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What is the female speech in San'an?

-the breakdowns and translations in San'an story.
-The sexual translation and breakdown of linguistic exchange in San'an story.


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


in San'an, man and woman, each respective experience of Eros and language had set them desperately apart.


In whose idiom, male or female, one can grasp (only) falsehood or menace?


...as declaimer of my own stifled, tongue



my performance, corresponding to my level of literacy, and a private thesaurus, part of my subconscious and personal memories, and using the singular and irreducibly specific ensemble of somatic and psychological identity.


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


this is not a formal hard-edged linguistic relegation, rather a metaphysical speculation

*note to self: my interest in the ʿAjā'ib al-makhlūqāt (جائب المخلوقات وغرائب الموجودات) is due to the traces it provides into verbal literacy, a living vulgar language of mix, rather than a dead structure such as Manṭiq-uṭ-Ṭayr (منطق الطیر) of Attar.


Cultures (during Attar's?) seem to expend on their vocabulary and syntax acquisitive energies and ostentations entirely lacking in their material lives.
[very interesting point by Serres regarding the language of mysticism, Attar and others.]



my translation of Attar, an interlinear version of the script, a virtual archetype of translation

think about the presence of interpreters in the building site -- Kafka's literature house


Only if men could use language without perusing meaning to the forbidden edge of the absolute.


‘a poetic vocabulary of concepts’
‘connections or affinities’
pursuit of an inter-lingua for philosophic discourse


as you can see in this writing, I am practicing loosening the tight axiom of relation of A<-->B, something other than the predecessor-successor or cause-effect pair (--> this order of structure is coming from Greek geometric,) I am trying an unordered order-of-reason that is more reflexive, symmetric, and intransitive. (the construction of the text represents each chain incomplete and displaced--Attar knows)
towards a general theory of significant sign

Can we correlate the Persian syntax with the metaphysical ambience, internal divisions, and lyric bias of Persian people?


the language-matrix


language, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...


discourse (die Rede) would not be muffled by the ground---we walk erect [Serres]



jede Sprache ist ein Versuch---*trial
(Humboldt)
different languages penetrate to different depths
--> (every try is a) starting over with *accuracy
ok, we are starting with language from scratch, here


Literaturhaus, house has always been a metaphor for consciousness


how Attar can become interested in other lives other that San'an's that are worth living?

although we see again and again in Islamic social order the hierarchical structured relationships, I like to show the otherwise in mystic stances, and argue that the model doesn't remain static normative from the master-disciple to the authority and dependence lock, that the master-disciple relationship doesn't affirm the divine order.
and San'an is also against the notion that Sufi man is without the need of a feminine principle.
we are presented with will of the Tarsaa, the destination of San'an, and the poetic representation is feminine. the female image is strong. although at the end it has to give up -- she converts to his style. the will of the disciple is not replaced by the will of the guide, the master himself doesn't have a will.


The Tarsaa is supervising San'an's diet, sleep, and speech


[I have become more interested in the term ‘tradition'---and more suspicious of preoccupations such as ‘invention’ as modernized and capitalist terms.]
tradition: an act of memory based on a salience-effect of shared knowledge
(ein Akt der Erinnerung basiert auf einer Hervorspringen-Effekt der gemeinsamen Kenntnisse)
-there is a sequence (where is the individual terms within it?)
-my storytelling is about: describing relations of inversion, extension, inclusion, analogy, etc. between mythical, lyrical, or even scientific ‘beings’ that are (1) *conventional* (recognizable repertoire), and (2) *closed* (refer to certain predefined situations and symbols)
==> I work-with and bypass with these aspects in Attar, Hafez, Ajā'ib al-makhlūqāt, etc.


the performance of ‘stop’ in San'an
sign-functions that cannot be stopped

the master-pupil lock
‘locken’ is also to lure, seduce, etc.


thank you for becoming my students, temporarily
we are not locked, and not necessarily unlocked



what is concealed behind the special effects of the awesome signifier in San'an's story?


concealed =/= canceled



in Rumi every word is pass-word. you don't translate a password! (fallacy of the literal)


•all same-sex relationships are hierarchical and dyadic (of two, ‘paarweise’ in German)?
and are based on the cultural diagram of the master-disciple relationship in Sufi orders?

Sufi order =/=? flirtation


mystic, is one mode of subjectivity emerged in the middle eastern thought--- a prototype of closeness and removal.



in Rumi--Masnavi's third book--the un-concentrated Sheikh (- story of Daghughi - شیخ دقوقی) is scandalously abandoned by his devotees. they broke his heart.
[Plot: Daghughi and his disciples are in deep trance beside a beach. a ship comes and sink in a sudden theatrical storm right in front of them, but miraculously the passengers survive. the students check with each other if any of them have prayed for the God's help's redirect to the sinking ship. no, they deduce it must have been their sheikh who saved those people: “he is distracted by the world.” finally when sheikh comes out of his Namaz he turns his head to greet his devotees but only to realize that all of them have left him in silence!]
and then Rumi goes in length in differences between mud and water. [the “prison” of mud for the water, who “belongs” to the sea, and this is a problem, the mud doesn't want to dry, therefore doesn't let go of the water, and so on.]

what the image of the sinking ship has to do with the anti-clarity movements of the Sufis?

[and then suddenly: pishe and bishe (پیشه و بیشه)---lion comes out of Pishe(business)/Bishe(bushes) and rubs you off,
bush =/= Arbeit/craft]

also, Rumi opens the mechanics of praying in this story, he zooms in Daghughi's performance, the God is force-handed into the pray, because the human prayer temporarily simulates nonexistence (فنا). the prayer becomes Nichts and God takes over both the position of pray and its answer; a site where subjectivity evacuates, almost mechanically generates a form of existential void that God functionally cannot not fill (ejabat - اجابت).

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what time is it for San'an?



switching time-zones, from quotidian to ontological, transcendental to experimental
his jet-lags
exhaustion of metaphysics
I am just alerting to a relation to time
(in a nano-structural sense---are we fast? slow? which all these classics and texts I am having here.)
how much time does it take or took for the San'an's students to hook on to the teacher, to the difficult philosophical program that each teaching brings to bear?

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I am introducing myself to you

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#postscript


***Sheikh-e-San'an*** was the Old Testament itself.
It was the perfection of whatever I say more.
(Was it she at the shrine of Sheikh for fifty years?)
Cherished with the perfect disciple. He was a disciple of Kahn, wow!! (Who is Kahn?!)
Ministry of austerity, [...]