[...]!

if I where Tarsaa I would ask San'an to become the Jinn instead of pig.

(Tarsaa is sighted by him initially on her balcony)
balcony's architectural register
San'an might have been fallen in lss="trms">love with the balcony, not the girl!
(we see proof of this later when he goes “down” on her)
“hu hu I found a torture device” says San'an when he sees the girl-balcony assemblage

Tarsaa's lss="trms">morphology<lgc clss='lgc'>--lgc>lss="trms">different in every lss="trms">aesthetic moment, a dynamic entity
<lgc clss='lgc'>[lgc>person of flesh, thing of illusio, lss="trms">category of mechanism,
ترسا or ترسنده <lgc clss='lgc'>=~lgc> lss="trms">child-being, نصرانی <lgc clss='lgc'>=~lgc> the-other<lgc clss='lgc'>]lgc>

Tarsaa is a defferent kind of mediatized body, not that of woman on the television, which produces a wasted body in front of the TV

what kind of hostility is she performing -or making availablelss='qstn'>?

<lrg clss="large lg2" stl="font-size:110%"> she doesn't accept his marriage proposal

is there a woman hidden under the concept of Tarsaalss='qstn'>?
which toxicities or lss="trms">horrors the-woman-of-the-house in the lss="trms">story of San'an conceals precisely with the figure of Tarsaalss='qstn'>?
lrg>
ls clss='strcls'>*****ls>Tarsaa doesn't have a father.
lss="prgrph">-she is autonomous and emancipated
lss="prgrph">-San'an is of course another legendary non-feminist lss="trms">position
lss="prgrph">-it's a masculinist lss="trms">story after all, in its plot

medieval lss="trms">narratives of woman's image relating to the so-called sexual self-respect<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>woman always relss="trms">presenting the lss="trms">matter and the lss="trms">material
a comparative lss="trms">literary note on Tarsaa's framework and other female protagonist/antagonists <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
in<lgc clss='lgc'>:lgc> l clss="ppl">Nezamil><lgc clss='lgc'>:lgc> Khosro-o-Shirin and lss='trgt hghlght 1'href='?q=L'>Leili-o-Majnun (woman is there for the man, to elevate him); l clss="ppl">Jamil><lgc clss='lgc'>:lgc> Salaman-o-Absal and Yusof-o-Zoleikha (woman is body and to be avoided); l clss="ppl">Gorganil><lgc clss='lgc'>:lgc> Vis-o-Ramin (woman is autonomous and for herself in the plot of the lss="trms">story)

ls clss='strcls'>*ls>this time, he stammers in a lss="trms">situation lss="trms">articulated by her

preserving the ‘good object’
who is doing it and what is the good object forlss='qstn'>?
(the missing good object, forever)

Tarsaa lss="trms">demands him to drink and not to get drunk

سوی خوکان شتافت
San'an's pig-phobia
introducing the pig in a lss="trms">bird's lss="trms">story
(Hoolss="trms">poe convincing the Nightingale, Nightingale convincing the ...)
the way of the pig

how earthly we are, we, creatures of earth, how lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics forecloses us
l clss="ppl">Attarl> keep throwing similies of horizontal and vertical
(simile صنعت تشبيه, شبيه صنع)


scanning through the scandalous moments in San'an...


I want to be German everyday



de-lss="trms">system or to desist, nondialectical negativity


‘lss="trms">Integrieren’ is lss="trms">transitive lss="trms">verb, has a virtual object or project


I am in Ausländerbehörde, the oplss="trms">posite of hospitalitylss='qstn'>?
I have to stop talking oplss="trms">posite lss="trms">rhetoric. but this was not an antithesist oplss="trms">posite, it was a logical oplss="trms">posite


violences of the encounter


San'an's lss="trms">love-lss="trms">story, ist nicht das Tristan und Isolde


‘watch your back’ is the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of surlss="trms">veillance <lgc clss='lgc'>{lgc>lss='qstn'>?<lgc clss='lgc'>}lgc>


I hope I am not lss="trms">interrupting here!


killing it and lss="trms">loving it completely
so we are working (fine-tuning) on phantom noises, parasite elss="trms">missions, we have a sound-track here
we want to be aware of where we speak from, what kind of other sonic layers are somehow offering themselves, or coughing in (‘sorfe’ سرفه)
to point out the static, dormant, inert, ambient

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

and I like to hand myself over



<lrg clss="large lg14" stl="font-size:112%">
how flowers make sense
(in lss="nms">Iranian lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics)


<lrg clss="large lg1" stl="font-size:128%"> (<lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>>lgc> lss='gtrw'>go to l clss="ppl">Baudelairel>'s Fleurs du mal)
lrg>


the lss="trms">rhetoric of desire in San'an, how is it (lss="trms">technologically<lgc clss='lgc'>{lgc>lss='qstn'>?<lgc clss='lgc'>}lgc>) determinedlss='qstn'>?

how are things turned on or turned off in San'anlss='qstn'>? etc.
lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right at the moment that he is allegedly at an elss="trms">mission of a dream/call, we are dealing (or working) with (the essence of) lss="trms">technology, there is a mitten, trans-mitten, transmitting, elss="trms">mission, etc.
<lgc clss='lgc'>[lgc>he is welcoming a call<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>it was l clss="ppl">Heideggerl> who linked thinking with welcoming<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>to arrive<lgc clss='lgc'>]lgc> <lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc> <lgc clss='lgc'>[lgc>to San'an, ‘what (the hell) was he thinking!!!lss='qstn'>?’ both in the sense of the ‘blame’ and the lss="trms">ontology -and lss="trms">epistemology of it<lgc clss='lgc'>]lgc>
(how is he revealed to experience the call of a more primal truthlss='qstn'>? the girl)
<lgc clss='lgc'>[lgc>if San'an was medium-reflective he would pose himself with the call/dream and never set foot out or act or take an ego-suicidal lss="trms">mission<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>but that is also a problem;

ls clss='strcls'>*ls>footnote<lgc clss='lgc'>:lgc> l clss="ppl">Hafezl> trying to lss="trms">travel (to India, invited kindly with Reiseflss='qstn'>?rderung (lss="trms">travel grants) from Sultan Ghias al-din himself, singing شکرشکن شوند همه طوطیان هند زین قند پارسی که به بنگاله می‌رود, he is going to shake India and so on.) but returning by -and because of a lss="trms">language-turn, when he is standing in front of the stormed sea, he turns back to Shiraz via a lss="trms">trope<lgc clss='lgc'>:lgc> چه آسان می‌نمود اول غم دریا به بوی سود غلط کردم که این طوفان به صد گوهر نمی‌ارزد it is so lss="trms">interesting how scholars and other lss="trms">poets are trying to map out his itineraries and lss="trms">travel-logs from his lss="trms">poesies/lss="trms">poiesis. the nagging and lss="trms">complaining l clss="ppl">Hafezl>, always annoyed by weather or something, and can't stop saying how much he misses his friends in Shiraz and so on<lgc clss='lgc'>]lgc>

(l clss="ppl">Hafezl> takes on San'an because he also fucks up the lss="trms">travel, he falls with face down in the mud. for him also lss="trms">travel is traumatic, disruptive, and unpleasant; so they both lss="trms">demand another kind of trans-portation lss="trms">system)

This essence of lss="trms">technology, however, has nothing to do with lss="trms">technology. <lgc clss='lgc'>[lgc>this is l clss="ppl">Heideggerl>ian<lgc clss='lgc'>]lgc> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">technology is a means of revealing the truth

<lgc clss='lgc'>[lgc>it is not the machines that we are at the age of lss="trms">technology<lgc clss='lgc'>]lgc>

lss="trms">technology is always sent to us
in the lss="trms">story we are shifting to ‘send’, this doesn't mean that there is a sovereign subject or some lss="trms">sort of powerful ‘self’ lss="trms">responsible or at the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of the productive behavior (or accomplishment) of San'an.

(l clss="ppl">Heideggerl> collects<lgc clss='lgc'>:lgc>)
destiny, destination, schicken, Schicksal, etc.
<lgc clss='lgc'>[lgc>ungeschickt <lgc clss='lgc'>=lgc>lss='qstn'>? destinal failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, existential lss="trms"nttrm="cluster,club">clumsiness<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>[lgc><lgc clss='lgc'>ld>~ld>=lgc> lss="trms">technical error in destiny. what is the future of errorlss='qstn'>?<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•lss="trms">according to l clss="ppl">Heideggerl>, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
lsts> <lgc clss='lgc'>[lgc>this is his notion of ‘lss="trms">techne'<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•Tarsaa's lss="trms">technical lss="trms">intervention in San'an's destiny
lsts>
that is another kind of relatedness
you can no longer talk about the subject or object
is one in full possession of oneselflss='qstn'>? one doesn't belong to oneself or anybody else<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>that would be a post-l clss="ppl">lss='trgt hghlght 1'href='?q=L'>Lacanl>ian critique, which is the self-sabotage of the mystic is not necessarily attached to a inevitable devouring lss="trms">authority, “I don't belong to myself or anybody else.” nor God, nor teacher, etc. <lgc clss='lgc'>==>lgc> the self is not necessarily devourable. <lgc clss='lgc'>[lgc>what are the certain components of the self of San'an that will remain unavailable, those that underlay a lss="trms">pervasive sense of not-belonginglss='qstn'>?<lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>>lgc> longing (‘vermissen’) the girl/Tarsaa, ‘to-be-longing'<lgc clss='lgc'>]lgc>
(why) am I inlss="trms"nttrm="cluster,club">cluding in my speech a lss="trms">rhetoric of faltering, self-sabotage, and hesitationlss='qstn'>?
should I edit it outlss='qstn'>? edit out the “I am not sure,” those self-canceling moments from my expressionlss='qstn'>?
(my) thoughts deserve elegant expressionsls clss='strcls'>***ls>


lss="trms">translation of this is very unstable


(lss="trms">according to Hölderlin)
we arrive at the truth / the moment that the truth or Das Wahre emerges / the moment it closing in on us, is when we have to say goodbye

lrg>

(these are rather ‘stances,’ than ‘lss="trms">questions’)
how the lss="trms">poet-l clss="ppl">Attarl> serves or is served-up and devastated by lss="trms">languagelss='qstn'>?



blast has a sense of destruction to it, and destruction is good and necessary, it clears away what is allss="trms"nttrm="already,spread">ready dead and hanging around burdening your being. blast is not a devastation, devastation promises no futurity

lss="prgrph">-who are you destroyed bylss='qstn'>?
lrg>
whom am I addressing herelss='qstn'>? but more importantly, who or what is addressing me here (in a non-lss="trms">present way)lss='qstn'>?

San'an/girl/pig assemblage
(what is girl in San'an lss="trms">storylss='qstn'>? what is lss="trms">animal in San'an lss="trms">storylss='qstn'>?)

San'an lss="trms">story, as a scenography of sexual lss="trms">difference, and ironization (to make ironic in appearance or effect) of lss="trms">question and answer, Q&As in l clss="ppl">Attarl>

there is a dramaturgy of repudiation (when the students ask and blame<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>everyone is insulted) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Student is whom that which defines what is ls clss='strcls'>*ls>failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurels clss='strcls'>*ls> (<lgc clss='lgc'>--lgc>'to be fixed’ <lgc clss='lgc'>=lgc>lss='qstn'>? olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of teaching)
<lgc clss='lgc'>{lgc>pupil is that which ‘summons’ the master - استاد احضار<lgc clss='lgc'>}lgc>

ملامت

...and an idealization of the self, and not the object
<lgc clss='lgc'>[lgc>where is the object in San'an lss="trms">poemlss='qstn'>? where is the shadow, the deadlss='qstn'>?<lgc clss='lgc'>]lgc>


basically here, I am opening a l clss="ppl">Derridl>ean expanse


...full path of an another Dasein


how far we are from the Dionysian Athenian festivallss='qstn'>? lss='trgt hghlght 1'href='?q=L'>Lenaia, a dramatic/comic competition of theatrical plays; coming from those of aristocrats and wine-mixing rituals, also where l clss="ppl">Aristophanesl> was testing ground and lss="trms">staging and test-audiencing his first texts and performances. and his “The Frogs” won the first prize actually. it is a divine comedy, Dionysus and Heracles etc. and it has a choral lss="trms">interlude sung by the eponymous chorus of frogs, a frog greatest-hits. (on his trip to Rome, is San'an going to encounter other textslss='qstn'>?)

the concept of ملامتگر (Malamatgar) or the one who reproaches is both central and peripheral in the lss="trms">story of Sheikh San'an. the lss="trms">story shows the crucial transformation of the students of the sheikh from ‘followers’ to ملامتگر. the stake are high at students’ behavior and not San'an's. the lss="trms">story tells that when your lss="trms">love falls in lss="trms">love with another person<lgc clss='lgc'>--lgc>that person, being a pagan gorgeous girl, a pig, or another idol<lgc clss='lgc'>--lgc>you must also fall in as well. it is important to understand whose perspective here is blamed for whose expectations. students’ project is expectation (of Sheikh)<lgc clss='lgc'>--lgc>is the pillar in the lss="trms">narrative. the failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure to change and ability to experience that other perspective, and in this case the perspective of your significant-other's lss="trms">lover, results into the inception of ملامتگر and that is delss="trms">finitional for the formation of ملامتگر<lgc clss='lgc'>:lgc> someone who refuses to exercise another selfhood.

(This is also the central theme of the lss="trms">story of Moses and Khidr, in which Moses as follower/student becomes the Malaamatgar thing. This attitude of Khidr or San'an is provoking their audience to go beyond any version of fixation <lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>l clss="ppl">Attarl>'s idea of unfixity of discipleship's authenticity is kind of messed up)
how San'an is over or not over the lss="trms">material and his boner direction or erection is towards which psychoanalytically accessible phalluslss='qstn'>?

His students are following him backward!lss='qstn'>?
“Authentic disciple of four hundred men, were regressed (zurückschreiten) on a journey with him.” <lgc clss='lgc'>[lgc>why l clss="ppl">Attarl> is insisting on the authenticity of the disciple and apprenticeshiplss='qstn'>?<lgc clss='lgc'>]lgc>


we should always ask where this text comes from.


I try not to pre-program what is going to happen. <lgc clss='lgc'>[lgc>here now<lgc clss='lgc'>]lgc>


<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> https://www.youtube.com/watchlss='qstn'>?v=D9SIlss='trgt hghlght 1'href='?q=L'>L38hkgw
in the Shams Group music video, the soldiers in the video are having the little-l clss="ppl">Rumil>-packet in their backpacks, along with other suicides. (other soldiers having l clss="ppl">Holderlinl> or l clss="ppl">Nietzschel> in their backpacks)



lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical strongholds


to keep partnership with the self, so that there can be lss="trms">interlocution
(is this a possible ethicslss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “can I live with myselflss='qstn'>?”)



what one does to be in consonant with what one is capable of.
(then what is vowellss='qstn'>?) vowel switches tracks and resonations
...penetrative grasp of a text, discovery and recreative apprehension of it life-forms, is impossible to paraphrase or lss="trms">systematize.


<lgc clss='lgc'>[lgc>Michel l clss="ppl">Serresl><lgc clss='lgc'>]lgc>


...temporal and local settings of one's text. (to master itlss='qstn'>?)


to lss="trms"nttrm="already,spread">read X, is lss="trms">literally, to ‘prepare’ to lss="trms"nttrm="already,spread">read X


in certain civilizations there comes epochs in which syntax stiffens...
Changing landscape of fact


words, the guardians of meanings, are not immortal.


note on lss="trms">history<lgc clss='lgc'>:lgc> lss="trms">past is a lss="trms">language construct, that the lss="trms">past tense of the lss="trms">verb is the sole guarantor of lss="trms">history.


to lss="trms"nttrm="already,spread">read<lgc clss='lgc'>:lgc> is to restore all that one can of the immediacies of value and intent in which speech actually occurs.


What lss="trms">material reality has lss="trms">history out of lss="trms">languagelss='qstn'>? <lgc clss='lgc'>--lgc>the Tasawwuf/Tasavof lss="trms">verbal lss="trms">linguistic tradition

...to remind you that everything is the condition of madness.


(protest against “was” <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>>lgc> lss='gtrw'>go to l clss="ppl">Attarl>'s lss="trms">relation with biographies in Tazkirat al-Awliya<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>he mobilizes ‘personalities’ in the index of his mystic-lss="trms">ontological lss="trms">demand<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>what would the lack of personality take revenge of l clss="ppl">Attarl>lss='qstn'>?)
we are at a tense lss="trms">past and a lss="trms">past tense<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>prison tense


..the landscape lss="trms">composed by the lss="trms">past tense, the semantic organization of relss="trms">membrance... is styled and lss="trms">coded lss="trms">differently by cultures. <lgc clss='lgc'>--lgc>miniature illustrating San'anlss='qstn'>?


The lss="trms">verbal icon made up of all successive lss="trms">translations of lss="trms">Greek lss="trms">literature and philosophy has oriented fundamental movements in Islamic feelings <lgc clss='lgc'>--lgc>l clss="ppl">Farabil>, Mirdamad, etc.


My lss="trms">translation of classics is not out of a vital compulsion for immediacy or precise echo. I am not trying to build my own resonant lss="trms">past. Myth of the ‘true lss="trms">past’...  lss="trms">different perspectives can co-exist and blss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lur


the lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of the insult, in San'an lss="trms">story


I am lss="trms">interested in the conventions in which texts can be lss="trms"nttrm="already,spread">read, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to relss="trms"nttrm="already,spread">read texts of l clss="ppl">Attarl> and so forth.
I think we have civilization because (we have learned) ‘to lss="trms">translate out of time’



übertrlss="trms">agen,
handing down thought lss="trms">narrative,
something that also depends on transfer of meaning in ls clss='strcls'>*ls>spacels clss='strcls'>*ls>



San'an's sudden lss="trms">interest in the woman/lss="trms">child (Tarsaa could also be a young boy) reminds us the uniquely vulnerable and creative condition of the lss="trms">childhood

privileged inferiority (of both lss="trms">child and woman)

we are dealing with both lss="trms">intercourse and discourse


how his voice will change after San'an actually gets the girllss='qstn'>?


...lss="trms">communication like breathing is subject to obstruction and homicidal breakdowns, under stress of hatred, of boredom, or of sudden panic, great gaps open ...that their previous understanding had been based on a trivial pidgin which had left the heart of meaning untouched.


What is the female speech in San'anlss='qstn'>?

lss="prgrph">-the breakdowns and lss="trms">translations in San'an lss="trms">story.
lss="prgrph">-The sexual lss="trms">translation and breakdown of lss="trms">linguistic exchange in San'an lss="trms">story.


...having an ‘ear’ for contrasting pressures of sexual discourse or identity

<lrg clss="large lg14" stl="font-size:129%">
in San'an, man and woman, each respective experience of Eros and lss="trms">language had set them desperately apart.


In whose idiom, male or female, one can grasp (only) falsehood or menacelss='qstn'>?


...as declaimer of my own stifled, tongue
lrg>


my performance, corlss="trms">responding to my level of lss="trms">literacy, and a private thesaurus, part of my subconscious and personal lss="trms">memories, and using the singular and irreducibly lss="trms">specific ensemble of somatic and psychological identity.


lss='thdf'>the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his lss="trms">world-image, perused by the lss="trms">poets.


this is not a formal hard-lss="trms"nttrm="knowledge,Knowledge">edged lss="trms">linguistic relegation, rather a lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical speculation

ls clss='strcls'>*ls>note to self<lgc clss='lgc'>:lgc> my lss="trms">interest in the ʿAjā'ib al-makhlūqāt (جائب المخلوقات وغرائب الموجودات) is due to the traces it provides into lss="trms">verbal lss="trms">literacy, a living vulgar lss="trms">language of mix, rather than a dead structure such as Manṭiq-uṭ-Ṭayr (منطق الطیر) of l clss="ppl">Attarl>.


Cultures (during l clss="ppl">Attarl>'slss='qstn'>?) seem to expend on their lss="trms">vocabulary and syntax acquisitive energies and ostentations entirely lacking in their lss="trms">material lives.
<lgc clss='lgc'>[lgc>very lss="trms">interesting point by l clss="ppl">Serresl> regarding the lss="trms">language of mysticism, l clss="ppl">Attarl> and others.<lgc clss='lgc'>]lgc>



my lss="trms">translation of l clss="ppl">Attarl>, an lss="trms">interlinear version of the script, a virtual lss="trms"nttrm="search">archetype of lss="trms">translation

think about the lss="trms">presence of lss="trms">interpreters in the building site <lgc clss='lgc'>--lgc> l clss="ppl">Kafkal>'s lss="trms">literature house

<lrg clss="large lg3" stl="font-size:111%"> lrg>
Only if men could use lss="trms">language without perusing meaning to the forbidden lss="trms"nttrm="knowledge,Knowledge">edge of the absolute.


‘a lss="trms">poetic lss="trms">vocabulary of concepts’
‘connections or aflss="trms">finities’
pursuit of an lss="trms">inter-lss="trms">lingua for philosophic discourse

<lrg clss="large lg4" stl="font-size:112%"> lrg>
as you can see in this lss="trms">writing, I am practicing loosening the tight axiom of lss="trms">relation of A<lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc>B[...]