پژوهشنامه متون ادبی دوره عراقی
سال یکم شماره 4 (زمستان 1399)

Drawing upon the Symbolic Interactionism theory, this study attempts to analyze Khaqani’s interactions with the other. This theory is a social one the leading theoretician of which is George Herbert Mead. Symbolic interactionism investigates the daily interactions between individuals and society as well as different groups’ (communities) behaviors arising from these interactions which can be analyzed in psychological, social and philosophical-mystical perspectives. The method of this study is descriptive-analytical using library sources and the selected poems were analyzed according to Symbolic Interactionism theory targeting the social perspective analysis. In this study, social perspective of the poets’ interactions were analyzed based on the other concept which includes influential groups such as family, the praised, and the poetic rivals. The results indicated that the poet’s interactions with the praised, the family, and the rivals were laudatory-pleasing, affective-laudatory, and critical, respectively. Based on these analysis, it can be said that Khaqani’s interactions in the mentioned groups is not manifested as a quick reaction, but occurs through explaining and interpreting  others’ behaviors in the mind and regulates the social behavior of the poets’ self verses the other. This interpretation and transmission of the mind meanings in the mentioned perspectives are manifested in his poems by means of interpretations and linguistic symbols.

Since in didactic-mystical literary works the function of narrative is prior to its form and structure, little attention has been directed to the structure and elements of  narrative in early days of Persian mystical-didactic narrative literature, but over time more attention has been paid to these elements. In didactic narrative works, tone is the most important element and has the most prominent function due to the necessity of making charming didactic works in order to attract the maximum number of audience. As the most important Persian mystical-didactic narrative work, Masnavi’s use of narrative elements with a modern perspective is more cohesive and serious compared to Sanai and Attar’s narrative books. The only exceptional example in this regard is Sheikh San'an Tale in Mantagh o Al-Tayr that has a lot in common with Masnavi in the form of narrative, especially in characterization, language, tone, and space making and evidence shows that the former has been a model for Mowlavi in processing Masnavi’s long tales. The narrator and characters’ proper tone in Sheikh San’an tale, which is the result of other narration elements, is considered as a suitable tonal pattern for this tale. From among the most important reasons of stability and similarity of tone between this tale and Masnavi’s long tales the following can be enumerated: suitable and common meter, characters’ diversity, numerous and long conversations, narrator’s attention to burnishing the characters, large number of grey characters, absence of the narrator’s  entrenchment and interference in characterization, specific words and expressions, suitable tonal diversity and contrast, and the narrator’s direct consolidation of a decisive tone.

Military sciences and weaponry are discussed about in different Persian texts and recognizing and introducing these texts is necessary in order to utilize them in future works for extracting military lexicon and expressions. The Compendium of Knowledge, written in 16 chapters, is Emam Fakh-e-Razi’s most important Persian work in one chapter of which unknown weaponry and their construction method and application is discussed about. This study asks: what military lexicon and expressions are used in Settiny and to what degree it is important to address them? Military lexicon, expressions, and syntax used in this book are introduced, the foregoing military aspects are discussed about, and the mentioned military weaponry, strategies and solutions are studied and analyzed. The method of this study is a qualitative case study on Settiny complemented by a comparative study of other encyclopedias. The importance of this subject is that it shows encyclopedias as neglected sources of military lexicon and expressions, such that unknown military terms, like hedgehog, are used in Settiny which have not been recorded in any other general or specialized encyclopedias. Moreover, the range and type of these weaponries application are clarified in this encyclopedia. The pattern of constructing this term can be of assistance for wordage purposes in different areas such as military subjects.

The sixth and seventh centuries are important periods of perfection and development in Persian prose and the prosperity era of Sufi prose. This analysis, having in mind the importance of the Sufi prose of Tazkirat al-Awliya, attempts to investigate the cohesive devices used in this work based on the contemporary Functional linguists’ theory, i.e. Micheal Holiday and Ruqaiya Hasan. The purpose of this study is to show the possibility of applying this theory for determining text cohesion and cohesion coordination in Tazkirat al-Awliya and shows the manner of achieving these in this work. This study uses a descriptive-analytic method. The results indicate that the text of Tazkirat al-Awliya does not have a solid narrative texture, but from among the cohesion types, semantic cohesion and then syntactic and phonetic cohesion are more used. Due to quoting mystics miracle and supernaturals, logical cohesion is used less. Certainly, the situation context in logical meanings is founded on elders and disciples’ surrealism mentality, intertextual relations between this text, Quran, and mystics’ works, and in interpersonal relationships based on an obedience and submission pattern. All the seven functional roles of language are used in this study.

Many commentaries have been written on  Divan-e- Hafez which can be discussed about from different perspectives. If we can investigate these commentaries from the perspective of reception and expectation horizon (a branch of hermeneutics theory), concurrently authored with the speared of this theory, we can obviously find out a lack of support for this theory and its different equivalents. The question is that what was the expectation horizon of these commentators or commentaries? It can be said that due to the lack of a cohesive and current theory, no expectation horizon, as it should be, can be seen in this commentaries. Only in the three main commentaries, i.e. Hafeznameh, The Lost at the Seashore, and the Connection of the Sun, the mentioned horizon can be somehow approached and accessed. Expectation horizon is the perception and interpretation obtained by the commentator/reader while reading and commenting on a work which is transmitted to the audience and serves as the means for interpreting, investigating, and analyzing the work.   The statistical population and selected sample for this study is the description of the first sonnet of Divan-e-Hafez in seventeen commentaries some of which have rewritten Hafes’z poem into prose. The most prominent cases which can be interpreted as expectation horizon in commentaries of Divan-e-Hafez are: a socio-political, mystical, and blaming warrior and struggling with duplicity and false asceticism. It is worth mentioning that the method of translating and describing in some commentaries is identical or close to each other. This study’s method is a comparative, analytic and inferential one the used data collection procedures in which include evidential and documentary sources, note taking, and library methods.

One of the most important issues preoccupying Masnavi researchers and critics’ minds is using facetious allegories, specifically in some of which indecency has been addressed in the most unscrupulous way. Some Masnavi researchers have not borne this and have found it to be incompatible with its spiritual context and some have justified it recoursing different reasons. After a brief explanation of parody, this study attempts to address such issues as the position of parody in the poetic tradition and Mowlavi’s era, sudden or intentional selection of these parodies, and then its psychological investigation and analysis. Being contently  analyzed, this study findings indicate that in addition to regarding for the listeners and their didactic aspect, the existence of these narratives as presented in Masnavi  not only does not trigger the audience, but it also represents its indecency more and from a psychological point of view leads to lesser inclination toward dirt and indecency. Finally, the reason of ordering these allegories, which is mostly reflected from the forth volume onwards, has been dealt with.