دکتر فتانه قملاقی فصل‌نامۀ بین المللی علمی تخصصی مطالعات زبان فارسی ISC 2645-3894 9 25 2026 08 16 A Deleuzian Reading of the Word “Love” in the Poetry of Ferdowsi and Hafez Shirazi خوانشی دلوزی از واژة «عشق» در شعر فردوسی و حافظ شیرازی 1 28 246650 10.22034/jmzf.2026.246650 FA امید روستا استادیار گروه زبان و ادبیات فارسی، مؤسسۀ آموزش عالی دارالحمه، قم، ایران(نویسنده مسئول). Journal Article 2026 02 24 1. Introduction Gilles Deleuze (1925–1995), the French postmodern philosopher, drew upon various fields of knowledge, including mathematics and biology, to explicate his ideas. Although this interdisciplinary perspective made his statements complex, it expanded the scope of critique and analysis in the humanities. “Assemblage” is one of his difficult operative concepts for liberating the word and the concept from the constraints of closure and universal meaning. Its application requires familiarity with complex terms such as becoming, rhizome, exteriority, interiority, simulation, and deterritorialization of the “I” subject. In his transcendental and empiricist philosophy, he refers to the intelligence that reaches assemblage as “sophophilia” and considers it characteristic of literature and poetry. With the aim of creating new opportunities in literary criticism and familiarizing the reader with the creativity of poets at both the surface and underlying levels of poetry, the present article examines the assemblage of the word “love” in the poetry of two poets belonging to the Khorasani and Iraqi styles, namely Ferdowsi and Hafez. By posing the questions of what kind of assemblage characterizes love in the poetry of the two styles, and which components have caused and developed this assemblage, the article offers a new understanding of their formal and substantive subtleties and capacities. 2. Methodology The present study, adopting an interdisciplinary approach and based on the method of content analysis, addresses the comparison and juxtaposition of the assemblage, or agency, and the semantic field of the word “love” in the poetry of Ferdowsi and Hafez Shirazi. In order to become acquainted with Deleuze’s ideas and apply his approaches in the analysis, the study has drawn upon library-based documentary research. 3. Discussion The word “love” and its derivatives in the poetry of Ferdowsi and Hafez possess different phases and semantic spaces. An examination of this difference from the perspective of Deleuzian assemblage demonstrates that the meaning of love in Ferdowsi’s poetry is confined to the lived experience of the heroes of the Shahnameh. Its language is referential, expressive, and signifying; the narrator’s being in the third person and his status as an omniscient narrator restrict the poetry and its meaning to the territory of the “I” and to the subjectivity of individual experiences. The totality of these characteristics makes every attempt to discover the meaning of the word “love” in the Shahnameh dependent upon an arboreal approach; an approach in which the word is dependent upon and fixed within an ordinary and universal meaning, grounded in “being” in the material world and benefiting from “desire” and its machinic exteriority. This is while the word “love” in Hafez’s poetry has an evental nature and possesses no particular spatial location; like a nomadic gypsy or an itinerant tribesperson, constantly on the move, it avoids settling and remaining fixed within a particular word and meaning, and appears at every moment in a different manifestation and meaning. From the perspective of Deleuzian assemblage, this homelessness of the word “love” in Hafez’s poetry results from its rhizomatic nature, eventality, interiority, simulation, and deterritorialization from the “I” subject. Consequently, Hafez’s poetry becomes a discourse of multiple forms of intelligence and thought, freed from linear referentiality of meaning, description, narration, and direct signification, and acquires a dynamic assemblage. Furthermore, the assemblage of love in Hafez’s poetry gives rise to the creation of creative worlds of meaning. Its existence is liberated from closure and confronted with the uncertainty of meaning. Its propositions extend beyond mere narration. Its plane transcends the three dimensions of reference, expression, and signification and becomes an event composed of different meanings. 4. Conclusion The outcome of the discussion and analysis presented in this article is that Deleuze’s assemblage-oriented readings, together with his interdisciplinary guidelines and approaches, provide a new space for the criticism and stylistic analysis of literary works. Within this space, the discussion of the subtleties and capacities of these works becomes broader, and literature, particularly poetry, acquires a more comprehensive definition beyond expressive and rhetorical constructions and metrical and rhythmic forms. This is because Deleuze’s philosophy is grounded in postmodern thought and in the removal of all restrictions from the critical analysis of language. Without the presence of such a deconstructive philosophy, language remains confined within the constraints of reference, expression, and signification, and its power to create meaning is marginalized. «ژیل دلوز»، فیلسوف پست مدرن فرانسوی به هنگام سخن گفتن از واژة عشق- بدون آنکه در بستار یا معنای جهانشمول این واژه گرفتار شود- آن را «جهان امکانات گستردة حیات و شدن» میبیند و میگوید به اندازة تمام هستیهای قابل تصور میتوان شیوة ادراک، تجربه، آموختن و ابداع در مفهوم عشق خلق کرد. او ادبیات را خاستگاه عشق و مظهر آژانسمان؛ یعنی عاملیت فضاسازی و خلق معنا میداند. مسئلة اصلی این جستار آن است که واژة عشق در شعر فردوسی و حافظ از چه آژانسمانی برخوردار است؟ پاسخ مفروض آن است که عشق در شعر به دلیل برخورداری از دو خصلت «شدن» و «وانمودگی» آژانسمان پیچیدهتری دارد و از مرکزگرایی و تحدید در بستار و مفهوم خاص میرهد. پاسخ به این پرسش از این منظر ضرورت دارد که سبب وسعت دید خواننده در مطالعة تطبیقی دو سبک خراسانی و سبک عراقی میشود. هدف از کاربست رهیافتهای دلوز در پاسخگویی به این مسئله، ایجاد فرصتهای جدید در نقد ادبی است تا خواننده به خلاقیتهای شاعران در سطح روبنایی و زیربنایی شعر پی ببرد و با تکیه بر روش تحلیل محتوا ، مطالعات بین رشتهای و خوانشهای تطبیقی را افزایش دهد. برآیند پژوهش نشان میدهد واژة عشق در شعر حافظ با گریز از ارجاع خطی و رهایی از انفعال؛ مسیرهای رازآمیزتری را در سطح معنا و اندیشه آفریده و با سوق دادن شعر به درون آژانسمانهای مختلف، مفهوم پویا و لغزانتری یافته است.

https://www.jmzf.ir/article_246650_a15613e4d4db250b8420773da237bbfc.pdf

دکتر فتانه قملاقی فصل‌نامۀ بین المللی علمی تخصصی مطالعات زبان فارسی ISC 2645-3894 9 25 2026 08 16 Forouzanfar’s Practical Critical Approach to Classical Persian Poetry سیرة نقد عملی فروزانفر در شعر کهن فارسی 29 61 244616 10.22034/jmzf.2026.244616 FA مسلم طاهری مقام دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه شهید بهشتی، تهران، ایران (نویسنده مسئول). احمد خاتمی استاد گروه زبان و ادبیات فارسی، دانشگاه شهید بهشتی، تهران، ایران. قدرت الله طاهری دانشیار گروه زبان و ادبیات فارسی، دانشگاه شهید بهشتی، تهران، ایران. Journal Article 2026 04 04 1. Introduction Badi‘ al-Zaman Forouzanfar was one of the pioneering and meticulous scholars in the field of literary research who, throughout his scholarly works on classical Persian poetry and poets, expressed critical views and offered analyses that are of considerable value and significance from the perspective of practical criticism. Awareness of Forouzanfar’s perspective on Persian poetry and of the nature of his critical method in this field is necessary and essential. Therefore, a study was required in which his practical critiques would be extracted from his scholarly works, categorized, and analyzed, and subsequently questions and issues such as the following would be addressed: 1. To what extent did Forouzanfar devote attention to poetry criticism? 2. Upon which critical criteria were Forouzanfar’s practical critiques of Persian poetry based? And 3. Which approaches received the greatest attention from Forouzanfar in his criticism of Persian poetry? 2. Methodology The method of this research is descriptive-analytical and library-based. 3. Discussion Examining such research works is significant from several perspectives. First, given the breadth of Forouzanfar’s intellectual outlook and the extensive scope of his knowledge, he possessed a deeper and more comprehensive view of literary works; therefore, his works ought to be regarded as sources rich in insightful observations for other researchers of Persian literature. Second, the relative lack of literary criticism and theory in the history of Persian literature further underscores the significance of scholars such as Forouzanfar, who were at times pioneers in certain schools of criticism, such as the criticism and interpretation of literary texts. Another factor that highlights the importance of Forouzanfar’s scholarly works is this researcher’s temporal precedence over academic scholars and the fact that his scholarly career coincided with the emergence of modern research in Persian literature, placing Forouzanfar in the position of a guide and pioneer for researchers who came after him. In his critical method, he consciously sought to prepare the ground for a form of criticism different from the taste-based methods of his predecessors, and he should be regarded “alongside Taghizadeh and Ghazvini as one of the literary scholars and researchers who combined the principles of classical criticism with modern critical methods and paved the way toward achieving a rigorous and systematic form of criticism” (Dehghani, 2000: 24). In criticizing and analyzing Persian poetry, Forouzanfar sometimes employed several critical approaches in combination. For example, he used structural criticism, whose functions consist of “1. extracting the internal structure of the work, 2. demonstrating the existing relationships among its components, and 3. demonstrating the signification contained within the overall structure of the work” (Emami, 2003: 28), to analyze the language and themes of poetry. 4. Conclusion Forouzanfar was among the first scholars to subject individual Persian poetic works to scientific and practical critical examination. He paid relatively little attention to impressionistic and general forms of criticism; the most important and recurrent types of his criticism include: 1. rhetorical criticism of poetry, 2. criticism of poetic language, 3. influence and reception criticism, 4. biographical-dictionary and literary-historical criticism, 5. typological and stylistic criticism of poetry, 6. criticism of the development of genres and poetic forms in Persian poetry, 7. structural criticism of poetry, 8. thematic criticism of poetry, and 9. ethical and impressionistic criticism of poetry. The sources and theoretical foundations underlying these perspectives can be identified as: 1. classical rhetoric, 2. Forouzanfar’s own internal scholarly knowledge, and 3. to a very limited extent, attention to the ordering and classification of the modern sciences. Forouzanfar sometimes employed critical methods in an integrated and combined manner in his criticism of poetry. Almost all of his authored works, as well as the introductions he wrote for the poetry of various poets, contain critical perspectives. The three fundamental approaches in Forouzanfar’s practical criticism of poetry are influence and reception criticism, thematic criticism, and rhetorical criticism. In his thematic criticism, Forouzanfar focused more extensively on the interpretation of mystical poetry; considering that Forouzanfar’s interpretations historically preceded the widespread development of hermeneutics as a branch of literary criticism, precedence in this field belongs to him. بدیعالزمان فروزانفر یکی از محققان پیشگام و دقیقالنظر در عرصة تحقیقات ادبی است که در زمینههای گوناگون تحقیق وارد شده است. فروزانفر در جایجای آثار تحقیقی خود دربارة شعر و شاعران کهن فارسی نقد و نظرهایی را ایراد کرده است که از لحاظ نقد عملی ارزش و اعتباری درخور دارند. با توجه به این پیشینه و اینکه روشهای فروزانفر در نقد و تحقیق بر محققان پس از خود تأثیرگذار بوده است، آگاهی از نگاه فروزانفر دربارة شعر فارسی و چگونگی روش نقادی او در این زمینه، لازم و ضروری است. این نقد و نظرها به صورت پراکنده در آثار فروزانفر به چشم میخورد؛ این پراکندگی مانع از شناخت منسجم و طبقهبندیشدة دیدگاه نقادانة او شده است. در این مقاله تلاش شده است بر بنیان نقد و نظرهای عملی فروزانفر که از خلال آثار تحقیقی او به دست آمده، نقدهای عملی فروزانفر دربارة شعر فارسی به صورت دقیق دستهبندی و سپس در مدخلهای دقیقتر، تنظیم و تحلیل شوند و در پایان، معیارها و رویکردهایی را که این محقق در مسیر نقد آثار شعری کهن فارسی مدّ نظر داشته، نشان داده شود. نقد و نظرهای فروزانفر در شاخههای گوناگون نقد ادبی از جمله نقد تأثیر، نقد زندگینامهای، نقد تذکرهای و تاریخ ادبیاتی، نقد درونمایهای، نقد تفسیر و ... است که از این میان به نقد تفسیر و درونمایهای و نقد تأثیر و تأثر و نقد بلاغی شعر بیش از دیگر نحلههای نقد گرایش داشته است. روش این تحقیق توصیفی- تحلیلی و کتابخانهای است.

https://www.jmzf.ir/article_244616_ec6e267f772d67f657c5fa47838fb3d9.pdf

دکتر فتانه قملاقی فصل‌نامۀ بین المللی علمی تخصصی مطالعات زبان فارسی ISC 2645-3894 9 25 2026 08 16 Semantic Diversity of Prepositions as a Stylistic Feature of the Bayān al-Adyān تنوع معنایی حروف اضافه، ویژگی سبکی کتاب بیان‌الادیان 62 96 246049 10.22034/jmzf.2026.581998.1269 FA لیلا کردبچه استادیار گروه فرهنگ نویسی، فرهنگستان زبان و ادب فارسی، تهران، ایران. (نویسنده مسئول). 0009-0008-9149-4187 Journal Article 2026 04 16 1. Introduction In stylistic studies, all elements present in a text are of significance, and in examining the syntactic structure of language, “particles” are no less important than verbs, words, adjectives, adverbs, and pronouns. Therefore, it is necessary to examine particles from various perspectives in order to gain a better understanding of their role and characteristics in the formation of style, and to address questions such as: “Although particles, within the syntactic structure of the Persian language, function not as major grammatical constituents but rather as markers, do they nevertheless have significance and an influence on the formation of written style?”; “In addition to the formal characteristics of particles, such as being simple, reduplicated, basic, or compound, as well as their displacement, what role does the semantic potential of particles play in the formation of written style?”; and “Can demonstrating the existence of polysemy in the use of prepositions and conjunctions in the earliest stylistic periods of Persian prose call into question the previously identified characteristics that emphasize the simplicity of the written style of those periods?” These questions underscore the role and significance of particles in determining the style of writing in Persian texts. 2. Methodology The research method employed in this study is library-based and is grounded in findings obtained through a line-by-line examination of the book Bayān al-Adyān. The instances identified were subsequently divided into two groups, namely “prepositions” and “conjunctions” (the latter will be examined in a separate study). Each preposition was then analyzed according to its distinct semantic functions, with a maximum of two textual examples provided for each semantic distinction. Finally, after establishing the existence of semantic multiplicity among prepositions, we introduced this characteristic as a stylistic feature of the writing of this work and regarded it as an indication of the absence of strict adherence to semantic explicitness and simplicity in one of the oldest texts of the Persian language. 3. Discussion In stylistic studies, the attention devoted to these important syntactic elements, particularly to their semantic domains, has not been commensurate with the significance that the subject of prepositions and conjunctions warrants. This is precisely the issue addressed in the present article: ـ Joz / جز 1. It indicates exception and exclusivity (Sadeghi, 1349a: 468) and is used to distinguish one thing from another; it is synonymous with “other than” (gheyr az): “The name of God was widespread and well known among the Arabs, and they did not call anyone by that name except the Most High Deity” (Abu al-Maʿāli, 1376: 20). 2. It is used to express an instance similar to one that has been mentioned previously; it is synonymous with “like” (mānd-e): “The predecessors and the leading philosophers... such as Agathodemus, Hermes, Pythagoras, and others like them, held that the Exalted Truth is One, Eternal, and Perfect” (ibid.: 28). 4. Conclusion An examination of the “meanings of prepositions” in the Bayān al-Adyān, one of the oldest texts of Persian prose, confirms the semantic breadth of prepositions. This is a noteworthy characteristic that can, as a stylistic indicator, demonstrate that in the prose style of the early period—which we know as the Morsal style and whose predominant characteristics are considered to be simplicity of expression, the absence of affectation and artificiality, and the avoidance of semantic complexity—the existence of polysemy in particles, as the smallest linguistic units, can call into question the claim of simplicity and the avoidance of semantic complexity in written works from the early centuries of Persian prose. On the other hand, it should be noted that Bayān al-Adyān is a book dealing with a description of pre-Islamic and Islamic religions and sects, and its subject matter was essentially not a suitable context for linguistic artistry or the employment of diverse semantic forms. This is because the ultimate purpose of such texts was the transmission of a message rather than the conveyance of aesthetic beauty. In light of this point, we observe that the existence of polysemy in the use of particles in a non-literary text constitutes an emphasis on the natural acceptance of polysemy among linguistic units in the earliest periods of the Persian language—an aspect that can be regarded as one of the prominent indications of a departure from simplicity and semantic explicitness in expression. Therefore, in view of the findings obtained from the examination of the semantic range of prepositions in the Bayān al-Adyān, we consider it necessary to add the semantic breadth of particles to the previously identified stylistic characteristics of prose texts from the fourth and fifth centuries AH. در مطالعات سبک‌شناسی، تمامی عناصر موجود در متن حائز اهمیّت‌اند. در بررسی ساختار نحوی زبان، «حروف» اهمیّتی کمتر از افعال، واژه‌ها، صفات، قیود، و ضمایر ندارند؛ به‌ویژه اینکه خود از زوایای گوناگونی چون مفرد، مضاعف، ساده و بسیط بودن، نیز جابه‌جایی، حذف، قابلیت‌های ایجازی و تنوع معانی درخورِ تحلیل‌‌اند. بررسی معانی حروف می‌تواند با هدف شناخت بهتر ساختارهای نحوی در پیکرۀ زبان و به‌عنوان عاملی متمایزکننده در تشخیص سبک نوشتار صورت بگیرد، چراکه حروف در ساختمان دستوری زبان از اهمیّتی ویژه برخوردارند و برخورد مؤلف با آن‌ها، همواره بخشی مهم از ویژگی‌های سبکی را تشکیل می‌دهد. از همین منظر لازم است برای شناخت سبک شخصی نویسندگان و نیز شناخت سبک‌های دوره‌ای، توجهی ویژه به کارکردهای معناییِ حروف داشته باشیم، برای پاسخ دادن به این پرسش‌ها که «آیا معناپذیری حروف، نقشی در ایجاد سبک نوشتار دارد؟» و «آیا وجود چندمعنایی در کاربرد حروف در متون قدیمی، تأکید پژوهشگران بر سادگی سبک دوره‌های آغازین را زیر سؤال نمی‌برد؟»، با این پیش‌فرض که «معانی حروف» علی‌رغم اینکه تاکنون در مطالعات سبک‌شناسی، چندان مورد توجه قرار نگرفته‌اند، در ایجاد سبک نوشتار، بسیار مهم و تعیین‌کننده‌اند و بررسی متون قدیمی می‌تواند نشان‌دهندۀ پیچیدگی معنایی آن‌ها، برخلاف سادگی ادعاشده در مطالعات سبک‌شناسی‌ دوره‌های آغازین نثر فارسی باشد. به همین منظور به بررسی کتاب بیان‌الادیان، به‌عنوان یکی از قدیمی‌ترین کتاب‎های نثر فارسی پرداخته‌ایم، تا تنوع معنایی حروف را در دوره‌ای که زبان فارسی دوران سادگی، بی‌پیرایگی و کاربرد واحدهای زبانی اغلب تک‌معنا را سپری می‌کرد و هنوز وارد دورۀ تکلف و چندمعنایی نشده بود، نشان دهیم.

https://www.jmzf.ir/article_246049_37da43037d8285a32e2b6fd0c0e0da80.pdf

دکتر فتانه قملاقی فصل‌نامۀ بین المللی علمی تخصصی مطالعات زبان فارسی ISC 2645-3894 9 25 2026 08 16 Analysis of the Discourse and Grammatical Levels of Modality in the Persian Language تحلیل سطوح گفتمانی و دستوری وجهیت در زبان فارسی 97 121 244030 10.22034/jmzf.2026.550321.1256 FA محمود مبارکی استادیار گروه زبان شناسی، دانشگاه جهرم، جهرم، ایران (نویسندۀ مسئول). مریم جلیلی دانش آموختۀ کارشناسی ارشد زبان شناسی، دانشگاه سمنان، سمنان، ایران. 0000-0002-8694-1623 Journal Article 2025 10 01 1. Introduction In the past, modality was associated with the syntactic category of “mood,” and gradually, linguists such as Tavangar and Amouzadeh (2009), with reference to Lyons (1977), Palmer (1986), Bybee et al. (1944), Fillmore (1986), Givón (1995), Palmer (1998), and Narrog (2005), arrived at a distinction between semantic modality and grammatical modality. Research of this kind must be conducted in accordance with the nature of each language and its compatibility with the capacities and resources of that language. Since different approaches have each addressed a particular aspect of modality and there is no general agreement among them regarding the dimensions of modality, the authors seek to answer the question: What are the overall dimensions of modality? Despite intermittent descriptive and theoretical studies in the field of modality, scholars have still not reached an agreed-upon definition of this concept, and this in itself is evidence of the importance and complexity of modality. The aim of the present study is to introduce all dimensions of modality and provide a comprehensive representation of it. 2. Methodology This research was conducted using a library-based method. In this manner, different views concerning modality were examined and, based on their differences and similarities, were placed into separate categories in the form of distinct perspectives. After comparing the proposed perspectives, the authors put forward another perspective that encompasses all of these viewpoints. 3. Discussion There are four perspectives on modality, each of which approaches the subject from a different angle. Naghizadeh et al. (2011) regard modality primarily as semantic information related to the speaker’s insight or viewpoint concerning what is being said. Palmer’s (1990) perspective on modality is limited solely to grammatical modality, or, in other words, grammatical mood, because it is applicable only to verbs. The third perspective encompasses the views of grammarians and modern linguists, each of whom has described the concept of modality in a different way. Although each has adopted a different approach, they share one common point, namely that, in examining modality, they have focused only on the grammatical structure and surface structure of language. In the fourth perspective, Portner (2009) divides modal elements into three categories: sentential modality, subsentential modality, and discourse modality. Each of these perspectives offers a single version for all languages with regard to modality; however, the category of modality is entirely language-specific and is reflected across languages in various and diverse ways. It is therefore impossible to provide criteria that represent the category of modality uniformly across all languages. Research of this kind must be conducted in accordance with the nature of each language and its compatibility with the capacities and resources of that language. Accordingly, in the discussion of modality, emphasis should be placed on two important points: first, the examination of modality as language-specific; and second, the examination of modality at the discourse, sentential, and subsentential levels. This means that the rules of modality in one language cannot be imposed upon another language, because the structural configuration of modality differs from one language to another. Furthermore, in examining modality, all of its dimensions must be taken into consideration. 4. Conclusion Drawing upon and synthesizing the various approaches to modality, the authors have presented the overall structure of the modality system in the form of a diagram. This diagram, which encompasses all dimensions of modality, including discourse modality, grammatical modality, and semantic modality, can serve as a credible model for examining modality in the Persian language. In the proposed diagram, the overall structure of modality is divided into three sections: the examination of contextual (discourse) modality; modality that is neither lexicalized nor grammaticalized. Subsentential modality; modality that is expressed only in sentence elements such as a lexicalized adjective. Sentential modality; modality that is grammaticalized in the verb. رویکردهای مختلف در رابطه با وجهیت، هرکدام به بخش خاصی از وجهیت پرداخته‌اند و توافق کلی از ابعاد وجهیت بین آن‌ها نیست. هدف پژوهش پیش رو معرفی تمام ابعاد وجهیت و ارائه تصویری جامع از آن به روش کتابخانهای می‌باشد. درحالی‌که مقولۀ وجهیت کاملاً زبان ویژه است و در بین زبان‌ها به شیوه‌های مختلف و متنوعی منعکس می‌شود، نمی‌توان معیارهایی ارائه داد که مقولۀ وجهیت را در تمامی زبان‌ها به‌صورت یکسان بازنمایی کند. نگارندگان در پایان به این نتیحه میرسند که جهت بررسی وجهیت به یک شاکله کلی نیاز داریم که دارای سه بخش باشد: بررسی وجهیت بافتی (گفتمانی)؛ وجهیتی که نه واژگانی‌شده و نه دستوری؛ وجهیت زیرجمله‌ای؛ وجهیتی که فقط در عناصر جمله از قبیل صفت واژگانی‌شده باشد. وجهیت جمله‌ای؛ وجهیتی که در فعل دستوری‌شده باشد. از طرف دیگر وجهیت، یک عنصر زبانی است که می‌توان از منظر واج‌شناسی، نحوی، ساختواژی، معنایی و کاربردشناسی به آن پرداخت و هرکدام از این دیدگاه‌ها تنوعات گوناگونی برای وجهیت ارائه خواهد داد.

https://www.jmzf.ir/article_244030_4fc5c9016c44b5f133db11d8bb816a0b.pdf

دکتر فتانه قملاقی فصل‌نامۀ بین المللی علمی تخصصی مطالعات زبان فارسی ISC 2645-3894 9 25 2026 08 16 The Prophethood and Guardianship of the Prophet Islam (PBUH) in Rūḥ al-Arwāḥ by Ahmad Samʿani نبوت و ولایت پیامبر اسلام(ص) در روح‌الارواح احمد سمعانی 122 147 246732 10.22034/jmzf.2026.582235.1270 FA مسروره مختاری استاد گروه زبان و ادبیات فارسی، دانشگاه محقق اردبیلی، اردبیل، ایران (نویسنده مسئول) 0009-0002-0146-3085 علی شعبانی دانش‌آموخته کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه محقق اردبیلی، اردبیل، ایران. Journal Article 2025 11 06 1. Introduction One of the mystical figures who paid particular attention to the ontological status and rank, as well as the prophethood and Guardianship of the Prophet of Islam (PBUH), was Shahab al-Din Abo alQasim Aḥmad ebn Manṣur Samʿani (born in 487 AH), one of the eloquent scholars and learned figures of the Samʿani family. The valuable work Rūḥ al-Arwāḥ fī Sharḥ Asmāʾ Malak al-Fattāḥ by Aḥmad Samani is a book on the explanation and interpretation of the Divine Names, approached from a mystical perspective. An important point that draws our attention in Rūḥ al-Arwāḥ is that, while explaining the Names and Attributes of God, the author mentions the Seal of Prophethood and Messengership, the Prophet Mohammad (peace and blessings of God be upon him and his family), more than 130 times. With the perspective and beliefs he held regarding the Prophet MOhammad (PBUH), Samʿani sought, in writing Rūḥ al-Arwāḥ and in explaining the Divine Names, to elucidate and expound the spiritual and mystical character, ontological rank and status, and the wilāya and prophethood of the Prophet Mohammad (PBUH) in comparison with other prophets, and he frequently adorned his statements by drawing upon religious sources, as well as rational and transmitted ḥadīths and reports. The present study, through an examination of the textual evidence in Aḥmad Samʿani’s Rūḥ al-Arwāḥ, has attempted to answer the following questions: 1- How are the Guardianship and supremacy of the Prophet Mohammad (PBUH) over the preceding prophets explained in Rūḥ al-Arwāḥ? 2- What arguments and proofs does Samʿani present to establish the Guardianship of the Prophet Mohammad (PBUH) over the other divine messengers? 3- In Aḥmad Samʿani’s Rūḥ al-Arwāḥ, how is the ontological, visionary, celestial, spiritual, and religious rank and status of the Prophet Mohammad (PBUH) expressed in comparison with the preceding prophets? 2. Methodology Considering the position of the Prophet Mohammad (PBUH) in Islamic mysticism and in literary and religious texts, the present study, adopting an analytical-descriptive approach, first examined the textual evidence in Rūḥ al-Arwāḥ and then analyzed those passages by drawing upon authoritative religious sources. The arguments for the Guardianship and supremacy of the Prophet Mohammad (PBUH) over the preceding prophets were explained and analyzed on the basis of textual, transmitted, and rational evidence. 3. Discussion By referring to the glad tidings given by the preceding prophets and to the Holy Qurʾan, Samʿani introduces the Prophet Mohammad (PBUH) as the final link in the chain of prophethood and the foremost of all prophets. He believes that the Prophet Mohammad (PBUH) possesses superiority, sovereignty, and wilāya over the entire created universe and that, in terms of the manner of his creation and his ontological rank and status, as well as his celestial rank and his rank of vision, unveiling, and mystical witnessing, he possesses Guardianship and supremacy over all the preceding prophets. Samʿani maintains that the Prophet Mohammad (PBUH) encompasses all the virtues of the preceding prophets and completes their mission, and that, in terms of the rank of miraculous ability, he possesses supremacy and Guardianship over all prophets. In order to establish the Guardianship and supremacy of the Prophet Mohammad (PBUH), Samʿani compares each of the aforementioned aspects among the divine prophets and, through transmitted and rational proofs and arguments, and at times through the language of allegory, analyzes and explains these instances with remarkable beauty and a distinctive sweetness of expression. 4. Conclusion The present study concludes that the work Rūḥ al-Arwaḥ fī Sharḥ Asmaʾ al-Malek al-Fattaḥ by Shahab al-Din Aḥmad Samʿani, in addition to its content devoted to explaining and interpreting the Beautiful Names of God, beautifully articulates the prophethood, Guardianship, and supremacy of the Prophet Mohammad (PBUH) over the preceding prophets, drawing upon verses of the Qurʾan and transmitted reports. The co-occurrence of the name of God with the name of the Prophet Mohammad (PBUH) in this work constitutes evidence of the Prophet’s distinctive rank and status within the order of existence. The high frequency with which the author refers to the Noble Prophet, in addition to reflecting the author’s particular devotion to him, indicates his supremacy and special position among the divine prophets. ستایش پیامبر اسلام(ص) در ادبیات فارسی و در بیشتر آثار شاعران و ادیبان و عارفان، جلوه خاصی داشته است. استمرار ستایش پیامبر(ص) به معنای حضور معنوی در زندگی هر انسان و جاودانه‌ بودن رسالت ایشان است. افزون بر این، شخصیت پیامبر(ص) بیشترین تأثیر را در شکل‌گیری و تداوم عرفان اسلامی و اصول آن داشته ‌‌است. پژوهش حاضر با روش تحلیلی - توصیفی و استفاده از منابع کتابخانه‌ای، نبوت پیامبر اسلام(ص) و ولایت و سیادت آن حضرت بر انبیای پیشین را در کتاب «روح‌الارواح فی شرح اسماء ملک‌الفتاح» اثر احمد سمعانی مطالعه کرده است. سمعانی در این اثر با زبان تمثیل و با حلاوت خاص، انبیای الهی را از نظر چگونگی خلقت، مقام و مرتبه وجودی، شهودی، اعجاز و ابتلا باهم مقایسه کرده و با ارائه دلایل عقلی و نقلی، ولایت و سیادت حضرت محمد(ص) بر انبیای پیشین را به اثبات رسانده است. نتایج پژوهش نشان می‌دهد که سمعانی به دلیل مذهب و مشرب فکری و ارادت خاص به پیامبر اسلام(ص)، در کتاب روح‌الارواح، از آن حضرت با بسامد بالا یاد کرده‌ است و با ارائه دلایل و شواهد متعدد از آیات قرآن کریم و منابع دینی و عرفانی، آن حضرت را از نظر مقام و مرتبه وجودی، چگونگی خلقت، از نظر مقام و مرتبۀ عرشی، خاتمیت نبوت و رسالت، مقام اعجاز و ابتلا، از نظر مقام کشف و شهود و غیره، سرور انبیای پیشین دانسته‌اند.

https://www.jmzf.ir/article_246732_bb5af52875d27618582cbf0249a6aae5.pdf

دکتر فتانه قملاقی فصل‌نامۀ بین المللی علمی تخصصی مطالعات زبان فارسی ISC 2645-3894 9 25 2026 08 16 Figurative Language as a Tool for the Poeticity of the Historical Novel Shams and Toghra زبان تمثیلی به مثابۀ ابزار شعریت رمان تاریخی شمس و طغرا 148 187 244618 10.22034/jmzf.2026.244618 FA سحر نجفی پر دانشجوی دکتری زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه محقق اردبیلی، اردبیل، ایران. عسگر صلاحی دانشیار زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه محقق اردبیلی، اردبیل، ایران(نویسنده مسئول). فاطمه مدرسی استاد زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه ارومیه، ارومیه، ایران. ابراهیم دانش دانشیار زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه محقق اردبیلی، اردبیل ایران. 0000-0002-9380-2373 Journal Article 2026 03 09 1. Introduction This study aims to analyze the role of figurative language in the poeticity of the historical novel Shams and Toghra, written by Mohammad-Baqer Mirza Khosravi. The main problem addressed in the study is the insufficient attention paid to the potentialities of allegory in narrative prose and to the ways in which it functions in creating semantic layers and enriching the aesthetic dimensions of this novel. Although allegory and its rhetorical capacities have been extensively explored in Persian poetry, its position and function in narrative prose, particularly in the historical novel, have largely been overlooked. The novel Shams and Toghra, written by Mohammad-Baqer Mirza Khosravi, is among the works in which the author appears to have consciously employed the potentialities of figurative language in an effort to enrich his historical narrative with diverse semantic layers. This study seeks to answer the question of whether this rhetorical structure can also occur in narrative prose and perform a function similar to that which it performs in poetry. Accordingly, the present study has been formulated around three main questions: 1- What types of allegory occur in the novel Shams and Toghra, and what formal and semantic characteristics does each possess? 2- Second, how, and through what mechanisms, has figurative language contributed to increasing the poeticity and aesthetic richness of this novel? 3- How has the oslub-e mo‘adeleh (equational style), as one of the forms of allegory, been realized within the prose of this novel, and what functions has it performed in characterization and in the creation of semantic networks? 2. Methodology In this study, a descriptive-analytical research method has been employed. The data were collected through library-based sources, and subsequently, examples of allegory in the novel Shams and Toghra were extracted and analyzed on the basis of two principal categories, namely “proverb” and “equational style.” The analysis of the evidence was conducted drawing upon rhetorical approaches and literary criticism, and the role of figurative language in increasing the poeticity of the text was examined. 3. Discussion It can be argued that proverbs, by creating a form of “defamiliarization” within the texture of discourse, cause the reader to move beyond the mere surface of events and gain access to deeper layers of meaning. This is precisely the principal function of figurative language in poetry and literature: transforming ordinary propositions into multilayered signs that invite the reader to reflection and interpretation. Until now, no one has discussed the presence of the equational style in prose; however, the fact is that the equational style can also be found in prose in such a manner that its aesthetic matrices are observed. One of the principal conditions of the equational style is that one side of the discourse is rational and the other side is sensory; another condition is that an equal sign can be placed between the rational and sensory dimensions, meaning that, in terms of meaning, an illustrative or explanatory example is provided for the rational proposition. All of these characteristics are factors that none of them constitutes an obstacle to the presence of the equational style in prose. 4. Conclusion In the use of proverbs, the first and most prominent characteristic is brevity and semantic compression. These proverbs convey the greatest amount of meaning through the fewest words and compel the reader to reflect upon the underlying layers of discourse. This characteristic elevates the text beyond the level of ordinary propositions and endows it with an interpretive depth that invites the reader to participate actively in the process of meaning-making. Another prominent function of proverbs is their connection with oral tradition and popular culture. These proverbs are rooted in lived experiences, collective beliefs, and the practical wisdom of generations, and upon entering the novelistic text, they connect it to a layer of collective wisdom and cultural memory. Another important function of proverbs is their role in indirect characterization. The selection of each proverb by each character reveals dimensions of that character’s worldview, lived experience, and disposition. This indirect characterization encourages the reader to discover the hidden dimensions of the characters and prevents a superficial reading of characterization. این پژوهش با هدف تحلیل نقش زبان تمثیلی در شعریت رمان تاریخی شمس و طغرا نوشتۀ محمدباقر میرزا خسروی صورت گرفته است. مسألۀ اصلی پژوهش، کم‌توجهی به ظرفیت‌های تمثیل در نثر داستانی و چگونگی کارکرد آن در آفرینش لایه‌های معنایی و غنای زیبایی‌شناختی این رمان است. روش پژوهش توصیفی - تحلیلی است و داده‌ها با تکیه بر منابع کتابخانه‌ای تحلیل شده‌اند. نتایج پژوهش نشان می‌دهد که دو گونة اصلی تمثیل، یعنی مثل و اسلوب معادله در این رمان حضور فعال دارند و هر یک به شیوه‌ای خاص به افزایش شعریت متن یاری می‌رسانند. مثل‌ها با ایجاز و فشردگی معنایی، پیوند با سنت شفاهی و فرهنگ عامه، شخصیت‌پردازی غیرمستقیم، ایجاد تعلیق دراماتیک و بازتاب شرایط اجتماعی- تاریخی، متن را از سطح گزاره‌های عادی فراتر برده است. اسلوب معادله نیز با ساختار دو وجهی خود که پیونددهندة امر عقلی و حسی است، شبکه‌های معنایی و بینامتنی ایجاد می‌کند و با بهره‌گیری از مفاهیم اسطوره‌ای و دینی، ظرفیت تأویل‌پذیری متن را افزایش می‌دهد. کاربرد اسلوب معادله در نثر داستانی این رمان، نوآوری قابل توجهی است که افق‌های تازه‌ای را برای تحلیل‌های بلاغی می‌گشاید. زبان تمثیلی در شمس و طغرا عنصری تزئینی نیست، بلکه عامل اصلی و ساختاری در آفرینش شعریت است و این رمان را از یک روایت تاریخی صرف به اثری چندلایه با ظرفیت‌های تأویلی گسترده تبدیل کرده است.

https://www.jmzf.ir/article_244618_e4c379e776de3da76331b5e2f762ae72.pdf

دکتر فتانه قملاقی فصل‌نامۀ بین المللی علمی تخصصی مطالعات زبان فارسی ISC 2645-3894 9 25 2026 05 22 A Reflection on the Components of Patriotism in Confronting the Enemy: From the Shahnameh to the Poems of the Ramadan War تأملی بر مؤلّفه های ایران دوستی در مواجه با دشمن از شاهنامه تا سروده های جنگ رمضان 188 214 245026 10.22034/jmzf.2026.585435.1276 FA زهرا نوری دانش آموخته دکتری زبان و ادبیات فارسی، دانشگاه ارومیه، ارومیه، ایران. 0000-0003-3078-1293 Journal Article 2026 04 27 1. Introduction This article reflects upon the position of patriotism in literature, with an emphasis on the theme of confronting the enemy, and examines its recurring components in meaning and language in classical and contemporary literature. The statistical population consists of prominent works of prose and poetry that have addressed the subject of homeland in different periods. In order to provide a comprehensive and general examination and to trace its historical development, the analysis of recurring components encompasses works ranging from the Shahnameh to the poems of the Ramadan War (the war between the United States and Israel and Iran). The aim of the study is to identify the recurring components in the linguistic and content-based descriptions found in these works, with particular emphasis on determining which descriptive and thematic patterns have been repeatedly represented in literature throughout these centuries. 2. Methodology The research method is based on library research and note-taking. By studying prominent literary texts that have addressed the subject of the homeland, recurring descriptions were identified and recorded. Through the categorization of these notes, the article was written using a descriptive-analytical approach. 3. Discussion In this article, an attempt was made to examine the shared content and descriptive patterns concerning the homeland and confrontation with enemy aggression in prominent and well-known examples of Persian literature. The findings of the study identified three recurring components in this regard, as follows: Patriotism through the repetition of the words “Iran” and “homeland”: In all texts that have addressed the homeland, patriotism and love for the homeland are evident, and the two words “Iran” and “homeland” occur frequently. Examples of this description can be found in various forms of epic literature, lyrical literature, literature of resistance, and social literature. Praise of courage and martyrdom, and condemnation of betrayal: The concepts and themes of resistance poetry are numerous, and in every period they have found their own prominent manifestations. However, if we summarize the subject of confronting a foreign enemy, specifically in relation to war and patriotism, the content-based opposition can be described as follows: the praise of courage, resistance, and martyrdom for the preservation of the homeland in the face of the enemy is presented in contrast to the condemnation of betrayal in literature. Symbolic description based on an Iranian-Islamic pattern: Persian literature has been closely associated with national and religious identity throughout all centuries. When the descriptive patterns and the use of symbols in resistance poetry are examined in the portrayal of characters and themes, an Iranian-Islamic mode of description can be observed. This phenomenon is rooted in our rich culture, through which this pattern has been formed by combining national and religious concepts. 4. Conclusion From the Shahnameh to the poems of the Ramadan War, the literature of this land is filled with works in which literary figures have written in defense of Iran and Iranian identity. Whenever an enemy has gone to war against Iran, they have entered the arena with the weapon of the pen and have produced works in defense of Iran and the Iranian people. The recurring components of these texts at the thematic level include love for Iran and patriotism, the depiction of the bravery, courage, and resistance of fighters and martyrs, and, in contrast, the condemnation of traitors to the homeland. At the linguistic and literary levels, the words “Iran” and “homeland” occur frequently, while Iranian and Islamic symbols are repeatedly employed in descriptions. The results of the examination of the poems indicate that, across different literary periods, an Iranian-Islamic descriptive pattern exists in relation to this subject, while its fundamental thematic structure consists of praising fighters and martyrs and condemning enemies and traitors. The Shahnameh, as a prominent work of classical literature, has exerted an influence on the content of resistance literature, and the combination of epic and mythological elements with religious elements has continued to recur in subsequent works up to the present day. ایراندوستی، عشق به وطن و پایداری در برابر دشمن یکی از مضامین مهم ادب فارسی است که شاعران و نویسندگان در بزنگاههای تاریخی به آن توجه کردهاند. در این مقاله با تأملی بر جایگاه ایراندوستی در ادبیات فارسی با تأکید بر موضوع مواجه با دشمن، مؤلّفههای پر تکرار آن در معنا و زبان، در ادبیات کلاسیک و معاصر بررسی شده است. جامعه آماری، آثار برجستۀ متون نثر و شعر است که در دورههای مختلف به موضوع وطن توجه کردهاند و برای بررسی جامع و کلی و بیان سیر تاریخی، تحلیل مؤلّفههای پرتکرار از شاهنامه تا سرودههای جنگ رمضان(جنگ امریکا و اسرائیل با ایران) را شامل میشود. نتایج بررسی نشان میدهد، ایراندوستی و عشق به وطن مضمون مشترک همه دورههای ادبی در مواجه با دشمن است؛ و دو واژۀ «ایران» و «وطن» در متون تکرار شدهاند. در بنمایۀ فکری نیز ستایش رشادت و مقاومت تا شهادت در تقابل نکوهش خیانت به وطن قرار گرفته است. در توصیفات مشترک، توصیفهایی که از الگوی ایرانی اسلامی گرفته شده با دگردیسی نمادهای شاهنامه و تلمیح به داستانهای اساطیری و دینی پرتکرار است. بدینگونه ایراندوستی در مواجه با دشمن در ادبیات، توجه صریح به وطن و اظهار عشق، اندوه از هجوم دشمن و دعوت به حفظ وطن، رشادت و مقاومت تا شهادت در مقابله با دشمن، نکوهش خائنان به وطن و توصیف مفاهیم پایداری با الگوی توصیفی ایرانی اسلامی است.

https://www.jmzf.ir/article_245026_1765274ca5a383a4071dcb15658b0ca4.pdf