دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 73 2026 03 21 The New Poem as an “Event”: A Reflection on Morad Farahhadpour’s Poetic Views شعر نو به‌مثابۀ «رخداد» با تأملی در دیدگاه‏های شعری مراد فرهادپور 1 36 28426 10.48311/lcq.2026.115535.1001 FA فرزاد بالو دانشیار زبان و ادبیات فارسی دانشگاه مازندران مصطفی میردار رضایی استادیار گروه زبان و ادبیات فارسی دانشکده‌ی ادبیات و علوم انسانی، دانشگاه گیلان، رشت، ایران Journal Article 2025 09 20 This study employs a descriptive-analytical methodology to examine Morad Farahhadpour’s perspective on the nature and essence of modern Persian poetry (She’r-e No). Influenced by Alain Badiou, Farahhadpour posits modern poetry as an “Event” within the contemporary history of Iran; it is the concrete and embodied translation of Rimbaud’s famous dictum “absolute modernity”into Iranian literary history, with Nima Yushij being the originator of this Event. The defining characteristic of an “Event” is its unpredictability. However, this does not imply emergence ex nihilo; rather, it arises from a dialectical confrontation with tradition. The Event creates a rupture in our ordinary knowledge of the existing situation (classical poetry), but only when its very existence and emergence are profoundly denied by the “situation” itself. Accordingly, Nima and his followers (Shamlu, Forough, Royaee, etc.) are considered the subjects of this “Event,” having, in a sense, followed the logic of this rupture. In this sense, the subjects of the Event positively continued the internal logic of the initial negation inherent in the “Event,” becoming subjects precisely because of their fidelity to that logic, thereby constructing new currents. Nevertheless, Farahhadpour contends that following Nima and Shamlu, we no longer witness a fresh occurrence in the field of contemporary poetry. He argues that most poetry collections have been reduced to the personal self and a search for internal existential truth, where the echoes of those initial ruptures within the “Event” called She’r-e No are scarcely heard. In his genealogy of the poetic crisis, he traces the root of this lack and crisis to the realms of politics and literature: both the post-1979 Revolution’s distancing from its own emancipatory politics and the unfamiliarity of Iranian poets and critics with the historical experience of modern poetry, compounded by the decorative and theatrical nature that literary criticism has adopted. Expanded Abstract This research, employing a descriptive-analytical methodology, examines Farhadpour’s viewpoint regarding the nature and essence of New Poetry (She’r-e No). Under the influence of Alain Badiou, Farhadpour conceptualizes New Poetry as an “Event” (Rokhdaad) within contemporary Iranian history; in essence, the concrete and embodied realization of Rimbaud’s famous dictum, “to be absolutely modern,” within the trajectory of modern Iranian literature. Nima Yushij is identified as the originator of such an Event. The primary characteristic of an Event is its unpredictability. However, this does not imply an emergence ex nihilo; rather, it arises from a dialectical confrontation with Tradition. A rupture occurs in our common knowledge of the existing State (classical poetry), but this only happens when its very existence and manifestation have been deeply negated by the “State” itself. Accordingly, Nima and his followers (including Shamloo, Foroughi, Royaee, etc.) are considered the subjects of this Event, as they have, in a way, followed the logic of that schism. In this sense, the subjects of the Event positively continued the internal logic of the Event’s initial negation, thereby becoming subjects through their fidelity to that logic and establishing new currents. Nevertheless, Farhadpour maintains that subsequent to Nima and Shamloo, we witness no significant new occurrences in contemporary poetry; the majority of poetic collections have been reduced to the personal self and the pursuit of inner existential truth, with the echoes of the initial rupture and schism of the “Event” known as New Poetry growing fainter. In his genealogy of the poetic crisis, Farhadpour seeks the roots of this absence and crisis in the realms of politics and literature: both the 1979 Revolution’s distancing from its own emancipatory politics and the unfamiliarity of our poets and critics with the historical experience of modern poetry, in addition to the ornamental and theatrical manner adopted by literary criticism. Farhadpour analyzes Nimaic New Poetry and its adherents through a Badiouian framework. In his view, New Poetry, as an Event, constitutes a complete rupture with Tradition, leading to the creation of the New, initiating a new stage in history, and establishing a new logic. Consequently, New Poetry compelled its subjects to declare fidelity to this rupture and revolution, extracting its consequences from the poetry and progressively advancing that truth. He asserts, “If the rupture itself is associated with ‘Nima’ for us, the two principal subjects who advanced the logic of truth stemming from this novel and original Event are undoubtedly ‘Ahmad Shamloo’ and ‘Forough Farrokhzad.’ The crucial point here is the emphasis on this very logic of rupture, which has transformed New Poetry—as the realization of the experience of being absolutely modern and the experience of yielding to the contradictions of modernity—into a central pivot in our contemporary history” (Farhadpour, 1396: 10). It appears that when Farhadpour discusses the relationship between New Poetry and Tradition, he partially retreats from his prior assertion that New Poetry was a complete break from Tradition, or, in other words, he steps away from interpreting New Poetry as a Badiouian, unpredictable Event. In his view, the Constitutional Revolution (Mashruteh), in terms of rupture, was neither entirely able to break from the past nor did it successfully create a truth or a truly new entity. From this perspective, New Poetry truly stands as an exceptional experience. New Poetry, as a rupture with Tradition, is, precisely in the Hegelian sense of the word, a type of connection to Tradition. It is where the very act of breaking tradition becomes a tradition itself, and here we observe that in this kind of rupture, not only the present and future, but also the past is altered. According to Farhadpour, in New Poetry, we are faced with a dialectical relationship between negation and change: the negation of Tradition in the form of establishing a relationship with it. This is occurring while in other artistic fields, there is no parallel where one attempts to break Tradition and initiate a historical process of dialectical tradition-breaking. From this perspective, New Poetry is again an exceptional phenomenon (Farhadpour, 1396). Evidence of this is Nima’s own practice, who sometimes pauses, looks back, and even composes traditional pieces among his masterpieces (Kamali, 1395: 22). In a general synthesis, as alluded to earlier, Farhadpour believes that what we witness after Nima is, in a way, both fidelity to the Nimaic Event and, simultaneously, a repetition of that rupture. In response to the question, “What is the difference between poets like Shamloo and Nima?” he posits that firstly, we somewhat deviate from the Badiouian model here, implying the possibility of the Event being repeated while simultaneously altering the State. Subsequently, the difference between Nima and later poets lies in the fact that the Nimaic rupture occurs within a stable traditional State—that is, within a context that had not experienced an Event prior to Nima. However, later poets are all somehow echoes of him and that initial rupture. This can be interpreted as a form of fidelity to the Nimaic Event. Yet, concurrently, they are connected to another context because politics is present in all these poetic discourses; that is, in Nima’s poetry as well as in the poetry of subsequent writers. This is a politics that directly confronts and engages with the new State precisely in the capacity of negating any ideology—specifically, the state of the Rastakhiz Party, the 2500th Anniversary Celebrations, and the “Great Civilization” project (Ibid.: 836 and 837). Based on the Badiouian reading of the Event known as Nimaic New Poetry, it can be argued that some post-Nimaic poets, by recognizing the internal logic and contradictions inherent in Nimaic New Poetry itself and by utilizing the formal surpluses (excess forms) existing within the Nimaic poetic form, have emerged as subjects of the New Poetry Event, creating new currents far more numerous than the limited cases Farhadpour mentioned. In his view, in this more than a century since the Event of Nimaic New Poetry, no work has yet been created in recent literature that is powerful enough—independent of personal identity, taste, or individual games—to change the rules of the game and impose itself. پژوهش حاضر با شیوۀ توصیفی ـ تحلیلی به بررسی نظرگاه فرهادپور دربارۀ ماهیت و چیستی شعر نو می‌پردازد. وی تحت تأثیر آلن بدیو، شعر نو را به‌مثابۀ‏ «رخداد»ی در تاریخ معاصر ایران قلمداد می‏کند؛ یعنی، ترجمان عینی و انضمامی جملۀ معروف رمبو در تاریخ ادبیات معاصر ایران: «مطلقاً مدرن بودن»؛ و نیما پدیدآورندۀ چنین رخدادی است. مشخصۀ اصلی «رخداد» غیرقابل پیش‏بینی ‏بودن آن است. اما این امر به معنای از عدم برآمدن آن نیست، بلکه در مواجهه‏ای دیالکتیکی با سنت است. در معرفت عادی ما از وضعیت موجود (شعر کلاسیک) گسستی پدید می‌‌آید، اما این در صورتی است که هستی و ظهور آن، عمیقاً از طرف «وضعیت» انکار شده‏ است. بر این ‏اساس، نیما و پیروانش (شاملو، فروغ، رؤیایی و ...) سوژه‏های این «رخداد» محسوب می‏شوند که به‏نوعی منطق آن شکاف را دنبال کرده‏اند. به این معنا که سوژه‏های «رخداد»، منطق درونی نفی اولیۀ «رخداد» را به نحو ایجابی ادامه داده‏ و به‌خاطر وفاداری‏شان به آن منطق سوژه شده‏اند و جریان‏های تازه‏ای ساختند. با ‏وجود این، فرهادپور بر این عقیده ا‏ست که بعد از نیما و شاملو شاهد اتفاق تازه‏ای در عرصۀ شعر معاصر نیستیم و غالب مجموعه‏های شعری به من شخصی و در جست‌وجوی حقیقت اگزیستانسیال درونی تقلیل پیدا کرده و پژواک آن شکاف و گسست‏های اولیه در «رخدادی» به نام شعر نو کمتر به گوش می‏رسد. وی در تبارشناسی بحران شعر، ریشۀ چنین فقدان و بحرانی را در عرصۀ سیاست و ادبیات جست‌وجو می‏کند: هم فاصله‏ گرفتن انقلاب 1357 از سیاست رهایی‏بخشی خود و هم عدم آشنایی شاعران و منتقدان ما با تجربۀ تاریخی شعر مدرن و علاوه بر آن جنبۀ تزیینی و تئاتری پیدا کردن نقد ادبی.

https://lcq.modares.ac.ir/article_28426_53e97b1cebceec091322fd15e197b897.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 73 2026 03 21 A Lacanian Reading of "The Well of Babel" and "The Spell of the Lambs" by Reza Ghassemi خوانشِ لاکانیِ «چاه بابل» و «وردی که بره‏ها می‏خوانند» از رضا قاسمی 57 77 28424 10.48311/lcq.2026.108599.0 FA حسین جودوی دکترای زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه سیستان و بلوچستان 0009-0001-6861-3394 محمد علی محمودی محمد علی محمودی: استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه سیستان و بلوچستان Journal Article 2025 06 03 This study employs the psychoanalytic theory of Jacques Lacan—specifically the triadic model of the Imaginary, the Symbolic, and the Real—to analyze the subject in two novels by Reza Ghassemi: The Well of Babel and The Spell of the Lambs. Utilizing a descriptive-analytical method and an interdisciplinary approach (literature-psychoanalysis), it examines the mechanisms of identity formation, disintegration, and suspension in the migrant characters of these works. The findings reveal that both novels represent the Lacanian subject as a "split," "alienated-in-language" being, grappling with a fundamental lack. In The Well of Babel, Mando (the protagonist) becomes trapped within the Symbolic order of both Iranian society and the rejecting society of Paris through the self-destructive jouissance of his singing and his attachment to an unattainable object of desire (Felicia). His eventual blindness objectifies the intrusion of the Real and the collapse of the Symbolic realm. In The Spell of the Lambs, the migrant narrator is confronted with three conflicting discourses (religious, national, colonial) as manifestations of the "big Other," whose voices intensify his identity crisis in the form of a "whirlwind in the chest." The fantasy of returning to the womb and the illusion of mastery within the hospital function as defense mechanisms against the threat of the Real (blindness). By connecting key Lacanian concepts with narratives of migration, this research offers a novel model for analyzing contemporary Iranian fiction and demonstrates that the identity crisis in these works is not merely a product of physical displacement but is the structural consequence of an "imprisonment in language" and the subject's suspension within the fissures of the three registers. Extended Abstract Introduction The identity crisis in multicultural societies constitutes a prominent feature of contemporary Persian literature, particularly in the works of immigrant writers. The novels Chāh-e Bābel (The Well of Babel, 1998) and Vardī ke Barre-hā Mī-khānand (The Song of the Lambs, 2002) by Reza Ghassemi (b. 1949), through their representation of the psychological and social complexities of immigrant subjects, provide a rich ground for psychoanalytic analysis. This research, drawing upon the theory of Jacques Lacan (1901-1981) with a focus on the concepts of the three orders—the Imaginary, the Symbolic, and the Real—seeks to analyze the mechanisms of identity formation, disintegration, and suspension in these two works. Lacan, through his revolutionary reinterpretation of Freudian psychoanalysis and its integration with structuralist linguistics, presents a dialectical model of the human subject. Previous studies have often concentrated on the sociological aspects of migration in Ghassemi's works, while the psychological layers of the identity crisis, viewed through Lacanian theory with its emphasis on language as the prison of the subject, have been less explored. Connecting complex Lacanian concepts (such as jouissance and the Name-of-the-Father) with literary narratives provides a model for analyzing the texts of migrant literature. This research demonstrates that Ghassemi's aforementioned novels are literary embodiments of Lacanian theory; the subject is a wounded entity trapped in a well excavated by the three orders—a well dug not in Tehran or Paris, but within the symbolic fissures of identity. Theoretical Framework and Methodology In his later work, Lacan addressed three psychological orders: The Imaginary Order: The realm of the projected image of a unified self, formed during the "Mirror Stage." The Symbolic Order: The domain of cultural signifiers governed by a master signifier, the "Name-of-the-Father." The Real Order: A pre-supposed but unknowable resistance against the Imaginary and Symbolic orders. • The Imaginary Order The Imaginary order is the realm of the image, identification, and the illusion of unity. This order is constituted during the "Mirror Stage" (6-18 months), when the child identifies their own unified image in the mirror. This process is inherently alienating, as it separates the subject from their pre-representational state and constructs a false identity based on an image. • The Symbolic Order The child's illusions collapse upon entering the "Symbolic order" and acquiring language. The Symbolic is the sphere of language, law, difference, and discourse. It is the primary determinant of the subject's structure and social relations. The "big Other" represents the Symbolic order itself—the field of language, culture, norms, and social laws. The subject does not derive their identity from within but acquires it through identification with the signifiers presented by the big Other. • The Real The Real encompasses the non-representational, inaccessible, and traumatic dimensions of experience that lie outside language and image. The Real is not an objective reality but the "impossible." It reveals the fundamental lack at the heart of the Symbolic order. Discussion In The Well of Babel, the relationship between Mando and Felicia is shaped within the framework of the modern big Other. Felicia's engagement ring is a symbolic signifier of her belonging to Arnold. This ring is the big Other's mark upon Felicia's body, a sign declaring, "This woman 'belongs' to another." The prevailing social custom deems any desire Mando has for Felicia as "illegitimate." This custom has a definitive function: prohibiting access to the object of desire. Towards the end of the story, when Mando is homeless and has lost his sight, he pleads with a woman named Nā'ī to take him back into her womb: "I am filth, Nā'ī. Give me shelter. It's cold here. I am becoming dark, Nā'ī. How good it would be if... let me go back. Let me go back to my own darkness. It's cold here, Nā'ī. In darkness, the cold is colder, Nā'ī. Why is there so much difference between darkness and darkness? Why is the darkness of the grave different from the darkness of a room?... Different from the darkness of a well?... Different from the darkness of the womb?... Give me shelter in that burning, moist darkness. Give me shelter in that best of all darknesses. Oh, Nā'ī..." (Ghassemi, n.d.: 221-222). Mando's plea to Nā'ī ("let me go back to the darkness of the womb") signifies a desire to return to a pre-Symbolic state, where the boundaries between ego and non-ego do not exist. In "the Imaginary order," "there is no clear distinction between mind and object; there is no centered self to separate the object from the mind". This request is a reaction to the failure of the Symbolic order to fill the existential void. This desire to return to the "burning, moist" darkness of the womb is a longing for the pre-Symbolic state, before separation from the mother, before entry into language and the law, and before the experience of lack. The narrator of The Song of the Lambs neither kills his father nor has intercourse with his mother. Yet, in a way, he approaches the brink of both acts. The narrator sees his emaciated mother in his father's arms. The father behaves violently, and the adolescent narrator, angered by witnessing his father's violence towards his mother, even contemplates finishing his father off with a knife to save her. Following customs observed in some Iranian cities and other countries, the father performs a form of female circumcision on the mother and then buries the excised piece of female genitalia in the home garden. The narrator is curious about what has been buried in the garden. Symbolically, both events occur: 1) The narrator attempts to kill the father. 2) The narrator seeks to engage in an act with the mother. As a consequence, for approaching these two Oedipal acts, the narrator's eyesight deteriorates to the brink of blindness, but he does not go completely blind. Conclusion This research demonstrates that a Lacanian reading opens new analytical horizons for the study of migrant literature. Such a reading provides a profound structural explanation for the identity crisis. The main achievements of this analysis can be formulated in several points: The Lacanian reading reveals that the seemingly unique experience of the protagonists in both novels is, in fact, a concrete manifestation of the "ontological condition of the human subject" in Lacanian theory. Purely sociological approaches often reduce the immigrant character to a passive "victim" of historical forces. The Lacanian analysis, by focusing on the divided subject, highlights the active and tragic nature of this situation. References Fink, B. (2018). Sužeye Lakāni. Trans. A. Hassanzādeh. Tehran: Bān Publication. [in Persian] Mowallali, K. (2004). Mabāni-ye Ravān-kāvi-ye Freud – Lakān. Tehran: Ney Publication. [in Persian] Makaryk, I.R. (2019). Dāneshnāme-ye Nazariye-hā-ye Adabi-ye Mo'āser. Trans. M. Mohājer & M. Nabavi. 6th ed. Tehran: Āgah Publication. [in Persian] Payandeh, H. (2009). "Naqd-e She'r-e 'Zemestān' az Manzar-e Nazariye-ye Ravānkāvi-ye Lakān". Faslnāme-ye Zabān o Adab-e Farsi, 42: 27-46. [in Persian] این پژوهش با اتکا به نظریة روان‌کاوی ژاک لاکان (سه‌ساحتیِ خیالی، نمادین و واقع) به تحلیل سوژه در دو رمان چاه بابل و وردی که برّه‌ها می‌خوانند اثر رضا قاسمی می‌پردازد. با روش توصیفی ـ تحلیلی و رویکرد بینارشته‌ای (ادبیات ـ روان‌کاوی)، سازوکارهای شکل‌گیری، فروپاشی و تعلیق هویت در شخصیت‌های مهاجر این آثار واکاوی شده است. یافته‌ها نشان می‌دهد هر دو رمان، سوژة لاکانی را به‌مثابۀ موجودی «تقسیم‌شده»، «بیگانه‌سازی‏شده در زبان» و درگیر با فقدان بنیادین بازمی‌نمایانند. در چاه بابل، مندو (قهرمان اصلی) از طریق ژوئیسانسِ خودویرانگرِ آواز و وابستگی به ابژة میلِ دست‌نیافتنی (فلیسیا)، در نظم نمادینِ جامعۀ ایران و پاریس (جامعة طردکننده) محبوس می‌شود. نابینایی نهایی او، هجوم امر واقع و فروپاشی ساحت نمادین را عینیت می‌بخشد. در وردی که برّه‌ها می‌خوانند راویِ مهاجر با سه گفتمان متعارض (مذهبی، ملی، استعماری) به‌مثابۀ «دیگری بزرگ» مواجه است که صداهای آن‌ها در قالب «گردبادی در سینه» بحران هویتی او را تشدید می‌کند. فانتزی بازگشت به زهدان و توهم ارباب ‌بودن در بیمارستان، مکانیسم‌های دفاعی در برابر تهدیدِ امر واقع (کوری) است. پژوهش حاضر با پیوند مفاهیم کلیدی لاکان با روایت‌های مهاجرتی، الگویی نوین برای تحلیل ادبیات داستانی معاصر ایران ارائه می‌دهد و اثبات می‌کند بحران هویت در این آثار، صرفاً محصول مهاجرت فیزیکی نیست، بلکه پیامدِ ساختاریِ «اسارت در زبان» و تعلیقِ سوژه در شکاف‌های ساحت‌های سه‌گانه است.

https://lcq.modares.ac.ir/article_28424_3ca0c25be29a09b50ee4643351b8641b.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 73 2026 03 21 Classical Prose Texts as One of the Subtexts of New Ghazal متون نثر کلاسیک؛ یکی از زیرمتن‌های غزل نو 78 129 28425 10.48311/lcq.2026.108612.0 FA قدرت اله ضرونی استادیار گروه زبان و ادبیات فارسی دانشگاه شهید چمران اهواز، اهواز، ایران. 0000-0003-2132-5042 Journal Article 2025 08 06 Within the underlying structure of contemporary ghazal, numerous latent texts can be identified, most of which are rooted in classical poetry—particularly the ghazals of prominent poets from the Iraqi and Indian styles as well as other historical periods. However, closer and more critical examination reveals additional hidden subtexts, among which classical prose texts constitute some of the most significant. Accordingly, the present study aims to investigate the intertextual relationships and interactions between the “modern ghazal” and major works of “classical” prose. The research adopts a descriptive–analytical method, drawing upon the theories and perspectives of major intertextuality theorists as well as existing approaches within Persian rhetoric. The findings indicate that poets of the modern ghazal movement have drawn upon the capacities of classical prose through the establishment of both explicit and implicit intertextual connections. These include direct and indirect quotation, references to authors’ names, book titles, characters, significant events, allusions, and, at times, a combination of multiple intertextual elements. Such interactions serve various purposes and functions, including the creation of a dialogue between the modern and the traditional, the introduction of polyphony into the poem, concision and economy of expression, the establishment of authority and textual legitimation, the utilization of classical sources to articulate contemporary experiences, the generation of dynamism and multiplicity of meaning, and the demonstration of the poet’s cultural and scholarly background. Extended Abstract 1. Introduction Contemporary Persian literature has consistently maintained a dynamic interaction with classical literature. Whenever such interactions have been accompanied by a fresh perspective and creative reconfiguration, they have contributed to the enrichment of contemporary literary production. Naturally, contemporary poetry demonstrates a stronger engagement with classical poetry, as in discussions of genre interaction, poets and writers tend to show greater inclination toward engaging with their corresponding genres. Consequently, many archetypes of each genre are reproduced in later periods in the form of traditions, conventions, or intertextual patterns. In examining the relationship between the ghazal and other texts, scholarly attention is typically directed toward the ghazals of earlier periods. This tendency arises because each poetic form and genre, due to its thematic, imagistic, linguistic, and broader discursive affinities, operates within a relatively defined framework. As a result, identifying intertextual relations within homologous genres is both more frequent and comparatively more accessible. Prose and poetry, however, represent two distinct literary modes; therefore, the degree of similarity and mutual influence between them is generally more limited. Nevertheless, close attention to the deep structure of poetic texts may reveal concealed underlying layers, including prose-based substructures. Taking these considerations into account, the central objective of the present study is to examine and demonstrate the connections and intertextual interactions between the modern ghazal and classical prose texts. In this study, the term subtext (genotext) refers to influential prior texts that contribute to the formation of subsequent works, such that their themes and contents are transmitted—either directly or through transformation—into later texts. Some of these intertextual connections are relatively explicit, while others require deeper analytical engagement, and their identification largely depends on the reader’s level of knowledge and familiarity with the literary tradition. 2. Methodology One of the central issues in the study of literary texts, from the past to the present, has been the interaction among texts and the exchanges that occur between them. In traditional literary studies, such interactions have been examined under rhetorical devices and categories such as allusion, inclusion, adaptation, coincidence, and quotation. In the modern era, with the expansion of new literary theories and critical approaches, the discussion of textual interaction has been raised and developed in a broader and more systematic manner. Theories such as intertextuality and transtextuality are among the outcomes of these developments. A wide range of scholars have contributed to the formation of these theoretical frameworks, among whom figures such as Mikhail Bakhtin, Ferdinand de Saussure, Julia Kristeva, Roland Barthes, Laurent Jenny, Michael Riffaterre, Gérard Genette, and Harold Bloom have played particularly prominent roles. Each of these theorists has approached the phenomenon of textual interaction from a distinct perspective, to the extent that the diversity and multiplicity within intertextual studies sometimes lead to theoretical tensions and even contradictions (Namvar Motlagh, 2011: 118). Therefore, despite the usefulness of these theories and the many insights they have provided into the dynamics of textual interaction, relying exclusively on a single theoretical approach or the views of one theorist is insufficient for a comprehensive analysis. At the same time, attempting to apply all approaches simultaneously is neither practical nor methodologically effective. Accordingly, in the present study, the general framework and design are based on Gérard Genette’s typology of intertextuality. However, in the analytical sections, insights from other theorists, as well as approaches rooted in Persian rhetorical tradition, have also been taken into consideration, since the ultimate aim of all these perspectives is to elucidate the interactions among texts. 3. Discussion and Analysis The intertextual interactions between the ghazal of this period and prose texts have been analyzed and examined across the following categories, supported by numerous examples: 1. Implicit (Covert) Intertextuality Reference to a classical narrative 2. Explicit (Overt) Intertextuality Quotation Direct quotation from classical narrative texts Indirect quotation from classical texts 3. Reference Reference to the author’s name accompanied by quotation Reference to the names of fictional characters accompanied by quotation Reference to classical fictional characters and events associated with them Reference to the titles of prose works with implicit allusions to their themes or contents Reference to the titles of prose works alongside their prominent characters 4. Conclusion The interaction and interconnection among texts have existed across all historical periods, with poets and writers engaging in intertextual relations with preceding or contemporary texts for various purposes. Poets of the modern ghazal movement, likewise, have, in a number of their works, drawn attention to major classical prose texts and have utilized the narrative and thematic capacities of these works—particularly their anecdotes and stories—in their poetic creations. The reflection of such texts in the contemporary literary sphere underscores both their enduring significance and the appeal of their narrative techniques. Attention to these texts is influenced by a range of factors and conditions, including the incorporation of some of these narratives into educational curricula, the focus of scholars and the literary community on particular works and their canonization, as well as the intrinsic literary qualities of the stories themselves. For instance, the considerable attention paid to the story of Hasanak the Vazier, in addition to its narrative richness and aesthetic qualities, may also be attributed to the fact that excerpts of this story were included in school textbooks for many years, thereby familiarizing young poets with it from their early education. According to the findings of this study, ghazal poets have engaged most frequently, in descending order, with Golestan of Sadi, Hezaro yek shab, Tarikh-e Bayhaqi, Kalila and Dimna, and Tazkirat al-Awliya. Other works have appeared less frequently, with only one or two instances of intertextual engagement, as discussed in the main body of the article. These intertextual relations sometimes appear explicitly, while at other times they are embedded within the deeper, implicit layers of the ghazal. The purposes behind establishing such intertextual connections in contemporary ghazal include expanding and diversifying the semantic system of the text, creating a dialogic relationship with classical works, reconfiguring and reimagining traditional narratives, enhancing the dynamism and vitality of the text, achieving concision in the expression of meaning, generating aesthetic pleasure, and ultimately demonstrating the poet’s cultural and intellectual grounding. These aims are closely aligned with the objectives and perspectives articulated by major theorists of intertextuality regarding such textual relationships. در زیرساخت غزل معاصر، متن‌های پنهان بسیاری وجود دارد که عمدتاً تبار آن‌ها به شعر کلاسیک و مخصوصاً غزل‌های شاعران برجستۀ سبک عراقی، هندی و دیگر ادوار گذشته برمی‌گردد؛ اما دقت و تأملات جدی‏تر، ما را به زیرمتن‌های پنهان دیگری رهنمون می‌کند که متون نثر کلاسیک جزو مهم‌ترین آن‌هاست. در همین راستا هدف پژوهش حاضر بررسی تعاملات و مناسبت‌های بینامتنی «غزل نو» با متون مهم «نثر کلاسیک» است. روش پژوهش توصیفی ـ تحلیلی و مبتنی بر آرا و اندیشه‏های نظریه‏پردازان بزرگ بینامتنیت و رویکردهای موجود در بلاغت فارسی است. یافته‏های این پژوهش نشان می‏دهد غزل‏سرایان جریان غزل نو با ایجاد پیوندها و مناسبات بینامتنیتی صریح و ضمنی مانند نقل قول (مستقیم و ضمنی)، ارجاع به نام مؤلف، نام کتاب، نام شخصیت‏ها، وقایع مهم، اشارات و تلمیحات و گاه ترکیبی از دو یا چند مؤلفۀ بینامتنی از ظرفیت‏های متون نثر کلاسیک در خلق اشعار خود بهره گرفته‏اند. این تعاملات با اهداف و کارکردهایی مانند برقراری دیالوگ میان دنیای جدید و قدیم، چندصدایی کردن شعر، ایجاز و اقتصاد بیانی، مشروعیت‌بخشی و استنادسازی، استفاده از ظرفیت متون کهن برای بیان رخدادهای جهان معاصر، ایجاد پویایی و تکثر معنا در متن، نمایش پشتوانه‏های فرهنگی و مطالعاتی شاعر و... صورت گرفته است.

https://lcq.modares.ac.ir/article_28425_91983ccf17b3200975d9e3d8a09236a8.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 73 2026 03 21 The Body of "Dash Akol": A Political Reading بدنِ «داش آکل»: یک خوانش سیاسی 130 159 28427 10.48311/lcq.2026.108620.0 FA معین کاظمی فر استادیار بخش زبان و ادبیات فارسی دانشگاه شیراز Journal Article 2025 08 30 Dash Akol, the enduring protagonist of Sadegh Hedayat’s short story, is not merely a literary figure but a site of ideological struggle over identity, heroism, and political memory in contemporary Iran. Drawing upon the theoretical frameworks of body studies, disciplinary power, and Michel Foucault’s biopolitics, this article offers a comparative analysis of two conflicting accounts of Dash Akol: Hedayat’s dominant narrative and the oral traditions of the people of Shiraz, where the historical figure once resided. The central thesis is that Dash Akol’s metamorphosis from a "maimed outlaw" in folk traditions into a "flawless hero" in Hedayat’s rendition constitutes an ideological appropriation that becomes meaningful within the discursive context of modernity and nation-building during the First Pahlavi era. This process necessitated a systematic depoliticization of the hero’s body—ranging from his physical scars and non-normative sexualities to his political death—to refashion him into a "respectable" symbol aligned with the ideals of an emergent national identity. This article illustrates how Dash Akol’s body functions as a living historical archive and a cultural text inscribed with social powers, nationalist norms, and repressed sexual desires, arguing that a comprehensive understanding of this character requires a critical engagement with both the dominant and alternative narratives. 1. Introduction Dash Akol, the legendary protagonist of Sadegh Hedayat’s 1932 short story, serves as a significant site for ideological struggle over identity, heroism, and political memory in contemporary Iran. While Hedayat’s narrative has become the dominant literary archetype of the "Luti" (traditional man of honor), it stands in stark contrast to the oral traditions of Shiraz—the historical birthplace of the figure known as Akbar Dayi Mohammad. This research posits that Dash Akol’s identity is not a stable unity but a battlefield where two conflicting narratives strive to inscribe their meanings: the literary version that idealizes the hero and the folk tradition that remembers a physically broken, politically resistant rebel. 2. Methodology The study utilizes Michel Foucault’s theoretical frameworks, specifically disciplinary power and biopolitics, to analyze the mechanisms of body regulation and normalization in the story. Disciplinary power is examined as a tool for producing "docile bodies," which is essential for understanding the behavioral codes of the Javanmardi (chivalry) culture. Furthermore, the article draws upon the Subaltern Studies approach of Ranajit Guha to recover marginalized voices and "alternative narratives" that have been obscured by elite historiography and the aesthetic dominance of modern literature. 3. Results The comparative analysis reveals that Dash Akol’s metamorphosis from a "maimed outlaw" in folk traditions into a "flawless hero" in Hedayat’s rendition constitutes a profound ideological appropriation. Key findings include: Somatic Depoliticization: In oral history, Dash Akol bore scars of state torture—including a severed hand and a maimed leg—which served as a physical archive of resistance against the Qajar government. Hedayat replaced these political wounds with aesthetic facial scars, effectively severing the connection between the hero's body and its history of political punishment. Aesthetic Purification: Under the influence of European Romanticism and the Pahlavi-era nation-building discourse, Hedayat transformed the "grotesque" body of the subaltern into a symbol of "noble tragedy". This process involved erasing non-normative sexualities and political motives to refashion the character into a "respectable" national icon. Narrative Dominance: The success of Hedayat's version, further reinforced by Masoud Kimiai’s 1971 cinematic adaptation, led to the systematic silencing of the "alternative body" preserved in the collective memory of Shiraz. 4. Conclusion Ultimately, the article concludes that the literary Dash Akol is a monument built by the victors of the modern cultural struggle. The "purification" of his body—cleansing it of rebellion, physical defects, and heterodox desires—rendered him "safe" for the modern national archive but at the cost of erasing the subaltern truth. A comprehensive understanding of this character requires reading "against the grain" to rediscover the rebellious and physically scarred history that was masterfully excised from the literary text. داش آکل، قهرمان ماندگار داستان کوتاه صادق هدایت، نه‌فقط یک شخصیت ادبی، که عرصه‌ای برای نبرد ایدئولوژیک بر سر هویت، قهرمانی و حافظۀ سیاسی در ایران معاصر است. این مقاله با بهره‌گیری از رویکردهای نظریِ مطالعات بدن، قدرت انضباطی و زیست‌سیاستِ میشل فوکو به تحلیل تطبیقی دو روایت متضاد از داش آکل می‌پردازد: روایت غالب و مسلطِ هدایت و روایت‌های شفاهی در میان مردم شیراز، جایی که داش آکلِ تاریخی در آن می‌زیسته است. فرض اصلی مقاله این است که دگردیسی داش آکل از یک یاغیِ ناقص‌عضو در روایات عامه به قهرمانی بی‌نقص در روایت هدایت، تصرفی ایدئولوژیک بود که در بستر گفتمانیِ مدرنیته و ملت‌سازیِ دوران پهلویِ اول معنادار می‌شود. این فرایند مستلزم سیاسی‌زداییِ نظام‌مند از بدن قهرمان، از زخم‌ها و تمایلات جنسیِ غیرهنجاری تا مرگ سیاسی او بود تا به نمادی «محترم» و سازگار با آرمان‌های هویت ملیِ نوظهور بدل شود. این مقاله نشان می‌دهد که چگونه بدن داش آکل همچون بایگانیِ زندۀ تاریخ و متنی فرهنگی عمل می‌کند که قدرت‌های اجتماعی، هنجارهای ملی‌گرایانه و امیال سرکوب‌شدۀ جنسی بر آن حک شده‌اند و درک کامل این شخصیت، مستلزم توجه به هر دو روایتِ غالب و جایگزین است.

https://lcq.modares.ac.ir/article_28427_07614251f62899912b42cf137c9b7a3e.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 73 2026 03 21 The Problem of Scientific Language Development:Literary Criticism in Iranian Academic Research as a Case Study مسئلۀ توسعه‌یافتگی زبان علمی با بررسی زبان نقد ادبی در پژوهش‌های دانشگاهی ایران 160 205 28423 10.48311/lcq.2026.108580.0 FA هاله کیانی بارفروشی استادیار زبان و ادبیات فارسی دانشگاه مازندران Journal Article 2025 04 08 It is widely acknowledged that the growth and development of societies lead to the development of language; however, far less attention has been paid to the reverse relationship—namely, the impact of linguistic development on social progress and on the expansion and refinement of thought. One of the domains in which this reciprocal relationship becomes most visible is scientific language. Beyond clarity and the avoidance of value-laden expression, scientific language must be generative. An underdeveloped scientific language within a discipline can hinder or even obstruct thinking in that field, since thought requires adequate conceptual tools. Accordingly, academic disciplines actively intervene in the formation of their linguistic practices in order to foster the development of scientific language, thereby enabling the dynamism of conceptual and linguistic fields and, consequently, the expansion of thought within the discipline. By examining the characteristics of scientific language, this study addresses the challenges arising from the absence of a coherent conceptual field in the language of Iranian literary criticism. It argues that, in the absence of a discourse capable of identifying and articulating research needs, academic literary criticism in Iran either relies on a translational language that lacks generative capacity and fails to open new horizons for understanding Persian literature, or gravitates toward an ambiguous and laudatory mode of expression—resembling the language of traditional biographical anthologies—which ultimately constrains critical thinking and the production of knowledge in the field. 1. Introduction This study addresses the question of the development of scientific language, focusing on the language of literary criticism in Iranian academic research. The central premise is that language is not merely an instrument for conveying thought, but an active force in shaping, expanding, and delimiting intellectual horizons. From this perspective, the scientific advancement of any discipline depends upon the dynamism and generative capacity of its scientific language. Although the quantitative expansion of higher education and scholarly production in Iran is evident, the qualitative dimension of scientific language in certain areas of the humanities—particularly literary criticism—faces fundamental challenges. This article examines the relationship between linguistic development and knowledge production and argues that the absence of a coherent conceptual field in the language of literary criticism has constrained theoretical innovation and analytical depth. The primary question guiding this research is whether the language of academic literary studies in Iran has attained a level of conceptual coherence, density, and terminological productivity that would justify describing it as “developed.” 2. Theoretical Framework The theoretical framework of this study rests on three main pillars: theories of scientific language, the Humboldtian conception of language as a formative force of thought, and field theory in linguistics. Within the Humboldtian tradition, language is understood as a generative activity (energeia) that shapes the horizon of understanding and constructs a worldview; each historical language thus embodies a specific conceptual configuration. This perspective was later expanded in philosophical hermeneutics, where language is regarded as the horizon within which understanding becomes possible. In the humanities, this horizon manifests itself in the form of a specialized conceptual field—a structured network of concepts, distinctions, and theoretical relations that enables analysis and theory construction. Field theory further elaborates this idea by demonstrating that meaning is organized not through isolated lexical items, but through conceptual networks and linguistic blocks. From this standpoint, the development of scientific language depends on the vitality and internal coherence of these fields. Accordingly, the article proposes five criteria for assessing the development of scientific language: conceptual density, terminological productivity and redefinition, intersubjective communicability, level of analytical abstraction, and coherence of the conceptual field. The study also distinguishes between formal clarity and conceptual generativity, emphasizing that scientific language is defined not merely by syntactic transparency but by its capacity for conceptualization and theoretical architecture. In addition, dependency theory is employed to analyze the consequences of conceptual consumption within academic discourse. 3. Findings and Analysis A historical examination indicates that Persian scientific language has encountered significant challenges during two major periods: first, in the transition from the classical translation tradition, and second, in its encounter with modern sciences in the era of the Dār al-Fonūn. In the contemporary period, although efforts have been made toward terminological coinage, language planning has largely prioritized lexical equivalence at a general level, rather than the conceptual architecture required in the humanities. Structurally, Persian also faces certain limitations in derivational productivity, particularly in relation to the restricted range of simplex verbs and the reliance on compound verbal constructions. An analysis of academic literary criticism in Iran reveals the persistence of a biographical-encyclopedic (tadhkira-like) discourse characterized by evaluative and laudatory language. Many articles substitute genuine conceptualization with general description, impressionistic judgment, or thematic extraction. Even in studies that adopt contemporary theoretical frameworks, key terms are often reduced to a superficial layer of reference, and analyses remain confined to descriptive paraphrase. The absence of conceptual coherence and the inability to generate indigenous terminology have resulted in a predominantly consumptive engagement with translated theories rather than the production of original conceptual contributions. Consequently, low conceptual density, limited abstraction, and weak intersubjective articulation emerge as dominant features of this academic discourse. The core problem, therefore, is not merely a lack of formal clarity, but the absence of a coherent and dynamic conceptual field. 4. Conclusion This study demonstrates that the development of scientific language cannot be assessed solely in terms of clarity or avoidance of ambiguity; rather, it depends upon conceptual productivity, the coherence of conceptual networks, and the capacity for theoretical generation. Despite the quantitative growth of research output, the language of academic literary criticism in Iran has not yet achieved a level of conceptual generativity sufficient to sustain independent theory production. The consequence is a form of academic dependency and ongoing conceptual consumption. Overcoming this condition requires deliberate disciplinary language planning, the strengthening of specialized terminological systems, and a shift from textual commentary toward conceptual production. The development of a coherent conceptual field in literary criticism is therefore not merely a linguistic concern, but a precondition for the expansion of thought and the production of knowledge in the discipline. این موضوع ‌که رشد و توسعۀ جوامع به توسعۀ زبان می‌انجامد مسئلۀ روشنی است، اما موضوعی که کمتر بدان توجه می‌شود تأثیرات توسعۀ زبانی بر وسیع و دقیق‌تر شدن تفکر است. ازجمله حوزه‌هایی که این تأثیر و تأثر در آن بیشترین نمود را دارد زبان علمی است. زبان علمی علاوه بر صراحت و دوری از ارزش‌گذاری، زبانی مولد است و توسعه‌نیافتگی زبان در رشته‌های علمی می‌تواند اندیشیدن را در آن حوزه‌ها با دشواری مواجه کند، زیرا تفکر به ابزار مناسب نیاز دارد. بدین‌ترتیب رشته‌های دانشگاهی در دنیا تلاش می‌کنند با دخالت آگاهانه در مسیر زبان، به توسعۀ زبان علمی اهتمام ورزند که پویایی میدان مفهومی و میدان زبانی و درنتیجه وسعت تفکر را در آن رشته‌ها ممکن می‌سازد. این پژوهش با بررسی ویژگی‌های زبان علمی، به چالش‌های فقدان میدان مفهومی منسجم در زبان نقد ادبی ایران می‌پردازد. بر این اساس نقد ادبی آکادمیک در غیاب شکل‌گیری گفتمانی که به نیازسنجی موضوعات پژوهشی بپردازد؛ یا از زبانی ترجمه‌ای بهره می‌برد که مولد نیست و چشم‌انداز تازه‌ای بر روی درک ادبیات ایران نمی‌گشاید یا به زبانی مبهم و ستایش‌آمیز ـ نزدیک به زبان تذکره‌ها ـ گرایش دارد که اندیشیدن و تولید علم را در این رشته با چالش مواجه کرده است.

https://lcq.modares.ac.ir/article_28423_0014fcb3db4c8459d26309b177005b10.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 19 73 2026 03 21 Phenomenological Discourse Analysis of Dasein in the Design of Mystical Garments Inspired by Rumi’s Ghazals تحلیل ‌گفتمان پدیدارشناختی «دازاین» در طراحی تن‌پوش‌ عرفانی با الهام از غزلیات مولانا 206 247 28422 10.48311/lcq.2026.108551.0 FA مسعود محمدزاده استادیار گروه هنرهای صناعی، دانشکده میراث فرهنگی، صنایع دستی و گردشگری، دانشگاه مازندران، بابلسر، ایران. 0000-0002-5495-5190 فرزانه رضایی پاشا کارشناسی ارشد طراحی پارچه و لباس موسسه آموزش عالی کمال الملک نوشهر بهزاد پورقریب دانشیارزبان و ادبیات انگلیسی، گروه مترجمی زبان انگلیسی، دانشگاه مازندران، بابلسر، ایران. Journal Article 2024 11 04 Mystical clothing is not a determinate object that is put on the body of the subject, it is a lived embodiment, through which the subject experiences Dasein in the performance action of Sufi whirling (Samā). The occurrence of meaning-making creates mystical significations based on existential being. Based on the phenomenological approaches, especially, Martin Heidegger concepts of being-in-the-world and Dasein, the theory of embodiment proposed by Maurice Merleau-Ponty, and discursive semiotic analysis, the given study goes beyond the structural aspect of the clothing as an object. Based on this, the mystical garment is seen as a phenomenological sign, which, by the subject, in the context of the lived body and perception scenario raises the consciousness of the subject. The event that arises as a result of the rotational movement of Samā brings about a disconnection between the subject and the structural action of the garment. This subject then goes into a state of discursive relation and the fusion with the mystical garment and the result is an interwoven experience space whereby the body and the garment are merged when it is being performed, creating a trance like state. This spiritual space is an existential incarnation of mystical motives. The study portrays a phenomenological interpretation of the structural, eventual, and hybrid communicative system that is established between the body of the subject and the mystical garment. The being-in-the-world of Dasein and existential identity is conceptualized by Heidegger; thus, the main question of the paper is how the discourse of Dasein is expressed in the form of clothing and how the subject of perception is born in the process of being fused with the mystical garment. It was found that rearticulation of the mystical thought of Rumi in essence of garment design and Samā practice is bringing an epistemic change of subject. In this fusion discourse, the perception of the subject becomes open to true existence, and this allows existential access to truth and ontological aspect of existence. 1. Introduction Mystical clothing cannot be interpreted just as a material object that is applied to the human body but it is a lived and experienced body where meaning is generated. In Islamic mysticism, clothing (especially that of Sufism) is a symbolic mediator between physical existence and spiritual realization. This paper explores the phenomenological discourse of Dasein as embodied in the design of a mystic garment based on the ghazals of Jalal al-Din Rumi (Rumi) in terms of how clothing is involved in existential disclosure in the ritual performance of samā (whirling). Phenomenology, particularly as described by Martin Heidegger, redefines human existence, but no longer as an abstract subject, but as Dasein, being-in-the-world. Human life is lived by interacting with things, places and lived experiences. Clothing is thus not a lifeless thing but a component of existential structure where the world gains its meaning. In keeping with this perception, Maurice Merleau-Ponty places perception in the lived body and meaning emerges in the body in the interaction of bodies instead of in isolated cognition. Poetry in Sufi aesthetics can be viewed as a transformative language that can change the perception. The Ghazals by Rumi express the ideas of unity, annihilation of the self, transcendence and ecstatic presence. When these poetic meanings are translated into garment design, the text created is visual and performative. The magical robe turns out to be a phenomenological indicator that bridges the poetic language and experience of life. The perceptual subject experiences an event of meaning during the whirling ceremony, an experience of rupture which interrupts the normal perception and allows existential awareness. The problem of interest in the main research is how mystical fashion design, which is based on the poetry of Rumi, transcends structural or functional clothes systems into an experience and existential discourse. In particular, the research questions are the following: In what way can the body and mythical garment interaction produce a phenomenological event due to which Dasein becomes visible? The research hypothesis is that, poetic symbolism, embodiment motion, and aesthetic design will make clothing a form of existential revelation with the aid of which the subject can gain authenticity and spiritual presence. 2. Methodology The study has a qualitative, corpus-based descriptive-analytical approach based on the phenomenological discourse analysis. The theoretical framework combines three perspectives that are complementary: 1.Heideggerian phenomenology and the idea of Dasein (being-in-the-world); 2.The theory of embodied perception and lived body consciousness by Merleau-Ponty; 3.The post-structural semiotic theory had an impact on phenomenological semiotics and discourse analysis. The corpus of the research is comprised of the conceptual garments designs of mystical garments based on the chosen ghazals of Rumi Divan-e Shams. Such designs are being studied as semiotic and experience systems but not as aesthetic objects. The main source of data is documented sources, such as philosophical literature, semiotic theory, and Islamic mysticism research. Analytical processes are in three stages that are interrelated: Structural analysis: analyzing formal components of the garment color, texture, symbolism, and space. Eventual (phenomenological) analysis: this involves instances where the body/garment relationship is no longer functional interaction, but emerges experience based on movement and ritual performance. Fusion (existential) analysis: the interpretation of the unity of subject and garment as a discourse of embodiment creating a different perception and transcendental consciousness. The research uses interpretive qualitative analysis to follow how meaning is created in the process of sensory interaction, movement, and symbolic poetry to design translation. Instead of quantifying empirical results, the methodology aims at showing structures of lived experience and meaning production. 3. Results and Discussion The results indicate that mystical garments are phenomenological intermediaries that turn clothing into existence as an object. It was found that there are three key discursive stages: 3.1 Between Structural Object and Lived Presence First, clothing is a structural object, which is characterized by social or functional value. Yet, when incorporated in the mystical performance, especially in whirling movement, the garment is no longer utilitarian. The movement of the fabric, its spatial enlargement and communion with light generates a perceptual space between the body and the garment. At this point, the garments become a continuation of body intentionality. Phenomenologically, the clothing becomes ready-to-hand, rather than present-at-hand, and breaks down the barrier between the subject and the object. The garment ceases to be something that the wearer sees outside but rather it becomes a constituent of embodied awareness. 3.2 Eventual Discourse and Phenomenology of Ecstasy The practice of samā is what phenomenological semiotics refers to as an evental rupture, a place where habitual perception is interfered with. The motion brings about centrifugal expansion, which represents spiritual ascendancy and unity. The flowing shape of the garment builds upon this sense of experience shift, inspired by the imagery of Rumi of light and divine presence. At this phase, the emergence of meaning is not arrived at through rational interpretation but rather through sensory immersion. The theme of the subject is what can be called a flash moment, in which the aesthetic perception is turned into the existential consciousness. The emotional and affective knowledge substitutes analytical cognition, and this is consistent with the fact that moods reveal the world as Heidegger puts it. The garment is therefore an active participant in the production of meaning where it helps in directing the perception to transcendence. The body is turned into a revelation area, and clothing is a phenomenological interface where poetic symbolism is embodied. 3.3 Fusion Discourse and Existential Transformation The last phase entails amalgamation of subject and garment. In this case, there are no boundaries of body, clothing, and space around. The clothing gains some sort of quasi-subjective agency, and the wearer experiences something close to mystical trance. This conglomeration is associated with existential transcendence the transition between normal being and true existence. The discussion shows that the poetic ideas by Rumi, unity, annihilation of self, and enlightenment are restated using the visual and kinetic elements in the design. Symbolic motifs, flowing lines and colors inspire metaphysical ideas, which are transposed into the sphere of senses. The garment is a phenomenological text that carries spiritual meaning and not just a symbol of it. This synthesis is also an indication of the shift in the mystical philosophy: the shift between the bodily self and the spiritual awareness. The subject does not have an isolated individuality, but he is a part of a greater ontological unity. 4. Conclusion This research paper illustrates the fact that mystic garment design based on the ghazals of Rumi serves as a phenomenological discourse that brings out the existential structure of Dasein. Wearing, being a combination of embodied movement and symbolic aesthetics, outgrows material functionality and turns into a means of existential revelation. The study reveals that meaning is created in a dynamic relationship between poetic imagination, embodied perception and aesthetic design. The magical garment is a sign, experience, and event at the same time. The ritual process of whirling transforms the perceptual object in its structural involvement with clothing to experience fusion, which culminates into more awareness of the true existence. The results indicate that the modern fashion design can go beyond consumerist or structural paradigm to experiential and spiritual paradigm. Designing mystical poetry into something to be put on makes it a place of philosophical inquiry and existential exploration. The garment itself serves as a translation between language and embodiment and allows the re-enactment of mystical knowledge in contemporary settings. Finally, in the phenomenological discourse of Dasein, it is possible to note that clothing can take part in the development of being itself. The designed garment is inspired by Rumi and his mystic vision, which enables the subject to experience the existence as not an abstract concept but as the lived, embodied, and transformative experience. This kind of strategy provides new interdisciplinary directions between phenomenology, semiotics, fashion studies and Islamic mysticism, which proves that aesthetic practice may be a way of existential cognition and religious consciousness. لباس‌ عرفانی تنها یک ابژۀ تعینی بر تن سوژه نیست. تن‌پوش ‌عرفانی یک تن‌زیسته است که در کنش سماع، سوژه را با دازاین مواجه می‌کند و این رخدادگی معنا، دلالت‌های عرفانی از امر وجودی را پدیدار می‌سازد. در تحلیل گفتمان این نظام نشانه‌ای متأثر از آرای پدیدارشناختی در جهان بودگی و دازاین هیدگر، نظریۀ تن مرلوپونتی و خوانش نشانه معناشناختی گفتمانی؛ از وجه ساختاری ابژۀ لباس عبور می‌کند، ازاین‌رو تن‌پوش عرفانی به‌مثابۀ یک نشانۀ پدیداری در تطبیق با تن و موقعیت ادراکی، آگاهی سوژه را استعلا می‌دهد. این رخدادگی یا شوش که به‌خاطر چرخش سماع توسط سوژه شکل گرفته، موجب انفصال سوژه از تعامل با وجه ساختاری لباس می‌شود؛ حال سوژه در وضعیت اتصال گفتمانی و امتزاج با تن‌پوش عرفانی قرار گرفته و فضای امتزاجی از درهم‌تنیدگی تن سوژه با ابژۀ تن‌پوش عرفانی در اجرای صحنه‌ای، حالت خلسه‌ای برای سوژه شکل می‌گیرد. این فضای معنوی پدیدارشده تجلی وجودی از مضامین عرفانی است. در این پژوهش خوانش پدیدارشناختی به نظام ارتباطی ساختاری، رخدادی و امتزاجی میان تن سوژه و تن‌پوش عرفانی پرداخته است. هایدگر دازاین را به معنای بودن در جهان و هویت وجودی مطرح می‌کند. مسئلۀ پژوهش به واکاوی گفتمان دازاین در لباس پرداخته و چگونگی رخدادگی سوژۀ ادراکی در امتزاج با تن‌پوش عرفانی را مطالعه می‌کند. نتایج این پژوهش بیان می‌کند بازتولید اندیشۀ عرفانی مولانا در ماهیت تن‌پوش و سماع موجب رخدادگی معرفتی سوژه شده، از این رو در گفتمان امتزاج ادراک وجود اصیل او گشوده به عالم هستی و از ذات حقیقت برخوردار می‌شود.

https://lcq.modares.ac.ir/article_28422_cd33841e04a68eb44dba6e4bb7dff7f5.pdf