تحلیل بینامتنی سوره یوسف در غزلیات مولانا با رویکرد نظریه رؤیای گویا (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تجربه وحی ، یکی از بنیادی ترین مفاهیم در ادبیات دینی و عرفانی است که از منظرهای کلامی، تفسیری و ادبی مورد توجه بوده است. پژوهش حاضر با طرح نظریه رؤیای گویا، در پی بازخوانی تأثیر متون مقدس بر ادبیات است. بر این اساس با رویکرد بینامتنی، بازآفرینی مضامین عرفانی را در غزل های شماره ۱۶ و ۱۸۹ دیوان کبیرمولانا بررسی می کند و پیوند آن ها را با سوره یوسف تحلیل می نماید. ضرورت این مطالعه در تبیین چگونگی تبدیل تجربه وحیانی به کلام شاعرانه در شعر عرفانی پارسی نهاده شده است، که پیوند میان ادبیات پارسی و متن وحیانی را از منظر نظریه رؤیای گویا آشکار می سازد. روش پژوهش کیفی- توصیفی است و از تحلیل های بلاغی (استعاره، تلمیح، تکرار)، نشانه شناختی (تصاویر چاه، پیراهن، نور)، و تحلیل بینامتنی بهره می گیرد. یافته ها نشان می دهند که مولانا با تلمیح به روایت یوسف و یعقوب، مضامین هجران و وصال را با تصاویر خیال محور و ساختارهای موسیقایی بازنمایی کرده و شعر خود را به تفسیری عرفانی و نمایشی هنری از قرآن نزدیک ساخته است. این مطالعه با ارائه چارچوبی نوین، پیوند عمیق ادبیات پارسی و قرآن را مستند می کند و بستر را برای پژوهش های تطبیقی عرفانی فراهم می سازد.Intertextual Analysis of Surah Yusuf in Rumi’s Ghazals Using Spokesdream Theory
Introduction The concept of “Persian Qur’an” as a sacred hypertext reveals a profound connection between Persian mystical tradition and Qur’anic revelation. This connection, initiated through Iranian efforts in translating and interpreting the Qur’an, reached its literary zenith in works such as Rumi’s Masnaviye Ma’navi and Divan-e Kabir. (Fotouhi, 1403/2024: 22) Shamse Tabrizi’s reference to his own discourse as “Persian Qur’an” provided a foundational inspiration for Rumi to rearticulate the revelatory experience in a poetic and mystical language. (Shamse Tabrizi, 1402/2023: 93) Surah Yusuf, known as “Ahsan al-Qasas” (Yusuf: 3), conveys themes such as patience, divine trial, and mercy through symbolic imagery like the well, the shirt, and the dream. By employing sensory elements (color, rhythm, dialogue, and movement), this surah interweaves narrative with rhetorical artistry and visual imagination, profoundly impacting both believers and nonbelievers. (Sayyid Qutb, 1403/2024: 27) Within the framework of the “articulate dream” theory, the Qur’an’s aesthetic structure is interpreted as a process of imaginatively transforming divine truths into sensory images and poetic language. an innovative approach that reimagines the Qur’an not only as a book of sacred law but also as a literary, visionary, and experiential text. Rumi, inspired by Shams-e Tabrizi, transforms mystical language into a medium for recreating the revelatory experience. In Divan-e Kabirand Masnavi-ye Ma’navi, particularly through allusions to Surah Yusuf, Rumi constructs a system of images, symbols, and sounds that signifies the interplay of language, imagination, and revelation. Islamic philosophers, such as Ibn Sina, view revelation as imaginative forms arising from connection with the Active Intellect (Ibn Sina, 1375/1996: Vol. 3, 411), considering the faculty of imagination a tool for rendering concepts tangible. The articulated dream theory, unlike rationalist perspectives or the prophetic dream theory, posits the Prophet as a conduit of revelation, emphasizing the Qur’an’s rhetorical, symbolic, and cosmological structure. From this perspective, religious language possesses a dreamlike and imaginative quality, with Surah Yusuf offering a model of artistic sacred experience through its narrative, symbolic, and musical elements. This study, drawing on the articulate dream theory and intertextual analysis, examines the revelatory experience of Surah Yusuf in ghazals 16 and 189 of Rumi’s Divan-e Kabirto demonstrate how Rumi, using Qur’anic imaginative forms, music, and intertextuality, transforms the revelatory experience of Surah Yusuf into an intuitive and poetic language. Methodology This research employs a qualitative approach with a descriptive analytical method. The primary data consist of the text of Surah Yusuf and two selected ghazals (16 and 189) from Rumi’s Divan-e Kabir. The theoretical framework is grounded in the articulate dream theory, which emphasizes five principles (divine truth, sensory image, sensory perception, spiritual intuition, poetic expression), transforming metaphysical concepts of revelation into sensory images and rhetorical language (Ibn Arabi, 2012: 480). This framework is complemented by Julia Kristeva’s theory of intertextuality (2003: 66) and Henry Corbin’s perspectives on creative imagination (2022:75). Intertextuality, particularly allusion, serves as the primary tool for analyzing semantic and structural connections between the Qur’an and Rumi’s poetry (Namvar Motlagh, 2021: 60). Data were purposively selected based on content criteria (reflection of revelatory themes and Qur’anic symbols). Data analysis was conducted on three levels: 1) imagistic: examining symbols and metaphors; 2) structural: analyzing meter, music, and rhetoric; 3) intertextual: comparing semantic and narrative similarities with the Qur’an. Despite the limited sample size, the multilayered analytical approach enhances interpretive depth and a
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