جستجوی مقالات مرتبط با کلیدواژه « lion » در نشریات گروه « علوم انسانی »

Symbolism is a literary approach that uses symbols, including words, people, signs, places, or abstract ideas, to represent something beyond their literal and real meanings in the real world. The purpose of this article comparatively compares the similarities and differences between the concepts that related to the metaphorical and the mythological symbolism of the symbol of " Lion" in Shakespeare's "Othello" and "Hamlet" and great and lyrical work Nezami's "Khosrow and Shirin."
The present paper shows that the use of the mythical symbol of "lion" in the expression of both authors includes extensive and particular abstract concepts. In Shakespeare's Hamlet, this symbol has associated with the concepts such as madness, anger, revenge, hatred, and in "Khosrow and Shirin" with glory and grandeur. In the book "Othello" Shakespeare used the symbol of the lion in a different way as a social strategy.
An analytical and descriptive study of the symbol of the lion shows that the symbolism of the "lion" has helped writers persuade the reader to understand their mentality and accept fictional characters. In addition, we see that the authors have pursued common rhetorical goals in brevity and exaggeration; the symbol of the " Lion " beside its conventional meanings among different societies, in the works of these two writers, has its similarities in their use.

The application of certain rules in style, language, and tone of various narratives gives coherence to an anecdote’s context of the text. The anecdote "Qazor wa Khar", taken from Kalile wa Dimna, is recreated in a different way in Mathnavi and Movlana uses it in a distinct narrative. The main objectives of the study are comparing these two different narratives of the anecdote according to the context of the text, examining the development and expansion of the anecdote’s concepts during its transition from a literary form to a mystical text, analyzing its content, explaining its themes and the way it is in form of a special narrative in Mathnavi. In this research, using content analysis and criticism criteria and theory, the researcher explicates the reasons why Movlana retold Kalile wa Dimna’s story. According to the findings of the research, Movlana, by resorting to some techniques of eloquence, introduces the thoughts and actions of the leading characters of the story as representatives of two groups in order to fulfill the aims of his story in explicating the sincere repentance, and to examine its relationships with related terms such as acquisition, trust, imitation and research in a new narrative. Movlana in this new interpretation exploits the capabilities of the language of mysticism and other small stories to explain the fundamentals of the subject and its broad implications. He emphasizes the understanding of esoteric mysteries through symbols and in referring to the adventures of the characters and analyzing their discourse, he expands the content to present the implied meanings embedded in the new story.

The word "qaswara" in the verse "farrat men qaswara" is one of the words that translators, especially Persian translators, have not given a identical meaning. but Latin translators have translated the word almost identically, but it is often accompanied by a question mark and sometimes a surprise that indicates the translator has doubts about the meaning of the word. also translators, commentators have also expressed different views on the meaning of this word, so that in the commentaries up to seven meanings have been mentioned for this word. There are many narrations in Shiite and Sunni interpretive sources that refer to the meaning of qaswara. Hence, the commentators, based on the narrations, have each chosen a different interpretation for themselves. This research has been done with the historical-linguistic method with an analytical approach and with the aim of achieving the causes and sources of differences in the meanings of this word in the process of time and presenting the meaning close to the correctness by the library method. Examination of word sources and historical course of interpretations and analysis of narrations carrying the meanings of this word shows that both the word researchers in the meaning of the word do not have a definite opinion and over time some meanings have overcome other meanings and has been gradually established and later crystallized in translation. The study of the genealogy of the word in the Semitic languages has given rise to a new proposed meaning that is presented in the article.

Adab Al-Harb va A-Shaja’ah is a valuable and specialized book in the field of war and war etiquette, which unfortunately has not been studied much. During the main topics of the book, which is militarism, we can find issues related to popular culture, customs, and folk beliefs. Due to the existence of various popular beliefs in this book, this study aims to focus on only a few specific beliefs related to wolves, ostriches and lions, which are rare and underused. Beliefs about ankle bone and bowstring are examined in the wolf debate, fire-eating beliefs in the ostrich debate, and fear beliefs in the lion debate. Extensive studies have shown that none of these beliefs have been studied so far, and in this article, as one of the first attempts, evidence from other texts and sources are examined. So far as research method is concerned, first, the book was carefully studied and different public beliefs and folks were extracted, then some specific beliefs were selected and described based on different sources.

In Kelileh and Demeneh, in the Lion and beef clubs, characters such as Kelileh and Demeneh reveal political-organizational behaviors. In the political system, this story of law and order does not have a stable place, and it is based on the use of a force-based instrument. The will of the king and the ruling classes as a general rule is the criterion for evaluation and implementation, and changes according to the views and opinions of the governing body. The lack of a set of well-defined rules of conduct and lack of meritocracy in the selection of individuals provides grounds for spreading rumors and conspiracy against others. Political behavior is not always bad at the organization. Therefore, it must control and control the destructive political behaviors. Organizational-political behavior empowers people to understand the complexity and organizational issues of the organization. Whatever the manager or ruler knows more about the features and special events of the organization, his reaction and reaction will be better and more open. Power in the hands of different individuals in an organization seeking their own interests results in unusual political behaviors and people react differently to power bases. In general, one can say that certain political attitudes and culture have influenced the behavior and thought of fictional characters. In this research, the methodology of library-political behavior in relation to human organization has been discussed in terms of status, mistrust, rumor and pessimism.

The presence of animals in human life has caused these creatures to serve human thoughts first in mythical life and then symbolically. Kelileh Woodman is one of the works in which animals have played a role. Due to the rich culture and history of ancient civilizations, Iran and India, the same and common myths can be seen in these two cultures. Given that the main theme is often common myths. Myths are very similar not only in content but also in structure. In this research, with descriptive-analytical method and library method, common roots and symbols in Zahak story with the story of "The Lion and the Rabbit" by Kelileh Woodmaneh and "Behim Sin and Bakeh" Mahabharata have been compared in terms of mythology and common cases have been analyzed and deciphered. . Kelilehudmaneh anecdotes have always been of interest to the authors of Persian texts and have created a bridge between Indian and Iranian culture. In this article, the roots of the story of "the lion and the rabbit" with the story of Behima and Bakeh (Mahabharata) and Fereydoun and Zahak (Shahnameh) in Indian and Iranian mythology have been searched and analyzed and deciphered. Their similarity is that a powerful tyrant (king or demon) kills a number of inhabitants (city / forest) every day to feed himself; The inhabitants of the city / forest send one or two people to him every day so that he does not harm others, and eventually one of the cruel prey causes his death and destruction.

In the literature of each ethnic group, different techniques are used to attract the reader's attention and influence. One of these literary methods is the use of symbol in symbolic texts so that the author conveys his intended purpose to the reader in symbolic and indirect language. The use of animal symbols is one of the cases that is most widely used for expressing and justifying a goal or instilling a particular belief. In this article, we examine the animal symbol of the lion. So far, the symbol of the lion has been studied in history, art and literature; But the mystical and religious aspects of this symbol have received less attention. The purpose of this article is to study this symbol from religious, mystical and literary aspects, so that the reader can be guided to understand the animal symbols of the lion based on scientific findings.

Iinvestigates the importance of exchange of State Orders during the two visits by Mozzafar al-Din Shah (r. 1896 -1907) to Europe.

Data is collected from archival materials held at the Iranian Ministry of Foreign Affairs and National Archives of Iran, as well as library resources.

Official correspondence between Iran and the European countries visited shows that the importance the exchange of such Orders was consid-ered singnificane and could have influence on mutual relationship. However, failing to observe diplomatic protocols caused irregularities with negative implictions for Iran in some cases.

Marzbannameh has played an important role in the history of Iranian civilization and Islamic societies. This book focuses on human and community attitudes in traditional society. Most of Marzbannameh's stories are allegorical and animalistic. The main reason for using animal characters is probably political and social content. Borderline stories illustrate the function of power in societies. By analyzing the anecdote, one can examine the structure of political culture and its impact on individual and social behaviors. The prevailing political culture in society is related to human relations. In this anecdote, the allegorical characters are the successor characters, that is, the animal is the successor to the thinking, the mood, and the intended concepts of the author and narrator. In this study, the lion, as a symbol of power, is at the top of the pyramid of power, and the force that causes the lion to occupy such a position is his power, power, and dominance over others. The ruler or ruler in the hierarchy of power must delegate duties and responsibilities to persons who have the competence, competence, and ability to perform those tasks, and are not disruptive of order and security as they enter the lion's court. From the educational point of view, we can also mention the losses of the oppression and the consequence of the oppressors of the oppressors of the foregoing and the impatient extremists who seek to preserve their lives, their political position and their status.

Sufi and mystic poets employ linguistic evidence, especially expressions regarding animals, to represent mystic concepts. In this study, to explore and clarify the meanings Mulana intended to convey as the field of destination, we will examine the linguistic expression “the Lion” as the field of origination in ghazals of Divan Kabir by using the conceptual theories of metaphor introduced by George Lakoff and Mark Johnsen. Studies have shown that Mulana, by utilizing linguistic economy and provoking multiple mental images with the use of a single expression (lion), has successfully exhibited a vital and variegated spectrum of his mystic thoughts.  According to the frequency explored in this article, the expression ‘lion’ in the mystic conceptual system of Mulana enjoys a positive meaning; heart and love are more significant in comparison to reason; the crucial concept of “complete man” against human ego and “beloved” are used to represent the absolute superiority of God through visual representation of “the lion”. All in all, employing the expression of the lion to point to sublime meanings and concepts central to mysticism is an indication of Mulana’s idealistic spirit, his sanguinity and sublimated nature. In this piece of research, which is carried out through a descriptive-analytical method, after an introductory note on conceptual metaphor, origination of animal metaphors, and Mulana’s metaphoric language, the writers provide different verses as an example of different kinds of destination fields. Determining the conceptual framework, field of origination or emotive field, application of various meanings’ general and local inscription in each category would be the next step. Finally, the frequency of the fields of destination and their conceptual generalizations will be presented in a table and the data will be explicated.

Symbols are part of a culture of a nation and for better understanding of the myths of each nation their concepts should be comprehended. Symbol is a mark, hint, or a word which imparts a message sometimes appropriate to the surface meaning and at times beyond its apparent sense. Animals, plants, people, and objects are true examples in connection with symbols. This research deals with the study of symbolic concepts of lion in epic, lyric, and mystic masterpieces namely Shahnameh, Kamsa of Nezami and Masnavi respectively using the library method and analytic comparative approach. First, the all encompassing view of lion from Avesta and Pahlavi texts are provided next, the symbolic concepts of this majestic creature in the above genres are stated and towards the end of each section the degree of correspondence of symbolic concepts in each work, the frequency of the name of the beast and the percentage of the symbolic concept of lion employed is determined for every work. The result obtained from this study shows that lion is the most employed beast as far as repetition of its name is concerned (1487 times) and second to horse is the most employed beast for the number of symbolic concepts used (19 concepts). Lion’s four symbolic concepts such as bravery, might, predatory, and rage in three works consist 21% correspondence. Six characteristics such as massiveness, agility, being tyrannical, and rancorous, immensity, and faithfulness correspond to 31.5 % in two works and nine features 47.5% is observed in one three works. Also 47.5% of concepts belong to epic domain, 10.5% in lyric domain, and 42.5% concepts fall into mystic domain.

One of the most famous visual manifestations of Mamlūkid administration system is the symbolic use of motifs of animals, plants and everyday life tools as heraldry signs (rank; pl. Runūk) in various forms, among which the symbol of lion was used widely for the sultans, emirs and high rank officials. Historical evidences, conceptual framework, cultural context and developments of such uses of symbol of lion in Mamlūkid heraldry system are investigated in the present article. The author also suggests that it may be possible (or at least it is worth for studying) that some of uses of this symbol could be based on supposed talismanic power of this ancient symbol.

The story of line and cow is one the main stories of Panchatantra, in which power relations and its connection with science and rationality, can be investigated. In Fukui treatment, power is and interactive and mutual action, which is productive and ways of resistance against it leads to creation of new forms of behavior. Knowledge and Truth regime is not neutral and forms based on the discourse of power in each period. Sixth century is the peak period of intellectual and cultural interactions between different ideas. Panchatantra that is confluence of Iranian Islamic and Hindi culture, similar to epistles of this period which are affected by Iranshahr idea, is based on three major principles, including: Importance and attention to wisdom, justice and class meditation. What can be observed regarding power relations in story is challenge in these three situations. Panchatantra Opposition to accepted definitions of wisdom as well as its expertise in language, challenge the established order and logic of its resistance practices  against ruling power and discourse system. On the other hand, the policy of governed power to punish and insist on enforcement of intellectual practices in punishment, is a respond, which is apply due to fear of reverse power relations. In this story, power play is not based on force and one-way domination, but it is based on a reading of rationality that show the whole system and structure of story believable, logical and rational.

Structuralists define the logic of human mind and language based on a bipolar structure; between the two sides of which there is a contrastive relationship. Subscribing to the central idea that there is a close relationship between the text generalities and its elements, structuralist critics seek the micro-contrasts of the texts in order to reach the macro-contrasts and interpret the implicit meanings or connotation of a work. In this study, the contrasts of Mathnavi and Ghazaliat of Shams are investigated and analyzed. The research methodology is based on four steps: first, delimiting the semantic field of the contrasts by considering macro-symbols in Mathnavi and Ghazaliat of Shams; second, extracting the contrasts made by Lion and Sun meta-contrasts; third, understanding the mutual relation of the contrasts; and fourth, analyzing the meaning and method of expression of the identified contrasts. The research findings indicate that in many cases natural and reasonable relations of contrasts in Mathnavi and Ghazaliat of Shams are common. Breaking away from the norms in contrastive relations is sometimes more in Mathnavi, and sometimes more in Ghazaliat of Shams. Besides, firstly, frequency and variety of departure from the norms in the contrasts of Ghazaliat are more outstanding; secondly, in some cases, conformity to the norms and departure from them are similar and common in the contrastive relation of binaries in Mathnavi and Ghazaliat; and thirdly, in a few cases, contrasts have been processed only in one of the texts.

The lion in the Iran’s plateau have used sometime as the symbol of bravery, majesty, power, light and fire. It has used sometime as symbol of evil force that should be hunted by king. The motif of lion in the ancient sometime have used as the raptor of other animal sprit and have used sometime as destruction agent of demonic powers. The companion of lion along with the sun in the ancient imply to the settlement of the power of sun in this beast. Sometime the lion is the symbol of sun in the earth and eagle is the symbol of the sun in the sky. The combination of lion with the eagle, cow, scorpion and etc. imply to mythic meanings. In the Islamic period artist sometime used lion’s motif in their works. This motif in the early periods refers to inter-est of Iranian – Islamic artists in the Iranian ancient legacy. But in the last periods, Safavid on-ward, artist have used lion’s motif as the symbol of Imam Ali and sometimes as the symbol of disobedient self. The pottery as first human artifact has played important role in his life. The creation of image on pottery has been symbol of lasting art of mankind in various periods and implied on religious conceptions, desires and wishes of any ages. Images present itself by com-pany of pottery in historical periods. Lion is one of the common images in 5-8th A.H. centuries. These centuries always were known as excellent periods in art. This writing attempt by the in-vestigation of lion’s image in theses ages, reply to these questions: what are the aesthetic char-acteristics of lion motif in the 5-8th A.H. centuries? Can we speak of equal characteristics in all centuries? What is direction of designing procedure in mentioned centuries? Progressive or re-gressive? replying these questions, we attempt by analytic method, which is the best known method in critic of artworks, investigate potteries in the 5-8th A.H. centuries and their compari-son. Structural analytic implies on the relationship of main image and other image, the rela-tionship of overall form of barrel and image, and harmony of main image. It seems that the works belonging to 5th and 6th A.H. centuries have best structure and more delicacy in compari-son with potteries of belonging to 7th and 8th A.H. centuries. Often all lion’s motifs in the pot-teries of 5 – 8th A.H. imply to abstract and nonrealistic lion.Abstract decorations on the lions in the potteries of 5-8th A.H. centuries prove this claim. In the 5th and 6th A.H. centuries the lion’s motif has allocated main part of potteries and have main role, but in the potteries of 7th and 8th. A.H. centuries the lion motives have appeared as decorative, spare and applied factor. It is ap-peared that in the works belonging to 6th and 7th A.H. centuries drawing has a strong style and is delicate. The type of intelligent drawing with accuracy in the drawing of head, hand, foot and claw prove this result. Almost all designs of 7th and 8th A.H. centuries in itself have mark of hurry scurry and superficial rendition, often these are vulgar. The relation of form and size with lion’s motif in the 5th and 6th A.H. centuries proportionate and accurate, but artists of 7th and 8th A.H. have applied the cursory and disharmonic horizontal form on the circle shape of potteries. In spite of our expectation, the subsistence of time and other factors such as awareness of for-eign artistic tradition, have not any influence in strong outlining, And its richness. The works belonging to 5th and 6th A.H. century in comparison with late works, have strong linear outlin-ing, emphasizing in organic relation of context and main subject, harmony in image.

Flags are not only pieces of fabric fluttering. From ancient times what makes these objects differ from the other objects with the same material, color and design, are the special functions. Flags and Banners in every period had different functions such as military, religious, ethnic or economic. In any case, flags are charts of ideas, thoughts, goals, ideology and worldview of their owners, so pictorial motives and theirs various components should be simple and clear, it needs to transfer the basic concepts of beliefs, goals and objectives of their owners. For this reason, considering the closer inspection banners, components and symbols used on them, it should be notified about the foundations comprehensive military, political, religious, class and social achieved in that period, an aspect which in studies less attention has been paid recently. Flags, because of their special duty, are distinguished from the other objects which are the same color and have same role. Making banners is always the best kind of material were used and the position of carrying the banner was always one of the high ranking position, therefor it shows that how high is its place in the passage way of history. Among some of the documents remaining from the Safavid period there are references to all kinds of flags and banners in this period which compared to other historical periods their quantity and quality are considerable. Besides of documents; artifacts and archaeological evidences, such as a variety of related paintings in manuscripts, murals paintings, Moraqa’s, coins, flag finials or the few remaining textiles are useful for the classification and recognition better and more efficient of flags in this period. Author is trying to rely on the remaining documents and archaeological artifacts from Safavid period, presenting a comprehensive classification of different flags and banners in functions and forms. This study is based on the findings method and through library and field research and their combination, and descriptive analysis is applied. The results of literature reviewing and remaining evidences from the Safavid period indicates the presence of flags with various functions in political, military, religious, economic, ethnic-tribal and royal with different forms, colors and signs. One of the most important groups in Safavid period was official flags. These flags had a motif as the lion and sun and they were triangular form with one or two tenons or multi-blades. Before this period, lion and sun was as a symbol of prosperity and power. Official flags were used in international and diplomatic relations to reflect the power and greatness of the Safavid dynasty. Official flags were different from Royal one which used for the king and the high level princes. Royal flags used to confirm the presence of the king and the princes in combat, parties or even for hunting. Special flags for morning times used for the funeral of high level people and court officials and also used in rituals of the Shia’s Imams (AS), especially in particular ceremonies of mourning for Imam Hussein (AS). These flags were in different forms like triangular or band shapes or Kotal shapes. Safavid kings used these religious flags in their battle field because they wanted to show their combat as a religious one. They also have used some holy verses or phrase or holy names for divine help for their victory in the battle fields. Expanding the economic relations with neighbor countries or other states was the reasons of presenting the commercial flags and because of this foreign communications; the motif on the flags was the lion and sun. Documents in the Safavid period referred to local flags, but unfortunately due to lack of documentation, there are not a lot of details about it.

One comes across the story of "Removing the crown in between two lions" as a symbolic narrative in two eternal works of Hakim Ferdowsi and Nezami with striking similarities and slight differences. This research studies the function of Lion's imagery in Shahnameh Ferdowsi and Haft Paykar Nezami based on Gilbert Durand's theory. Durand's view towards myth is a particular one and has a different function. According to him myths are the most significant manifestation of imagination, and imagination is also composed of symbolic imagery. Applying the structures delineated by this great contemporary theoretician to this story in both Shahnameh and Haft Paykar, the symbolic imagery of the story is described and also how the imagination led to the creation of these imageries in the mind of their composers is accounted on.

Motifs used in Shahnameh’s imagery are on one hand in connection with the textual sign systems and on the other hand are of a nature belonging to the visual sign system. An example from this dual system of textual-visual kind is seen in the visual motifs of heavenly concept of farr. In textual system, Kiani Farr refers to Shah’s legitimacy. Researches made in this regard generally describe the concept of Farr, and deal with its application in Shahnameh and ancient texts. The emphasis of these works is mostly on the semantic aspect of Farr. This essay however attempts to study the concept of Farr from another approach. Looking for its meaning among the images to find out how the visual artists depicted the concept of Farr. Thus the attempt is made in this article to seek and find symbolic imagery in between the images in Shahnameh, rock reliefs, and images depicted in banners. For this reason apart from the textual sources, one made use of visual sources as well. Studying the images illustrate that Farr is manifested in form of three motifs of light, bird and crown. These three motifs each has different manifestations dealt with in detail in this study. The purpose of this research is to find the symbols of Farr by inspection of visual sources.

The present article analyzes one of the most amazing symbols of Maulana in Divan-e Shams (the Book of Shams) the semantic domain of Deer's image is a vast domain in Maulana's sonnets. This Deer is not the deer of literary tradition which ends to the Nafe (navel-bag) and musk and Tatar, but behind this symbol, there lies deep layers of meaning and new spiritual realm. In other words, Maulana has bestowed different functions to the picture of Deer and this image has found a dignity in his poems which had not had before Deer's meaning rises in Rumi's sonnets, and adopts the role which the hoopoe has in Manteq al-tayr (the logic of bird) butmore over and beyond. In Divan-e Shams, Deer is a symbol of God generally, and then it comprises Maulana himself, Shams, Salah al-din, Pīr (saint preceptor, the man who guides towards God), Sālek (the man who goes towards God by purifying his soul), Mashouq (beloved), 'Asheq (inloved), Abdāl (the main preceptors in the way towards God), Rouh (Soul), Jān (Spirite) and ma'āni (meanings). To achieve a better result, deer's organs and all the images associated with it have been analyzed, and if necessary, Rumi's verses have also been cited.