University of TabrizPersian Language and Literature2251-79797725020250211"Light" and "nafs" in the ancient thought and Sufism of Siyar Bastam"Light" and "nafs" in the ancient thought and Sufism of Siyar Bastam1181938310.22034/perlit.2024.60050.3620FAAfsharAzizi DowlatabadiPH.D Condition, Department of Persian Language and Literature, Dorood Branch, Islamic Azad University, Dorood, Iran.FahimeASADICorresponding Author, Assistant Professor, Department of Persian Language and Literature, Dorood Branch, Islamic Azad University, Dorood, IranAlirezaFatemiAssociate Professor, Department of Persian Language and Literature, Dorood Branch, Islamic Azad University, Dorood, Iran.Journal Article20240113Bayezid a paradoxical Sufi, with a new mystical experience, a mysterious language, a different moment and spiritual ascension. In his sayings, he has expressed elements such as light and soul to introduce the affairs of Latifah, to discover the secret of the sea of human existence, the happiness of the soul, and to solve his existential riddles. The hypothesis of the research is that the content of some elements of the sages of ancient Iran and the mysticism of Bayezid are related. The author has tried to explain and detail the related topics by benefiting from philosophical and theological approaches. The research questions are: What are the uses of light and soul in Iranian wisdom and Sufism of Bayezid? And what aspect of light and breath is connected with his mysticism? The result of the research shows that the existential value of light in Bayezid's view has an ancient root and there is a common cosmology in the contrast between the worlds of kingdom and kingdom, light and soul, creation and matter, unseen and martyrdom, between these two ways of thinking, which aims It is the excessive human effort to reach true happiness. The nafs is the central element of Bayezid's thinking, which can finally join the light, but also the way of truth. These elements, with a single ontology, mystical metamorphosis and Iranian content, in the tension of opposing forces and the superiority of Ahurai forces, have also been manifested in Bayezid's sayings.Bayezid a paradoxical Sufi, with a new mystical experience, a mysterious language, a different moment and spiritual ascension. In his sayings, he has expressed elements such as light and soul to introduce the affairs of Latifah, to discover the secret of the sea of human existence, the happiness of the soul, and to solve his existential riddles. The hypothesis of the research is that the content of some elements of the sages of ancient Iran and the mysticism of Bayezid are related. The author has tried to explain and detail the related topics by benefiting from philosophical and theological approaches. The research questions are: What are the uses of light and soul in Iranian wisdom and Sufism of Bayezid? And what aspect of light and breath is connected with his mysticism? The result of the research shows that the existential value of light in Bayezid's view has an ancient root and there is a common cosmology in the contrast between the worlds of kingdom and kingdom, light and soul, creation and matter, unseen and martyrdom, between these two ways of thinking, which aims It is the excessive human effort to reach true happiness. The nafs is the central element of Bayezid's thinking, which can finally join the light, but also the way of truth. These elements, with a single ontology, mystical metamorphosis and Iranian content, in the tension of opposing forces and the superiority of Ahurai forces, have also been manifested in Bayezid's sayings.https://perlit.tabrizu.ac.ir/article_19383_5a0d38cdffb121288435d9443e262dd6.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211The Nozarian Shah in the National Narratives (Tus in Myth, Epic and History)The Nozarian Shah in the National Narratives (Tus in Myth, Epic and History)19401938410.22034/perlit.2024.60526.3644FAAzamMohammadi ShakooriPH.D Condition, Department of Persian Language And Literature, Faculty of Literature and Humanities, Ferdowsi University of Mashhad, Mashhad, Iran.MohammadjafarYahaghiProfessor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Ferdowsi University of Mashhad, Mashhad, Iran.HamidTabasiAssistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Islamic Azad University Jiroft, Jiroft, IranJournal Article20240215The narratives of Tus, the hero and the prince of Nozar, have undergone many changes from the Avestan era to the period of compiling historical and national epic texts of Iran. Tus, who is introduced in the Avesta as a renowned hero and warrior, is a prince in Ferdowsi’s Shahnameh who is far from the kingship and is famous for his folly and frivolity. This duality of personality may stem from the differences that are seen in the narratives of the Nozar family. Ferdowsi’s description of the Nozarian narratives differs greatly from the texts before and after the Shahnameh. The various actions of the mythical-epic characters in the realm of changes resulting from the course of myth, the process of epic evolution and also the difference of narratives are worth examining. In this research, by examining the narratives related to Tus (from the Avesta to the historical texts), a clearer picture of him is presented and the changes in Tus’s work and behavior in the transition from myth to epic and the reasons for this transformation are discussed.<br /><br />Keywords: Tus, Nozarians, narratology, myth, epic, Shahnameh, historical texts.The narratives of Tus, the hero and the prince of Nozar, have undergone many changes from the Avestan era to the period of compiling historical and national epic texts of Iran. Tus, who is introduced in the Avesta as a renowned hero and warrior, is a prince in Ferdowsi’s Shahnameh who is far from the kingship and is famous for his folly and frivolity. This duality of personality may stem from the differences that are seen in the narratives of the Nozar family. Ferdowsi’s description of the Nozarian narratives differs greatly from the texts before and after the Shahnameh. The various actions of the mythical-epic characters in the realm of changes resulting from the course of myth, the process of epic evolution and also the difference of narratives are worth examining. In this research, by examining the narratives related to Tus (from the Avesta to the historical texts), a clearer picture of him is presented and the changes in Tus’s work and behavior in the transition from myth to epic and the reasons for this transformation are discussed.<br /><br />Keywords: Tus, Nozarians, narratology, myth, epic, Shahnameh, historical texts.https://perlit.tabrizu.ac.ir/article_19384_7660e6fc2df2ac2c75233b4b71620d96.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211New Insights into the Fifteenth Verse of the Shahnameh's Preface (az in parde bartar)New Insights into the Fifteenth Verse of the Shahnameh's Preface (az in parde bartar)41541926510.22034/perlit.2025.64609.3742FAMohammad HasanJalalian ChaleshtariAssociate Professor, Department of Ancient Culture and Languages, University of Tabriz. Tabriz. Iran0000-0002-0992-7158Journal Article20241120Despite numerous efforts to correct Ferdowsi's Shahnameh, many issues remain that require further research and revision, and in order to get closer to what was written by Ferdowsi, it is necessary that researchers in various related fields proceed with this work by referring to the recordings of the manuscripts and measuring and comparing the existing corrections. Sometimes the original form is altered or removed by the correctors, and sometimes the differences in different corrections confuse the non-expert as well as expert reader. In the first case, the accurate form should be restored with sufficient evidence and reasons. In the second case, efforts should be made to clarify the meaning of words, stanzas, or verses, so that the correctors in the revisions and subsequent editions can, considering such works, provide a more precise form of the text. This article focuses on the fifteenth verse of the preface of Shahnameh, and by taking advantage of the recordings of manuscripts and reflecting on the meaning of the word "hasti" and the comparative adjective "bar" in the texts of the early Islamic centuries and their background in Middle Persian texts, a new reading and meaning, but more appropriate to the content of the preface, has been presented. . Finally, it is suggested that the said verse be corrected as follows:<br /><br />Az in parde bartar saxon râh nist / ze hasti bar, andiše âgâh nistDespite numerous efforts to correct Ferdowsi's Shahnameh, many issues remain that require further research and revision, and in order to get closer to what was written by Ferdowsi, it is necessary that researchers in various related fields proceed with this work by referring to the recordings of the manuscripts and measuring and comparing the existing corrections. Sometimes the original form is altered or removed by the correctors, and sometimes the differences in different corrections confuse the non-expert as well as expert reader. In the first case, the accurate form should be restored with sufficient evidence and reasons. In the second case, efforts should be made to clarify the meaning of words, stanzas, or verses, so that the correctors in the revisions and subsequent editions can, considering such works, provide a more precise form of the text. This article focuses on the fifteenth verse of the preface of Shahnameh, and by taking advantage of the recordings of manuscripts and reflecting on the meaning of the word "hasti" and the comparative adjective "bar" in the texts of the early Islamic centuries and their background in Middle Persian texts, a new reading and meaning, but more appropriate to the content of the preface, has been presented. . Finally, it is suggested that the said verse be corrected as follows:<br /><br />Az in parde bartar saxon râh nist / ze hasti bar, andiše âgâh nisthttps://perlit.tabrizu.ac.ir/article_19265_2afc0f489c6f6374f4ccdef678a9c446.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211A mythological motif and its origin and rotation in Iranian textsA mythological motif and its origin and rotation in Iranian texts55701938510.22034/perlit.2024.62991.3703FAKhalilKahriziAssistant Professor, Department of Persian Language and Literature, Faculty of Language and Literature, University of Kurdistan, Sanandaj, Iran.Journal Article20240823One of the fundamental concepts in the mythology of the world is growth which can be seen in some of the most important Iranian myths. With the help of this concept, important stories of Iranian myths can be analyzed. In addition to the famous motif that are made from the concept of growth and can also be seen in Iranian myths, a motif has emerged in which demonic creatures can also reproduce. We have called this principle the Increase of evil. In this article, first, we have found the most famous examples of it in the myths of non-Iranian nations. Then we have also searched for it in Iranian myths. In Iranian epics, we have searched and analyzed this theme in the number of wonders that the warrior must seek help from spiritual forces and ritual methods to overcome them, in Garshasabnameh and some folk and oral epics. The Increase of evil with the spread of mystical literature in Iran is seen in connection with the concept of ego. This article is the result of an effort to introduce the principle of the increase of evil and its example in Iranian texts.One of the fundamental concepts in the mythology of the world is growth which can be seen in some of the most important Iranian myths. With the help of this concept, important stories of Iranian myths can be analyzed. In addition to the famous motif that are made from the concept of growth and can also be seen in Iranian myths, a motif has emerged in which demonic creatures can also reproduce. We have called this principle the Increase of evil. In this article, first, we have found the most famous examples of it in the myths of non-Iranian nations. Then we have also searched for it in Iranian myths. In Iranian epics, we have searched and analyzed this theme in the number of wonders that the warrior must seek help from spiritual forces and ritual methods to overcome them, in Garshasabnameh and some folk and oral epics. The Increase of evil with the spread of mystical literature in Iran is seen in connection with the concept of ego. This article is the result of an effort to introduce the principle of the increase of evil and its example in Iranian texts.https://perlit.tabrizu.ac.ir/article_19385_a050dcc2aa6a584854dc07337a17afcc.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211Review and analysis of Suhrawardi's Fi Haqiqah al-Ashq based on Roland Barthes' Five CodesReview and analysis of Suhrawardi's Fi Haqiqah al-Ashq based on Roland Barthes' Five Codes71881938610.22034/perlit.2024.61715.3667FAMirJalilAkramiCorresponding author, Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, Tabriz University, Tabriz, Iran.AhmadFarshbafian NiyazmandProfessor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, Tabriz University, Tabriz, Iran.SaberMasoumiPH.D Conditon, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, Tabriz University, Tabriz, Iran.Journal Article20240519Sohrevardi’s (1154-1191 CE) Resāla fi ḥaqīqat al-ʿishq while the mystical manifestations of love and its states in the two stories of the creation of Adam and Joseph, provides an opportunity for analysis and interpretation through Roland Barthes’s five-code system. The stories’ inherent symbolism and amenability to interpretation make this analytical framework a methodologically sound and creative approach. Barthes considers every text to be generative, dynamic,, believing that texts are distinguished from each other through fluid nature. Sohrevardi, while explaining the secrets of the creation of beauty, love, and sorrow in a Neoplatonic style, and drawing upon Magian thought and Quranic subtleties, addresses their place within an Illuminationist cosmology and epistemology. Mystics like Ghazali and Baqli Shirazi consider beauty, love, and sorrow as essential pillars of the spiritual journey, seeing love as the result of the manifestation of beauty and sorrow as a result of fear. This article employs a descriptive-analytical method to investigate the hidden voices within Sohrevardi’s Resāla fi ḥaqīqat al-ʿishq, revealing aspects of its codes to the reader. Given its vast use of symbols and allegories, the Resāla is of the type of writable (or open) texts where the reader is not passive. Rather, they use their creativity, and in each attempt to fix a meaning, they employ their own innovative method. Barthes’s suggestion for this type of reading is the creation of a method through which the text is fragmented and scattered, and the reader is present as a producer of the text.Sohrevardi’s (1154-1191 CE) Resāla fi ḥaqīqat al-ʿishq while the mystical manifestations of love and its states in the two stories of the creation of Adam and Joseph, provides an opportunity for analysis and interpretation through Roland Barthes’s five-code system. The stories’ inherent symbolism and amenability to interpretation make this analytical framework a methodologically sound and creative approach. Barthes considers every text to be generative, dynamic,, believing that texts are distinguished from each other through fluid nature. Sohrevardi, while explaining the secrets of the creation of beauty, love, and sorrow in a Neoplatonic style, and drawing upon Magian thought and Quranic subtleties, addresses their place within an Illuminationist cosmology and epistemology. Mystics like Ghazali and Baqli Shirazi consider beauty, love, and sorrow as essential pillars of the spiritual journey, seeing love as the result of the manifestation of beauty and sorrow as a result of fear. This article employs a descriptive-analytical method to investigate the hidden voices within Sohrevardi’s Resāla fi ḥaqīqat al-ʿishq, revealing aspects of its codes to the reader. Given its vast use of symbols and allegories, the Resāla is of the type of writable (or open) texts where the reader is not passive. Rather, they use their creativity, and in each attempt to fix a meaning, they employ their own innovative method. Barthes’s suggestion for this type of reading is the creation of a method through which the text is fragmented and scattered, and the reader is present as a producer of the text.https://perlit.tabrizu.ac.ir/article_19386_9173db384827bb2a1093d852eae6b5f2.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211About a verse by sage of Ganja
(An Exploration of the Concept of " The Lord of Lords " in the Nizami's Thought System)About a verse by sage of Ganja
(An Exploration of the Concept of " The Lord of Lords " in the Nizami's Thought System)891101938710.22034/perlit.2025.59494.3603FAHasanAkbaribairaghAssociate Professor, Department of Persian Language and Literature, Faculty of Humanities, Semnan University Semnan, Iran.MostafaTayebiPh.D Condition, Department of Persian Language and Literature, Faculty of Humanities, Semnan University Semnan,, Iran.Journal Article20231208The interpretation of "The Lord of Lords" at the beginning of a romance by Nizami Ganjavi (1141 – 1209): “Khosrow and Shirin”, under the title "About Monotheism" is neither verbal nor spiritually compatible with the principles of monotheism in Islamic theology. The central issue of this article is that by explaining and interpreting these verses, it can provide an epistemological and ontological model for an accurate understanding of the depth of the thoughts of this sage. This proposed model is: "Hermetic worldview". This article seeks to interpret the phrase "The Lord of Lords" in Nizami's theology based on the Hermetic epistemological system and to generalize it to the entire theological system of Nizami. For this purpose, first, by exploring the history and content of Hermetic texts, we have provided a general outline of its theological system, and then we have searched for the traces of those teachings in Iranian and then Islamic texts. In the next stage, we have studied the influence of those teachings through the Sabians of Harran, and Suhrawardi's works in the intellectual atmosphere of the contemporary Nizami period, and with intra-textual and extra-textual evidences, we have tried to show influence of Hermetic ideas on him, especially Hermetic dualistic theology, which believes in the existence of a supreme God and a creator God.The interpretation of "The Lord of Lords" at the beginning of a romance by Nizami Ganjavi (1141 – 1209): “Khosrow and Shirin”, under the title "About Monotheism" is neither verbal nor spiritually compatible with the principles of monotheism in Islamic theology. The central issue of this article is that by explaining and interpreting these verses, it can provide an epistemological and ontological model for an accurate understanding of the depth of the thoughts of this sage. This proposed model is: "Hermetic worldview". This article seeks to interpret the phrase "The Lord of Lords" in Nizami's theology based on the Hermetic epistemological system and to generalize it to the entire theological system of Nizami. For this purpose, first, by exploring the history and content of Hermetic texts, we have provided a general outline of its theological system, and then we have searched for the traces of those teachings in Iranian and then Islamic texts. In the next stage, we have studied the influence of those teachings through the Sabians of Harran, and Suhrawardi's works in the intellectual atmosphere of the contemporary Nizami period, and with intra-textual and extra-textual evidences, we have tried to show influence of Hermetic ideas on him, especially Hermetic dualistic theology, which believes in the existence of a supreme God and a creator God.https://perlit.tabrizu.ac.ir/article_19387_8b52ab63efa4d40be0b5db7a5b98ea11.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211The Typological Study of Atayi’s KhamseThe Typological Study of Atayi’s Khamse1111341938810.22034/perlit.2024.61775.3670FAAbbasVaezzadehAssistant Professor, Department of Persian language and literature, University of Birjand, Birjand, Iran.ElnazAyuob GhazaniMA in Persian language and literature, University of Birjand, Birjand, , Iran.Journal Article20240524Khamse-sarayi (Quintet Composing) is one of the long-standing traditions of Persian literature that began in the twelfth century until the twentieth century in Iran and the lands under the influence of Iranian culture. Hakim Nizami gained such fame by composing "Panj Ganj" that after him, many poets in Iran, subcontinent, Central Asia and Asia Minor wrote khamse in Persian and Turkish languages. One of the famous khamse composers of Asia Minor, who wrote a khamse in Ottoman Turkish language, is Nev'i-zade Atayi. The purpose of this article is the typological and comparative study of Atayi’s Khamse with Nizami’s Khamse. The obtained results indicate that Atayi adheres to formal conventions of Khamse, such as the number and naming of verses, their weight and seasonality, preservation of prominent topos such as Beit Basmeleh, Saqiname, opening verses, etc. but he left one of the main features of the Khamse literary genre, which is the fiction of its verses, and wrote only one fictional verse in imitation of Haft-Peikar. In composing his masnavis, Atayi was generally influenced by the social situation of his era, and the seven stories of the Haft-Khan poem also tell about the social situation of his era.Khamse-sarayi (Quintet Composing) is one of the long-standing traditions of Persian literature that began in the twelfth century until the twentieth century in Iran and the lands under the influence of Iranian culture. Hakim Nizami gained such fame by composing "Panj Ganj" that after him, many poets in Iran, subcontinent, Central Asia and Asia Minor wrote khamse in Persian and Turkish languages. One of the famous khamse composers of Asia Minor, who wrote a khamse in Ottoman Turkish language, is Nev'i-zade Atayi. The purpose of this article is the typological and comparative study of Atayi’s Khamse with Nizami’s Khamse. The obtained results indicate that Atayi adheres to formal conventions of Khamse, such as the number and naming of verses, their weight and seasonality, preservation of prominent topos such as Beit Basmeleh, Saqiname, opening verses, etc. but he left one of the main features of the Khamse literary genre, which is the fiction of its verses, and wrote only one fictional verse in imitation of Haft-Peikar. In composing his masnavis, Atayi was generally influenced by the social situation of his era, and the seven stories of the Haft-Khan poem also tell about the social situation of his era.https://perlit.tabrizu.ac.ir/article_19388_30bb5c743ee6a43a90c3eac367dcb6a3.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211Examining the roles and functions of the hiddentellers and the appointees in the story of Darab-nama of TarsusiExamining the roles and functions of the hiddentellers and the appointees in the story of Darab-nama of Tarsusi1521351938910.22034/perlit.2024.61841.3675FAAmarabbasAzizifarAssociate Professor, Department of Persian Language and Literature, Razi University, Kermanshah, IranFatemeAmiri KolahjoobiPH.D. Candidate, Department of Persian Language and Literature, Razi University, Kermanshah, Iran.Journal Article20240528The present research investigates the roles and functions of the hide tellers and appointees in the story of Darab-nama of Tarsusi with the descriptive-analytical method. These agents can be manifestations of the FARRAH whose role is to save the hero's life or give awareness. After investigation, we divided them in two categories: the first is in the form of natural elements such as animals, plants, celestial bodies, etc., which shows the ancient connection between man and nature, and the second is in the form of songs which reaches the hero's ears from the unseen world as if it is the voice of God. The first category is responsible for saving the hero's life and the second group is the role of informing and informing the hero about the events that have happened in the past or will happen in the future, as well as finding out about these events in the future. It is to travel the path and pass through the bottlenecks; Therefore, these factors play a role in the spiritual growth and excellence of the protagonist. On the other hand, maybe it is the coincidence of these two types of assignments that made the hero's love remain with him until the end of the story and not leave the hero; Because his physical and spiritual growth are twin, and this prevents the hero from being surprised and arrogant. The most hidden is the voice that comes from somewhere and saves the hero's life in most cases.The present research investigates the roles and functions of the hide tellers and appointees in the story of Darab-nama of Tarsusi with the descriptive-analytical method. These agents can be manifestations of the FARRAH whose role is to save the hero's life or give awareness. After investigation, we divided them in two categories: the first is in the form of natural elements such as animals, plants, celestial bodies, etc., which shows the ancient connection between man and nature, and the second is in the form of songs which reaches the hero's ears from the unseen world as if it is the voice of God. The first category is responsible for saving the hero's life and the second group is the role of informing and informing the hero about the events that have happened in the past or will happen in the future, as well as finding out about these events in the future. It is to travel the path and pass through the bottlenecks; Therefore, these factors play a role in the spiritual growth and excellence of the protagonist. On the other hand, maybe it is the coincidence of these two types of assignments that made the hero's love remain with him until the end of the story and not leave the hero; Because his physical and spiritual growth are twin, and this prevents the hero from being surprised and arrogant. The most hidden is the voice that comes from somewhere and saves the hero's life in most cases.https://perlit.tabrizu.ac.ir/article_19389_7807fe9bd7cf48a6f576820a81119cde.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211Editing a few phrases from Nafthatul- MasdurEditing a few phrases from Nafthatul- Masdur1531681926610.22034/perlit.2025.64419.3736FAYaserDalvandAssistant Professor, Department of Persian Language and Literature, Imam Khomeini International University, Qazvin, Iran.MajidAzizi HabilPH.D in Persian Language and Literature, Lorestan University, Khorramabad, Iran;Journal Article20241108<em>Nafthat al-Masdur</em> is one of the most significant works of Persian prose, first edited by Professor Dr. Amir Hassan Yazdgerdi with admirable effort, using four manuscript copies, all of which were transcribed at a later date. Nevertheless, some misreadings have found their way into the text, and insufficient attention has been paid to the precise recording of certain versions. This article aims to critique and analyze Yazdgerdi’s edition in four categories:1. Misreading of manuscripts or neglecting them;2. Editing based on a manuscript that Yazdgerdi had not seen;3.Editing based on variant readings;4. Suggestions for the transcription of certain phrases. For this purpose, this study utilizes two manuscript copies, Kar and Si, which were available to Professor Yazdgerdi, as well as a manuscript from the Majles Library, dating back to the 9th century. The latter contains 12 pages of <em>Nafthat al-Masdur</em>, making it the oldest among all existing copies, and it was not accessible to Yazdgerdi.<em>Nafthat al-Masdur</em> is one of the most significant works of Persian prose, first edited by Professor Dr. Amir Hassan Yazdgerdi with admirable effort, using four manuscript copies, all of which were transcribed at a later date. Nevertheless, some misreadings have found their way into the text, and insufficient attention has been paid to the precise recording of certain versions. This article aims to critique and analyze Yazdgerdi’s edition in four categories:1. Misreading of manuscripts or neglecting them;2. Editing based on a manuscript that Yazdgerdi had not seen;3.Editing based on variant readings;4. Suggestions for the transcription of certain phrases. For this purpose, this study utilizes two manuscript copies, Kar and Si, which were available to Professor Yazdgerdi, as well as a manuscript from the Majles Library, dating back to the 9th century. The latter contains 12 pages of <em>Nafthat al-Masdur</em>, making it the oldest among all existing copies, and it was not accessible to Yazdgerdi.https://perlit.tabrizu.ac.ir/article_19266_78e77c5121a390b835831fe54a94501a.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211the position of shah va darwish of hilali astarabadi, and its background and analysisthe position of shah va darwish of hilali astarabadi, and its background and analysis1691861939110.22034/perlit.2024.62493.3690FAAmiraliBarghiPh.D Student, Department of Persian Language and Literature, Faculty of Literature and Humanities, Tarbiat Modares University, Tehran, Iran.SaeidBozorgbigdeliProfessor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Tarbiat Modares University, Tehran, IranNaserNIKOUBAKHTProfessor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Tarbiat Modares University, Tehran, Iran.Journal Article20240713badr al-din hilali jaghatai is one of the most important and influential poets of the late 9 th and early 10 th centuries of hijri. he was one of the great poets of his time in ghazal and masnavi formats. shah va darwish is his most famous in his era and after. in Turkish literature, several masnavis have been written with this theme under its influence. there was a story of the king and the darwish in the works related to romantic mysticism in the days before hilali. we have presented examples of these stories in this article and examined their similarities and differences. in the following, we have compared shah va darwish of hilali with them and also mentioned his innovations. shah and daewish of hilali is important from three literary, mystical and moral aspects. among these, no attention has been paid to its moral aspect until now. in this verse, the poet expresses his advice to the rulers in a veiled manner. and he reminds them of the need to observe justice and reminds them of the benefits of observing justice. and this point has turned shah va darwish of hilali into a political document.badr al-din hilali jaghatai is one of the most important and influential poets of the late 9 th and early 10 th centuries of hijri. he was one of the great poets of his time in ghazal and masnavi formats. shah va darwish is his most famous in his era and after. in Turkish literature, several masnavis have been written with this theme under its influence. there was a story of the king and the darwish in the works related to romantic mysticism in the days before hilali. we have presented examples of these stories in this article and examined their similarities and differences. in the following, we have compared shah va darwish of hilali with them and also mentioned his innovations. shah and daewish of hilali is important from three literary, mystical and moral aspects. among these, no attention has been paid to its moral aspect until now. in this verse, the poet expresses his advice to the rulers in a veiled manner. and he reminds them of the need to observe justice and reminds them of the benefits of observing justice. and this point has turned shah va darwish of hilali into a political document.https://perlit.tabrizu.ac.ir/article_19391_0490fe4881c2875022b7e826bd1dce91.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211utopia genre in Persian novels: characteristics and backgrounds of genesisutopia genre in Persian novels: characteristics and backgrounds of genesis1872021939010.22034/perlit.2024.57672.3537FASolaimanHashembaigiPH.D. Candidate, Department of Persian Language and Literature, Faculty of Literature and Humanities, Ilam University, Ilam, IranAlirezaAsadiAssociate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Ilam University, Ilam, IranMohammad TaghiJahaniAssistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Ilam University, Ilam, IranJournal Article20230725utopia is a result of historical milestones, and Iranian utopia is the result of special events of the era of constitutionalism and awakening. Most Persian utopian works were written between 1303 and 1332, which can be called the age of utopian writing. By criticizing the current situation, these authors have created a plan of the ideal society in order to expand the readers' horizons and provide the background of education along with literary enjoyment. This research is in the field of genre literature, and genre research in Persian literature does not have a significant background, and no independent and coherent research has been done in the field of the genre of utopia and cognition, as well as how it came about. The problem of this research is how to know the genre of utopia and the context of its emergence in the Persian novel, and in order to answer this question, after defining the genre of utopia and stating the constructive characteristics of utopian works, to investigate the contexts of the emergence of this genre in three constructions: social-historical, literary and personal.has been addressed and we have come to the conclusion that the emergence of this literary type is the result of constitutional history and awakening, imaginary travelogues and times of translation, as well as the essential role of sanati Zadeh Kermani as the developer of the utopian genre. This research is based on the Tussini-analytical and comparative method, based on library research.utopia is a result of historical milestones, and Iranian utopia is the result of special events of the era of constitutionalism and awakening. Most Persian utopian works were written between 1303 and 1332, which can be called the age of utopian writing. By criticizing the current situation, these authors have created a plan of the ideal society in order to expand the readers' horizons and provide the background of education along with literary enjoyment. This research is in the field of genre literature, and genre research in Persian literature does not have a significant background, and no independent and coherent research has been done in the field of the genre of utopia and cognition, as well as how it came about. The problem of this research is how to know the genre of utopia and the context of its emergence in the Persian novel, and in order to answer this question, after defining the genre of utopia and stating the constructive characteristics of utopian works, to investigate the contexts of the emergence of this genre in three constructions: social-historical, literary and personal.has been addressed and we have come to the conclusion that the emergence of this literary type is the result of constitutional history and awakening, imaginary travelogues and times of translation, as well as the essential role of sanati Zadeh Kermani as the developer of the utopian genre. This research is based on the Tussini-analytical and comparative method, based on library research.https://perlit.tabrizu.ac.ir/article_19390_9e6ab96e84d130ddb3cde26494f50c68.pdfUniversity of TabrizPersian Language and Literature2251-79797725020250211Analyzing Adnan Ghorayfi's fictional works with environmental approach based concept of power in Foucault's thoughtAnalyzing Adnan Ghorayfi's fictional works with environmental approach based concept of power in Foucault's thought2032211939210.22034/perlit.2024.62160.3681FAFatemehHayatdavoodiPH.D. student of Persian language and literature, Shahid Chamran University of Ahvaz. Ahvaz. IranJournal Article20240618Nature plays an important role in shaping human actions, which has suffered disturbances in the present era. Such a category is prominent in Adnan Ghorayfi's fictional works. For this reason, we will answer the question with a descriptive-analytical method, what factors were involved in moving nature away from its place of object and of course those environmental and human crises in societies of Adnan Ghorayfi's fictional works? The results of research indicate that dominant discourses on Adnan Ghorayfi's fictional society are destructive discourses and have disrupted nature and removed it from its place as an object, objectifying nature according to utilitarian and developmentalist view that is manifested in colonial and authoritarian discourses. , provoked actions in people and made them face crises that we saw in the authoritarian discourse of power and accompanying political economy and in the wake of it pollution and destruction of nature and breakdown of human bonds in story collection "Palm Mother", in discourse of development and the application of disciplinary techniques of developed bourgeois societies for urban development and disturbance in nature and human life in the story collection "Four Apartments in Tehran Pars", in authoritarian discourse and construction of subjects and a prison-like society, and influence of power in all levels of biological and human life and prisoner nature due to unstable development in story collection "Cloaked in the Fog", in discourse of capitalism and shaping of people's actions and subsequent damage to nature in the story " Lovebird ".Nature plays an important role in shaping human actions, which has suffered disturbances in the present era. Such a category is prominent in Adnan Ghorayfi's fictional works. For this reason, we will answer the question with a descriptive-analytical method, what factors were involved in moving nature away from its place of object and of course those environmental and human crises in societies of Adnan Ghorayfi's fictional works? The results of research indicate that dominant discourses on Adnan Ghorayfi's fictional society are destructive discourses and have disrupted nature and removed it from its place as an object, objectifying nature according to utilitarian and developmentalist view that is manifested in colonial and authoritarian discourses. , provoked actions in people and made them face crises that we saw in the authoritarian discourse of power and accompanying political economy and in the wake of it pollution and destruction of nature and breakdown of human bonds in story collection "Palm Mother", in discourse of development and the application of disciplinary techniques of developed bourgeois societies for urban development and disturbance in nature and human life in the story collection "Four Apartments in Tehran Pars", in authoritarian discourse and construction of subjects and a prison-like society, and influence of power in all levels of biological and human life and prisoner nature due to unstable development in story collection "Cloaked in the Fog", in discourse of capitalism and shaping of people's actions and subsequent damage to nature in the story " Lovebird ".https://perlit.tabrizu.ac.ir/article_19392_efeee1f5d3204f0770503d0b5a2f99ef.pdf