جستجوی مقالات مرتبط با کلیدواژه "آرش" در نشریات گروه "ادبیات و زبان ها"

Since the 1930s, narratives of the fundamental story of the Arash myth have been narrated by contemporary Iranian writers. These narratives have read this myth with impressions that are influenced and appropriate to the intellectual, cultural and political currents of the society of their era. The common denominator of all these narratives are the dual confrontations that constantly repeat themselves in the narration process. The confrontation between Arash and the people, between Iran and Turan, and even between Arash and his own self. For a clear analysis of the structure in mythology, Strauss calls it in his own way as Asturaj. This method, which originated from linguistics, is a suitable method for analyzing this myth. In this research, an attempt is made to study five contemporary texts that focus on the myth of Arash and by using the method of separating the constituent parts of the myth according to Strauss, to address the differences between the retellings of the myth of Arash in the mentioned texts. The idea of knowing myth as a form of language has always been of interest among mythologists. Myth, in its roots, before stories and legends, was alive in the discourse of humans, and it was considered a form of language for communication between humans, and it was also the way of thinking of previous humans. Claude Lévi-Strauss, by studying the origin of mythology, had noticed the existence of dual oppositions of their ancient foundations. In the book Raw and Cooked, Strauss sees the dual opposition as two parallel lines that flow into each other.

Bahram Beizaei is an Iranian author, filmmaker, theatre director, scenarist, and prominent and stylish researcher. Benefiting from myth, epic, and historical backgrounds and folklore of Iran and the world, he has created artistic work; thus, his works are contemplative and extensively linked to intellectual topics, Persian cultural themes, and other nations. His play titled ‘Arash’ also possesses such salient feature. This point should be further noticed that based on intertextual approaches and theories, the creators of artistic works may not too rely on their own personal experiences, information, and intact subjective faculties for the generation of such works, but by considering pre-existing texts, they edit their works where these texts are assumed as the foundation for culture, idea, art, and literature of their time. We have tried in the present article to conduct a content analysis on the play of "Arash" and with reliance on librarian and documentary studies and based on the theory of trans textuality of Gerard Genette (as one of the theorists of Intertextuality). The findings achieved from this study suggest that this play is composed of Inter-textuality, hypertextuality, metatextuality, arcitextuality, and paratextuality elements which are noticed with some frequency where this has caused this work to have new conceptual potential and deserving of altered review. In the intertextual view of this work with its contemporary text, the poem "Arash" by Siavash Kasraei, Beizaei challenges the myth and Kasraei depicts himself and his society's desire; However, both works are associated with the myth of water and the demon of drought. On the other hand, in metatextual analysis, the existing classes in the play "Arash" can be considered in accordance with the existing classes in Wittfogel 's theory of Oriental Despotism, which is defined on the basis of the Hydraulic Society and the relations that govern it. From the perspective of contextual analysis, this work is related to the plays Azhi Dahāka and Kārnāme-ye Bandār Bidakhsh. In terms of contextual analysis, this play is similar to a kind of tragedy that is not unrelated to the story of Christ and Ta'zieh of Karbala.

 Arash shot and threw tension, opened the water and plant, and revealed the border, and the border was itself, water and plants.These are the basic components of the story of Arash,    which are repeated in a lot of Iranian texts, all or partly.The story of archer Arash wiche referred to in Iranian texts firstly in the form of mythology in Yashtha, gradually became part of the Iranian narrative of Iran history transforming into an epic narrative. Arash in contemporary researchs, often has the Parthian identity and he is considered the ancestor of the Parthians or Parthian-princes who have been courageous in disposing of the Northeast invaders. The name Arash, in the same vein, is considered to be the equivalent of the Arashk (founder and head of the Parthians), or it means a Bear or a Totem of the Parthians. Few researches do not regard the story of Arash as an Iranian narrative, but it is a narrative of Indo-Iranian and even Pre-Aryan, and it considers the equivalents of Vishnu in Indian mythology and the meaning of "Arash" is also brilliant and bright. In this article, for the first time, the author looks at the myth of Arash, from the perspective of the theory (The First Riddles of Otto Schrader) and the theory (The Gods Of The Three Actions of Georges Dumezil), and he is looking for the first and oldest Indo-Iranian God by analyzing and adapting the gods and mythological narratives of Persia and India, as a result, with the adaptation of that old God, we will find with the European gods, the oldest God and the oldest mythological narrative of the early Indo-European era, which Arash's story of that myth has come to us. Also, some considerations of etymology and historical and archaeological data, such as coinage, are other contributors to the theory of this article. The final result of this study is that the story of Arash is not a historical narrative in the Iranian era, and does not belong to the Party of the Era, but rather a mythological and very old mythological narrative in the era of the Indo-European, whose narrative structure, based on Otto Schrader's theory, is a mixture of three mythological mysteries: "The cycle of closing and opening the lighting and darkness", "The cycle of revealing and hiding the borders" and "The cycle of clamping  and opening water". And according to Georges Dumezil, the personality of Arash is a combination of three gods of clergy and kingdom, warrior (Borderand Land), and fertility (water and plants).

The method of this research is a combination of description and analysis based on documentavers in the field of Iranian, Indo-Iranians and Indo-European mythology and epics. It also exploits archaeological data extracted from rock banners, coins and seals containing information about the Aryan goddesses. furthermore, in this article, By the aid of  first puzzles theory of Otto schrader and Albert Joseph Carnoy in Arash myth structure analyzing,  and Trifunctional Gods hypothesis George Damézil in Arash character studies, were applied by researchers.   

Mircha Eliade (1362: 14) and Claude Levi Strauss (2001: 1-62) believe that among myths there are fundamental siblings. Accordingly, the myths of the peoples of the homeland have sprung up and separated from the more ancient mythological myth in the age of the tribes. Albert Joseph Carnouille, and before him, Otto Sherard, have also pointed to the deep truth that most myths are expanded into a few initial riddles (Joseph Carnouille, 2004: 120-121). The first riddles are questions in the human mind that you are known to be. Each race, in accordance with the requirements of its biomass and the story of its collection, has some mysteries about existence. These riddles in the era of the split of that race into smaller breeds, cultivate in different ecosystems and with new storytelling.Ancient Indo-European Ancestors, according to the dark and dark climax of their first, whose vague memory of it is preserved in the image of Iranwij / Aryavaj Land (Minooye kherad, 1354: 62; Vendidad, 1997: Fargad 1, Section 2), Brightness is the most important and effective agent and agent in They saw their lives. All Indo-European people believed in masses of goddesses and goddesses of light, such as Jurmard, Maysara, Azar, Teshtar, Day, Yam / Jam, Thor, Zeus, and Jupiter. For this reason, the fundamental raison d'etre is - as you are God - from their point of view was a question: "How to shut the light and darkness". The other rumors were essentially another interpretation of this fundamental supermassive, such as "the cycle of good and evil," "the cycle of life and death," "the cycle of health and disease," "the cycle of ugliness and beauty," "the cycle of gains and losses". In all these riddles, one side of the puzzle is clear and the other is dark. Some riddles also find their answer to the fundamental rage of light and darkness, such as the "Boundaries of the Boundaries" and "The Closure and Opening of the Water". Indo-Iranians, on the one hand, were fighting with indigenous peoples of India and Iran, and on the other hand they defended their fields and pastures against the Indo-European tribes that followed them. For this reason, they were always disturbed by the "find and disappear borders" cycle. The Indo-Iranians also faced the farmer and livestock farmer with the "water closure" cycle, which is essential for plant growth. According to the Aryans, they were the goddess of light, guarding their borders, and ensuring the abundance of water and fertility of their farms and their flocks. In fact, Arash the god is a light that throws the rays of his rays, fills the boundaries and throws clouds into the rain.

Although  the story of archer Arash is often considered to be a party identity and Arash is considered as the Parthian Princes, who threw enemies to the beat of their fists from Iran's borders, this story is not only a Parthian story but also is older from Iranian and Indo-Iranians  period and the story of Arash should be a new executive of the very long-standing mystic mythology in the Hindu beliefs that its nature is brightness. And his act is a Shooting to protect the borders of the people of Hinduism and to give the boom and fertility to their lives.

Till present, a considerable amount of research has been undertaken regarding Afrasiab’s character, the renowned Tourani commander whose evil character is among the most striking in the epic works of this land. This research is an attempt to find the mythological origin of this character by investigating ancient religious works, Middle Persian and Islamic texts according to their historical order of appearance. Moreover, in order to prove Benevenis’s claim that Afrasiab is most probably the consequence of Diva Famina (Epeousha), numerous evidence from the above texts are presented. In the course of this research attempt is also made to examine the origin of the myth of Arash , a character who is also associated with water and rain, to signify his role in persuading Afrasiab to withdraw .