جستجوی مقالات مرتبط با کلیدواژه « Return » در نشریات گروه « ادبیات و زبان ها »

Influenced by the views of Jung and Freud, Joseph Campbell presented the archetype of the hero's journey to show that the hero's journey in the narrative-epic stories of different nations usually follows a fixed pattern. According to him, this model consists of three stages of separation, arrival and return, which is called the nucleus of a single myth. The aim of the present study is to determine the extent of Zal's miraculous childhood journey in Ferdowsi Shahnameh with this model. To achieve this goal, descriptive-analytical method and based on library sources, archetypes of Zal myth were studied with a focus on the theory of the hero's journey "by Joseph Campbell. The results of this study indicate the adaptation of this journey to the mentioned pattern, Although a small part of Campbell's pattern in this myth has been displaced or does not exist due to the hero's miraculous childhood journey

In the realm of mythological criticism in contemporary literature, there is a noticeable trend among writers and poets who are captivated by the idea of exploring the lifestyles of prehistoric people. They believe that as mankind has moved away from its 'pre-social' state, it has descended into immorality. Additionally, upon progressing towards civilization, a sense of self-love emerged, which they perceive as highly artificial and rooted in excessive boasting and jealousy. In this context, the concept of "returning to the origin" emerged, with its proponents demonstrating a strong inclination towards going back to the initial world. This concept is also referred to as "returning to the roots" and "building upon the roots". Sohrab Sepehri, a leading figure in this field among contemporary poets, calls his audience to return to the origin in his works. Using a descriptive-analytical method, this research aims to examine the prevalence of this "returning to the origin" pattern in contemporary literary criticism. The pattern holds significant importance and has been utilized by writers, mystics, and poets worldwide. The results of the research indicate that Sohrab Sepehri actively sought to capture the dreamlike essence of beginnings and eternal memories. He endeavored to transcend the confines of the "corrupted contemporary man" and experience the state of primitive man to the fullest extent possible – a human who "sleeps in the text of the elements" and "is happy in his azure philosophies".

"The hero's journey", Joseph Campbell's famous theory, is influenced by Jung's ideas and based on Arnold van Gennep's ideas. Campbell has considered the three-phase pattern (separation, transition, and return) along with their subsets as his model. This pattern, along with other patterns that have emerged from it, is the basis of the archetypal criticism. In the present article, by using analytical-descriptive method, the story of "Zāl and Rudāba" of Shāhnāmeh is analyzed based on this pattern. The findings of the research show that the story is generally consistent with Campbell's hero's journey pattern, but its details and subcategories have differences with the pattern. In the story, the stage of the "belly of the whale" is not seen; There is no "temptation" in the stage of transition to prevent Zāl from continuing the journey; and in the stage of return, refusal of the return, magic flight, and crossing of the return threshold are not seen.

Jesus has a wonderful life, the mystical and mystical role of Christ in ascending and returning to its origin is one of the ancient patterns of the Holy Mandala. In this essay, ascension and return are explained by the descriptive-analytic method of modeling man's ascetic life in Christ. Also with a mythical look (circle myth, myth of the perfect man, myth of renaissance, water myth, etc.) and with a mystical insight, it is known that the passing of the darkness of the body in the ascendant, the soul trying to connect itself to the light world, He travels through the fence of darkness and escapes himself step by step with the guidance of a perfect human being and a model of Christ, single, to the Divine Enlightenment and to the certainty that he is the first and last home of the seeker, out of the water of life. Love to drink. This study introduces the mystery of ascension to the attainment of eternity and identifies the place of immortality (love) by following the (old-fashioned) reason that this spiritual journey begins and ends only in the shadow of pain from the same origin. Returns to Return and Return (Source / Destination).

Based on Joseph Campbell's single-mythological theory, the hero's journey begins after an invitation from the archetype of the hero in the unconscious, followed by the hero's stretch from the community (the mind of the consciousness), and the teaching of special doctrines in unfamiliar lands New capabilities come to an end, and this journey with symbols and symbols in ancient dominant patterns of societies is drawn. The hero obtains the capability of arresting and guiding others after returning from the journey. In this descriptive-analytical study, after describing the stages of the journey, the story of the time of fault (the work of Mohammad Reza Kateb) and its adaptation to Joseph Campbell's theory are discussed. In this novel, "Eyebrows", which is the main character of the story, is as The hero is separated from his own people by his unconscious call, and on the mountain, which is a symbol of the distant land, he is undergoing special stages of education, so that he deserves to be reconciled to himself, Return, the myth of the heroine of the rally in support of the impotent people (in the term "Ant and Collar").

By presenting the archetype of hero's journey, Joseph Campbell has tried to show that this archetype has a common pattern in narrative texts of different nations. He believes that the archetype has three parts: departure, initiation and return. The present article, studies the way in which the journey of Darab (in Darab Nama of Tarsusi) with the archetype of hero’s journey correspond. Piki invites Darab to journey and at first, Darab delays in responding his request, but then, he begins his journey. After overcoming the guards of ‘the first gate’, he enters ‘the road of examination’ and prevails upon obstacles. Then, he comes face to face with the tempter woman and finally marries Khodabanoo. Darab is successful in making peace with his father and reaches final blessing (barakat). Despite his refusal at first, finally he returns to his homeland and triumphs over the guards of ‘the return gate’, and after overcoming the difficulties, he becomes the master of two worlds. Even though some of the patterns presented by Campbell are not present in the story, but the results show that the journey of Darab corresponds with his overall pattern.

The analysis of old narratives is one of the significant approaches in archetypical criticism through the “The Journey of Hero” by Joseph Campbell. One of the significant narratives of Alexander journey is the narrative of Darab-name by Tarsusi. The events of this journey can be analyzed using the elements of archetype of the “The Journey of Hero” by Joseph Campbell like departure, invitation, mystic help, respect, the path of test, tempter woman, final blessing, return, the hand of salvation, and so on. The most important stage of The Journey of Hero in Departure section is the invitation to journey by Aristotelis in the role of archetype of Wise Old man. Dominating on “Dara” as the guard of First Threshold, facing with Buran-Doxt in the role of tempter woman and then marrying with her and converting her to Positive Anima in Section of The Path of Test, searching alkahest as the final blessing, visiting angels, and reaching a prophet-like stage, seeing strange and extravagant matters and dominion on world are all the important steps of the Journey of Hero in the narrative of Tarsusi. The study shows the evolution of a historical event in epic and mythological frameworks. One can arrive at a new reading of this narrative within these frameworks.

Abd al-Karim al-Karmi, also known as Abu Salma is of a noticeable position in the history of Palestine’s “resistance poetry”. He lived contemporarily with various generations of Palestinians before and after the establishment of the Zionist regime and was a standard-bearer among the resistance poets of Palestine who stood by the nation’s side and resisted at a time when it was common for the poets to praise kings and rulers. Abd al-Karim al-Karmi’s poems are the voice and eloquent tongue of his nation that played a remarkable role against the colonization and Zionism when Palestine was under custody of Britain. In fact his poem is a more powerful weapon than those of resistance movement against the policies which are aimed at spreading Zionism in the Palestinian lands and onslaught of Palestinians. Prior to formation of the Zionist regime, Abu Salma fought against the occupying enemy with his revolutionary poems and words and after that, he remained a cultural and revolutionary figure faithful to the goals of his nation and his homeland, Palestine. This loyalty is manifested everywhere in his poems through different ways such as provoking uprising, paying tribute to martyrs and their commemoration, depicting the enthusiasm for reaching the beloved, the homeland, or fiery odes in opposition of slavery, captivity and occupation of the homeland. Al-Karmi’s works truly mirrors Palestine and its pains and grievances and shall be taken as a token of dignity and pride of the nation.