مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023762025104The Nature of Language in Ahmad Ghazali’s Viewچیستی زبان در نظرگاه احمد غزالی125faمصطفیمیردار رضاییاستادیار گروه زبان و ادبیات فارسی، دانشگاه گیلان، رشت، ایران 0000000174637555فرزاد بالودانشیار گروه زبان و ادبیات فارسی دانشگاه مازندران، ایران0000-0002-6457-75332024616The Nature of Language in Ahmad Ghazali’s View   Mostafa Mirdar Rezaei<a href="#_ftn1" name="_ftnref1">*</a> Farzad Baloo<a href="#_ftn2" name="_ftnref2">**</a>   In the Sufi tradition, Ahmad Ghazali is a prominent mystic who profoundly influenced mystics, writers, and poets after him from various perspectives. One of the significant aspects of his personality is theorizing in different fields. Therefore, examining Ahmad Ghazali’s opinions and views from various aspects is necessary and important. One of the essential and investigable aspects in Ghazali’s works is the examination of his perspectives on the element of “language” and its nature. The present research, written in a descriptive-analytical manner with a phenomenological approach to Ahmad Ghazali’s works, examines his views on the nature of language. The results of this study show that in dealing with the category of language, he has a more ontological view than an instrumental and linguistic one. Apart from his general approach to language, which is linked to the element of the “heart,” by contemplating Ghazali’s works, his perception of the concept of language can be categorized into two areas: 1- Examining the nature of language in the general sense, and based on the theory of language games. 2- Examining language in its specific mystical sense in the form of speech, silence, and beyond-silence (meta-silence).   Keywords: Ahmad Ghazali, Language, Language Games, and Linguistic Possibilities.   Introduction Ghazali is a multi-dimensional mystic with expertise in various fields. One of the important aspects of his personality is theorizing in different fields. For this reason, Shafiei Kadkani considers him more inclined to “intervene” compared to his brother Muhammad because what he says is “the result of his own reflections and spiritual achievements” (Shafiei Kadkani, 2013: 521). Therefore, examining Ahmad Ghazali’s opinions and views from various aspects is necessary and important. One of the essential and investigable aspects in Ghazali’s works is the examination of his perspectives on the element of “language.” It is important to note that the category of language in this study refers to understanding the nature of language itself and the mystic’s perception of its essence (first-degree knowledge), rather than focusing on its instrumental aspect, which is considered second-degree knowledge. More precisely, it is about the nature of language itself, not the aspect of language that “determines how we think” (Culler, 2003: 80). To enter the spiritual world of mystics, we are compelled to recognize and think about the behavior and speech (words and phrases) of Sufis (Shafiei Kadkani, 2013: 26). Therefore, this research does not deal with the type of Ghazali’s prose and poetry and the language he uses to express his thoughts (the stage of proving and realizing language), but rather seeks to address Ghazali’s understanding of the concept of language (perception and establishment of language). The present research, written in a descriptive-analytical manner with a phenomenological approach to Ahmad Ghazali’s works, examines his views on the nature of language and seeks to answer these two questions: <ol style="text-align: left;"> <li>What is the nature of language from Ahmad Ghazali’s point of view?</li> <li>What is the nature of Ghazali’s encounter with the category of language, especially in the path of spiritual journey?</li> </ol>   Research Background A review of the research that has examined Ahmad Ghazali’s opinions and thoughts shows that most of these studies have focused on the subject of “love.” Ghazali’s prominence in this field, especially his views on mystical love, has been influential in this regard. Even a superficial review and consideration of the titles of the articles can confirm this. However, regarding the subject of the present study, i.e., examining the nature of language in Ghazali’s works, no independent study has been conducted so far, or if it has been done (such as the book “The Language of Poetry in Sufi Prose”), it relates to its instrumental aspect (second-degree knowledge), which was explained earlier.   Discussion Unlike Muhammad Ghazali, who “has a linguistic approach in presenting and explaining linguistic concepts and vocabulary” (Mirdar Rezaei and Baloo, 2022: 323), his brother Ahmad, in dealing with the category of language, has a more ontological view than an instrumental and linguistic one. Among the various views that he has put forward regarding language and its related vocabulary, a relatively systematic plan of his linguistic reflections can be formulated. In the first step, there is Ahmad Ghazali’s general approach to the concept of language and the relationship between signifier and signifieds, and in the specific approach, there is the special attention he pays to language in the realm of mystical experiences. Ghazali believes in a general approach to language. Every human being pours and expresses what they have of meaning and concept (signified) in their heart into a linguistic vessel and mold, which is their language: “Everyone can express the meaning that is in their heart with that phrase that is their language. If they are Arabic, how can they express it in Turkish? And if they are non-Arabic, how can they express it in Arabic?” (Ghazali, 1997: 240) In this definition, language is a tool for expressing the meanings present in the heart. To explain that in our mystical tradition, “the heart is not the pine-shaped organ that is located in the chest and its job is to supply blood to all parts of the body; rather, the heart is an organ of human existence that is the center and gathering place of human awareness and consciousness of all existence and its creation” (Fallah et al., 2009: 50). By contemplating Ghazali’s works, his perception of the concept of language can be divided into two areas: 1- What is language in its general sense: Analyzing different types of language in human society based on language games falls into this area. 2- Examining language in its specific sense: That is, explaining the possibilities of the manifestation of mystical language in the form of speech, silence, and beyond-silence. While Wittgenstein, in the picture theory of language, believes that every name is assigned to a specific thing, in the theory of language games, he considers meaning to be the same as usage, and understanding a word depends on knowing how to use it or the ability to use it. However, Ghazali does not limit himself to this general definition of the relationship between signifier and signifieds at the level of the specific languages of each region and territory, and points to a very important point under each specific language system. From his point of view, in the relations governing the mind and language of people in social life, each class and profession has its own world and language, and each language has its own function. Each of these language games is actually a manifestation of human life, and to understand each language game, we must participate in that form of life (Ghazali, 1997: 241). Ghazali tries to explain the specific language system of each land with various examples and then deals with the language games existing in each language. And then he points to one of the language games existing in that era, which, for example, in the world of mysticism, when an event happens to a disciple, the signifieds intended by the disciple in the mystical context will only be decoded by the master. Other examples of language games in Ghazali’s works that form the basis of his intellectual divisions: One of Ghazali’s language games is the separation of the realm of knowledge and the realm of science. In one, words grow without letters, and in the other, words, speech, and sound are its essence. Another language game is the distinction that Ghazali makes between the speech of lovers and the speech of poets. Another language game of Ghazali is “the indication of expression” and “the expression of indication.” Demand and passion are two mystical terms that Ghazali creates his other language game by giving the word “language” to them.   Conclusion What emerges from the examination of Ghazali’s views on the nature and essence of language indicates that the foundation of his linguistic reflections is philosophical and existential, not a linguistic one. As has been shown, the arrangement of Ghazali’s classifications in terms of theory is based on language games. In examining the nature of language in its general sense, he has considered the different classes and professions of human society to have a language distinct from other social layers and has defined signifier and signifieds based on that. The realm of knowledge/the realm of science, the speech of poets/the speech of lovers, the indication of expression/the expression of indication, the language of demand/the language of passion, etc., are among them. But given that Ghazali himself is a mystic, he ultimately focuses specifically on mystical language and the possibilities inherent in it. It is as if in each rank and realm, one of the linguistic possibilities can be realized. In one realm, speech becomes necessary, and in another realm, silence. Beyond silence and finding manifestation and intuition is the last station that Ghazali, as a mystic, walks in the hope of reaching union. The novelty of this research, in the first look, is presenting a systematic view of Ghazali’s linguistic views; a task that has not been done so far, and secondly, in particular, presenting Ghazali’s attention to different types of language - which allows it to be examined based on Wittgenstein’s linguistic theories - an issue that deserves more reflection and consideration.   References Abdolghassemi, M. (2002) “A Review of Ahmad Ghazali’s Thoughts and Ideas.” Journal of Human Sciences Research of Shahid Beheshti University, 33, pp. 233-252. (In Persian) Ahmadi, R. (2013) “A Study of the Mystical Thoughts of Hafez and Ghazali.” Journal of Tadbir, 44, pp. 104-117. (In Persian) Al-Abadi, Q. (1983) Sufi-Nameh (Al-Tasfiya fi Ahwal al-Mutasawwifa). Edited by Gholam-Hossein Yousefi. 5th ed. Tehran: Elmi va Sokhan. (In Persian) Alami, A. (2010) Pathology of Islamic Civilization Based on the Thoughts of Seyyed Hossein Nasr. 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Tehran: Amirkabir. (In Persian)       <a href="#_ftnref1" name="_ftn1">*</a> Corresponding Author: Assistant Professor, Department of Persian Language and Literature, University of Guilan, Rasht, Iran. mostafamirdar@guilan.ac.ir <a href="#_ftnref2" name="_ftn2">**</a> Associate Professor, Department of Persian Language and Literature, University of Mazandaran, Iran. f.baloo@umz.ac.irدر سنّت عرفانی ما، احمد غزالی، یکی از عرفای برجستهای است که از منظرهای مختلف بر عرفا، نویسندگان و شعرای پس از خود تأثیر بسزایی گذاشت. یکی از ابعاد مهم شخصیت او، نظریهپردازی در حوزههای مختلف است. از اینرو بررسی آرا و نظرهای احمد غزالی از جنبههای مختلف، ضروری و حائز اهمیت است. یکی از سویههای بایسته و قابل وارسی در آثار غزالی، بررسی نگرههای او درباره عنصر «زبان» و ماهیت آن است. پژوهش حاضر که به شیوة توصیفی- تحلیلی و با رویکردی پدیدارشناختی به آثار احمد غزالی نوشته شده است، به بررسی آرای او در حوزة چیستی زبان می&zwnj;پردازد. نتایج این جستار نشان میدهد که او در مواجهه با مقولة زبان، بیشتر دیدگاهی هستیشناسانه دارد تا نگاهی ابزاری و زبانشناسیک. غیر از رویکرد عام او به زبان که با عنصر «دل» پیوند دارد، با تأمل و درنگ در آثار غزالی میتوان تلقی او از مفهوم زبان را در دو حوزه دستهبندی کرد: 1- بررسی چیستی زبان در معنای عام و بر پایة نظریة بازیهای زبانی 2- بررسی زبان در معنای خاصِ عرفانیِ آن در قالب گفت، سکوت و فراسکوت.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023762025104Ahmad Ghazali and the Use Of Narrative Parables In Explaining Mystical Concepts (Case study: Persian works)احمد غزّالی و بهره‌گیری از تمثیل‌های روایی در تبیین مفاهیم عرفانی (مطالعه موردی: آثار فارسی)2756faداودواثقی خوندابیاستادیار گروه زبان و ادبیات فارسی، دانشگاه آیت¬الله بروجردی، ایران مهدیملک ثایتاستاد گروه زبان و ادبیات فارسی، دانشگاه یزد، ایران202423Ahmad Ghazali and the Use Of Narrative Parables In Explaining Mystical Concepts (Case study: Persian works)   Davoud Vaseghi Khondabi<a href="#_ftn1" name="_ftnref1">*</a> Mahdi Malek Sabet<a href="#_ftn2" name="_ftnref2">**</a>   Narrative allegory is one of the approaches used to explain moral, mystical concepts, etc. Ahmad Ghazali, one of the renowned Sufis, employed this method in his works to convey his views. With this arrangement, he has been able to accurately explain concepts related to love and its states, mystical behavior, and moral issues. This research, based on library studies and employing a descriptive-analytical method, explains the role of narrative parables in Ahmad Ghazzali's Persian works. It answers the question of what ideas and concepts are contained in these allegories. In his works, especially the "Savaneh al-Oshshaq" collection, which deals with topics related to love in a cryptic and allusive manner, he expresses some ambiguous points about the states and moods of this divine gift, and then he presents an allegorical narrative to the audience to understand these secrets. This artistic trick is also evident in Sheikh's didactic works, and in his original works, especially the collection of "Majaalis", which has an evident appearance. Investigating the Persian works of Abul Fattouh reveals that the Sheikh's narrative parables are mostly related to the topic of love and mystical manners and educational-ethical concepts related to it. The characters of these narratives are the elders and legends of the field of love as well as religion and mysticism, and in an allegorical narrative, he used the symbol of birds to express the return to the origin and God’s abode, which can be considered the most important allegorical narrative of Ghazali. Keywords: Ahmad Ghazzali, narrative parables, love, mystical behavior.   Introduction Allegory is considered in rhetoric as a branch of likening or metaphor. Ghiravani said: ˝Allegory belongs to metaphors that, for some, means a comparison, and that means representing one object with another object that contains a reference to that object˝ (Ghiravani, 2000, Vol 1:450). Also, Noiri said: ˝Allegory is of the metonymy part, if it comes in the form of a metaphor˝. (Noiri, 2002, Vol 7: 60). Kharazmi mentioned in ˝Naghd-e Sher˝ that: Metaphor means likening one object to another˝ (Kharazmi, 2007: 97). Also, Motavval writer, considers allegory to be a type of likening: ˝Allegory is likening in which, the likening reason is a description derived from two or more multiple things˝ (Taftazani, 1971: 553). Some contemporary researchers also consider allegory to be a type of likening: ˝The truth is, allegory is a branch of likening and for this reason, the term allegorical likening is frequently seen in rhetorical books˝. (Shafiee Kadkani, 2008: 78). In addition to its concepts in rhetoric, and considering it as a type of likening and metaphor, allegory is attributed to a type of narration or so-called ˝Allegory˝ by foreign languages. Allegory or narrative parable, is a narrative-based method which presents non-fiction content in a narrative form: ˝Narrative allegory or allegory in literary term, is an extended narrative that has at least two layers of meaning: first layer, is story appearance (peoples and events) second layer, is a secondary and deeper meaning that can be found beyond the face and called it ˝allegory soul˝. In allegory, a mental idea is expressed through sensory medias˝. (Fotoohi, 2010: 258).   The purpose and necessity of the research Ahmed Ghazali is one of the prominent persons in the world, whose worldview has had a tremendous influence on Sufi literature. Because Majd-o al Din was aware of the sciences of his time and was also active in the field of practical mysticism, he has been able to play a strong role in the history of Sufism. Also, Khajeh Ahmad's Persian works have great potential for research in terms of form and structure, since Ahmad Ghazzali was one of the innovators in the field of Sufism, and his prose is also debatable in terms of individuality in style, research on the narrative allegories in his works is necessary. One of the goals of this research is to examine narrative allegories and their concepts in Ahmad Ghazali's Persian works. With this arrangement, we can study the role of this rhetorical trick in his works and reveal the hidden meanings in them.   Methods and research questions This research, which is based on library studies and the descriptive-analytical method, examines narrative allegories in the Persian works of Ahmad Ghazali and answers these two questions through the classification: <ul style="text-align: left;"> <li>What is the role of narrative allegories in explaining Ahmad Ghazzali's views?</li> <li>What concepts and ideas are expressed by the narrative allegories in Ghazali's Persian works?</li> </ul>     Discussion and review Khajeh Ahmad Ghazzali, the elder brother of the outstanding thinker Mohammad Ghazzali, is among of famous and trend-setting Sufis of the fifth and sixth centuries AH, whose theology has been greatly influenced by his. He was orphaned in childhood and was placed under the care of his father's friend, Abu Ali Ahmad Razakani. Abul Fotooh has Shaafei religion, and in his path, benefited from the presence of great men such as Abu Bakr Nassaj and Abu Ali Farmazi, and had extraordinary skills in preaching and exhortation. “Emam Ahmad had a warm and captivating language in his sermons and speeches and expressed his views with utmost courage and fearlessness, even in the presence of the Caliph, sultans, and ministers of the time” (Homaii, 1963: 298). He has left behind numerous books in the field of mysticism and Sufism, of which Savaneh- Al Oshshagh was the most important. The other book of Ghazzali was “Al Tajrid fi Kalameh Al-Touhid,” a collection in it the author interprets and analyzes the topic of monotheism (Ghazzali, 2005:3). It can be mentioned from Khajeh Ahmad's books to the collection of “Majaales”, “Resaleh al-Einied”, “Resaleh Al-Toyour”, “Mokatebat-e Khajeh Ahmad Ghazzali Ba Ein Al-Ghozzat Hamedani”, and “Vasaya”. In the works of mystics, grandees like Sanaii, Attar, Molana, … narrative allegory has been widely used. Also, in Ahmad Ghazzali's incontrovertible works, narrative allegories have been used to explain various concepts, especially his Majaales book, which stands out in this field. It should be noticed that the characters of the narratives presented in Ghazzali's Persian works are mostly human; in other words, they are parables, and in one case, which is of course the greatest and most important of Ghazali's allegories, fables are used, and that is the story of the birds and the tale of Simorgh.   Conclusion Narrative parables are among the techniques used in mystical-didactic texts to explain thought and understand it to the audience. Ahmad Ghazzali used this technique in his persian works and with this measure, not only strengthened the aesthetic dimension of his works, but also presents deep meaning and precise allusions to the audience in an understandable way; It should be noticed that the language of Ghazzali is coded and sign language, special in “Savaneh Al-Oshshagh” collection and using narrative allegory can greatly clarify the circumstances and moments of love for those familiar with this field. Savaneh collection can have different meanings, because it is an open text, and this issue has caused its commentators to have different interpretations and explanations of the allegorical narrations contained in it. This article consists of two parts: the first part is about love, whose allegorical narrations are taken from the collection of Savaneh Al-Oshshaq, and the second part is related to the mystical path that encompasses other Persian works of Ahmad Ghazzali. In the first part, allegorical narrations are analyzed and compared on the themes of the relationship between love and the spirit, love and the instrument of union, love and the intoxication and awakening, love and the sovereignty and glory of God, love and the charisma of beauty and the charisma of a beloved, lover, and likening and metaphor. Character of these allegorical narrations is sometimes mythology is the arena of love, like Mahmood and Ayyaz and Leyli and Majnoon, and sometimes Ghazzali used general titles like “Aashegh and Maashoogh” or “Mardi” or “Malek and Golkhan Taab”. Also, in one case, he used the “Ostad and Shaagerd” character that is related to his Sufism ideology. He also used metaphors, about mystical behavior, the most important of which is the story of birds, which is of the fable type. He used the religious grandees, especially Prophet Mohammad and Hazrat-e Fatima, and mystics like Mojahed, Joneid Baghdadi, Abubakr Katani, in the allegories that were used in the section of ethics and mysticism. Sometimes he also narrated stories from scholars and worshippers and spoke about Khalifas like Omar Bin Abdel Aziz. Ghazali's allegorical narrations regarding mystical conduct are different from the allegories in the book of Savaneh and have less semantic depth. Of course, there are deep and sublime concepts in the allegory of the birds, and various meanings can be derived from it, in accordance with the intellectual horizon of the interpreter.   References Quran-e Karim Nahj al-Balagheh (1993) attempted by Sobhi Saleh, Qhom, Hejrat. Aga Jamal Khansari, Mohammad Bin Hossein (1987) Sharh-e Agha Jamal Khansari Ber Ghorar Al-Hekam va Dorar Al-Kelam, attempted by Jalal Al-Din Hosseini Armovi Mohaddes, 4th Ed. Tehran, Tehran University. Aahii, Mohammad (2006) Seir-e Erfan-e Nazari Dar Asar-e Sanaii, Ahmad Ghazali va Ein Al-Ghozzat Hamedani, PhD thesis in Persian language and literature, under the guidance of Mohammad Hossein Bayat. Allameh Tabatabaii University, Tehran. Ibn Al-Asir Al-Jezari, Zia Al-Din Nar-o Allah (1999) Al-Masal Al-Saaer Fi Adab Al-Kaateb va Al-Shaaer, attempted by Mohammad Mohii Al-Din Abd Al-Hamid, Beyrut, Al-Asrieh Press. Ibn Babuyeh, Mohammad Bin Ali (1982) Maani Al-Akhbar, edited by Ali Akbar Ghaffari, Qhom, Entesharat-e Eslami-ye Jaamey-eh Modarresin-e Houzeh Elmiyeh Qhom. Abu Al-Ghasemi, Maryam (2002) Seiri dar Afkar va Andishaha-ye Ahmad Ghazali. Majale-ye Pajooheshname-ye Oloom-e Ensani Shahid Beheshti University, Vol 33, pp 252-233. Akbari, Zeinab (2021) Barresi-ye Karkard-e Ghoftemani Tamsil dar Bayan-e Soufiye (study case: Tamsil Pardazi Mafhoom Ta-at va Ebadat). Majale-ye Jastarha-ye Novin Adabi, Vol 212, pp. 1-20. Pour Javadi, Nasr-o Allah (1979) Soltan-e Tarighat: Savaneh Zendegi va Shar-e Asar-e Khaj-e Ahmad Ghazzali, Tehran, Agah. Taftazani, Masoud Bin Omar (1971) Al-Motavval, attempted by Abd Al-Hamid Handavi, Beyrut, Daar Al-Kotob Al-Eslamiyeh. Javaheri, Sepideh (2009) Naghd-e Saakhtaargerayaneh Savaneh Al-Oshshagh Ahmad Ghazzali, PhD thesis in Persian language and literature, under the guidance of Nasrin Faghih Malek Marzban, Al-Zahra University. Hasan Zadeh Mir Ali, Abd-o Allah, and Leila Shadmani (2013) Barresiye Onsore Moosighi Dar Asaar-e Mansoor Gharn-e Panjom va Sheshom (Ba Taakid Bar Asar-e Farsi-ye Ahmad Ghazzali). Majale-ye Fonoon-e Adani, Vol 1, pp.69-80. Kharazmi, Mohammad Bin Ahmad (2007) Mafaatih Al-Oloom, attempted by Abd Al-Amir Aasam, Beyrut, Daar Al-Manahel. Roodgar, Mohammad (2021) Erfaan-e Jamali Dar Andishehay-e Ahmad Ghazali, 2nd Ed. Tehran, Adyan. Sohrevardi (Sheikh Eshragh), Shahab Al-Din (1997). Rasaael Sheikh Eshragh, corrected and introduced by Hunry Cerben & assisted by Seyyed Hossein Nasr & Nagaf Gholi Habibi, 2nd Ed. Tehran, Motaaleat Va Tahghighaat-e Farhangi Institute. Shaah Daaii Shirazi, Seyyed Nezaam Al-Din (1998) Nasaaem Golshan, attempted by Parviz Abbasi Daakani, Tehran Elham. Abdi, Hosnieh (2020) Tamsiil Haye Nour Dar Motoon-e Erfani, Magale-ye Erfan-e Eslami, Vol 64, pp. 296-279. Attar Neyshabouri, Farid Al-Din Mohammad (2015) Asraar Nameh, Attempted by Mohammad Reza Shafiee KadKani, 7th Ed. Tehran, Sokhan. Ghazzali, Ahmad (1976) Dastan-e Morghan, attempted by Nasr-o Allah Pour Javadi, Tehran, Anjoman-e Falsafe Iran. --------------------- (1980) SavaNeh Al-Oshshagh, attempted by Nasr-o Allah Pour Javadi, Tehran, Bonyaad-e Farhang-e Iran. --------------------- (1997) Majaales, Attempted by Ahmad Mojahed, Tehran, Tehran University. --------------------- (2005) Al-Tajrid fi Kalameh Al-Touhid. attempted by Ahmad Mojahed, Tehran, Tehran University. --------------------- (2015) Majmoo-e Asaar-e Farsi-ye Ahmad Ghazzali, edited by Ahmad Mojahed, 5th Ed. Tehran, Tehran University. Fotoohi, Mahmood (2010) Balaaghat Tasvir, 2nd Ed. Tehran, Sokhan. Ghashiri, Abu Al-Ghasem (2014) Resaleh Gheshriyeh, translated by Abu Ali Hasan Bin Ahmad Bin Ali Osmani, Attempted by Badii Al-Zaman Foroozanfar, 2nd Ed. Tehran, Zavvar. Ghiravani, Ibn Rashigh (2000) Al-Omde Fi Sanaat Al-Sher va Naghdeh, attempted by Nabavi Abd Al-Vaahed Shaalan, Cairo, Al-Khaneji Press. Cerben, Hunry (2006) Taarikh-e Falsafe-ye Eslami, translated by Javaad Tabatabaii, Tehran, Kavir. Koleini, Mohammad Bin Yaghub (1986) Al-Kaafi, attempted by Ali Akbar Ghaffari & Mohammad Aakhoondi, 4th Ed. Tehran, Daar Al-Kotob Al-Eslamiyeh. Lahouri, Mohammad Reza (1998) Mokashefaat-e Razavi, attempted by Kourush Mansoori, Tehran, Rouzbeh. Mojaahed, Ahmad (2009) Shoruh Savaneh Al-Oshshagh, Tehran, Tehran University. Mohammadi Reyshahri, Mohammad (2007) Daaneshnameye Aghaayed-e Eslami, 2nd Ed. Qhom, Daar Al-Hadis. Mostamali Bokhari, Esmaili (1984) Sharh Al-Taarif Le-mazhab Al-Tasavvof, attempted by Reza Marani, Qhom, Payam-e Hagh. Mesbah Al-Sharia (1998) Translated and described by Abd Al-razzagh Gilani, attempted by Reza Marandi, Qhom, Payam-e Hagh. Makki, Abu Taleb (2003) Attempted Abd Al-Ghaader Ahmad Ata, Beyrut, Daar Al-Kotob Elmiyeh. Molla Sadra Shirazi, Mohammad Bin Ebrahim (2004) Sharh-e Osool-e Al-Kaafi, attempted by Mohammad Khajavi, Tehran, Motaaleat va Tahghighat-e Farhangi Institute. Molavi, Jalal Al-Din (1996) Masnavi Maanavi, translated by Reynolds Nickelson, Tehran, Tous. Meybodi, Abu Al-Fazl Rashid Al-Din (1992) Kashf Al-Asrar va Eddat Al-Abraar, attempted by Ali Asghar Hekmat, 5th Ed. Tehran, Amir Kabir. Mir Baagheri Fard, Seyyed Ali Asghar & Leila Mir Mojriyan (2010) Tahlil-e Khoushe Haye Soti Dar Savaneh Al-Oshshagh, Faslname-ye Pajoohesh haye Adabi, Vol 7, PP 147-164. Najm Raazi, Abd-o Allah Bin Mohammad (2004) Menaraat Al-Saaerin Ela Hazrah-e Allah va Maghamat-e Al-Taaerin, attempted by Aasem Ebrahim Al-Kiyaly Al-Hoseini Al-Shazeli Al-Darghavi, Beyrut, Daar Al-Kotob Al-Elmiyeh. Nazari, Maah (2014) Naghsh-e Tamsil Dar Daastanha-ye Masnavi Maanavi, Majale-ye Fonoon Adabi, Vol. 2, pp 133-146. Noiri, Shahab Al-Din Ahmad (2002) Nahaayat Al-Arb Fi Fonoon Al-Adab, Cairo, Daar Al-Kotob va Al-Vesagh Al-Ghomiyeh. Vafaii Basir, Ahmad (2015) Savaneh Al-Oshshagh Ahmad Ghazzali, Hamedan, Rouz Andish. Hajviri, Ali Bin Osman (2008) Kashf Al-Mahjoob, attempted by Mahmood Aabedi, 4th Ed. Tehran, Sorush. Homaii, Jalal Al-Din (1963) Ghazzali Nameh, 2nd Ed. Tehran, Ketab Foroushi-ye Foroughi.     <a href="#_ftnref1" name="_ftn1">*</a> Corresponding Author: Assistant Professor, Department of Persian Language and Literature, Ayatollah Boroujerdi University, Iran. d.vaseqhi@yazd.ac.ir <a href="#_ftnref2" name="_ftn2">**</a> Professor, Department of Persian Language and Literature, Yazd University, Iran. mmaleksabet@yazd.ac.irتمثیل روایی، یکی از ترفندهایی است که برای تبیین مفاهیم اخلاقی، عرفانی و... کاربرد دارد. احمد غزّالی به &zwnj;عنوان یکی از مشاهیر اهل تصوّف، در آثار خود از این شگرد برای بیان دیدگاه&zwnj;های خود استفاده کرده است. این پژوهش که مبتنی بر مطالعات کتابخانه&zwnj;ای است و با شیوه توصیفی- تحلیلی انجام می&zwnj;شود، ضمن تبیین نقش تمثیل&zwnj;های روایی در آثار فارسی احمد غزّالی، به این پرسش پاسخ می&zwnj;دهد که در این تمثیل&zwnj;ها، چه اندیشه&zwnj;ها و مفاهیمی وجود دارد. غزّالی در آثار خود بهویژه مجموعه «سوانح &zwnj;العشاق» که به&zwnj; صورت رمزآمیز و اشاره به مباحث پیرامون عشق پرداخته، نکاتی غامض درباره حالات و اطوار این موهبت الهی بیان می&zwnj;کند و سپس برای تفهیم این رموز به مخاطبان، تمثیل&zwnj;های روایی ارائه می&zwnj;دهد. این ترفند هنری در آثار تعلیمی شیخ نیز مشهود است و در آثار مسلم وی به&zwnj;ویژه مجموعه «مجالس»، بسامد بسیار زیادی دارد. تمثیل&zwnj;های روایی شیخ بیشتر درباره مبحث عشق و سلوک عرفانی و مفاهیم تعلیمی- اخلاقی مربوط به آن است. شخصیت این روایت&zwnj;ها از بزرگان و اساطیر عرصه عشق و همچنین دین و عرفان هستند و در یک تمثیل روایی نیز از نماد پرندگان برای بیان بازگشت به اصل و سرمنزل معبود استفاده کرده است که می&zwnj;توان آن &zwnj;را مهم&zwnj;ترین تمثیل روایی غزّالی نامید.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023762025104A Rhetorical Analysis of Qasr and Hasr in the Four Masnavis of Bidel Dehlaviبررسی بلاغت قصر و حصر در مثنوی‌های چهارگانۀ «بیدل دهلوی»5782faمریمبیات دانشجوی دکتری زبان و ادبیات فارسی، واحد بروجرد، دانشگاه آزاد اسلامی، بروجرد، ایران8288420300020009فوزیه پارسا استادیار گروه زبان و ادبیات فارسی، واحد بروجرد، دانشگاه آزاد اسلامی، بروجرد، ایران 0000-0003-3294-0884ناهید عزیزیاستادیار گروه زبان و ادبیات فارسی، واحد بروجرد، دانشگاه آزاد اسلامی، بروجرد، ایران 0009-0003-5294-509x202519A Rhetorical Analysis of Qasr and Hasr in the Four Masnavis of Bidel Dehlavi Maryam Bayat<a href="#_ftn1" name="_ftnref1">* </a> Fawzia Parsa <a href="#_ftn2" name="_ftnref2">**</a> Nahid Azizi<a href="#_ftn3" name="_ftnref3">***</a>   Bidel Dehlavi, the most prominent Persian-speaking poet of India and one of the most significant figures in the history of Persian literature, left behind a large corpus of masnavis. Although these works have often been overshadowed by the brilliance of his ghazals, they stand among the finest examples of masnavi composition in the Indian Style (Sabk-e Hendi). Setting aside his shorter and scattered masnavis, four major independent and lengthy masnavis remain from Bidel: Mohit-e Aʿzam, Telesm-e Heyrat, Tur-e Maʿrefat, and Erfan, listed in chronological order. At first glance, these masnavis captivate the reader with their rhetorical richness and vivid imagery, a feature consistent with expectations of the Indian Style. However, upon closer examination, stylistic strategies rooted in semantic rhetoric (maʿānī) become prominent. In Telesm-e Heyrat, Bidel himself encourages readers to observe both the beauty of diction and the depth of meaning, and to appreciate the dual aesthetic layers of his verse. In response to Bidel’s own appeal and the necessity of examining poetry through rhetorical standards, this article focuses on one of the central devices of semantic rhetoric: Qasr and Hasr (emphatic restriction and limitation), as employed in Bidel’s four masnavis. The methodology adopted is descriptive and analytical. The findings reveal Bidel’s distinctive attention to rhetorical strategies, in line with his poetic promises to readers. Qasr and Hasr appear extensively throughout Bidel’s masnavis. A significant portion of these constructions is of the implicit type (without particles), aligning with the dense, meaning-oriented character of the Indian Style. Additionally, restriction of adjective to subject (qasr-e ṣifat bar mawṣūf) appears more frequently than restriction of subject to adjective (qasr-e mawṣūf bar ṣifat), reflecting Bidel’s abstract and highly descriptive poetic style. While Erfan is better known and philosophically weightier, Telesm-e Heyrat ranks highest rhetorically, followed respectively by Erfan, Tur-e Maʿrefat, and Mohit-e Aʿzam.   Keywords: Bidel Dehlavi, semantic rhetoric, Qasr and Hasr, Bidel’s masnavis.   Introduction Mowlana ʿAbd al-Qādir Bidel Dehlavi, one of the most eminent Persian-speaking poets of the Indian subcontinent, holds a distinguished place in the history of Persian literature. As a leading figure of the Sabk-e Hendi (Indian Style), his poetry is characterized by conceptual intricacy, innovative imagery, and profound mystical-philosophical reflections. While Bidel is primarily celebrated for his complex and allusive ghazals, his masnavis also present rich content and stylistic brilliance worthy of scholarly attention. Among Bidel’s surviving works are four major independent masnavis: Mohit-e Aʿzam, Telesm-e Heyrat, Tur-e Maʿrefat, and Erfan. These works are not only significant for their mystical and philosophical themes but also for their rhetorical structure and artistic expression. In Telesm-e Heyrat, Bidel explicitly invites readers to appreciate both the lexical artistry and the deeper meanings of his masnavis. This authorial guidance justifies a detailed rhetorical analysis of these texts, particularly through the lens of maʿānī (semantics), focusing on the device of qasr and hasr (restriction and limitation).   Statement of the Problem Aesthetic analysis is central to literary studies, and rhetoric—especially the branch of semantics—serves as a key tool in uncovering textual beauty. Semantics addresses how language conforms to the communicative context and the psychological state of the audience, and among its tools, qasr and hasr plays a fundamental role. This device involves the rhetorical restriction of a specific attribute to a particular subject, or vice versa, to emphasize or clarify meaning. In Persian, Qasr and Hasr appears both with explicit markers (such as "only," "just," "none but") and implicitly, through word order and stylistic strategies. Bidel’s poetry, and particularly his masnavis, exemplify dense layers of meaning and stylistic nuance. This study investigates the application of Qasr and Hasr in Bidel’s four major masnavis, asking: how does Bidel utilize this rhetorical technique? What variations exist in frequency, form, and complexity among the masnavis?   Significance of the Study This research is important for several reasons. First, Bidel’s masnavis, compared to his ghazals, have received limited rhetorical analysis, despite the poet’s own call for deeper semantic engagement with these texts. Second, Qasr and Hasr is a foundational rhetorical device that fosters emphasis, clarity, and interpretive depth. Third, the Sabk-e Hendi style—characterized by abstraction, ambiguity, and layered meanings—naturally lends itself to the use of such rhetorical mechanisms. By analyzing Qasr and Hasr in Bidel’s masnavis, this study aims to uncover aspects of his poetic technique that extend beyond imagery and symbolism, offering new insights into his stylistic mastery and linguistic innovation.   Conclusion The findings indicate that Qasr and Hasr is used extensively and creatively throughout Bidel’s four masnavis, both with explicit particles and through implicit stylistic cues. The device appears in two structural modes: restricting the adjective to the subject and restricting the subject to the adjective. Key observations include: Telesm-e Heyrat exhibits the highest frequency and greatest complexity of Qasr and Hasr, especially in implicit forms. It ranks highest among the masnavis in rhetorical sophistication. Erfan, despite its prominence for mystical content, ranks second in rhetorical refinement. It contains a high number of adjective-to-subject restrictions, reflecting its abstract and descriptive style. Tur-e Maʿrefat holds an intermediate position, with notable use of subject-to-adjective restriction, suggesting a different rhetorical balance. Mohit-e Aʿzam, Bidel’s earliest masnavi, relies more on explicit markers and simpler structures, indicative of his earlier poetic development. Overall, the research affirms that Bidel was a master of both semantic depth and rhetorical subtlety. His masnavis, often overshadowed by his ghazals, offer a rich field for rhetorical and stylistic study. Analyzing the use of Qasr and Hasr in these works provides a clearer picture of the nuanced artistry embedded in Bidel’s poetic practice and opens up pathways for further rhetorical studies within the Sabk-e Hendi tradition.   References Ahani, Gholamhossein (1981) Meanings and expressions. Tehran: Quran Foundation. Agh Oula, Hossam Ulama (1967) Derr al-Adab Shiraz: Marafet. Bayat, Maryam, and others (2024) "Rhetorical examination of questioning in Bidel Dehlavi's masnavis based on the masnavi of Talism Hirayat". Scientific Journal of Persian Poetry and Prose Stylology. 17th year Number eight. No. 102. pp. 25-44. Benjamin, Theodore; Benjamin, Walter; Adorno, Theodor; Marcuse, Herbert (2018) Critical aesthetics. Translated by Omid Mehrgan. Tehran: New step. Bidel, Mirza Abdul Qader Dehlavi (2014) Kulliyat-e-Bidel Dehlavi, edited by Khal Mohammad Khasta and Khalilullah Khalili. Tehran: Talaye. Gage, Mark Foster (2019) Aesthetic theories. Translated by Ehsan Hanif. Tehran: New Thought Publication. Homai, Jalaluddin (1982) Rhetoric techniques and literary industries. Tehran: Amir Kabir. ----------------------- (1991) Meanings and expressions. Thanks to the efforts of Mahdekht Bano Homai. Tehran: Amir Kabir. Kazazi, Mir Jalaluddin (1994) Aesthetics of Persian speech 2: meanings. Third edition. Tehran: Publishing Center. Khwaja Abdullah Ansari (1993) Collection of Persian letters. First edition. Tehran: Tos. Khakian, Nusratoleh (2023) "Examination of 30 poems by Bidel Dehlavi from the perspective of semantics". A quarterly journal of criticism, analysis, and aesthetics of texts. Volume 6. Number 2. pp. 97-115. – Kikhai Farzaneh, Ahmad Reza; companion, Manijeh (2016) "Aesthetics of Bidel Dehlavi's Ghazals". The third national conference of the third millennium and humanities. Mirzaei, Mohammad Saeed; Salehinia, Maryam (2019) "An attempt to draw the pattern of narrative communication in Biddle's masnavis". Poetry Study No. 44. pp. 243-263. Nikoyi, Alireza (2012) "A Reflection on the Allegorical Structure of Beadle Dehlavi's Spell of Astonishment". Journal of Theology of Art. Number 1. 51-80. Rajaei, Mohammad Khalil (1971) Teachers of Rhetoric. Second edition. Tehran: University of Tehran. Rezanjad, Gholamhossein (1989) The principles of rhetoric. Tehran: Al-Zahra. Safi, Rifat Al Sadat; Najarian, Mohammadreza; Kahdoi, Mohammad Kazem (2014) "Comparison of Beadle's Spell of Astonishment with Spirit's Journey of Nosy". Mystical literature magazine. No. 13. 85-113. Shamisa, Cyrus (1997) Meanings, Fourth edition. Tehran: Mitra.  ------------------ (2000) Expression and meanings. Tehran: Mitra. Taftazani, Saad al-Din Masoud bin Omar (1997) A brief description of the meanings. Qom: Dar Zakhaer. Zahedi, Zainuddin (1967) Speech method, Mashhad: Ferdowsi University.           <a href="#_ftnref1" name="_ftn1">*</a> Ph.D Student in Persian Language and Literature, Borujerd Branch, Islamic Azad University, Borujerd, Iran. byatm9206@gmail.com <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author: Assistant Professor, Department of Persian Language and Literature, Borujerd Branch, Islamic Azad University, Borujerd, Iran. F.parsa@iaub.ac.ir <a href="#_ftnref3" name="_ftn3">***</a> Assistant Professor, Department of Persian Language and Literature, Borujerd Branch, Islamic Azad University, Borujerd, Iran. n.azizi@iaub.ac.irبیدل دهلوی، مهم&zwnj;ترین شاعر پارسی&zwnj;گوی هند و از مهم&zwnj;ترین شاعران تاریخ ادب پارسی است. از او، حجم بزرگی از مثنوی&zwnj;ها برجا مانده &zwnj;است که هرچند تحت شعاع درخشش غزلیات وی مانده&zwnj;اند، از بهترین نمونه&zwnj;های مثنوی&zwnj;سرایی در سبک هندی به &zwnj;شمار می&zwnj;روند. اگر از مثنوی&zwnj;های پراکنده و کوتاه بیدل صرف&zwnj;نظر کنیم، از او چهار مثنوی مستقل و بلند برجامانده که به &zwnj;ترتیب زمان ارائه، عبارتند از «محیط اعظم»، «طلسم حیرت»، «طور معرفت» و «عرفان». آنچه در نگاه نخست در این مثنوی&zwnj;ها، نظر را جلب می&zwnj;کند و مطابق انتظار از سبک هندی نیز هست، غنای بیانی و سرشاری تصاویر است؛ اما در نگاه دوباره، شگردهای برگرفته از دانش معانی در این مثنوی&zwnj;ها خودنمایی می&zwnj;کند. بیدل خود نیز در «طلسم حیرت»، مخاطبان را ترغیب می&zwnj;کند که در مطالعۀ مثنوی&zwnj;هایش، حسن لفظ و معنا را با هم ببینند و به زیبایی&zwnj;های هر دو لایۀ سخن وی توجه نمایند. در اجابت خواست بیدل و بنا به لزوم واکاوی سخن بر اساس سنجه&zwnj;های دانش معانی، در این مقاله به بررسی یکی از مهم&zwnj;ترین شگردهای علم معانی، یعنی قصر و حصر در مثنوی&zwnj;های چهارگانۀ بیدل پرداخته می&zwnj;شود. روش بررسی در این مقاله، توصیفی و تحلیلی است. یافته&zwnj;های مقاله، گویای توجه ویژۀ بیدل به شگردهای معانی، مطابق با وعدۀ خودش به مخاطبانش است. در این باره، قصر و حصر، حضوری پررنگ در مثنوی&zwnj;های بیدل دارد. بخش چشمگیری از قصرها در مثنوی&zwnj;های بیدل، از نوع قصر بی&zwnj;ادات است که همسو با ذات معنی&zwnj;گرا و فشرده&zwnj;ساز سبک هندی است. همچنین قصر صفت بر موصوف در مثنوی&zwnj;های بیدل، حضور پررنگ&zwnj;تر از قصر موصوف بر صفت دارد که نتیجۀ انتزاع&zwnj;گرایی و توصیف&zwnj;گرایی شعر این شاعر است. همچنین هرچند مثنوی «عرفان»، شهرت و اهمیت اندیشه&zwnj;ای بیشتر دارد، مثنوی «طلسم حیرت» به لحاظ بلاغی در مرتبۀ بالاتر قرار دارد و پس از آن، مثنوی «عرفان» و سپس «طور معرفت» و «محیط اعظم» قرار می&zwnj;گیرند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023762025104Conceptual Metaphors of Jealousy in Nizami’s "Khosrow and Shirin" from a Cognitive Perspective استعاره‌های مفهومی حسادت در منظومة «خسرو و شیرین» نظامی از دیدگاه شناختی83108faمریمعلیمحمدیدانش‌آموخته کارشناسی‌ارشد زبان و ادبیات فارسی دانشگاه بوعلی سینا، ایران ليلا هاشميان دانشیار گروه زبان و ادبیات فارسی دانشگاه بوعلی سینا، ایران 2024212Conceptual Metaphors of Jealousy in Nizami’s "Khosrow and Shirin" from a Cognitive Perspective   Maryam Ali Mohammadi<a href="#_ftn1" name="_ftnref1">*</a> Leila Hashemian<a href="#_ftn2" name="_ftnref2">**</a>   Nezami, a poet of the sixth century, is one of the popular Masnavi poets of Iran who has left very glorious and lasting works called "Khamseh". His style is Iraqi, and his language is very lofty and original. The narration of his poetry is the creation of similes, pleasant metaphors, new and practical themes, and the description of landscapes and people. In this research, using a descriptive-analytical method, the conceptual metaphor of jealousy has been classified and analyzed in the Khosrow and Shirin poetry volume. In this regard, we have identified the concrete conceptual space of each metaphor, a process that has been used to conceptualize abstract conceptual spaces. The metaphors have been created very beautifully and rich conceptual metaphors using beautiful concrete conceptual spaces to understand abstract conceptual ones, since it is very difficult to understand abstract concepts alone. As Nezami was merely a narrator, his personal view of the conceptual metaphor of jealousy cannot be understood well, but it can be asserted that the concrete conceptual space of analogy is one of the most widely used conceptual spaces for the creation of his metaphors.   Keywords: jealousy, conceptual metaphor, Orientational metaphor, Ontological metaphor, Structural metaphor.   Introduction  This study examines the conceptual metaphors of jealousy in Nizami Ganjavi’s "Khosrow and Shirin," a renowned Persian romantic epic from the 12th century. Jealousy, as a complex and often destructive emotion, plays a pivotal role in the narrative, driving key plot developments. The research adopts a cognitive linguistic approach to analyze how Nizami conceptualizes jealousy through metaphorical mappings, drawing on Lakoff and Johnson’s theory of conceptual metaphor. The study aims to uncover the source domains used to structure the abstract concept of jealousy, shedding light on Nizami’s artistic and cognitive strategies.    Literature Review  Previous research on jealousy in Persian literature has been limited, with few studies focusing on its metaphorical representations. Existing works have explored conceptual metaphors in other emotional domains, such as love and anger, but jealousy remains understudied. Studies on Nizami’s works, like those by Obeidi and Roumiani (2019), have examined love metaphors, while others have analyzed directional metaphors in Ferdowsi’s "Shahnameh" (Khatami-Nia & Hassan-Zadeh, 2019). This study fills a gap by specifically addressing jealousy in "Khosrow and Shirin," offering a fresh perspective on Nizami’s metaphorical language.    Theoretical Framework  The study is grounded in Lakoff and Johnson’s (1980) conceptual metaphor theory, which posits that abstract concepts are understood through concrete, experiential domains. Metaphors are categorized into three types:  <ul style="text-align: left;"> <li>Structural Metaphors: Framing one concept in terms of another (e.g., "Jealousy is a disease"). </li> <li>Ontological Metaphors: Treating abstract concepts as entities or substances (e.g., "Jealousy is a fire"). </li> <li>Orientational Metaphors: Organizing concepts spatially (e.g., "Jealousy is a downward force"). </li> <li>The analysis identifies the source domains Nizami employs to conceptualize jealousy, highlighting their cultural and cognitive underpinnings. </li> </ul>   Results and Discussion  The analysis reveals that Nizami predominantly uses ontological metaphors (e.g., jealousy as a destructive force or a consuming fire) to depict jealousy, followed by structural and orientational metaphors. Key findings include:  <ul style="text-align: left;"> <li>Ontological Metaphors: Jealousy is often portrayed as a physical entity (e.g., a weapon or a monster), emphasizing its tangible impact on characters.</li> <li>Structural Metaphors: Jealousy is framed as a battle or a trap, reflecting its role in conflicts and power struggles. </li> <li>Orientational Metaphors: Less frequent, these metaphors spatialize jealousy (e.g., "falling into jealousy"). </li> </ul> The study also notes that most source domains are abstract, suggesting Nizami’s reliance on shared cultural and experiential knowledge to convey the complexities of jealousy. For instance, jealousy is linked to emotions like anger, resentment, and helplessness, which are universally understood.    Conclusion  Nizami’s "Khosrow and Shirin" employs a rich array of conceptual metaphors to depict jealousy, with ontological metaphors being the most prevalent. This reflects the human tendency to understand abstract emotions through bodily and physical experiences. The study underscores Nizami’s mastery in using metaphorical language to deepen the narrative’s emotional and psychological dimensions. While the metaphors align with traditional Persian literary conventions, their cognitive foundations remain relevant to contemporary readers. Future research could explore cross-cultural comparisons of jealousy metaphors or extend this framework to other emotions in Persian literature.    References Lakoff, G. & Johnson, M. (1980) Metaphors We Live by. Chicago and London: The University of Chicago Press. Lakoff, G. (1990) The Contemporary Theory of Metaphor. In A. Ortony (Ed.), Metaphor and Thought (pp. 202-251). Cambridge: Cambridge University Press. Lakoff. Heine, B., Claudi, U., & Hünnemeyer, F. (1994) Grammaticalization: A Conceptual Framework. Chicago: University of Chicago Press, p. 46.     <a href="#_ftnref1" name="_ftn1">*</a> Corresponding Author: M.A in Persian Language and Literature, Bu-Ali Sina University, Iran. maryam73am@gmail.com <a href="#_ftnref2" name="_ftn2">**</a> Associate Professor, Department of Persian Language and Literature, Bu-Ali Sina University, Iran. dr_hashemian@yahoo.comنظامی، شاعر سدة ششم، یکی از مثنویسرایان بهنام ایران است که آثار بسیار فاخر و ماندگاری به نام «خمسه» از خود به جای گذاشته است. سبک او عراقی است و زبان او، فخامت و اصالت بالایی دارد. روایی بودن شعر، ایجاد تشبیهها، استعارة مطبوع، مضامین نو و کاربردی و توصیف مناظر و اشخاص از ویژگیهای شعر او است. در این پژوهش، با استفاده از روش توصیفی- تحلیلی به طبقهبندی و تجزیه و تحلیل استعارة مفهومی حسادت در منظومة «خسرو و شیرین» پرداخته شده است. از این&zwnj;رو، قلمروهای مبدأ هر استعاره را که نظامی برای مفهومسازی حوزههای انتزاعی به &zwnj;کار برده است، مشخص کردهایم. نظامی استعارههای مفهومی را با بهرهگیری از حوزههای مبدأ (عینی) برای درک مفاهیم انتزاعی خلق کرده است، زیرا درک مفاهیم انتزاعی بهتنهایی امری بسیار دشوار است. از آنجا که نظامی صرفاً یک راوی بوده، نمیتوان به نگرش شخصی او درباره استعاره مفهومی حسادت پی برد، اما میتوان گفت که حوزة مبدأ قیاس، یکی از پرکاربردترین حوزههای مبدأ برای خلق استعارههای اوست. همچنین نتایج نشان میدهد که استعارههای هستیشناختی، بیشترین بسامد وقوع و استعارههای جهتی، کمترین بسامد وقوع را دارند؛ زیرا اولین چیزی که فرد در این جهان هستی میشناسد، بدن خودش است.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023762025104Adaptation of Saeb's critical poems according to the theory of Thomas Spragensتطبیق اشعار انتقادی «صائب» با نظریۀ «توماس اسپریگنز»109132fa محمد طالبیدانشجوی دکتری زبان و ادبیات فارسی دانشگاه لرستان، ایران 000900005995660۴طاهرهصادقی تحصیلیدانشیار گروه زبان و ادبیات فارسی دانشگاه لرستان، خرم‌آباد، ایران 0000-0003--4101-4161محمدخسروی شکیباستاد گروه زبان و ادبیات فارسی دانشگاه لرستان، خرم‌آباد، ایران 0000 0003 0140 7155سعیدزهره‌ونددانشیار گروه زبان و ادبیات فارسی دانشگاه لرستان، خرم‌آباد، ایران 0000-0001-8029-30232024318Adaptation of Saeb's critical poems according to the theory of Thomas Spragens   Mohammad Talebi<a href="#_ftn1" name="_ftnref1">*</a> Tahereh Sadeghi Tahsili<a href="#_ftn2" name="_ftnref2">**</a> Mohammad Khosravi Shakib<a href="#_ftn3" name="_ftnref3">***</a> Saeid Zhorevand<a href="#_ftn4" name="_ftnref4">****</a>   Saeb is one of the most prominent poets of the Indian style and the leader of the poets of the Safavid period. As a thinker and social reformer, he sees the damage and roots of the problems of his time and works hard to cure and correct them. In this regard, he uses poetry as a cultural tool to express his critical thoughts. In this research, which was done with the method of qualitative description and analysis, Saeb's critical and reformist poems, with the application of Spragens' theory (problemology, etiology, idealism, and solution-finding), Why, how, solution, and way out of the social problems of the poet's time will be investigated. The research data show that Saeb considers the political and social problems of his era to be brain drain, selfishness, superstition, self-decoration, hypocrisy and pretense, and poverty. He also considers the cause to be in the special conditions of governance and political and religious ideology, humiliation and marginalization of artists and free thinkers, sanctification and fatalism, tyranny, narrow-mindedness of rulers, urban development, and its consequences. Saeb finds an ideal society in India with citizens and rulers who are liberal, free-thinking, different-minded, and art-loving. Finally, he sees the solution in moralism, criticism and tolerance, rationalism, and avoiding flattery. Keywords: Saeb Tabrizi, Thomas Spragens, socio-political criticism, Indian style and poetry.   Introduction The Indian style is among the most distinctive styles of classical Persian poetry, prevalent for approximately 150 years, from the early 11th to the mid-12th century AH (late 16th to mid-18th century CE). This style is notably distinct from its predecessors and successors in terms of intellectual orientation, linguistic features, and modes of expression. Fotouhi regards the following as foundational principles of the intellectual ethos of this literary period: a break from traditional Persian poetic conventions, an emphasis on innovation, a focus on novel themes and unfamiliar meanings, and a pursuit of poetic freshness. These principles, he argues, compel the poet to seek creativity from within rather than relying on traditional texts and to discover their identity independently of past authorities. Sa'ebTabrizi is among the most renowned ghazal poets of this style. Yousefi asserts that those in search of poetry, unlike that of earlier generations, will find no verse more colorful and varied than Sa'eb’s ghazals. One relatively underexamined aspect of Sa'eb Tabrizi’s poetry is its critical and reformist dimension. In this discourse, he is not merely a critic but acts as a reformist thinker, one who “seeks to eradicate vice, impurity, and corruption within the realm of critique.”   Theoretical Framework This study analyzes the critical dimension of Sa'eb Tabrizi’s poetry through the lens of the theory proposed by American political theorist Thomas Arthur Spragens. Spragens’s core argument is that all coherent systems of thought can be understood by uncovering their internal logic and identifying the structure that underpins them. He contends that the study of political science can benefit from historical, philosophical, and anthropological approaches. One of the fundamental aims of his theory is to offer a comprehensive framework for examining political and social issues critically, in order to enhance understanding, remedy shortcomings, and restore the health of society by confronting and overcoming the root causes of disorder. According to Spragens, the ultimate purpose of political theory is akin to a form of psychological therapy for the political community. He maintains that societies face similar foundational challenges and that their attempts to resolve them tend to follow relatively consistent patterns. Spragens is among those theorists who, while emphasizing the importance of crises as part of the social context influencing the formation of ideas, also emphasize the role of thinkers in shaping those ideas. This theory examines the subject matter in four stages: 1. Problem identification, that is, recognizing the problem and observing the disorders present in society. 2. Causal analysis, meaning the identification of the causes that give rise to those problems. 3. Ideal projection, that is, outlining and describing the characteristics of an ideal society or utopia. 4. Solution formulation, meaning the presentation of remedies aimed at replacing disorder and chaos with order and stability, to achieve a desirable social condition.   Research Questions This study seeks to answer the following questions: 1- Do Spragens’s sociopolitical ideas offer a viable theoretical and instrumental framework for understanding commitment-oriented thought and the discourses present in the poetry of Sa'eb Tabrizi? 2- What does Sa'eb consider to be the problems of his time that he criticizes? 3- What factors influence the formation of Sa'eb Tabrizi’s critical discourse and contribute to the emergence of the problems of his time? 4- Where is Sa'eb’s ideal society envisioned, what are its defining features, and what solutions does he propose for achieving it? It should be noted that the model proposed by Spragens was originally intended for use in political science and has been widely and effectively embraced by scholars and researchers in that field. Accordingly, its application to the analysis of literary texts has remained rare. The authors of this article hope that the present study, by employing Spragens’s theory, may constitute an initial—albeit modest—step in that direction.   Data Analysis and Discussion Saeb's critical poems can be classified into four stages based on Spragens' theory. Stage One: Sociopolitical Challenges and Problems in Sa'eb’s Time An examination of poetry and artistic texts from this period reveals the presence of numerous sociopolitical problems. Poets of the Indian style—especially Sa'eb Tabrizi—repeatedly employ terms such as “sacrifice”, “salt and wound”, “remedy”, “lament”, “scratch”, and “cry,” along with pen names like Āshūb (turmoil), Shīvani (lamentation), and Vahshatī (terror), which reflect the poets’ melancholic disposition and portray the turbulence of the time. They speak of war, disorder, hatred, fanaticism, and tyranny. Thus, if a tone of despair and hopelessness pervades this type of poetry by Sa'eb, it arises from the harsh realities of his time. Stage Two: Diagnosing the Causes of the Problems The process of identifying and recognizing problems directs the critic’s mind toward the second stage: exploring the causes of disorder and harm. Several factors that contributed to the sociopolitical problems of Sa'eb’s era and found expression in his poetry include: social causes such as urban expansion and overcrowding; politico-religious causes; and fatalism. Fatalism, in particular, often brings societies face-to-face with internal contradictions and fragmentation. It weakens their ability to confront political and social challenges and deprives individuals of will and agency. As a result, it “leads to a kind of fear, submission, and acceptance of tyranny and despotism, and a retreat into fate and the belief in a primordial and eternal order.” Stage Three: Characteristics of the Ideal Society or Utopia A central concept in Sa'eb’s vision of an ideal society is disposition (mashrab)—or what he refers to as breadth of disposition—which embodies a transnational and universalist mindset and defines the contours of his utopia. The nature of disposition is not confined to a single dimension of his ideal citizen; rather, it reflects a spirit of liberality, coexistence, and tolerance across all domains of individual and collective life, including sound ethics, reasoned thought, measured speech, and upright conduct. In Sa'eb’s utopian vision, religion and disposition are not in conflict but coexist side by side. He skillfully fuses the two and regards this synthesis as his rightful prerogative. Stage Four: Remedies for Overcoming Societal Ills In his collected poetry, Sa'eb consistently calls on people to uphold morality, modesty, piety, liberation from worldly attachments, contentment, moderation, and detachment from material concerns, while directing attention toward God and the transcendent realm. He regards the key remedies for overcoming societal ills and attaining an ideal society as: tolerance and reconciliation with diverse beliefs and traditions, receptiveness to criticism, avoidance of fault-finding, and a commitment to compassion and justice. These remedies, in essence, are normative imperatives intended to guide society from its current flawed state toward an envisioned, ideal condition.   Conclusion The culture of any society, shaped by its unique norms and values, serves to regulate and guide the behavior of its members. During the Safavid era, poetry—particularly that of Sa'eb—was often regarded as a cultural discourse capable of influencing social norms and patterns. Through a qualitative analysis of Sa'eb’s poetry and its comparison with Thomas Spragens’s four-stage model, this study reached the following conclusions: <ul style="text-align: left;"> <li>In the first stage, which involves observing and describing societal ills, Sa'eb identifies the political and social problems of his time as including brain drain, social isolation, selfishness, jealousy and ambition, extravagance and vanity, hatred, oppression, hypocrisy, poverty, and a pervasive spirit of submission and spiritual fear among the people.</li> </ul>   <ul style="text-align: left;"> <li>In the second stage, which involves identifying the root causes of societal problems, Sa'eb attributes the social, political, and literary disorders of his time to the specific governing conditions and the dominance of political-religious ideology. He believes this dominance leads to the marginalization and humiliation of free thinkers, the sanctification of power, the rise of fatalism, authoritarianism, and the lack of breadth of disposition among those in power.</li> </ul>   <ul style="text-align: left;"> <li>In the third stage, which involves articulating the features of an ideal society, Sa'eb seeks to depict a utopian society. He expands the idea of breadth of disposition, presenting himself as the ideal citizen and India as a symbolic utopia, thereby offering a tangible and emblematic model for societal reform—one in which rulers and citizens with expansive breadth of disposition embody the highest human virtues across political, social, and ideological dimensions. In this ideal society, people, regardless of skin color, ethnicity, or religionlive together in peace, solidarity, and security.</li> </ul>   <ul style="text-align: left;"> <li>In the final stage, by offering remedies, Sa'eb introduces pathways for overcoming social ills. These include upholding morality, humility, justice, contentment, openness to criticism, and tolerance toward diverse faiths, ideas, and peoples, as well as avoiding hypocrisy, passivity, greed, resentment, violence, fault-finding, and harm to others. These remedies, in essence, are normative imperatives intended to guide society from its current flawed state toward an envisioned, ideal condition.</li> </ul>   References Asaberger, Arthur (2004) Media Analysis Techniques. Trans. Parviz Ejlali Tehran: Media Studies and Research Center. AsemandJoonghani, Ali, et al. 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[In Persian] Naraqi, Ahmad (1998)The Ascension to Happiness. Tehran: Dehghan. [In Persian] Pour-Namdarian, Taghi (2005) Lost by the Seashore. 2nd ed., Tehran: Sokhan [In Persian] Rafiei, Seyed Mohammad (2003)Study of Social Factors Affecting the Level of Fatalism: A Case Study of Ferdows City. MA thesis. Tarbiat Modares University. [In Persian] Raznahan, Mohammad Hassan, and Taghi Shirdel (2017) “Reflection of Fatalism and Its Components in Safavid Period Travelogues." Quarterly Journal of History of Islamic Culture and Civilization, vol. 8, no. 29, pp. 119-144. [In Persian] Rostam al-Hokama, Mohammad Hashem Asef. Rostam (2003) al-Tavarikh. Ed. Jalil Nozari. Tehran: Miras-e Maktoob, [In Persian] Sa'eb, Mirza Ali (2008) Collection of Poems. Ed. Mohammad Ghahreman. 5th ed., Tehran: Elmi vaFarhangi. [In Persian] Safa, Zabihollah (1993) History of Persian Literature: From the Beginning of the 10th to the Middle of the 12th Century AH. Vol. 5. Tehran: Ferdows, [In Persian] Shafiei Kadkani, Mohammad Reza (1999) Persian Literature from the Age of Jami to the Present Day. Trans. Hojjatollah Asil. Tehran: Ney Publishing. [In Persian] Shamisa, Sirous (1990) The Evolution of Ghazal in Persian Poetry. Tehran: Ferdows. [In Persian] Spragens, Thomas (2013) Understanding Political Theory. Trans. Farhang Rajaee. 9th ed., Tehran, Agah. Toghyani, Eshagh (2006) Shia Thought in the Safavid Period. Isfahan: University of Isfahan and Academy of Arts. [In Persian] Yousefi, Gholamhossein (2013) The Bright Spring. 13th ed., Tehran: Elmi. [In Persian] Zarrinkoob, Abdolhossein (1976) With the Caravan of Hilla. Tehran, Javidan. [In Persian]     <a href="#_ftnref1" name="_ftn1">*</a> Ph.D Student in Persian Language and Literature, Lorestan University, Iran. mohammadtalebi.35313531@gmail.com <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author: Associate Professor, Department of Persian Language and Literature, Lorestan University, Khorramabad, Iran. sadeghi.tahsili@yahoo.com <a href="#_ftnref3" name="_ftn3">***</a> Professor, Department of Persian Language and Literature, Lorestan University, Khorramabad, Iran. M.Khosravishakib@gmail.com <a href="#_ftnref4" name="_ftn4">****</a> Associate Professor, Department of Persian Language and Literature, Lorestan University, Khorramabad, Iran. zohrevand.s@lu.ac.ir«صائب»، یکی از برجسته&zwnj;ترین شاعران سبک هندی و سرآمد شاعران عصرِ صفوی و سبک هندی است. وی به&zwnj; عنوان یک اندیشمند و اصلاح&zwnj;گر اجتماعی، آسیب&zwnj;ها و ریشه&zwnj;های معضلات زمانه خویش را میبیند و از شعر به&zwnj; عنوان یک ابزار فرهنگی، برای بیان اندیشه&zwnj;های انتقادی خود بهره میبرد. در این پژوهش که با روش توصیف و تحلیلِ کیفی انجام شده &zwnj;است، اشعار انتقادی و اصلاح&zwnj;گرایانه صائب، با کاربست نظریه «اسپریگنز» (مشکلشناسی، علتشناسی، آرمانشناسی و راه&zwnj;حل&zwnj;یابی)، چرایی، چگونگی، راهکار و برون&zwnj;رفت از مشکلات اجتماعی زمان شاعر بررسی میشود. دادههای پژوهش نشان می&zwnj;دهد که صائب، معضلات سیاسی و اجتماعی عصر خود را در فرار مغزها، خودخواهی، خرافهپرستی، ریاکاری و تظاهر، فقر و روحیه تسلیم میبیند. او همچنین علّت را در وضعیت خاص حاکمیّت و ایدئولوژی سیاسی و مذهبی، تحقیر و به حاشیه رانده&zwnj; شدنِ اهل هنر و آزاداندیشان، تقدّس&zwnj;سازی و تقدیرگرایی، استبداد، تنگمشربی حاکمان، توسعۀ شهری و تبعات ناشی از آن میداند. صائب، جامعه آرمانی را در هند با شهروندان و حاکمانی وسیعمشرب، آزاداندیش، دگراندیش و هنردوست می&zwnj;یابد. او در نهایت راه&zwnj;حل را در اخلاق&zwnj;گرایی، انتقادپذیری و مدارا، عشق و خردگرایی و پرهیز از تملق می&zwnj;داند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103023762025104Interpretation and Hermeneutic Analysis of Aliyeh Ataei's "The Likeness of Galileo" Through Psychoanalytic and Marxist Feminist Approachesتأویل و تحلیل داستان «شبیه گالیله» از عالیه عطایی بر مبنای رویکردهای روانکاوانه و فمنیسم مارکسیستی133157faهمایون جمشیدیاندانشیار گروه زبان و ادبیات فارسی، دانشگاه گلستان، ایران 0009000956282801لیلانوروزپوراستادیار گروه زبان و ادبیات فارسی، دانشگاه گلستان، ایران مرضیه نخعیدانشجوی کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه گلستان، ایران 20241011Interpretation and Hermeneutic Analysis of Aliyeh Ataei's "The Likeness of Galileo" Through Psychoanalytic and Marxist Feminist Approaches   Homayoun Jamshidian<a href="#_ftn1" name="_ftnref1">*</a> Leila Nowruzpour<a href="#_ftn2" name="_ftnref2">**</a> Marzieh Nakhaei<a href="#_ftn3" name="_ftnref3">***</a>   The Likeness of Galileo, a narrative from Aliyeh Ataei's collection Eye of the Dog, tells the story of an Afghan man who travels to Iran with a snake intended for sale. The protagonist, Zia, ascribes various characteristics, feelings, and behaviors to his wife, daughter, and occasionally other women, mirroring the traits he attributes to the snake. This article seeks to uncover the rationale behind these attributions. To achieve this, the text is examined through the frameworks of psychoanalysis and Marxist feminism. The research employs a descriptive-analytical methodology, focusing on interpretation and exegesis. Findings indicate that the text's unconscious elements, as expressed through the protagonist, interchangeably depict women and the snake through mechanisms such as integration, displacement, association, and symbolization. Both women and the snake are objectified for economic gain. The normalization of the relationship between the woman and the snake reflects the protagonist's desires, ultimately leading to a semblance of liberation from his oppressive control, manifested as self-identity, independence, and the satisfaction of fundamental needs. The value systems articulated in the story are reinterpreted through the protagonist's dominant viewpoint, reinforcing his authority over the woman/snake dynamic. Keywords: Aliyeh Ataei, interpretation, psychoanalytic criticism, Marxist feminism, the short story "The Likeness of Galileo".     Introduction In the story "The Likeness of Galileo", the traits and characteristics attributed to the women—especially the wife of the main character—are shared with those of his snake. The question arises: why does the protagonist use the same descriptions, images, and emotional states for women, particularly his wife and daughter, as he does for the snake? It appears that this text, as a work of art, possesses both conscious and unconscious dimensions, much like a dream. Richard Wollheim uses the term “unseen dreams” for those artistic works dominated in part or whole by fantasy and the unconscious. Therefore, one may approach a work of art in the same way one interprets a dream. To access the unconscious and uncover the meanings of its signs, it is necessary to return to conscious experience and lived reality.   Research Questions <ol style="text-align: left;"> <li>What is the reason behind the similarity between the states and attributes assigned to women and the snake in this story?</li> <li>What is the social position of the woman/snake in the narrative?</li> </ol> Methodology The theoretical approach of this study was not predetermined but selected after reading the text and encountering the central problem. Accordingly, the method will be descriptive-analytical and hermeneutic, interpreting ambiguous concepts based on textual evidence.   Theoretical Framework In a psychoanalytic reading of the story, the same approach used in analyzing human psychology may be applied. As with dreams—where there is a manifest level (what the dreamer remembered and recalled) and a latent level (the hidden and underlying meaning)—literary texts may also contain deeper meanings that lie beneath the surface and must be uncovered through interpretation. Dream-like manifests through integration, displacement, association, and symbolization. In the manifest level of a dream, signs and images stand in for hidden meanings—a process known as displacement. Sometimes, multiple meanings converge into a single sign, known as integration. The dreamer—and by extension the critic—must engage with these mechanisms of representation. In Marxist criticism, the primary focus lies on the economic systems that shape human societies and constitute their relations and power hierarchies. The acquisition and maintenance of power drive many human endeavors across different domains. The dominant social class acts in ways—or constructs reality in such a manner—that its position seems natural or even invisible to the masses. A key goal for Marxist critics is to uncover and demystify these seemingly natural concepts, which in reality arise from specific ideological discourses. Story Summary This story narrates the journey of a man named Zia from Afghanistan, who takes advantage of the chaos of war and the abandonment of his wife and daughter to pursue what he calls “progress” by engaging in animal smuggling—specifically snakes. Upon arriving in Tehran, he takes up residence in the home of a woman named Maria and becomes involved in both real-life and virtual communities in Iran in an attempt to sell the snake he brought from Afghanistan. Ultimately, he fails in this endeavor. The snake, which over time has grown distant from its natural instincts, developed human-like behaviors, and become completely domesticated, is eventually released. Once set free, it reverts to its intrinsic serpentine nature. Through the narrative, Zia repeatedly speaks about his wife and daughter. In the end, the story remains an incomplete ending. Just as the fate of the snake remains unknown, so too does the fate of Zia’s wife and daughter, who had fled Afghanistan at the onset of war. Discussion and Analysis The central concern of this article is the position of women and the symbols, signs, and qualities attributed to them, making the text particularly suitable for a feminist critique. Since these elements are often implicit and subtly embedded, interpretation and analysis are essential. The protagonist, Zia, repeatedly uses the same human descriptions, metaphors, and emotional states for both his wife and the snake. As these parallels occur multiple times throughout the narrative, they are clearly not coincidental and demand a deeper interpretation. In light of the story’s dreamlike quality, the subconscious aspects of the main character, and based on Freudian psychoanalytic theory, one plausible reading is to view the narrative as resembling a dream, comprised of both manifest (surface) and latent (hidden) content. In this framework, Zia’s explicit comments about his wife and daughter represent the manifest content, while the characteristics attributed to the snake—which contradict its inherent animalistic nature—form the latent content. It is as though we are reading two overlapping stories: one clearly about his family, and another, more veiled, about the snake, which serves as a symbolic projection of deeper psychological truths. Conclusion The central question of this study has been: Why does the main character of the story describe women—particularly his wife and daughter—using the same language and imagery he uses for the snake? Why does he frequently recall his wife and daughter when speaking of the snake he has brought to Iran to sell, and vice versa? This article has aimed, by reflecting on these questions, to uncover one or more possible meanings of the narrative. The article operates on the assumption—based on Freud’s psychoanalytic approach—that like human beings, some texts contain multiple layers and unconscious depths, whose hidden meanings may be revealed through interpretation. The first part of the study drew upon Freud’s theory of latent and manifest content in dreams and literary texts to explain this phenomenon. In the story, the snake and the woman are merged and substituted for one another. When Zia speaks of the snake, he is unconsciously referring to his wife and daughter as well. The images and symbols presented in the narrative express Zia’s unconscious attitudes toward women. Therefore, to speak of the snake is, simultaneously, to speak of the woman. In pursuit of his own desires, Zia objectifies not only animals—specifically the snake—but also his wife and daughter, aligning with a Marxist reading in which people are reduced to commodities. On another level, the snake, wife, and daughter become the same entity. Given that the main character occupies a position of power, he strips concepts such as intelligence, consciousness, and natural life of their original meaning—an indication of a hierarchical discourse and Zia’s dominance over the woman/snake. The snake’s dependence and eventual liberation are intimately tied to its mode of life and sustenance. As long as it consumes food contrary to its natural instinct—specifically frozen chicken, a symbol of urban consumerist life—it remains under Zia’s control, behaving in humanlike ways. Its emancipation begins when it hunts for its own food, reclaiming its natural and independent way of life. The snake/woman thus journeys from dependence to autonomy and ultimately to freedom from Zia and objectification. In his role as the dominant figure, Zia disrupts the snake’s natural mode of existence. For most of the story, the woman/snake lacks agency. Her agency only emerges at the end, as a direct result of escaping Zia’s control. This is physically manifested in actions such as curling—a movement she was forbidden to perform—hunting instead of eating frozen chicken, abandoning the suitcase that confined her, and moving freely through nature. There is no dialogue between the female characters in the story; they are presented only through Zia’s perspective or, in one instance, through another man who also views them with contempt. This aligns with the overarching dominance of the male gaze in both narrative and power dynamics. The idea of Zia’s wife and daughter leaving Afghanistan stands in contrast to remaining under his control. They break free from his dominance at the very beginning of the story. The snake, by contrast, begins in a state of subjugation and only gains freedom by the end, reclaiming its true and natural identity. The story concludes with an open ending: the fate of Zia’s wife and daughter outside Afghanistan remains unknown. Yet through the agency and emancipation of the snake, one may infer a possible, though unspoken, trajectory for them as well.   References Ataei, Alieh (2021) The Eye of the Dog. 6th ed., Tehran: Cheshmeh. Bressler, Charles E. (2007) Literary Criticism: An Introduction to Theory and Practice. Trans. Mostafa Abedini-Fard. Tehran: Niloufar. Eagleton, Terry (2004) Marxism and Literary Criticism. Trans. Akbar Masoumbeygi. Tehran: Digar. Eagleton, Terry (2018) An Introduction to Ideology. Trans. Akbar Masoumbeygi. Tehran: Ban. Eliade, Mircea (2020) A History of Religious Ideas, Vol. 1. Trans. Mani SalehiAllameh. Tehran: Niloufar. Freud, Sigmund (2003) The Interpretation of Dreams. Trans. Shiva Roygeryan. Tehran: Markaz. Freud, Sigmund (2018) An Autobiographical Study. Trans. Alireza Tahmaseb. Tehran: Binesh-e No. Fromm, Erich (2019) Escape from Freedom. Trans. Ezzatollah Fooladvand. Tehran: Morvarid. Johnson, Robert Alex (2020) Inner Work: Using Dreams and Active Imagination for Personal Growth. Trans. Niloofar Navari. Tehran: Farhang-e Zendegi Foundation. Kamali, Mahmoud &Yousefi, Hadi (2024) “An Analysis of the Concepts of ‘the Other’ and ‘Presence and Absence’ in Alieh Ataei’s Eye of the Dog, Based on Jacques Derrida’s Metaphysics of Presence.” Fiction Literature Research Journal. Klíma, Ivan (2019) The Spirit of Prague. Trans. KhashayarDehimi. Tehran: Ney. Labica, Georges (1998) “Reification.” In An Introduction to the Sociology of Literature, Trans. MohammadjafarPouyandeh, pp. 292–296. Tehran: Naghshe Jahan. Lukács, Georg (1998) History and Class Consciousness. Trans. MohammadjafarPouyandeh. Tehran: Tajrobeh. Moradi, Ayoub & Chalak, Sara (2021) “A Critique of The Eye of the Dog by Alieh Ataei Based on Julia Kristeva’s Concept of Alienation.” Contemporary Persian Literature, 11(1), pp. 275–298. Naeimi, Zari (2020) “The Eye of the Dog Doesn’t Lie.” Negah-e No, 30(127), pp. 246–250. Payandeh, Hossein (2023) Literary Criticism, Vol. 2. 1st ed. of revised version. Tehran: Morvarid. Piglia, Ricardo (2021) Theories of the Short Story, in Chekhov’s Gun. Trans. Ahmad Okhout. Tehran: Jahan-e Ketab. Robbins, Ruth (2010) Literary Feminisms. Trans. Ahmad Aboumahboub. Tehran: Afraz. Shamisa, Siros (2015) Literary Criticism. 3rd ed. Tehran: Mitra. Stanley, Jason (2010) How Fascism Works. Trans. BabakTakhti. Tehran: Negah. Tyson, Lois (2008) Critical Theory Today: A User-Friendly Guide. Trans. Maziar Hosseinzadeh and Fatemeh Hosseini. Tehran: Negah-e Emrooz. Wollheim, Richard (2016) Freud and the Understanding of Art. In A Heap of Broken Images, Trans. Shahriar Vaghfipour. Tehran: Cheshmeh. Young, Julian (2017) Continental Philosophy and the Meaning of Life. Trans. Behnam Khodapanah. Tehran: Hekmat.   <a href="#_ftnref1" name="_ftn1">*</a>Corresponding Author: Associate Professor, Department of Persian Language and Literature, Golestan University, Iran. homayunjamshidian@yahoo.com <a href="#_ftnref2" name="_ftn2">**</a> Assistant Professor, Department of Persian Language and Literature, Golestan University, Iran. l.nowruzpur@gmail.com <a href="#_ftnref3" name="_ftn3">***</a> M.A Student, Persian Language and Literature, Golestan University, Iran. marziyehnakhaei@gmail.com«شبیه گالیله»، داستانی است در مجموعة «چشم سگ» از عالیه عطایی. داستان، بیان احوال و ماجرای مردی است که ماری را از افغانستان برای فروش به ایران می&zwnj;آورد. ضیا، شخصیت اصلی داستان در مواضع متعدد، صفات، حالات و کنش&zwnj;هایی به همسر و دختر و گاه دیگر زنان داستان اسناد میدهد که پیشتر برای مار نیز به کار برده بود. مسئلة مقاله، یافتن توجیه یا علتی برای این اسنادهاست. از این&zwnj;رو با رویکرد روانکاوانه به بررسی ناخودآگاه متن و شخصیت اصلی پرداخته شد و از آنجا که این رویکرد، وجوه اجتماعی و رابطة قدرت را در بر نمیگیرد، در بخشی دیگر با رویکرد فمنیسم مارکسیستی، متن تحلیل و بررسی شد. روش پژوهش، توصیفی- تحلیلی و مبتنی بر تفسیر و تأویل است. نتایج پژوهش نشان میدهد که ناخودآگاه متن از طریق شخصیت اصلی با ادغام و جابهجایی، تداعی و نماد، مار و زن را به جای هم مینشاند. و زن/ مار به شیئی برای بهرة اقتصادی فروکاسته میشود. طبیعیشدگیِ رابطة زن/ مار مطابق خواست شخصیت اصلی و سرانجام رهایی از سلطة شخصیت اصلی در قالب خودبودگی و استقلال در زندگی و تأمین نیازهای اولیه پدیدار شده است. مفاهیم ارزشی ذکرشده در داستان طبق نظرگاه و گفتمان غالب شخصیت اصلی و در جهت تثبیت سلطة او بر زن/ مار، تغییر معنا مییابد.

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