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

The Amber Cow is a legendary creature with special characteristics, whose story has a wide reflection in Persian poetry and prose texts. So that we can recover a sign of it from the oldest sources available to this day. Of course, despite the age of this legend and the frequent references to it in various texts and also the wrong understanding of quiddity of this creature, it is surprising that no befitting research has been done about this creature. With the aim of investigating the origin, age and various narratives of its story, as well as determining the characteristics of this legendary creature based on various sources and documents, this research has dealt with how the story of this cow is reflected. The authors have collected the materials related to the subject by examining various sources, including the books of strange creatures and narrative, mythology, legends, history, and etc. texts and they have categorized and analyzed by descriptive-analytical method and using library study and notes taking. Among the findings of this research is the presentation of the historical process of the story and its related changes in the texts of different periods, as well as determining the identity of this cow and distinguishing it from similar animals and real sea cows.

This article tries to analysis an adaptation film "Bloody Cow" by Behrouz Afkhami from a novel by Jafar Modarres Sadeghi based on the intersemiotics and the pattern of Roland Barthes’ narrative codes. In the criticism of cinematic works, we pay attention to the aesthetic aspects, staging, visual elements of the film and the theme of the film, mainly, and its semantic and signs meanings, semiology components are paid less attention. In analysis of cinema, the semiotic approaches pay attention to examines, analyzes and interprets the act of signification and the process of textualization, and the film as a signal visual system, including "image", "index” and the "symbol". In the intersemiotics approach, base on Roland Barthes’ pattern of narrative codes, ie. hermeneutic, cultural, semantic, active and symbolic codes, it is possible to analyze the analysis of cinematic films, including the adaptation of "Blood Cow". The result of this research is that by examining the distinctive sign system between these two linguistic-literary text and the visual text, it is possible to analyze the intersemiotics between a literary-narrative text (in this research: Blood cow novel) and the adaptation-narrative film (in this research: Blood Cow film). The analysis of intersemiotics of cinematic works, including the adaptation film"Bloody Cow" base on these narrative codes, enriches textual and cinematic studies.

The main goal of art and even life has always been to increase the definition of reality to include everything "wonderful". Surrealism aims to define reality in a different way, so that by developing the definitions, things that others call unreal, can be called reality. Andre Breton and Louis Aragon, inspired by Freud's researches, based their new school on the activity of understanding the unconscious mind, which is the source of imagination. The school of surrealism, which was based on the Parisian movement, was formed in Iran under the guidance of Sadegh Hedayat. In the novel of Blind Owl and the novel of Bloody Cow by Modares Sadeghi, there are prominent components of this school such as: first person point of view, objective coincidence, individualism and escape from society, surrealist objects, love and sexual instinct, the world of illusion and dream, uncertain time and place. , imagination, existentialist themes, ambiguity, adaptation of Freud's psychoanalytic theory, myth and symbol, automatic writing, contrast and contradiction, and humor were used. The following writing has been done with a descriptive-analytical method and it has been concluded that common surrealist components are present in both works; but the diversity of the frequency of the common components is more in Blind Owl. With the explanation that the world of the narrator of Blind Owl is wide and in both, there is a surrealist component in various forms in the text.

The use of the word cow in the Holy Qur’an has a profound effect. When it is employed semanticly, it radiates subtle and hidden Qur’anic connotations and meanings; when the Qur’an transcends the linguistic use of the name of the cow and what is related to its gender to evoke the shades of meanings according to the contextual rhetorical situation, we find that it has a semantic connotation created by the context and semiotics extracts it from the Qur’anic system specified for its use that prompts the reader to receive an integrated picture of the meaning to be conveyed in a specific verbal situation. This study has adopted the context theory with its two types, the linguistic context and the situational context to reveal the semiotic connotations and explore the meanings in the Holy Qur’an with regard to the employment of the cow race in the Holy Qur’an. Our study, which was conducted on the basis of the descriptive and analytical approach and based on the views of the commentators of the Holy Qur’an, revealed the effect of the semiotic significance in discovering meanings that concealed behind the linguistic phenomenon of cows in the Holy Qur’an. The context also helped to link these apparent meanings with the hidden meanings and create An integrated picture of Quranic meanings and connotations that fit the semantic space prevailing in a surah or Quranic event.

Phenomenology is a process whose main goal is to achieve a true knowledge of essences and essences, free from any presuppositions and prejudices; In such a way that the real existence of the existing being is allowed to appear on its own and the interference of the mind and its contents is removed from the way of the beings and by reduction or reduction, an authentic and real description of the existence of the beings can be achieved. Jafar Modarres Sadeghi is one of the prominent writers of contemporary Iranian literature who has had remarkable activities in various fields such as fiction, novels, as well as in the field of translating, editing and correcting classical texts. Although he is not officially a phenomenologist, He is a writer who is close to phenomenologists. This article seeks to answer the questions of what is Modarres Sadeghi's approach to death? Has phenomenology influenced the views and thoughts of Jafar Modarres Sadeghi? How is this idea reflected in Gavkhoni's novel? The method of this descriptive-analytical research is the method of using other methods.

According to Roland Barthes, all texts employ five codes for creating textual signification: the hermeneutic code, the semantic code, the proairetic code, the symbolic code, and the cultural code. The meaning of a text can be understood through opening up these codes. In this article, “The Tale of the Lion and the Cow,” one of the most important chapters of Kalileh and Demneh, has been studied and analyzed based on the following three codes: proairetic, hermeneutic, and semantic. The article shows that the story, containing complicated semantic and coded layers, can be studied based on Bathes’ model, particularly through the three codes listed above. The findings indicate that from the perspective of the proairetic and hermeneutic codes, the narrative includes both a main sequence and a secondary sequence, which are closely connected. Moreover, in the semantic code, the story includes implied significations, with a significant relationship among the elements of the tale, the actions of the characters and the symbolic aspects of the tale. The examination of the semiotic elements help to identify covert layers in the allegories of this important work of Persian literature in which the most central actions are leaving and death, which are consistent with the political atmosphere of the story. Extended Abstract 1.IntroductionNew literary schools and theories can be effectively used to reveal hidden layers in texts and provide us the possibility of new readings of them. According to semiotics, which has been used extensively in the analysis of literary texts, meaning is produced through structures of interdependent signs, codes and contracts.  2.Theoretical FrameworkCodes are of vital importance in semiotics. They turn signs into significant systems and, thus, lead to the development of a relationship between the signifier and the signified. Codes represent the social aspects of signs. Narrative codes were first introduced by Roland Barthes in his reading of Balzac’s “Sarrasine.” He believes that every text is formed through five codes so that textual signification is created. In the present study, Barthes’ concepts are adopted to analyze the codes in “The Tale of the Lion and the Cow” from Kalileh and Demneh. 3.MethodologyUsing Barthes’ semiotic model, “The Tale of the Lion and the Cow” has been analyzed in the present study. For this purpose, instances of these codes were identified and three types of hermeneutic, proairetic and semantic codes were examined. 4.Discussion and AnalysisIn the present study, attempt has been made to examine the semiotic elements and analyze the signs in order to identify covert layers in allegories in an important work of Persian literature. Kalileh and Demneh is replete with political and social allegories. In this article, a semiotic approach is adopted to study the hidden layers and aesthetic signification of this story. Of the five types of codes discussed by Barthes, hermeneutic, proairetic and semantic codes have been focused on in the present article. 5.ConclusionDue to its labyrinthine semantic structure, “The Tale of the Lion and the Cow” has been examined based on Roland Barthes’ theory of codes. Three important codes can be detected in the story, with quite a similar frequency, a quality that is consistent with allegorical literature, in which each layer is closely connected with another layer. This makes it possible for every sign to be interpreted through all the three codes identified in this story. In the semantic code, the story includes implied significations, with a significant relationship among the elements of the tale, the actions of the characters and the symbolic aspects of the tale. In the proairetic code, the narrative includes both a main sequence and a secondary sequence, which are closely connected. The most important actions in this tale are leaving and death, which are consistent with the political atmosphere of the story. Select Bibliography Barthes, R. 1380 [2001]. Marg-e Moallef dar Sakhtargarai, Pasasakhtargarai va Motaleh’at-e Adabi. F. Sojoudi (trans.). Tehran: Pajouheshgah-e Farhang va Honar-e Eslami.Barthes, R. 1394 [2015]. Roland Barthes. N. Fakouhi (trans.). Tehran: Nay.Bruce-Mitford, M. 1394 [2015]. Dayeratolma’aref-e Mosavvar-e Namad-ha va Neshaneh-ha. M. Ansari and H. Bashirpour (trans.). Tehran: Sayan.Chandler, D. 1387 [2008]. Mabani-e Neshaneh-shenasi. M. Parsa (trans.). Tehran: Soureh-e Mehr.Chevalier, J. 1385 [2006]. Farhang-e Namad-ha. S. Fazayeli (trans.). Tehran: Jaihoun.Monshi, N. 1388 [2009]. Kalileh va Damneh. M. Minovi (ed.). Tehran: Amir Kabir.Pierce, C. S. 1381 [2002]. “Mantegh beh Masabeh-e Neshanehshenasi: Nazaryeh-ye Neshane-ha.” F. Sojoudi (trans.). Zibashenakht 6: 51-63.Scholes, R. 1383 [2004]. Daramadi bar Sakhtgarai dar Adabyat. F. Taheri (trans.). Tehran: Agah.Sojoudi, F. 1384 [2005]. Neshanehshenasi va Adabyat. Tehran: Farhang-e Kavosh.

Mythical and legendary creatures such as demons, giants, fairies, etc. have always been widely reflected in Persian works; especially ancient texts. The amber cow is one of these mythical beings that has been mentioned in Persian literature; But the important discussion about this creature is the different and sometimes contradictory descriptions that are clearly seen in most sources, including dictionaries and description of commentators; In fact, none of these sources can provide a clear and accurate description of this unknown creature. In most dictionaries, encyclopedias of animals, and words and compositions dictionaries of the poets works, this sea cow by mistake has been considered as a kind of fish, called (in French) cachalot or cachalo, and Consequently, several commentators have erred in their descriptions of this strange creature. Accordingly, In this research, the authors try to clarify the ambiguities related to the folk tale of this legendary animal by collecting documents from various sources and presenting evidence from the poetry of different poets and discussing about each of them, and provide a coherent and definite description of the nature of this mythical animal based on newly discovered points.

The idea of death and life is one of the most important principles of human beliefs. Man, after the creation and observing of death, has always been looking for immortality and undying dreams from the past. In the eyes of the early humans and in most religions, death is not the end of life and absolute destruction, but it can be a factor for a better life. In the mythology and ancient traditions of early humans, the animal (cow), the plant, and death and life have been of utmost importance, causing the connection between these three elements of creation. The present study aims to investigate the relationship between the three main elements of creation, humans, animals (cow), and plant in the mythology of Iran, as well as the relationship between death and re-life of these three elements of creation to answer the question that how is the representation of the elements of creation (man, animal (cow), and plant) in Iran's mythology and what is the relationship between the death and life of these three elements? The present study, by examining the mythology of death and life of the early humans in Iran with a symbolic approach and a descriptive-analytical method, has concluded that in the mythology of the creation of Iranian myths, different people possess the first place. In the Zoroastrian myths "Kiomars", among Iranian and Indian myths "Jamshid", and in the Mithraism "Mehr, Mitra" had this title. The connection between death and life of humans, the animals (cow), and the plants is also direct, in such a way that one's death causes the other's life which ultimately leads to the completion of creation and its elements.

The most secret and most wonderful story of Mehr is the fight with the primitive cow. Mithra makes the earth to flourish and fertilize by killing the eternal cow and pouring its blood. This basic idea in Mehr religion influenced many cultures and cults. Belief in different forms of sacrifice to be immune from the evil forces and to find blessing has been pinned to the lives of residents of Iranian Plateau thorough the history. For this reason، some people or animal became the scapegoats for a tribe so that this sacrifice would diminish the sins، pains، and suffering of people. By these actions and other dramatic rituals، people aimed at reconstruction of time and place of cosmic creation so they could find the happiness and blessing once again by killing the primitive cow. So in a large feast، they all ate a piece of the beef to transfer her power، fertility، and blessing to themselves; where they found a sort of unity. This happy sacrificing became one of the themes in Persian literature and was recreated in the works of many poets and writers. Among these، Nezami Ganjavi has paid especial attention to the ritual of sacrifice in his story «Haft Peykar». By the language of tales، he points at a number of sacrifice-related rituals including regeneration، creation، rain prayer، eclipse، and war. He uses literary arrays such as allegory، allusion، and ambiguity to depict a new and interesting account of these beliefs and ritual traditions.

The well-known book “Kellileh and Demneh” is a political text, whose literary language and ethical background prevents the reader from clearly understanding the power struggle. One of these stories is the tale of lion and cow, whose adages and ethical background has led to the cover up of power struggle between the two factions (One being the defender of concept of justice in line with the patriotic political ideology, and the other being the supporter of individualism). The logic of political dialogue under the viewpoint, dominating the text, has been misrepresented. The outcome of such an outlook is a negative portrayal of the belief and characteristics of one of the parties to the power struggle, who cannot tolerate the current order that is based on the hereditary hierarchy, and who is ultimately victimized by the overall outlook governing the text. Given that the power struggle is a type of spatial position which regulates the distance between hostile parties in different shapes and forms; in this writing the approaches for misrepresentation of power struggle embedded in the story of lion and cow have been detailed and analyzed based on spatial reasoning. The method of research is based on the quality of narration of the narrator, and characters of the tale as the participants in the dialogue

Comparative literature is known with French and American schools. From the French School perspective، comparative literature is a branch of literary history and studies historical relations between two or more national literatures. In the American School، comparative literature is an interdisciplinary study that compares national literatures and the relations between literature، humanities and fine arts. Comparative literature in the French School studies different areas but this variety in studying different areas is doubled in the American School. The most important topic in these studies is in the intertextual area. Intertextual study can be regarded as one of the important members of cultural studies. In this study، first we investigated comparative literature and then some definitions of intertextuality and finally we studied “the Rhinoceros” play by Eugene Ionesco and “the Cow” script by Gholamhosein Saedi from an intertextual perspective، with an emphasis on the role of comparative literature. In this article، intertextual study is considered as a kind of comparative study.

Secondary meanings of a sentence, whether declarative or imperative, refer to the intentions and purposes of producing that sentence and they are different from its literal meaning. For instance, the holy verse "My Lord, surely I have brought it forth a female" (رَبِّ إِنِّي وَضَعْتُهَا أُنثَى) which is an utterance by the mother of Jesus Christ (PBUH), refers, on the surface, to the female sex of the infant, whereas the ultimate purpose of this utterance is to express sorrow at the birth of this female infant. The present paper examines the verses of the holy chapter "The Cow" from this perspective.