فصلنامه پژوهش زبان و ادبیات فارسی
سال بیستم شماره 2 (پیاپی 65، تابستان 1401)

Saqi-nameh and khamriya-saraei are one of the most pleasant lyrical types of poetry. Many poets and mystics have written their poems based on themes and concepts of Khamr poetry. The comparative study of the themes of the poems of Abu Nuwas (133 AH-196) and Hakim Partovi (870 AH-941) is the main issue of this article. This research, with descriptive-analytical method and relying on library texts, seeks to answer the question that what are the differences and similarities of the poetic themes in Abu Nuwas'sKhmeryat and Hakim Partovi'sSaqi-Nameh? The results of the research show that both of these works are similar in terms of descriptions, similes, use of musical instruments and tunes, as well as tavern vocabulary, and the difference that can be seen in these two is that wine, tavern instruments ,Saqi and PirMikdeh in Abu Nuwas'sKhamriat had an outward aspect, but in Saqi Nama Partovi, it is beyond the outward meaning and expresses a kind of philosophical and mystical thought. The concept of wine and wine drinking in Abu Nuwas's wine has the aspect of pleasure-seeking, and in Partovi'sSaqi-nameh, it has the aspect of mystical drunkenness and reaching closeness to God. He somehow tries to reflect high mystical thoughts in his poems by using seemingly infamous Khmer words.

Discourse analysis is an interdisciplinary approach in the fields of linguistics, semantics, literature, cultural relations, and international fields which analyzes and evaluates how meaning and message are crystallized and formed in relation to intra-lingual and extra-lingual factors. Discourses are a kind of language of power relations due to the use of language and linguistic power. Since coherent and common meanings and themes (Semantics-based) that are crystallized in language are also prominent manifestations of cultural power; the authors of this article sought to explain it on the basis of semantics and discourse analysis in the development of cultural relations. The most important findings of this study indicate that in the approaches of semantic discourse analysis based on common celebrities in the field of common (non-linguistic) civilization, themes, mental and especially mystical schemes between common Iranian and Turkmen celebrities are evident. It also has mystical and moral schemas for Iran and Uzbekistan, which can be of interest for the public. The themes and mental schemas of the Shahnameh and the themes of some of the love poems or even the themes of Omar Khayyam's poems, which have been most welcomed by Georgian scholars, can be considered in writing Persian language textbooks in Georgia to provide deep cultural ties with friendly countries in the field of common civilization.

Human inner can have three states; psychological, mystical and satanic states. Cognition of these states, especially mystical and satanic states has been one of the important topics of mystical epistemology, and the mystics themselves have been awared in this matter. Teresaof Avila (1515-1582 AD) and JalālaldīnRūmī (604-672 AH) have more or less dealt with this matter in their works. Extracting and comparing the opinions of these two mystics can help more in recognition of the true and false mystical states.The study of this issue showed that both mystics consider the God as the main source of the true mystical state and the devil and the illusion of man as the source of false stateandemerge the consolations to human beings can be given withthemysticalstates; which are also divided into two categories: mystical and satanic. Apparently Teresa and Rumi both believe that genuine status can be realize to the future, but the false states remain in the realm of mental or expressive matters. Teresa's speeches are more precise and slight than Rumi in this feild.Both mystics suggest personal testing in some cases to distinguish true states from false states; That is, until the person himself hasn’t spent through such states, he can not recognize other cases.In this feild, Rumi mentions the authenticity recognition of a mystical state through another mystical state, which is similar to Teresa’s idea. According to both mystics, real statefrees the human from the captivity of the world, whereas the false statecaptureshuman into the world and carnal desires. Enjoying the criterions of the lack clarity of inductions, false, (locution) and their similarity to the dream, the availability of false state and far from the availability of mystical states and the possibility of verifying them in prayer and supplication can help in recognizing these states. Unexpected, the non-attribution of pure states to oneself and turning one's attention to God, reinforcing morality and religiosity are the indicators of mystical states.

Gestures, instead of words, convey part of the message to the audience. In Iran, "Kermanis" widely use hand language absence of semiotic knowledge of hand language disrupts the visual and theatrical communication function The present analytical-descriptive research has been compiled with the aim of explaining this type of signs in Kerman culture and answers to this question that what is the relation between conversational language and gestures of hand. And how they can play an effective role in art.This research, relying on the concept of inter-sign translation, clarifies that the repetition of signs in Kerman has become a concept in both positive-everyday and negative ways and it can be used through narratives in visual and performing arts for better communication with the audience.

House of Edriss is the story of the wandering women in the circle of human disasters. Women in the two structural power disciplines and in the two seemingly old and new worlds cannot have any role other than a victim. In this novel, women such as Roxana and Rahilla are considered to be desirable merely because of their beautiful appearance and other women have become obsessed with their traditional life style. In the new communist discipline, these women change their identities to ideologically imprisoned workers. In the novel, one revolution can transform each society; the house of the traditional aristocrats is seized. But women do not get free. Even women like Shaukat, who are at high levels of power, have to deny their femininity, and this is the culmination of women's hostile sexism and self-objecting. On the other hand, Margaret Atwood’s Handmaid's Tale is the story of handmaids who live in a fantasy country called Gilead, where women do not have the right to read. Women's worth is only about their fertility. The novel, based on the characteristics of defining the identity of individuals through social foundations, which leads to self-centeredness, is an analytical work based on the loss of women's identity in the capitalist system. The analysis of the two aforementioned stories is not based on the female object-oriented approach that the women in the traditional life have neither rights nor human identities, nor have the political trends of the left and the right of the modern world.

NimaYoushij’s emphasis on employing expansive and multifarious symbols in his poems, especially unique symbols and idiosyncratic ones from his mother tongue grants a special succulence and freshness to the third period of his poetic life which starts with “Khab-e Zemestani” (literally Hibernation) from 1951 on. These types of poems, due to suffocating political conditions, mostly possess social and political messages that Nima has composed them symbolically. To me, it is possible to attain those messages or at least to touch the conceptions at the time of composing these poems through employing Friedrich Schleiermacher’s hermeneutical method. On the other hand, Nima as a symbolist poet insists on composing poems in a misty ambience through giving multifarious meanings to his poems and believes that ambiguity is one of the specifications of any poem; for this very reason, one of an interpreter’s duties is to discern the different meanings of Nima’s symbolic poems. According to different meanings for the word “Kakki” from various glossaries and the viewpoints of natives of Mazandaran, interviewed, as well as some words of this poem like “parivar” (literally fairy like), feminine nature to the poem is induced. In this article, a different interpretation for “Kakki” rather than its first common interpretation is presented.