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Perceiving beauty is, in fact, a perception that is originated in mystical-experimental religiosity. In this regard, Molavi's view is not a mere theory; rather it is an expression of his practical experience and inner conduct. In his experience, love precedes the Good and God is situated on top of the pyramid of the Good. Molavi takes love as his most important object and searches perceiving beauty in God. Through conceiving beloved in God, the lover achieves high stages of perceiving the divine Good. In Molavi’s view, beauty is reflected in men's perception before it is realized in its external manifestations. And this is exactly the meaning of relativity in the conception of beauty and evil. In this connection, even the most evil manifestations of vice are considered. Perceiving beauty does not attempt to negate the evil in this world by philosophical simplifications and deification of beauty. In fact, it reveals its inner beauty through a profound interpretation of the evil. Molavi uses the parable of a painter in this context to interpret the world with a perception of beauty. The painter here is someone whose most important feature is beauty and is skillful in creating beauty. Therefore, Molavi's worldview of the Good is not just a theory. Neither is it merely a philosophical solution for negating evil. It is rather the natural result of his reconciliation with the world.

 

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The present study is interdisciplinary in applying philosophy through its collaboration with psychology and literature. This article examines hope according to the two great thinkers; Rumi, a Muslim mystic and writer, and Gabriel Marcel, a Christian existentialist philosopher. The purpose of this study is to provide a basis for the work of philosophical counselors and psychotherapists. For this reason, the views of Richard Snyder, the theorist and founder of hope therapy in contemporary psychology, are also introduced in the present study to bring Rumi and Marcel's views on hope closer to the topics of hope therapy, and the similarities are derived from being used by philosophical advisors. According to the findings of this research, the hope that Rumi speaks of is a clear and guiding hope that, if used properly, can become a positive moral trait in human beings; The hope that arises from man's need for God and will always be the way to man's spiritual progress. Marcel also considers hoping a tool for faith and closeness to the higher being, which causes a person to be spiritually ready to serve other human beings. This spiritual preparation frees man from the snare of the shattered world of which Marcel speaks. By comparing Snyder's theory of hope and Rumi's view of hope, we find similarities between the views of these two philosophers in the components of hope. The examination of Snyder's theory of hope and Marcel's view of hope also reveals the intellectual similarity of the two thinkers on the vital role of hope in life.

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Structural semioticians believe that bilateral contrasts are signifying elements which shape a text’s concealed structure; while their analysis makes the interpretation and paraphrase of meaning a possible task. Binary elements, which according to linguistics, psychology, and structural anthropology are factors of cognition and comprehension, have found a variety of different expressions and manifestations in cultural texts; whether they are in written form within literary works or have appeared in the visual and auditory arts. A survey of the variety of bilateral contrasting elements that the author has used, in addition to the manner in which they are processed, show the stylistics of the work; just as the semiotic study of binary elements in the depiction and portrayal of Rumi’s poetry show that: 1) All the objective and subjective bilateral contrasts which somehow instil ascension or descent are utilized for expressing materialistic and spiritual affairs and phenomena. 2) All the bilateral contrasts are finally united in a specific point and their contradicting identity is resolved. 3) Negation of contradictory identity from bilateral contrasts occurs through rhetorical and declarative devices which once categorized, guides us towards semiotic description of Rumi’s poetry in Massnavi and Shams Poetry Book (known in Persian as “Divane Shams”)

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Maulana J'alalu·'d-din Muhammad Rumi and Walt Whitman are two of the greatest and most influential poets of the world. Nicholson considers Rumi as the greatest Sufi poet of all time, and the United Nations (UN) has named the year 2007 after him. Walt Whitman, on the other hand, is the poet who is entitled the father of the American Free Verse, and forms the third column of the trinity of American transcendentalism along with Emerson and Thoreau. Despite linguistic, cultural, temporal and spatial differences, both poets consider language an insufficient tool for the expression of the transcendental and mystical thoughts; hence, their readership is invitation for silence. Undoubtedly the poets have some differences in silence motif, which is rooted in their culture and language. Rumi denies language courageously to the extent that some of his ghazals end in silence. Whitman, too, expresses his concern for silence spasmodically; however, the real silence in his poetry happens when he invites the readers to be united with nature. In this paper, the authors have investigated the silence motif in the poetry of Rumi and Whitman using the theories “analogies without contact” and “Rapprochemen” within the domain of comparative literature.    

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Music and Sama are amongst the most discussed elements in the history of Islamic mysticism and sufism. Rumi’s standing on this subject was close to the intoxicated sufis. He favoured it, promoted it and believed it to be one of the main pillars of the mystic path and journey to Allah. In the cultural sphere of the 19th-century Europe, Nietzsche, influenced by the East, and having a unique way of looking at the concept of excellence and human movement towards evolution, in order to save the alienated human kind who due to the weakness of the church has forgotten the God, brings in music as a principle in human evolution and salvation, which is very close to the Rumi’s idea of music. The two thinkers share paradigms of thought in a) familiarity, identification and the origins of thought, b) the relation of music to the eternal song of the universe, c) music as a way to catharsis and soul purification, d) the relation between music and language, and e) the relation of music to passion and ecstasy and the Nietzschean idea of affirmation. All these lead us to the conclusion that the two thinkers had very close, and sometimes, matching ideas about the origin, existence, function, and effects of music, yielding to a substantive connection.  

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 H. Qobadi.PH.D 
 F.Kolahcian
Abstract
The stories in Mathnavi are full of optimism and hope; to the extend that it can be said Rumi believes that happiness and exuberance are regarded as original and essential issues.As a matter of fact the human spirit is based on hope, while despair, sorrow and misery, and sadness are phenomenal and temporary.
This paper is written using the attributive method and reasoning; interpreting all the elements, specially the contents and characterization of the stories. It intends to reveal this concept; that hope fully exists in the depth of Rumi's poetical stories in a manner that one fails to separate them from the essence of these works. Also the pictures in his poetries are full of concepts related to hope and its devices. In addition to the mentioned features, happiness, vitality and avoiding any sorrow is clear-cut in his poetries. Rumi’s view towards nature indicates hope too. Even when he speaks of Autumn, he regards it as rebirth, and resurrection of spirit and finally a preparation stage for Spring. Along with all that, Rumi relates to spring as the re-growth of nature. Despair, sorrow and sadness do not have a considrable share in his poetries. 
Studying the external, the internal and also the marginal music of Mathnavi Maanavi reveals that he is the poet of hope. Even abundance of intonation-emphasizing happiness and life in creating rare or new intonation- in Rumi’s Ghazals(sonnets), show a mind having tendency towards innovation, while he regards despair as a means for devastating the mind.
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β- Xylosidase from Selenomonas ruminantium (SXA) is one of the most important enzyme for the hydrolysis of cell wall hemicellulose. SXA has potential utility in industrial processes especially production of bioethanol from bagasse. However, this xylosidase lose activ‌ity drastically above 50 °C. Each monomer of this homotetramer has four free buried cysteine. It seems that cysteine 286 has no role in protein function. In this study, to investigate effects of free buried cysteine on protein thermal stability, Cys 286 was replaced with the same size amino acid, valine. The mutant and native protein have expressed in Pichia pastoris. Kinetic and thermostability parameters of mutant were compared with the wild type enzyme. While pH optimum, temperature profile and catalytic efficiency of recombinant mutant were be found similar to native enzyme, mutant showed about 65% increase in thermostability respect to the wild type at 55 ˚C. Our results showed that free thiol group of cysteine caused the destabilization. Moreover, hydrophobic side chain of valine could involve in a hydrophobic interaction to stabilize SXA. Elimination of a free cysteine enhanced thermal stability without changing the catalytic efficiency of the enzyme that could be very important for biotechnological applications.

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Comparative study on lyre function in the first book of the Masnavi and Poetic Meditations of Lamartine

Abstract. Rumi, Sufi poet, because of acquaintance with musical instruments transmits the mysticism and Sufism concepts through the outland instruments like harp and lyre. Concepts such as: Divine origin of music, the priority of mortality on survival and contrast question. Impact of Christian teachings, Old Testament books and studies on Mythology is caused that Lamartine uses lyre for transferring divine concepts. But the contrast of Old and Omar (Religion and Spirituality) in the first book of Masnavi converts to the poet and ambitious king in poetic meditations of Lamartine. Also lyre metaphor in these masterpieces is different because of Cultural and temporal differences. For Lamartine lyre is ̎ the symbol of the heart but Rumi considers it as human body. In this paper, the lyre function is studied by using the theories analogies without contact and ̋ Rapprochemen ̋ within the domain of comparative literature.

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Ahmad Khatami, Ph.D.
 
Abstract
Mowlana Jaluluddin Rumi’s mystical character (604-672 A.H) has penetrated so deeply into the hearts and minds of his keen readers and admirers that there is actually no place left for the survey of other aspects in his work which are truly as much comprehensive. The truth is, Massnavi (Rumi’s great poetry book) has the potential to be analyzed from religious, scholarly, philosophical, political and even social perspectives; to mention a few of such a high diverse domain. Government, as a political-religious affair, has been among the topics of interest in Massnavi. Rumi has expressed his views about different kinds of reigns, the legitimacy of reigns, and the characteristics and features of governors and administrators; while he has pointed to the illegitimate reigns, or Pharaoh-like reigns in other words, on one hand and the legitimate or in other words Solomon-like reigns on the other hand. In this article, I intend to pave the way for a better access to Rumi’s opinions about governing through collecting and compiling his perspectives; finally depicting Mowlana’s intellectual basis and the features of a desired and appropriate government.
 
 

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Hossein Ali Ghobadi, Ph.D.
Saeed Bozorg Bigdeli, Ph.D.
Nasser Nikoobakht, Ph.D.
Bassel Adnavi
Abstract
Since love forms the core intellection and wisdom system of Mowlavi, all ideas and addresses expressed in Moulawi's works is made based on love. For this reason, analysis of the connection between the inner and outer world in Massnavi is also done regarding the attitude that Mowlavi- as the creator of the work- had on love. According to this approach, love for Moulawi is like the purgatory world between the inner and outer world. In this respect according to Mowlavi, issues interpreted in terms and expressions such as the correspondence of countries ad people, intuition and the unseen, appearance and interior, abstract and concrete, territory and heavenly kingdom, earth and sky, body and soul etc all depend on love and one of its manifestations. Based on this view, love and God's fondness and love for recognition has become the motivation for a movement due to which everything has become absolutely concrete from abstract – finite has raised from the infinite, form from inform, and eternity from preexistence- and therefore maybe it could be claimed that the entire creation has appeared in this manner.
This research intends to discover some manifestations of such belief in Massnavi written by Moulawi and further on elaborate it. The research method is descriptive- analytic, and by considering the title and the demands of the study, it has utilized the hermeneutics approach for the interpretation and paraphrase parts of Massnavi's text.
In brief the outcome of the study shows that in line with the common belief of mystics who claims that humankind is the mirror of truth and God's representative, Mowlavi believes that love in mankind is like a purgatory which draws thought towards the domain of manifestation and expression. Therefore from an ontological point of view, love is like a mirror which reflects the beings of the other world within appeals and representations of this world.
 

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Intertextuality examines the relationships between texts. Because in every text there are references to earlier works. It can be said that there is no new and original text. In intertextuality, two texts are compared: a text below and a rough text. Genette divides intertextuality into three categories, which can be examined in the form of the explicit, implicit, and implicit presence of one text in another. In this article, the authors first explore the roots of Rumichr's mystical anecdotes and thoughts in the first book of Masnavi in mystical, fictional, interpretive works, Davin poetry, and Arabic historical books. Then he divides these anecdotes into three categories based on Genetchr's theory of intertextuality. At this stage, the following text of Masnavi is specified. This text below should have both chronological and historical precedence over other texts and should be most similar to Masnavi's narration. This study shows that Rumi had read many Arabic historical, interpretive, fiction, and mystical books before him and brought them to the margins of Masnavi. However, in all the cases studied, he has changed mystical thoughts and previous anecdotes to achieve his mystical, theological, and moral goals. Meanwhile, Ibn al-Farid and al-Thalabi are more present in the first book of Masnavi than others in the field of mystical theories and anecdotes.
Keywords: intertextuality, intertextual reading, Rumichr's Masnavi, Arabic works.

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Mystical ̍Shathʹ is formed in the context of language event context. The notion of event system belongs to post-Greimasian semiotics. The language event system finds a tensive-emotional function due to features such as momentary and discursive transformation. This situation benefits from phenomenological and emotional presence and tension for the subject, in which the subject is in a passive state and reaches the state of ecstasy. Many of Rumi's sonnets are the products of these moments; moments in which the subject loses self-consciousness and inevitably reveals the mystery. The result of this revelation can be interpreted as a ̍Shathʹ. According to this, the fundamental question of the present article is that what processes and discursive functions lead to ̍Shathʹ in the overall linguistic system of Rumi's sonnets. In fact, the purpose of the present research is to analyze the semiotic components of ̍Shathʹ in Rumi's sonnets in order to explain its event and the process of meaning-generation. This feature transforms the atmosphere of Rumi's Ghazal. This research shows that such an atmosphere has transformative, aesthetic, corporeal and the state functions in the discursive system of Rumi's. Thus, we are witnessing the sequence of events and their restoration. In essence this feature allows the subject to reach the same depth with the absolute truth and depth of being.
 
 

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One of the most important developments that took place with the spread of mysticism and Sufism in Persian literature, especially in long mystical verses, was the attention towards folk culture and literature. In this sense, Rumi's Masnavi is a reflection of the folk culture, language, and customs. Contrary to this prominent characteristic, the terms folk and folklore have always been used in Masnavi with a negative connotation. However, one needs to seek whether Rumi uses this term to refer to a certain social class, or a certain character, behavior or attitude which makes him use it for a certain person or group. This descriptive-analytical paper addresses the status of the term folk in Masnavi. The findings indicate that the term does not necessarily imply the common people of the society. Certain attitudes that judge based on the superficialities and common sense are the main referents of the term in Masnavi. The transcendent spiritual condition may well have existed among the most common people; however, the superficial and shallow attitude may be common to the elites, philosophers, and even mystics who have not yet reached the status of Magham.

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In the present paper, the authors initially define customs and traditions, and point out the spiritual and aesthetic reasons and motivations of Rumi in addressing it. Then the customs reflected in “Divan-e Shams” are classified into four main categories, namely, religious, Sufi, Divani and social customs. Providing appropriate evidence, Social customs are introduced and classified in more detail.

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The Masnavi Ma'navi is one of the most outstanding works of Persian literature in which many manifestations of our culture are featured. The origin of some Masnavi's anecdotes is in verbal literature, which has appeared in literary works for a long time. The expression of contemporary verbal narrations adapted from some of the Masnavi's anticathodes represents the repetitive stories which have been frequently recited in our literature and culture. The transformation of Manavi's stories in verbal literature is a matter for which studies have not been yet conducted by scholars. The difference in the form and structure of the stories, the clear change in the characters and the different interpretations are some of the transformations that have distinguished the verbal narrations and the narrations of Masnavi. The three anecdotes that have been selected as the basis for the work for exhibiting the transformation between the stories of Masnavi and the verbal narrations are: Three Travelers: a Moslem, a Christian, and a Jew, Nakhjirans' Reliance, and the Fool Who Trusted the Bear. The data indicate that Rumi presents many high mystical concepts in the form of narrations and textual codes, but most of the verbal narrations are presented for entertainment. Also, the verbal narrations tend to be reasoning-based ethics, whereas Masnavi's anecdotes are Rumi's specific individual ethics

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In every era there is a dominant stream of thought that epistemologically all areas of knowledge of a society are more or less in tune with. This dominant stream of thought, represented by terms such as paradigm, epistemic, and so on, as an epistemic pattern, explicitly or implicitly, influences the knowledge organization of a society and the discursive articulation of the texts produced in that space. The placement of subjects in literary texts is the result of a variety of discourse articulation that is shaped by the epistemic patterns that govern each period. To better understand this, we can refer to stories that have been narrated or allegorized over several periods with distinct epistemic worlds; one of these is the story of "fish and ponds", which are independently represented in Kalila and Demna, and Rumi's Masnawi as independent narratives and in the story of the Little Black Fish. In this article, how the paradigms influence the placement of the fictional subjects from the perspective of the hero's who and why are they described in a descriptive- analytic manner. The result is that this anecdote has been represented in the classical world in the form of two inner narratives and as parables in the Kalila and Demna and the Masnawi Rumi. According to the epistemic paradigm of Holism and individualism/escapism in the classical world, the hero/ heroes are both the parables of those who have used their action to serve themselves and to become the victim of or absorbed in being or society. Of course, the holism and individualism/evasion that governs the articulation of the Kalila and Demna allegory in its own Geographical -cultural context, namely the caste of Indian foundations and Iranian political thought, seeks to legitimize and stabilize its class order. Despite the participation in the epistemic paradigm that governs the texts of Kalila and Demna and the Masnawi Rumi, the process is described in another way in the allegory of Mathnawi. In its mystical context, the universalism of the classical world, instead of consolidating social order, seeks to create ontological unity between all manifestations of being, especially between human beings and existence. In contrast to the generalism and anti-individualism/evasion that dominates the classical world and its texts, the macro-epistemic model of the contemporary world and the modern world focuses on the centrality of human subjectivity and individualism. The discourse articulation of the parable of the little black fish is arranged on the basis of this epistemic paradigm, so the placement of the subjects in it is substantially different from the preceding two parables. From the discursive point of view of the protagonist of this allegory, it is a little black fish that expresses its agency to express and establish individuality in the form of a variety of philosophical-epistemological questions to some form of symbolic body confrontation. However, the paradigm of generalism and individualism/aversion to the classical world has led to the heroic allegories of Kalila and Demna and the Masnawi of those who have used their agency to transcend themselves and maintain class order or unity with being. In contrast to contemporary humanism and individualism, it has assumed a hero who goes beyond self-expression and proving individuality, In order to awaken others and defending them in various ways interfering with social and political order; it has sought to create balance or symmetry a social interactive space.
 

 

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Emerson was the first American poet who introduced Rumi to American literary circles in the early 19th-century. After Emerson other American Transcendentalists e.g. Thoreau, Longfellow, Whitman began to study Persian mystical poetry especialy Rumi's poems. in 20th-century translators and poets like Martin, Duncan, Mervin, and Bly tried to re-intriduce Rumi to Amerian people. later, at the the early of 1980s Barks with the aid of Moyne, and based on Arberry and Nicholson scholarly translations tried his hand at re-translations of Rumi's poems. witout doubt, Barks renderings or re-translations made Rumi a very popular poet in America. In the present study the researcher tries to, on the basis of interdisciplinary studies, e. Cl and TS, investigate the reception of Rumi's poems, esp. Barks translations in America. Clearly, reception does not happen in a vaccume. liteary, cultural, social postions play a majoe rule. Rumi's reception in America revolvols on two sets of factors. The first series are related to the source text and the authour and the second series are concerned with the target text, transaltor, and the zeitgeist. One can refer to to the Rumi's universal and elegant themes and subjects, uncommom and bizare images and pictures on the one hand and factors like suitable room for eastern mysticisms, the selection of free verse for re-translation, and defamiliarizing Islam on the other hand.

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As the most well-known translator of Rumi in the United States, Coleman Barks is not without criticism. Due to many deviations and alterations to the original text, his translations have undergone harsh criticism by literary critics. Coleman Barks’ critics have considered different reasons for his alterations to the works of Rumi, the most important of which is his lack of knowledge over Farsi language. Other reasons include not paying attention to the culture and religion of Rumi and a biased distortion of Islamic elements. In this research we provide evidence against the above claims. Based on the Ernesto Laclau and Chantal Mouffe’s Discourse Theory and their notion of “Nodal Point” we have shown that the most fundamental mistake of Coleman Barks is to misrecognize the Nodal Point in the source text and considering all of them to be the same in all Rumi’s works. This has led to a deconstruction of the allegories and has turned the characters in the Masnavi, Quranic stories, mystical symbols and rituals into actual things, physical deeds, and historical figures, resulting in an inevitable distortion by Coleman Barks. Based on his own discourse and the discourse of his audience, he has tried to invent justifications, new themes, and explanations for the poetry of Rumi. To prove this hypothesis, we have analyzed his translations of Rumi’s “Story of The Reed”, “The People of the Cave”, his views on Jesus in the poetry of Rumi, and his description of the whirling dance “Sama”.
 

1.  Introduction

Today, Barks’ translations are the best-selling translations of Rumi's works. They have been translated into more than twenty languages worldwide, and it can be said that many in the U.S. and other English-speaking countries know Rumi through the eyes of Barks. Numerous publications by Barks and the remarkable success of his work have naturally attracted the attention of critics. Iranian and foreign critics agree on the fact that there are obvious differences between the well-known Rumi as the East knows him and Barks’ Rumi. Bark’s translations portray Rumi as a modern age guru beyond or rather free from any religion or culture. The differences are to the extent that cannot always be dismissed by merely calling them a tasteful artistic alteration or a mistake. Some critics, e.g., Lahouti believes Barks has purposely distorted the poetry of Rumi since many of Barks’ deviations are towards verses with religious content.
There are various assumptions about Barks’ acquisitions. Based on each of these hypotheses, critics have criticized one or more of Barks’ poems, but what is missing from these critiques is a comprehensive hypothesis that can be used to explain the totality of Coleman Barks' works. By examining unprecedented evidence from Bark’s translations, we will provide a more encompassing reason for his deviations to the original poetry using the idea of nodal point from Laclau and Mouffe’s discourse theory.
Research Questions
This study intends to answer the following questions:

1.  What is the scope of Coleman Barks’ alterations and are the critics accusations valid?
2.  Are Barks’ alterations intentional and biased or can they be explained by a more comprehensive theory?
3.  Can Laclau and Mouffe’s idea of discourse and nodal point explain the reason behind Coleman Barks’ alterations to Rumi’s Poetry?

The main hypothesis of this research in answering the above questions is that although Coleman Barks' biases and lack of knowledge play a role in his changes to the poetry of Rumi, it is his misrecognition of the nodal point, ignoring Rumi’s discourse, and prioritizing his discourse over Rumi’s, that has led to the majority of alterations.

2. Literature Review
2.1. Translation Criticism: Coleman Barks
A few papers have considered Coleman Barks’ free renderings of Rumi worthy of criticism. Hassan Lahouti’s articles and interviews suggest that Coleman Barks has purposely distorted Rumi’s poetry for political and religious reasons. (Lahouti, 2015 pp. 50-53). Omid Azadibougar and Simon Patton discuss the translatability of literature and culture, challenges to world literature in translation, and the popularity of this version of Rumi in the USA. (Azadibougar and  Patton, 2015 pp. 172-189)
 Nonetheless, research in this field has mostly applied the criteria of literature criticism to translation criticism and lacks a scientific wholistic view on the matter free from political, cultural and religious biases. In this paper we first, analyzed many examples from his most important popular translation “The Essential Rumi”. Second, by taking a discourse theory approach we have examined what has been so far regarded as biased distortions in translation in a new light.

2.2. Laclau and Mouffe’s Discourse Theory: Nodal Point
Although Laclau and Mouffe’s Discourse Theory mainly deals with political applications of discourse, recent research has broadened its application to art and literature as well. For example, Ricardo Camargo in “Rethinking the Political: A Genealogy of the “Antagonism” in Carl Schmitt through the Lens of Laclau-Mouffe-Žižek” (2015) presents a nonpolitical application of Laclau and Mouffe’s theory. In this paper we have shown how the correct recognition of “Nodal Point” can determine the validity of a literary translation. A discourse is formed by the partial fixation of meaning around certain Nodal Points (Laclau and Mouffe 1985: 112). A nodal point is a privileged sign around which the other signs are ordered; the other signs acquire their meaning from their relationship to the nodal point. (Jorgenson and Phillips 2008, p 26).

3. Methodology
This is qualitative research using a descriptive-analytical method of study. The data has been cited from the verses of Molana in the Masnavi and their equivalent in Barks’ translations in “The Essential Rumi”. Data has been collected through library research.

4. Conclusion

This study shows that Islamophobia, lack of familiarity with the Persian language, or other biases which critics have suggested as some of the main reasons for Bark’s alleged distortions, although not completely ruled out, is not the main reason for his numerous alterations to Rumi’s poetry. Using the perspectives of discourse analysis and the idea of “Nodal Point” in Laclau and Mouffe’s Theory, we find that a correct understanding of the discourse of the text in the source language and recognizing its nodal point is the main step in translation, the misdiagnosis of which turns into error, alteration, and distortion in the translation. 

Lack of a coherent theme behind the poem or the book in translation, deconstruction of allegories and adding to or reducing from the text in order to fit it into the translation’s presumptions and discourse are the main consequences of the translator's misunderstanding of the dominant discourse of the text in translation and its nodal point. This mainly leads to the ignoring of religious-Quranic discourse and mystical elements as the main discourse of the spiritual Masnavi which is based on the Quranic teachings applied to the mystical journey. Preferring his own discourse and assumption that Rumi is beyond religion and culture, the translator omits some parts of the source text and concepts and provides objective translations and interpretations of Rumi’s poetry instead.

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Grape berry moth, Lobesia botrana (Denis and Schiff.) is a destructive pest of grapevine in Orumieh (Northwest, Iran) vineyards. It is mainly controled through application of broad-spectrum insecticides, which can adversely affect vineyard ecosystem and consequently human health. Since a first step in setting up an IPM program is to assess the biological control agents within the ecosystem, so in this research work the larval parasitoid complex of Grape Berry Moth (GBM) on vine was identified, and its natural potential in controlling the pest compared for different generations and in different locations in Orumieh during 2004-2006. Adults of the larval parasitoids of GBM were recorded from laboratory-reared larvae, which had been collected on damaged inflorescences of the first generation and berries of the second and the third generations. Rate (%) of parasitism on L. botrana larvae was estimated as the number of parasitoids over the total count of parasitoids and moths. Six larval parasitoids of the host were found: Enytus apostata Gravenhorst, 1829; Pristomerus vulnerator (Panzer, 1799); Temelucha sp. (Hymenoptera: Ichneumonidae), Nemorilla maculosa (Meigen, 1824) (Diptera: Tachinidae), Habrobracon hebetor (Say) and Bracon sp. (Hymenoptera: Braconidae). Total parasitism varied from 1 to 16.8%, with an average of 7.7% as revealed through the present study. A comparison of the means of the larval parasitism rate showed a significant difference at 5% level between different generations and localities. The highest rate of parasitism occurred in the first generation in all localities, as well as in years.

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Power, through a linguistic model, redefines the underlying meanings that form behind the relations of substitution, companionship, and within a sign. an examination of the mechanisms of different texts shows that divine power, by influencing and influencing linguistic structures, represents different forms of transcendental hegemony. Given that Rumi's Mathnawī is one of the great mystical narratives, the main issue is how the hegemony of divine power articulates the structures of the language of mystical discourse and the manner of expression and function of different types of narrators and becomes a transcendence itself. Therefore, in the present article, after explaining the relationship between the language of discourse and narration with the critical discourse analysis approach, the effect of believing in divine power on the linguistic structure of discourse and the method of narration of different narrators has been investigated. The result of this research indicates that the hegemony of divine power, like the dominant transcendence from outside affects the structure of the language of discourse and the narrator's mind, in which case the author-narrator is inside the larger text of the universe. He has become one and he writes in the language of the transcendental. Divine power also, by means of tricks, regulates the style of the narrators' minds towards the commandments, and in this way, represents the ideology hidden behind the discourse and ruling the writer's mind.

1. Introduction
The power and ideologies in each discourse affect the macrostructures of the narrative and the syntactic structures of the language. Narrative texts represent different forms of power at the level of their language and narration methods. In mystical discourse systems, divine absolute power also creates the world and social, ideological and interpersonal structures. The influence of this belief can also be seen in the mystical language and discourse of the Rumi Mathnawī. Although the Mathnawī is a meeting place of various religious, theological, philosophical and mystical discourses, but the mystical vision of Rumi makes him consider the existence and actions of all beings as subject to divine power in the spiritual Mathnawī. So what is of special importance in the Mathnawī is the visible and hidden presence of God in the narration of Rumi and the mystical language of the Mathnawī. Therefore, relying on the hypothesis that discourse systems affect the linguistic and discourse structures of the text and also that the narrator has an ideological function, the present research tries to answer the following question: How does the hegemony of divine power affect the linguistic structures and mystic discourse of Rumi. Also, how does it affect the narration methods of different types of narrators in Mathnawī. Also, how Rumi was able to bring all the voices to a romantic silence in front of the voice of God.

2. Literature Review
In the descriptions and interpretations of Rumi's works and thoughts, it is mentioned that Rumi's attention to the issue of God's absolute power is mentioned. In the book Dar Sāyeh-ye- āFtāb, Pournamdarian points out the dominance of her right and will over the narrator and considers it close to the experience of revelation (Pournamdariyan, 2009). Bameshki, in the book Revāyat Shenāsi-ye Dāstānhāy-e Mathnawī, while pointing to this issue, considers the narrator (Rumi) under her control in the dominance of mystic states (Bameshki, 2014). Also, recently research articles have been done in this field; As in "Causal Relation in Mystical determinism of Rumi", divine power has been analyzed from the perspective of Rumi's mystical determinism (Foladi and Yousefi, 2006). In "The problem of freewill and determinism in Moulana’s thought", the level of human predestination and free will against God's power has been examined (Ebrahimi Deenani, 2010). Moharrami, in "Difference of Molavi’s Mystical and Theological Viewpoint on Determinism", while examining the difference between popular predestination and romantic predestination, comes to the conclusion that Rumi praised romantic predestination (Moharrami, 2010). Also, in "Criticism of power from Rumi's point of view", his approach to the issue of power and his critical orientation towards it have been examined and analyzed (Mohammedzadeh, 2009). Therefore, so far in the conducted researches, either they have not mentioned the issue of power or a political concept has been considered from it. However, the effect of the hegemony of divine absolute power and its transformation into a meta-narrator in the structuring of the mystical language and the way of narrating the types of narrators in Mathnawī have not been investigated and analyzed and the present study tries to pay attention to this issue.

3. Methodology
The current research is based on library sources and descriptive-analytical method and based on the approach of critical analysis of narrative discourse. This research tries to show the influence of the ideology of God's absolute power in explaining the ideological linguistic mechanisms of power and the general atmosphere of Rumi's narration by examining the narrator element in some Mathnawī stories. The most important innovation of the present article is the analysis of the mechanism of divine power in linguistic structures as well as the narration of narrators in Mathnawī.

4. Discussion
One of the characteristics of Rumi's Mathnawī is the interweaving of God's power in the language of narration and its mystical discourse, so that this power is reflected in the element of narrator and narration. The subject of which narrator or narrators express their story from which perspective, at what distance, with what degree of trustworthiness and with what language, is affected by the worldview, ideology and power of the Meta-narrator. Therefore, in the Mathnawī, the discourse system of divine power organizes the narrator's act of narration. Based on this, in the present study, by using the concept of power in the analysis of critical discourse, the influence of belief in the absolute power of God in Rumi's thought and the organization of the linguistic and discourse structures of the Mathnawī have been analyzed. For this purpose, different forms of the meta- narrator's presence in connection with the types of narrators, as well as focalization methods, perspective and angle of view, the level of narrator's reliability, etc., have been examined in Mathnawī.

5. Conclusion
In the mystical and religious discourse system, there is a superior power in existence. This superior power has been greatly expressed in the language and system of mystical discourse as well as in Rumi's style of narration. Examining the linguistic and discursive mechanisms of narrators' narration techniques in the Mathnawī shows different forms of trans-narrator hegemony. In the first appearance of the meta-narrator's presence, the narrator considers himself under the influence of a secondary author who is the main narrator and Rumi and other narrators and even the types of narration are all under his power. In the Mathnawī, from the perspective of the omniscient narrator, the narrator-author and the narrator-character are also completely surrendered to the meta-narrator and see themselves as worthless particles who wish to be connected to the sea of truth. Also, the interpretations that the author-narrator provides during some of the stories about meta-narrator are in line with emphasizing her unique power. Moreover, the centralization of the author-narrator about the ideology of the power of the meta-narrator is always constant, but the centralization of the narrator-characters is variable and multiple.