Sufism and Mysticism
Khalil Baygzade; ehsan zanditalab; Ebrahim RahimiZangene
Abstract
An Epistemological Analysis of Spiritual Awakening in Persian Mystical Literature and Satori in Zen Buddhism Narratives (Case Study: Rumi's Masnaviye-Maʾnavi and Stories of The Gateless Barrier and One Hundred and One Zen Stories) Awakening means the annihilation of ignorance, and it is one ...
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An Epistemological Analysis of Spiritual Awakening in Persian Mystical Literature and Satori in Zen Buddhism Narratives (Case Study: Rumi's Masnaviye-Maʾnavi and Stories of The Gateless Barrier and One Hundred and One Zen Stories) Awakening means the annihilation of ignorance, and it is one of the most important concepts in Islamic mysticism, which Rumi has discussed and analyzed many times in the stories of Masnaviye Maʾnavi. The concept of Satori has the same meaning in Zen Buddhism texts, and understanding and experiencing it is central to meditation and spiritual journey. Hence, the goal of the present essay is to analyze awakening as reflected in Rumi's Masnaviye Maʾnavi as a prominent work of literature concerning Islamic-Iranian mysticism, alongside Satori narratives as presented in The Gateless Barrier and One Hundred and One Zen Stories, which are both famous texts in Zen mystical tradition. The demonstration of similarities and difference between these two philosophical traditions is done using a descriptive-analytical method. Upon analyzing the research data, it becomes evident that there is an overlap between features of awakening in Masnaviye Maʾnavi and Satori in Zen Buddhism; features such as being sudden, enlightening, and reproducibility, although the suddenness is reflected more in Satori narratives. Also, astonishment, which is a subfeature emerging from the audience's perspective, is reflected abundantly in Zen Buddhism texts, because of its irrationality and Incomprehensibility. Conversely, stories about wakefulness in Masnaviye Maʾnavi, which follow firm logical premises compared with Satori narratives, lack this feature.
Literary theories
Ehsan Khanisomar; Mosa Parnian; Khalil Baygzade
Abstract
One of issues in narratology is the issue of focalization. Gerard Genet chose centralization as a superior view from a perspective that is a transcendental concept of visual side. This perspective is a point of view through which a lot of information is implicitly seen, felt, understood and evaluated. ...
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One of issues in narratology is the issue of focalization. Gerard Genet chose centralization as a superior view from a perspective that is a transcendental concept of visual side. This perspective is a point of view through which a lot of information is implicitly seen, felt, understood and evaluated. This research with the descriptive-analytical method is used to introduce focalization, its types and aspects in the popular novel Qeydar to examine the narrative information and to organize the validity of this work. The results of this research show that in terms of perception, in the narration of this work, there are two types of focalizer, "external" and "internal" with a position of limited and unlimited focalizers are interacting. The time of this novel is linear. Continuation of events except in the two fifth and ninth chapters, they are retold and most events have a singular frequency. Psychologically, the feelings of the hero of this work can be equated with the feelings of the author. The ideology that governs the atmosphere of Qeydar's novel, which shows the ideology of the author of this work, seeks to introduce the ideal character of Iranian society; a gentle personality a hero, a believer, a fighter and committed to the homeland, of which Qeydar is the supreme example. Amirkhani using the diversity in focalization and addressing the disturbed climate has brought the narration of Qeydar's novel closer to the social reality and has increased its credibility with the audience.
Khalil Baygzadeh; Sanaz Khoshhesab
Volume 69, Issue 234 , January 0, , Pages 17-32
Abstract
Obeyd Zakani is the humor poet in the eighth century whose the humorous tales of poet are sarcasm in Resaleh Delgosha, in order to show the social, political conditions of time. Theory of "meaning image of humor" of Victor Raskin is the main movement on the contrary with the traditional classification ...
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Obeyd Zakani is the humor poet in the eighth century whose the humorous tales of poet are sarcasm in Resaleh Delgosha, in order to show the social, political conditions of time. Theory of "meaning image of humor" of Victor Raskin is the main movement on the contrary with the traditional classification theory. This theory is the threshold of linguistic and semantics in the humorous reign that has influenced on the later models and theories such as that of Robert Lew's .For him, the linguistics humor is out of linguistics and there is some illusion forming the linguistics features in the phonetic, vocabulary and rhetorical region and Obeyd Zakani has used some humorous means either linguistic (expression humor) and non-linguistic (situation humor) in Resaleh Delgosha. Therefore, this study aims to introduce Robert Lew's Model to assign the humorous tales of Obeyd Zakani's Resaleh Delgosha due to theoretical form in 355 tales of Resaleh Delgosha concluding that theoretical form is able to analyze the humorous tales of Obeyd Zakani's Resaleh Delgosha.
