پژوهشنامه متون ادبی دوره عراقی
سال پنجم شماره 3 (پاییز 1403)

Responsibility in the sense of acknowledging one's role in experiences plays an important role in the way humans deal with themselves and society. Responsibility is an issue related to all areas of life, and from the point of view of research, it is an interdisciplinary issue that is also investigated in various areas, including religious, mystical, literary and social sciences, despite the fact that it is related to the field of psychology. In this article, the issue of responsibility has been investigated from two psychological and literary-mystical perspectives. From the psychological viewpoint, responsibility has been investigated using Alfred Adler's school of thought and from the literary-mystical point of view, Rumi's school of thought has been taken into consideration. Maulana and Adler consider humans to be responsible in dealing with problems and both of them are against thinking that humans are victims. Both Rumi and Adler ideology seek for the root of problems within the human being and see the external problems as a reflection of the human being. As they believe, in order to solve the external problems, the internal issues should be resolved, first. Adler does not consider the feeling of unhappiness to be dependent on external factors and social conditions, but considers it an internal factor, and Rumi believes that all external factors act according to God's will and divine providence, in accordance with a person's internal merits, and the person himself is responsible for their performance.

Khaqani’s poem comprises a significant quantity of detailed descriptions, beautiful images, and highly complex points to understand due to the combination of his poetry with the old sciences such as medicine, astronomy, references to Quran and Hadith, rhetorical techniques, etc. In spite of the existence of valuable studies in explaining the much more complicated aspects of his poems, some parts of his poems are in need to accurate explanation. The reasons behind this phenomenon are the use of new metaphors and strange metonymies. Special attention has been paid to music by Khaqani as one of the ancient sciences and, therefore, there is an immense number of musical terms and interpretations. A more detailed investigation of the music system and its expressions in his poems can put an end to the ambiguities in some distiches. Since the music used in the past was only live music and the audiences were observing the musicians and their instruments, the attention to the musical features of the instruments was singinifcantly higher in comparison with today. Furthermore, the poets were able to create many themes referring to the instruments. "Mezmar" and "Ney" are among the instruments that have been addressed by Khaqani and the commentators have taken these instruments as one, due to the lack of enough familiarity with music. "Mezmar" has another meaning which reveals itself after a closer examination. The present study tries to reinvestigate "Mezmar" and "ney" via using intratextual and extratextual factors in his work and discusses two points and, finally, suggests a more precise meaning to the related verses.

Repetition is one of the predominant features of speech that can be examined at different semantic, syntactic, lexical, and phonetic levels. The major aim of the current research is to examine the notion of repetition at the lexical level as an artistic element. Throughout the old rhetorical books, repetition was more noticed in pragmatics and less in the field of rhetorics. In more recent researches, however, repetition is stated as a special artistic element, apart from techniques such as alliteration and paronomasia, which have been less discussed. Regardless of the dominance of this feature as a stylistic feature in the works of some poets, Saadi is one of the orators whose Repetition – especially in terms of vocabulary - is a prominent element in his sonnets and plays an important role in his speech and rhetorics. However, this aspect of Saadi's speech has not been addressed. The current research seeks to deal with the artistic codes of repetition as a literary art in Saadi's Ghazal. To that end, the quality of the Repetition in Saadi's sonnets with respect to vocabulary items was categorized into twelve methods, and an attempt was made to analyze a nu mber of Saadi's rhetorical tehniques of speech in the form of his artistic repetitions. This classification indicates that Saadi has made rhetorical repetitions in 72% of the cases and simple repetitions in 28% of the cases by using the 12 tricks presented in this research. Also, most of his repetitions are nouns, and among them, "heart", "head" and "friend" are the most frequent ones.

Zahed, Rend and Mohtaseb are among the most important characters that have been highly addressed in Hafez's poetry, and each of these characters represent specific symptoms of unconsciousness from the psychoanalytic point of view. In this research, these three characters in Hafez's sonnets have been analyzed and explained using the qualitative analysis method and based on Lacan's psychoanalyst opinions. The results of the research have indicated that the “Zahed” castrates the signifier of his true desire in the unconscious area and fulfills the signifier of the Other’s desire. Furthermore, he seeks to achieve the phallus and thinks that he is able to achieve it despite the fact that it always fails.  “Rend,” like the hysterical subject, intends to enjoy objectless drives instead of achieving the phallus. He seizes jouissance for his own benefit and deprives the Other of achieving that through signs such as drinking alcohol, not paying attention to expediency, and the desire to indulge. “Mohtaseb” is a sadistic pervert subject who protects the signifier of the Other’s desire and acts in the place of his gaze and does not violate the law in any way. It is necessary to pay attention to the fact that drinking alcohol in secret and at the same time depriving the abstainer and Debauchee of wine is actually fulfilling The Other’s jouissance.

Throughout the first chapter of Marzbaname, a tense discourse takes place between Malekzadeh and Dastoor with the aim of discovering the truth and the support of a different kind of power. Each of them seeks to remove the other from the field by pressuring him and by influencing Malek, to establish his own position. Dastoor enters the discourse from a position of political power with clear and sophistic expressions and in a rhetoric and power-oriented mood so as to defend the present status. Malekzadeh, relying on the support of a specific social class, uses ironic language and allegory to raise the existing problems and bottlenecks that have caused the crisis in society and tries to give Malek the motivation to change them. Consequently, two discourses are formed on the addressed topic and each of them is a reflection of truth and power. This chapter has been described and analyzed in a documentary and library manner and using the approach of Michel Foucault, has established a strong and coherent link between discourse, truth, and power in various works. The style of speech, the type of argument, and the discursive position of each party are in a way that they impress the audience, arouse their emotions, and attract their attention to their position. Malekzadeh's strategy in his style of speech and discursive position causes the audience to lean towards him and see him as on the side of truth and, as a result, the owner of real power.

Shams Sojasi wrote Faraed Al-Soluk in the description of moral values with technical prose in the late 6th and early 7th century. Faraed Al-Soluk offers a distinctive methodology of interpreting moral concepts among different moral writing texts. Intentional description of this text such as a purposeful narration of morality to influence the awareness of the audience turns its discourse analysis into a necessity. Laclau and Mouffe theory is a good way to analyze this book due to its emphasis on the social and political context of the work and its meta-sentence components and as well as the belief in the text as a construction of hidden reality. The result of the research shows that Faraed-o- al-Soluk in sense gives legitimacy to a government that has made moral values as the basis of its laws and rituals, but in another sense, it delegitimizes the slave-born rule due to lack of moral virtues. The Nodal point of Shah- Ulil-Amr as the node religious discourse and Sufi & Fati styles revealed the hidden point of neo-Muslim hypocrisy by being born as a slave and not having Iranian origin of the shah, and it warns to king's his inadequacy despite of his religious and social responsibility. The author uses the power of Sufism to confront the oppressors and penetrates among the people with the discourse of Fotovvat. The purpose of combining religion, Sufism, and Fotovvat has been to subjectification people around and including the king for to build a peaceful world and healthy society by reminding them of their responsibilities.

This research is the result of the author's notes while studying the texts of the Persian system and examining the Abiyati several in different versions. When studying, the illustrator came to Abiyati, whose vocabulary can be read in a different way and received a different meaning from them. Because reading some vocabulary by relying on local dialectic cultures ،It offers a new meaning of the word so that the text texture with the new reading gives a different meaning, but correct meaning from the usual meaning. In this study, a few words of ancient texts based on the local dialectic cultures of Khorasan were read in such a way that they are used in those cultures today and had fruitful results. The results of the study show that other reading of the old vocabulary in Persian texts based on local dialects offers a new but correct meaning of the word.