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The concept of "other" is one of the fundamental concepts of philosophy, especially in the twentieth century and in the works of Husserl, Heidegger, Sartre and Levinas, which carriesepistemological and ontological importance. It was also introduced by Mikhail Bakhtin in the field of literature and literary theory. From another perspective, Naser Khosrow developed and introduced such a concept after joining the Ismaili sect, concerning an urban vision of religion, the ruler and the ruled, poetry, and philosophy. Accordingly, everyone steps beyond or below these lines was not exempt from Naser Khosrow’s satiric reproach. In this article the researcher explains the theoretical foundations of the concept “the other” and also the Naseri Utopia. Moreover, the researcher intends to describe and analyze the treatment of the poet of different classes and political, social, philosophical, and literary groups.

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So far, many thinkers with different approaches have studied the concept of “the other” and its examples in various aspects of human life. Literature has also attracted the attention of researchers and interested scholars as a platform for representing examples of “the other”. In addition to recognizing the place of “otherness” in the worldview of individuals in different eras, studying examples of “the other” in the literary texts has also made it possible to delimit the realm of “I”. In this paper, using an analytical method and adopting an eclectic approach, the researchers studied the potentials of Rumi’s Mathnavi in ​​representing the types of “the other” and in realizing the levels of otherness of “the other” and its place in the mystical worldview so as to gain a relative knowledge of the structures that govern mystical thoughts. To that end, we first explained the concept of “the other” in three intellectual-philosophical systems, namely contrastive, dialectical and intersubjective, and mentioned examples of “the other” in verses of Mathnavi. Then, we presented a reading of the levels of realization of otherness of “the other” and the conditions of their possibility in this text. From a general point of view, due to the contrastive structure of the mystical worldview and the definition of “the other” as an “alien”, the realization of high levels of otherness in the text of Mathnavi cannot be expected, but the narrative of the experience of union and depicting the inability of “I” to understand “the infinite other” can be regarded as representation of the highest level of otherness. Meanwhile, in the distance from the “alien” to “the infinite other” and through dialogue, a level of otherness is also represented in the relationship between the characters in some stories of Mathnavi.
 

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In the play Farhad and Shirin, the Azerbaijani poet and writer Samad Vurgun has recounted the poem of Khosrow and Shirin in a way contrary to Nizami Ganjavi's intentions. In his work, he tried to create a self and the other divide. Iranians are portrayed as a threatening enemy of the lands beyond Aras and an intractable enmity between the two sides is imagined. In agreement with the communist politicians, Vurgun sought to prepare an independent identity for the newly established Republic of Azerbaijan; in a way that did not overlap with Iranian and Ottoman cultural commonalities. The current research, which is carried out in a descriptive-analytical way, tries to answer the question, how did Vurgun describe the self and the other and what methods did he employ to determine and embody the cultural identity of the Caucasus? The author of this play described Iranians as people with negative aspects such as raping, kidnapping, killing parents, lying, etc. and instead, attributed all the positive qualities to the people of Barda District. On the other hand, the introduction of Shirin and Farhad as lovers from Azerbaijan and the creation of a character named Azarbaba have been part of the strategies to promote the new identity of the Caucasus.