nihilistic attitude to the universe، and generally، the sadness of death and the mortality of human beings that is interpreted as «philosophical nostalgia». In this paper، by investigating Abul Ala Ma’arry and Attar Neyshabouri’s poetry، death grief، mortality، and their cynical view of the world has been comparatively studies.