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 Manâqibs of Sufis (Hagiography) contain abundant stories that have been allocated to express wonder’s Sufis. The task of the article is an archeological approach to indicate regimes of truth in Manâqibs of Sufis, Shiite of Mânaqibs, the Prophet’s hagiography, the New Testament and the Old Testament. Then it reveals the rule of miracle of God is the hidden idea on the miracle of the saints. Miracles appears as a real continuance for the Prophet’s successors as a priority of the Prophet and his religious to other prophets and their religious. It also appears as a sign to confirm for prophethood. Having an affirmation of God and the claim of doing wonders puts Sufism in relations of power. It associates Sufism onto secular sides of social life being well-known to deny. 

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Biographical reports are a form of mystical narrativization that interpellates subjects with the aim of legitimization or delegitimization and organizes a fact or some facts in their favor or against them. A better understanding of these constructed facts requires explanation of the methods through which the plot of these reports are made from a discursive point of view. This study classifies and analyzes the discursive construction of plot in Hallaj narratives as a prototype of the two levels of legitimization and delegitimization in the biographical reports/accounts of fifthteen mystical books. To describe the process of signification and interpretation, some references are made to the concepts of Max Weber and Theo-Won Lyon for the legitimization process; some concepts by Foucault and Mary Douglas are also cited for delegitimization process. The result suggests that a group with a romantic-qalandari attitude have tried to legitimize Hallaj with the attribution of a form of authority, along with a positive moral assessment and mythologization to his narratives. Another group with an ascetic-religious attitude citing examples of religious-sharia and cultural-conventional disorder attributed to Hallaj, or his representation with an aim of removal or secrecy, have served the discourse of his exclusion and delegitimization. A third group have taken a middle standpoint. Although they have often defended Hallaj, in some cases they have raised some negative aspects of his life without any defense. Looking at these standpoints, it can be assumed that the type of stances are based on the epistemic-ideological world of the biographers...

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Abstract
9/11 attacks has turned “fundamentalism” to one of the most used words in the media, and among intellectuals around the world, especially in the West. Many books have been written to investigate the probable reasons of the emergence of the phenomenon. Literature, and specifically fiction, has also abundantly contributed to the discussions about fundamentalism. Mohsin Hamid, the well-known Pakistani writer, in his novel The Reluctant Fundamentalist (2007) treated fundamentalism from a new perspective. The present article will first discuss the famous theoretical books written about fundamentalism, then  through applying them to The Reluctant Fundamentalist, will try to suggest the ways Hamid has meaningfully contributed to the discussion. The article will try to show that how The Reluctant Fundamentalist has challenged both the public, state, and even the elite views about fundamentalism and especially “Islamic fundamentalism.
Key Words:
Fundamentalism, appropriation, golden age, The Reluctant Fundamentalist, Mohsin Hamid  
 

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Antoin Sevruguin is an artist and photographer of the Qajar periodical that, despite having the king's attention and interest, could demonstrate a critical perspective, appeal and protest of the conscious and protesting class of the society, by displaying a subject in different strata of society through the camera. Lucien Goldmann, a structuralist sociologist and theorist, used this method in his innovative approach called "genetic structuralism". Therefore, finding the worldview of its work and its relation to a social class is the basis of the genetic structuralism. The library and documentary data collection method is used in this study. In this discourse, the researcher has attempted to find the hidden worldview of the works by using the genetic structuralism and link it to the influential social group and examine the relationship between them. In the following, using the components within the works and the meaningful structure of society, he answers the following question: What is the role of different classes in shaping the forms and themes of Qajar period photography? The results indicate that there is a dialectical relationship between the artwork and the class. Antoin Sevruguin in all his works used themes and concepts such as class differences, presentation of Shah's power and superiority, considering people inferior, misogyny in society, Western influence, ignorance and negligence, humor and disorder in the community, along with the role of the protest class in informing the people.

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The novel has been considered by various researchers as a social work (influenced by and affecting the community). Based on this preliminary assumption, this study engages in a case study of four war novels in order to show the difference between formal narrative of war in different media, including literature, and what is narrated in these works. The research method is based on a combination of theoretical foundations existing in sociology criticism, specifically the Lukach-Goldman model, Leventhal social criticism, and Pierre Bourdieu's viewpoint on institutions of power. The four selected novels include The Scorched Earth, Pilgrimage Customs, Winter 62, and Crystal Garden. These works were all written during the wartime period and are all considered outstanding and popular works. To achieve the research purpose, each novel was interpreted based on the sociological criticism model, and attempting to avoid any bias. The characteristics of each of the four novels were then highlighted in contrast to the formal war narrative, and how features such as personality, narrative style, tone, point of view, and even the content of the work served to reflect the minority discourse. Minority discourse is a multiplied voice that is completely distinct from the formal war narrative, and its manifestation is evident in the war novel as opposed to poetry and other literary forms related to war literature (such as memoir writing and oral narratives).
Extended Abstract
1- Introduction
The eight-year Iran-Iraq war is undoubtedly one of the salient events in Iran's contemporary history. Even though more than three decades have passed since this event, society is still plagued by the social, political and even economic consequences of the war. Just as this event is important in its own right, so are its "narratives. For a variety of reasons, research on Iran-Iraq War and its surrounding narratives from the perspective of sociology and literature has received little attention (especially not in an unbiased manner without any interpretation and assumptions of the dominant discourse). Thus, the "dominant discourse" with its cultural and propaganda apparatus has exercised a kind of discursive control (under various propagandistic, media, literary, psychological and sociological aspects) over the war in the last three decades, convincing people that the truth of the war is the one proclaimed in this official narrative.
2. Theoretical Framework (social criticism as a method)
In general, it should be noted that until the 20th century, critics mainly focused on the content of works rather than their form in the sociological analysis of literature. In other words, their main interest was how social and cultural issues were reflected in literary works and to what extent literary works addressed these issues. This is also the main concern of the critics themselves in the works of the early Marxists. It was not until the 20th century and the publication of the seminal works of critics such as Lukács, Goldman, Bakhtin, Lewenthal, Escarpit, and others that the connection of form, literary type, and esthetic considerations with social structures received special attention. To indicate the views of influential researchers and scholars specializing in the sociological criticism of the novel, we must begin with the Marxists and move on to Lucien Goldman as one of the most notable figures:
Lucien Goldman: Developmental Approach in Sociology of Literature
The main contribution of Lucien Goldman (1917-1970) to the field of sociology of literature is the introduction of dialectical materialism, that is, a complex method linking art and society to this field. Goldman's innovative technique for exploring literary works is called developmental structuralism. According to this method, a literary work is one of the fundamental elements of social consciousness and does not depend on the consciousness of an individual, but is formed on the levels of supra-individual consciousness (Goldman, 1978: 493-495).
3. Research Background
Persian research in this field includes Sociology of Literature (Salim, 1998), Sociology in Persian Literature (Sotoudeh, 1999), Sociology of Persian Literature from the Beginnings to 1978 (Parsansab, 2008); Social Criticism of Persian Novels focusing on 10 selected novels (Asgari, 2008) and Sociology in Persian Literature (Vahida, 2009). These studies chiefly seek to reflect "social issues" in Persian literature, both classical and contemporary. For this reason, they first examine the content of literary works before exploring the association between form, genre, and social relations, they delve into the"content" of literary works. For this reason, the work of Mesbahipour still enjoys an exceptional and distinctive status some four decades later.
4. Research Method
To analyze the novels from a sociological criticism approach, this paper adopts a combination of different perspectives presented in the theoretical foundations. The steps taken to obtain a sociological reading of each novel are as follows: First, an interpretive reading is presented that is unaffected by the presuppositions and dominant discourse structures. Next, the relationship between the elements of each story and the dominant discourse (official narrative) and the unofficial narrative is exhibited.
5. Analysis of the plot and interpretive reading of four novels based on social criticism
Scorched Land (Mahmoud, 1982). This work is classified under the subgenre of historical novels and depicts events in Ahvaz in the fall of 1980.
Winter 1983 (Fasih, 1983). This novel, narrated in the context of romantic events, is an attempt to showcase the realities of Khuzestan and Ahvaz in particular in the midst of the eight-year war.
Crystal Garden (Makhmelbaf, 1986). Layah, Mansour's wife, who was martyred during the war, finally gives birth to her third child with the help of neighbors, in the absence of a father to look after her children. The husband of Suri, Layah's neighbor, has also been killed in War. Suri talks about the days of the Islamic Revolution with Layah and how she used to chant slogans and carry the bodies of the martyrs.
Rituals of Pilgrimage deals more explicitly than the other three novels with social criticism of the war. Both the course of events and the illustration of the characters reflect the confusion and atonement that different character of the story is dealing with in the wake of the War. In this work, Iraq rather than an invading and hostile country, is depicted as an ancient land where the only combatant in the story (Mehrdad) voluntarily travels as a soldier to discover its ancient secrets.
6. Summary and Conclusion
After the 1978 revolution, the new dominant discourse went to great lengths to present a reading of the War bereft of its ugliness (due to censorship) and adverse consequences. A discourse that portrays the death of young people as ideal martyrdom and proclaims that the path to heaven is the main and inevitable path for people from all walks of life. At least four novels were written under such an atmosphere and discourse during the War, which offers a distinct reading and picture of the war while seeking to reflect the voice of others against the propaganda of the dominant discourse, which we have called the minority discourse.
The Scorched Land is a narrative of the lost middle class, Winter 1983 is a narrative of the secular but patriotic educated class from the war, Crystal Garden is a female narrative of the underprivileged class that is more or less in tune with the dominant discourse, and Pilgrimage Rituals is the narrative of the archaistic intellectual class from the war, all of which constitute a puzzle that makes up the minority discourse of the war. This is a discourse that survives and thrives against hundreds and thousands of hours of movies and documentaries on the war fronts, and dozens of other novels, short stories, and poetry collections which engages the audience and propagate its voice and perspective.
The minority discourse takes a painful glance at the Iranian society during and after the War and seeks to offer a balm to the wounds of this society; a balm that may be attained by sacrifice or calls for a miracle, but is nevertheless absent in the slogans of the official war discourse. The discourse of the minority is the story of the war in the past and in the present, the consequences of its social damage are still evident in the decisions and cultural and social events of Iran.
 

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One of the important features of the Constitutional revolution's literature is the linguistic and literally violence. This feature is seen in two fields: Intergroup and Extergroup. The first relates to internal disputes between literatures and the second is related to literary disputes with those in power of in society, both clerics and politicians. The essence of this violence is rooted in political turmoil in this period of contemporary Iranian history. This violence often originates from social issues not individual ones. As well as its field of publications is public newspapers. Improvisation and informality are other characteristic of this literature. An analytical study of these literary works reveals that there are several motives for their emergence: Political differences, Competitions for social status, Weaknesses in literary language, highlighting the moral weaknesses of the competitor. The socio-political reasons for this phenomenon are as follows: Political instability and the prevalence of the chaos, and insist on prejudice and disregard for the principle of tolerance.
Extended Abstract
Arrogance and harsh language are one of the main characteristics of the literature of the constitutional era. This amount of political sarcasm and sharp language is unique in the history of Iran. In other words, in no period of Iran's literary history has there been so much foul language that originated and was motivated by the world of politics. In fact, the literature of this era has a violent and warm nature and follows fast and emotional movements and is more in favor of revolution and rebellion than it is willing to restore and reform gradually. This extreme emotionalism unintentionally makes the language of the writer of this era sharp and fearless and makes him realize the destructive power of language. Thus, in the constitutional era, the element of satire is highlighted in its most reckless form. This is the manifestation of what should be called linguistic violence. The violence that is a symbol of the inner turmoil and the endless impatience that burns the writers of this period in its fire, blocks the way to any gradual reform or toleration of the opposing voice, and it is not satisfied except to destroy the previous constructions and try to build a new building.
Questions:
In analyzing the phenomenon of obscenity and understanding the motivations for its prevalence in this period, we will seek answers to the following questions: 1- What are the areas of occurrence of obscenity in constitutional literature? 2- What are the characteristics and motivations of obscenity in constitutional literature? 3- What are the social and political causes of profanity in constitutional literature?

Theoretical Framework:
The theoretical framework of this research is the theory of short-term society, which tries to explain the relationship between the state and the nation and other social aspects from the perspective of historical sociology. Based on the comparative study of Iranian and European tradition, this theory points out the important differences between these two cultures. Although this theory has not been formulated specifically in the field of literature, but considering the capacities that exist in this theory and also due to the deep connection between literature and politics in Iranian society, it can be used in this interdisciplinary research.
Fields: Obscenity in the literature of the constitutional era can be analyzed in two areas. The inner field means the conflicts of the writers towards each other and the outer field means the taunts and obscenities of the writers to the people of politics and religion and what is related to social issues.
Attributes: The main characteristics of this phenomenon in the constitutional era are: 1- Using it as a tool of political struggle. 2- Changing the media. 3- Informal literature.
Motives: The obscene motivations of writers in this era can be listed as follows: 1- Difference in political views. 2- Competition for popular popularity. 3- Weak and weak literature. 4- The moral vices of the speaker and the audience.
The social and political causes of the prevalence of this phenomenon from the perspective of short-term society theory:
In expressing the social and political causes of this type of literature, different causes should be mentioned; Including political instability and successive social crises, society's misunderstanding of concepts such as freedom and law, which ultimately leads to chaos in society. Abandoning tolerance and insisting on prejudice that narrows the field for rational interaction and acceptance of the opposite.
 

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Lyrical literature and hence romantic poetry is a collection of feelings, emotions and representations of human relationships which has been widely used in different eras and discourses with various even conflicting functions and manifestations. Romantic poetry, distancing from political poetry, discusses politics of literature rather than political literature. However, modern Iranian poetry, deeply connected with politics and protest literature, establishes a different relation between dramatic poetry and political poetry. Shamlou is one of the prominent poets of political poetry whose antagonism and political conflicts are sources of metaphors and constructions in romance. This paper, based on critical discourse analysis, emphasizing the concept of "antagonism" as a key concept in politics, shows that politics is related to romance in two ways. First, such romances are new experiences to represent human relationships. Second, they are against traditional literature, since Shamlou by changing the rhetoric of romantic poetry created a type of literature that is romance in surface but resistance literature in depth.
Extended Abstract
Iranian modern literature is fundamentally different from pre-modern literature; although the way modern literature uses the theological source of pre-modern literature is not its logical continuation. Political orders and the concepts are the most important elements of the distinction between two periods. Usually, romantic poetry is distinguished from political poetry, but Iranian modern poetry, which is connected to protest literature and political matters, has established a good relationship between romantic and political poetry. Studying he relationship between political literature and the politics of the literature is the main goal of this manuscript. The concept of “antagonism" is emphasized here as the key word in Shamlou's poetry, showing how politics is connected to romances. Firstly, these romances are new representations of human experience, and secondly it is a rhetorical change in romantic poetry, which is against the traditional literature. The most important principle that connects the concept of "articulation" to the political issues is discursive conflict; thus, for a better understanding of the conflict, political literature, and the politics of literature discourse, the concept of politics must be separated from the political orders. Any action which is beyond the realm of the individual, can influence the decisions of the society, especially the political power, and in some way modify or oppose it, and it is called a political action. Political poetry promotes the idea of anti-reading, and a political poet as an anti-reading thinks about the "enemy other". After a huge break of the Persian Constitutional Revolution, social movements and the libertarianism language took an explicit form. Literature migrated from traditional lyrical to a new space. Revealing the name of "Aida" with the poet not as a Platonic lover but as a better half living with Shamlou is a kind of conflict with the tradition of romance-writing in one hand and "Literature of resistance" from the other. In political poetry, enemy is the other, and in the romantic poem, the other is the friend. The poet of political poetry thinks about resistance; in this view, the enemy has become a focal point; because the enemy has captured a part of his unconscious like a "central metaphor". The confrontational mentality of the political poet turns the other, such as the enemy, into an object, and turns the other, such as friend and love, into a praiseworthy subject. Contemporary poetry, unlike pre-modern poetry with a negative aspect, brought the private into the domain of the public, and by highlighting the other friend in romantic poetry, created a kind of resistance and negation tool. In his poem, Shamlou clearly says that love is an epic and he sees this reversal from the eyes of the enemy. The link between love and struggle in Shamlou's poems is the internal link between the practice of personal experience and the most external political behaviors. In a general classification, historically, his life can be divided into three parts:
A: The period in which the search for love gives way to experience; the experience of life and poetry, which, according to him, are "not impressions of life, but life itself". This period can be referred to as the period "before the appearance of Aida". B: The period when the poet, tired of the bitter experiences he has acquired in his personal and social life, finds another love and he moves to the house so that love becomes a refuge and a bastion where he can relieve the outside fatigue and find new strength to fight. This period starts from 1962 "Aida's appearance". C: In the third part of his life, although he still has Aida's presence, Shamlou thinks more about death and "struggle with silence" and he remembers his friends. In fact, this same love and social commitment in Shamlou's poetry makes him not distinguish between individual love and public love.
From the perspective of love, three types of love can be distinguished in Shamlou's poem: 1. Romantic love without social pains.2. Personal love with social representations, and 3. General love or love of freedom and man:
1. Although romantic love is not the general indicator of the concept of love in Shamlou's poems; Shamlou has been involved with this type of love in a negative way. He considered individual and public love as opposed to romantic love, which always has the suspicion of eroticism. Romantic love can be found in Shamlou's first poetry collection, "Āhang-hāye Farāmush Shodeh (Forgotten Songs)".
2. Keeping distance from his romantic love, Shamlou discovers love in another dimension: the shadow of resistance; as it can be a strength for fighters who return to fight again.
3. By rejecting romantic love, Shamlou arrived at a special definition of man; a person who can have the courage to deny the disturbing facts and reveal himself as a fighting person.
The convergence of the meanings of the two fields of politics and love has turned Samlou's poem into a different poem. From this point of view, finding the signs and codes of his romantic poetry is not compelling only in purely lyrical spaces. The enemy as a threatening other has caused Shamlou to experience new ways, because the discourse of his poetry is against the discourse of domination; whether we seek this dominance in aesthetics or in the discourse of power. It is in this situation that Shamlou glorifies the beloved as another and brings love into his poem in the atmosphere of resistance to discover a new truth. In individual romances, he uses the same signs and symbols that used before in public love. The same lover with a revolutionary face and the same revolutionary faces with the beloved cause him to not see a difference between public love and personal love.
 

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Abstract
Regardless of the obvious message that is displayed on the cover of any text, sometimes there is another discourse in the context of the content that challenges the intention of the creators of the text in supporting the cover. In the light of reinterpreting and deconstructing the works, the dark labyrinths become clear and new concepts are presented. Ferdowsi and Sa’âlabi's two narratives of the story "Aleksander and the Daughter of the King of India", with a significant difference in the ending, is a familiar story of the marriage bond of the defeated beautiful girl with the conquering king. In examining the secondary discourse, the mechanisms of exercising power over the body are highlighted. Contrary to popular belief, these mechanisms are not only torture, rather, aesthetics is also considered a kind of care network that does not end when a woman enters the "other's" field (father's house) into her own field (wife's house). On the contrary, when a woman wins in the body test prepared by the institution of power, she is considered as a threat to the totalitarianism of the ruling system by deviating from the norms of socialization. In this study, in an analytical-descriptive way and with a sociological point of view, the elements in the mentioned story have been reconstructed and by using the opinions of the thinkers in this field, especially Michel Foucault, the mutual relations between the three elements of "beauty", knowledge", and "power" have been discussed.
Extended Abstract
Introduction
In epics, girls have a limited number of choices. They have to wait for the fate that will be decided for them by the outcome of the war or current events. They are offered as a prize to the winner to encourage soldiers to fight through sexual incentives. In the story of "Iskander and Faghestan" in Shahnameh, we have the same conventional pattern. But Thaalibi's narration also has a second part, in which the girl who was given to Iskandar as an atonement, after passing the fitness test, was rejected by entering the field of "self" to remain in the pole of "other" and gender. The essentialism and the self-sufficient ego of the power institution must continue its pure life regardless of the interference of others.
Theoretical Framework
In his series of sociological discussions, which is influenced by the structuralism and psychoanalytical attitudes of thinkers like Lacan, especially in the book "Care and Punishment", Foucault refers to the prison as "the dense form of all disciplines”. He did not apply his views on literary works, and Lacan also examined only pictures and paintings in the discussion of "gaze", which are also used in cinema, there is a possibility of extending these views to literary texts. In this paper, it is attempted to explain the manifestations of dominance and care in a literary narrative from a sociological point of view, citing the above points of view.
 Methodology
First, by doubting the obvious message of the text (the importance of aesthetics) and its other reading and white reading, the images were extracted and then described in an analytical-descriptive way. Although the main foundation of the research is Foucault's point of view, the fragments that were taken from his theory have been used to enrich the research.
Discussion and Analysis
Based on the findings, the relationship between the three areas of power, knowledge, and beauty in the story of Iskandar and Faghestan can be seen from four directions: knowledge in the service of power, gaze, from hiddenness to the position of the arena, rejection of other wisdom. The role of knowledge in the service of power is highlighted as well. The first time is when Kaid sees a series of dreams that only Mehran is able to interpret them. Again, the nine wise men of Rome use their knowledge to verify Kidd's claim. Faghestan is presented to the Roman envoys in a completely decorated form. According to his father, he was "in hiding" until the arrival of the Roman envoys. unlike the tests of knowledge and ability in epics, the Faghestan test is only a physical and wisdom has no effect on the result of this test.
Conclusion
Although the plot of the story highlights beauty and aesthetics, the secondary discourse affects the mechanisms of exercising power on the body. These mechanisms are applied to Faghestan's body as "other" in several ways. In first place, Kaid keeps her locked in a private space like a valuable commodity. Knowledge and power give the "other" body to the more powerful entity. Faghestan which has fully accepted its gender socialization, has no choice but to observe court customs and rituals. Finally, due to the disturbance it creates in the totalitarianism of the power institution, it is sent back; Because politics is alien to the logic of dialogue.
 

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With the occurrence of the Constitutional Revolution, the discussion on the necessity of cultural transformation and the revitalization of literary renovation flourished. One of the important aspects of this discussion was determining the relationship between ancient Iranian literature and the new situation. The modernists of this era viewed literary tradition as sterile and stagnant, seeking to destroy it instead of attempting to reinterpret it. On the other hand, traditionalists took a worshipful approach to tradition, condemning any critique of classical tradition. In this article, after providing a historical overview, the critical aspects of the modernist approach to classical tradition are listed. These aspects include the outdated language, elitism, narrow and regional perspectives, inability to address the requirements and needs of the new world, justifying authoritarian power, neglecting the social function of literature, and non-revolutionary and accommodative nature. Subsequently, this destructive perspective is analyzed from the perspective of short-term society theory. This analysis reveals that the merciless critique of the modernists is an expression of their disregard for the necessity of capital accumulation, while also highlighting the absence of the concept of critique and its vital role in cultural development and progress. Furthermore, these critics paid no attention to the nature of the authoritarian government, for which no alternative was conceivable, and they were oblivious to the key role of power institutions in the cultural life of society.
Extended Abstract
Introduction
One of the questions that emerged alongside the Constitutional Revolution in the cultural scene of Iran was the discussion on the necessity of renewal. One important aspect of this debate was determining the relationship between ancient Iranian literature and the new context. A significant group of modernists believed that the ancient literary tradition was stagnant and that preserving it was futile. On the other hand, traditionalists adopted a reverential perspective that rejected any criticism of classical tradition.
Questions: In the sociological analysis of the conflict between reformists and traditionalists in the Constitutional Era, we will seek answers to the following questions. 1- What are the main criticisms of the modernist movement towards classical tradition? 2- What are the main characteristics of this conflict from the perspective of the short-term society theory?
Theoretical Framework
The theoretical framework of this research is the theory of short-term society, which tries to explain the relationship between the state and the nation and other social aspects from the perspective of historical sociology. Based on the comparative study of Iranian and European tradition, this theory points out the important differences between these two cultures. Although this theory has not been formulated specifically in the field of literature, but considering the capacities that exist in this theory and also due to the deep connection between literature and politics in Iranian society, it can be used in this interdisciplinary research.
The main criticisms towards classical tradition
The main chapters of the critique of modernists on classical tradition can be summarized as follows: 1- outdated language. 2- elitist and anti-populist literature. 3- having limited and local concerns. 4- vulnerability to new paradigms. 5- disregard for the social role of literature. 6- enhancement of authoritarianism.
Analysis from the perspective of theory
The analysis of this subject from the perspective of the short-term society theory demonstrates the following aspects:  1- The destruction of tradition and the problem of capital accumulation deficiency: The radical modernists failed to acknowledge that renewal could only be logical if it first embraced a peaceful coexistence with tradition and gradually constructed a new aesthetic system. 2- Lack of the concept of critique. 3- Disregard for the nature of authoritarian governance. 4- Neglect of the economic dependence of literature on power institutions.

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  The personality of Abu Muslim Khorasani has been reflected in various forms in the texts. In the hadith sources, Abu Muslim is often introduced as someone who was against the Shia Imams. In polemical-theological texts, Abu Muslim is introduced as the avenger of Ali's family, the overthrower of the generation of the Imams, and the destroyer of the Umayyads. But in the folk stories and especially in the narrations that we know today as Abu Muslim name, Abu Muslim is not only a Shia person, but also one of the special Shiites who received the spiritual teachings of the Imams and is himself a follower of the Tariqat and he has transcendental benefits. The same image of Abu Muslim entered the Sufi circles through the tradition of story-telling, and later became one of the important pillars of the Safavid Khanqah Invitation. After the Safavids came to power, the Safavid Sufis, by promoting the stories of Abu Muslim, kept alive the goals of the Safavid uprising and increased their followers. The religious jurists of the Safavid court, in an effort to curtail the influence of the Sufis, were the first to recognize this and subsequently prohibited the reading of stories about Abu Muslim. This article demonstrates that the banning of stories, the reading of stories, and the distortion of Abu Muslim’s image were fundamental measures taken by religious jurists to combat the proliferation of Sufism during the Safavid era. 
Extended Abstract
During the Safavid era, the Shiite religious jurists had gained a lot of power and decided to remove their long-time rivals, the Sufis, from the arena of politics and power. The movement of anti-Sufism in this period had several stages. Thus, at the beginning of the Safavid government, the fight against the Sufis was the only written criticism; But at the end of this era, this movement increased and led to the killing and rejection of the Sufis. In this article, only the first step of anti-Sufism in this era, that is, the criticism of Abu Muslim and Abu Muslim reading has been discussed.
The character of Abu Muslim is different in Shia narrations, history and stories. In the Shia hadith sources, there are narrations in the condemnation of Abu Muslim that show the opposition of the Shia Imams to him. For example, one tradition says: Imam Jafar Al Sadiq (AS) did not accept Abu Muslim's invitation and did not even respond to his letters. However, in Shia theological-dialectical sources (especially Persian sources), Abu Muslim is praised for overthrowing the Umayyad government and he is introduced as one of the followers of Shia Imams, whose goal was to bring the Shia Imams to power.
 The character of Abu Muslim is different in the stories, especially “Abu Muslimname”. In these stories, he is one of the top Shia people, and there is no need to prove his religion. According to the narratives, even the name of Abu Muslim was given to him by Imam Muhammad Baqir (AS), and he is in contact with the Shia Imams and he in the real world or in the dreams, constantly receives help from them. And they treat his problems and pains. In addition, Abu Muslim also has a mystical personality and is able to do extraordinary things or meet with mystical guides.
The personality of Abu Muslim and the traditions and stories related to him were popular among the Safavid Sufis and they used this in calling their followers. Abu Muslim Khorasani and Muhammad Hanafiyeh were among the most important personalities of the Sufis of Ardabil Monastery, whose praises and stories were constantly expressed. Some religious jurists fought Sufism secretly and openly. Some of the reactions against Sufism in this period are only specific to the Shia society; The main idea of these anti-Sufi people is that the elements that have entered the Shia community from Sufi beliefs by combining Sufism and Shiism must be destroyed. Therefore, one of the elements that was tried to be left out of the society's beliefs is story-telling and Manqebat reading for Abu Moslem of Khorasani.
 The first objector to Abu Moslem reading in the Safavid period is Mohaghegh Karki. He believed that Abu Muslim's friendship with Imams and Shias was not real and he intended to attract them by deceiving them. He considers Abu Musallam readers, liars and their words as Satan's words. Taleqani also believes that the atheists were a group of Abu Muslim's lovers, and he believes that the atheists became interested in him because of Abu Muslim's claim to the Holoul theory. In addition to the religious jurists, the Safavid kings, such as Shah Ismail and Shah Tahmasab, also opposed the storytelling and Abu Muslim reading. Of course, we should know that despite these oppositions and obstacles, people were still inclined towards these stories.
In the middle of the Safavid period, for the first time, a book named Salwa al-Shia was written, which expresses the objection to the Helpers of Abu Muslim and the Sufis in one place, and clearly names groups of Sufis who followed Abu Muslim. And it shows that the opposition to Abu Muslim and Abu Muslim readers was in line with the opposition to the Sufis. This opposition and the expression of the connection between the Sufis and Abu Muslim had not been expressed very clearly until this book. In fact, Abu Muslim-reading has been a discourse act that these story-tellers have also popularized Sufism.
Therefore, it can be understood that the newly empowered religious jurists in the Safavid court, in order to eliminate the Sufis, initially tried to devalue their valuable symbols and personalities. One of the most important of these measures was the banning of reading stories About Abu Muslim and the destruction of his personality. And referring to the link between the Sufis and Abu Muslim, they introduced both groups as misguided and cursed. Therefore, the effort of the religious jurists of the Safavid period in confronting Abu Muslim's storytelling and stories was an attempt to start a powerful and pervasive trend of anti-Sufism.