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

Wrestling, an ancient Iranian sport, finds extensive representation in epic stories and poems. Heroes are consistently portrayed as skilled wrestlers, and hand-to-hand combat forms a central element of these narratives. Beyond its athletic significance, wrestling played a prominent role in the marriage ritual. Female Heroes, who possessed exceptional and sometimes superhuman attributes, deemed only those suitors worthy of marriage who could defeat them in a physical contest. With the decline of epic literature, this ancient practice gradually fell into oblivion. However, remnants of this tradition can still be observed in Persian folkloric narratives.This article employs an analytical-descriptive approach. The research begins by examining several Persian folkloric tales wherein female Heroes set the condition of a wrestling match for marriage. Subsequently, the feuilleton (serial story) of Hossein Gholi Mosta'ān, who held considerable influence among the general public from 1300 to 1350 (1921-1971), is analyzed.An examination of Persian folkloric narratives reveals that the stipulation of a wrestling match for marriage was prevalent among female Heroes. This theme is also alluded to in Mosta'ān's feuilleton’s (serial story), where he recounts stories of female Heroes who vanquish their suitors in physical combat.The findings of this research indicate that the concept of wrestling in Persian folkloric narratives transcends the limited sphere of female Heroes and undergoes a semantic expansion.

The Ramayana, India's oldest romance epic, is a Sanskrit-language Valmiki poem from the 5th to the 3rd centuries BC, in addition to a sweet narrative full of moral, social and political implications. This epic was translated into Persian as a poem by Mullah Masih Panipti during the reign of Jahangir Shah. The widespread and active presence of women as an integral part of both epics becomes one of the factors in recognizing the status of women, the way society views this group and their rulings.This article tries to express the extent of the influence of Islam on the system of the Messiah by examining and extracting the mentioned points. The present study, with its library method and descriptive-analytical method, first determines the position of woman and the rulings related to her in Ramayana Valmiki and then compares and identifies the differences and similarities with what Mulla Masih Panipati wrote in the translation of the Ramayana poem. As a Muslim, he has provided a translation of a Ramayana poem based on Islamic concepts, using similarities and finding common ground between Hinduism and Islam. According to the findings of this study, more women in the Ramayana of Mlamasih compared to the Ramayana of Walmiki play a role in this system; But in terms of expressing the rulings and status of women, Valmiki has dealt with it in detail. Women play a more central role in the Ramayana Mlamasih, and three of them, Kiki, Ravan's sister, and Ram's sister, tell the story.

A symbol is an expressive trick that, instead of referring directly to a subject, expresses it indirectly through another subject or in an allegorical way. The symbol has always been a role model in the realm of literature. Symbols are part of the culture of a nation, and in order to understand the myths of that nation, one must understand their meanings. Animals are examples that are associated with symbols.This research has been written by library method and analytical-comparative method and its aim is to study the symbolic and allegorical concepts of dog in epic, lyrical and mystical works (based on Ferdowsi's Shahnameh, Nezami’s Khamseh (The Quintuplet) and Rumi's Masnavi) and wants to answer these questions: What is the attitude towards dogs in Avesta and Pahlavi texts? In what symbolic and allegorical terms is dog used in each of the studied works? Is there a correspondence between the symbolic and allegorical concept of dog in the studied works? Which concept has an epic theme, which one has a lyrical theme and which one has a mystical theme?

This article seeks to examine how the Iranian heroes think about peace in Fereydoun story. In this story, several peaceful methods are discussed. The wide distribution of wealth among the needy by Faraanak, the division of the world into three parts and pluralism in the method of governance, and the avoidance of individuality in the division of the world, which is the work of Fereydoun, Emphasis on dialogue in resolving conflicts among heroes and relying on finding a solution to peace and absolute rejection of violence, avoiding the use of military force to resolve disputes, not belonging to the world and avoiding stubbornness and struggle to stay in the power that is the characteristic of Iraj in front of his brothers, paying special attention to justice, and avoiding oppression and tyranny in Fereydoun's actions and speech. What Fereydoun has benefited from, as well as the actions of the words and thoughts of the Iranian heroes in Fereydoun's story, are in line with today's peaceful views.

Translation and publication of the Persian novel in the epic genre after the revolution and war; especially in the West, despite the rapid, growth of quantity, major changes and new forms of content, has been very slow. It seems, Regardless of the political aspects and disagreement of the sacred and ideological content of these works with a Western audience, at least, Failure to discover and selecting suitable examples of existing novels – which have most harmony with Western taste - is something that by Attention and correction, can be Reinforcement for Publication and promotion these works outside Iranchr('39')s borders. In this article, a random selection of war novels based on rhetorical (audience-based) criticism, Based on the national psychology of the English people as exemplified, in the manner of Kenneth Burke, is criticized and analyzed. The critique and analysis of the three novels "Clash" "Under the Cherry Tree" and "In Search of me", which are almost at the top, below and in the middle of this adaptive spectrum, are fully embodied. The result is a wide and varied range of maximum to minimum conformations, as the capacity for acceptance and persuasion by the English audience. So it seems, on the possibility of promoting and propagation a Persian novel in England, we should have to go into detail: some of these works are well-suited to be present in the UKchr('39')s cultural space, and some are not. A group may also, with some form of editing, find the context needed to better communicate and attract Western audiences for persuasion and influence. The results can also serve as a mirror for Iranian writers to expand their global audience.

Computer games are a combination of the arts of cinema, graphics, music, literature, and their subsets that, despite having an applicant and a consumer, have not been considered in Iran in terms of production for various reasons. However, by adapting literary works as the axis of creative ideation in connection with the narration of computer games, a more effective platform can be created in the production of such products. Therefore, in the present study, the aim was to investigate this issue by a descriptive-analytical method, relying on the desirable features of classical Persian literature that has a range of epic works and texts such as Borzounameh and similar examples. The question posed in this study is: What are the characteristics of existence, multiplicity, and diversity that make adaptation desirable for computer games with an indigenous culture approach and considering appropriate value-ethical norms? It seems that features such as the presence of a compelling story and lively narrative, the presence of a hero (anti-hero), and the multiplicity of attractive characters with the ability to interact in the context of various conflicts and image-based expression of appropriate themes in epic works have turned these types of texts into desirable options for adapting computer games with a loyal approach and with small changes appropriate to the age and culture of the target audience in the widely-used martial-combat genre.

 A national character has such profound merit that for many access to these national models, had become the main sacred objective of their lives.  However in real life what personality type or role model is appropriate for our society?  Are there any such examples in the ancient Persian culture to introduce to the present generation?  Or should one resort to other cultures?  It is centuries that through its myths, Shahnameh of Ferdowsi as a national identity of Persian society, transmitted major part of ancient Persian cultural, religious, and national heritage to this day.  Attempt is made in this article to study the characteristic features of Shahnameh’s prominent heroes from the perspective of sociological and psychological aspect of personality.    Employing narrative analysis method, first the characteristic features of six main characters in the Tale of Zal and Roudabeh are determined. Secondly, using three stages of open, axial, and selective coding in grounded theory method 158 concepts, 28 sub themes, and 7 major themes were identified and according to four precepts eight characters were revealed, and finally the chief concept of two personality types rational and irrational are referred to.

Animation is one of the most important genres in the history of cinema in the world, which has always been of interest to many artists and audiences, and has created many brilliant works in its context. One of the main areas of animation is the adaptation of literary works during the formation and development of this type of image. In adaptation for animation, texts with characteristics that fit the needs of this demo are needed to create the best quality of the transformation of a literary text into an image. Therefore, in the forthcoming article, the goal is to answer this question with a type-oriented approach and reliance on the intellectual and literary style in the transborder, in a transcript and similar epic works, the existence , The multiplicity and variety of features that enhance the drama and create the utility for adaptation in the animation genre. With this description, fantasy, imagination, the variety of imaginative beings in the context of a variety of conflicts and conflicts, and succinct expressions of the proper themes, seem to be the features of the style of thought and the existence of some literary arts Such an exaggeration, recognition, symbol, and a variety of detailed descriptions as well as features of literary style and its adaptation to the structural and content requirements of animation, make these types of works suitable for restoration in this genre, and can be identified by sampling this feature With similar or less similar capacities in the Persian epic texts of Persian literature, produced appropriate adaptations.

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.

Hakim Ferdowsi's Shahnameh has been always the focus of attention by Kurdish-speakers. This issue has encouraged Kurdish poets to compose epopees in Kurdish due to the style of Ferdowsi's Shahnameh. The epopees named Kurdish Shahnameh available in Kurdish Goorani dialect are not totally abstracted from Ferdowsi's Shahnameh, but they have some famous stories, characteristics and poetic formats and even epic and heroic nature in common with Ferdowsi original work. Studies have revealed that the narrated stories in Kurdish Shahnameh are in accordance with the stories narrated in narrative cliques and the content of narrator's scroll. Narrating epic stories in narrative and story-telling cliques have directly influenced on the Kurdish poets. It also has made Kurdish Shahnameh like narrator's narration, influenced by the oeuvre's contemporary needs, mixed with Islamic themes being careless about word superficial features.

On the status of chivalric literature, there are differences of opinion in classification of the Farsi literature genres. Some have considered this literary category as a sub-group of epic literature. Some others have referred to chivalric types as novels, while another group has categorized this genre under the heading of common literature. In this article, the assumed compatibility of epic and chivalric literature has been discussed and the relation between these two genres of literature has been studied, while the most important examples of these two groups of Farsi literary texts, namely the collection of poems of the celebrated and acclaimed Iranian poet Ferdowsi, referred to as Shah-Nameh, and the chivalric literary book named “Samak-e Ayyaar” have been selected. Thereafter, the intertextual relations between two books, based on the three foundation, productive, and interpretive oriented approaches have been scrutinized and the bonds between these two exemplary chivalric and epic literary books have been detailed and elaborated. Ultimately, it is concluded that given the meaningful relation between epic and chivalric texts, each of these two genres’ texts are categorized as sub-groups to a more general genre, stated as “heroic epic literature” genre.

The Jungian evaluation theory has not been fully used as a standard in analyzing the subject of the seven adventures (or Haft Khan) in Shahnameh. The main purpose of this research is to evaluate the psychological theory in the seven adventures of Rostam and of Esfandiar. By using it, we have attempted to find out the hidden aspects of the evolution of the hero’s personality in his adventures and consequently know the nature of the Jungian archetypes in the Persian epic. Therefore, the article tries to find out the relationship between the supreme Persian subject matters and Jungian theory. Moreover, the research has analyzed each of the basic Jungian elements (i.e. archetype, shadow, anima and animus, persona, etc.) in the seven adventures of Rostam and of Esfandiar, and then each of the elementary concepts in the two adventures have been decoded on the basis of the Jungian theory. It is concluded that all of the elements of the theory can be fully seen in the seven adventures of Rostam, repeatedly in some cases. The hero meets all of the Jungian archetypes in his seven adventures, and after winning them, he finally reaches the stage of individuation. On the contrary, the pattern does not have a regular order in the adventures of Esfandiar and there is no a clear reference to the archetype “Animus” in this adventure. Therefore, the seven adventures of Rostam, in comparison to that of Esfandiar, reflects the entire archetypes of Jungian theory.

Molana Abdullah Hatefi is one of the poets of Timurid and early Safavid periods who has composed four Mathnavis، imitating Nizami’s Khamseh، in addition to divan of poems and Shahnameh Hazrat Shah Ismail. He is the nephew and student of Abdulrahman Jami and Jami himself encouraged him to compose Khamseh. Timornameh is his most famous work which has been composed as an imitation of Ferdowsi’s Shahnameh and Nizami’s Iskandarnameh. This historical epic describes the life of Timur Gurkan، especially his wars and battles. Novel and delicate meanings، beautiful and innovative descriptions and lexical and semantic embellishments put this Mathnavi amongst the most important historical epics of Persian literature. Also، the presence of old and rare words، Turkish and Mongolian words and idioms prevalent in the Persian language have made this work a valuable source for lexicographers. The historical aspect of this work is also of significance. The correction of this work can open a new space for broader researches on Hatefi، the style of his works and the condition of his time.

The human is always accompanied by the black and heavy shade of the death, this mental disturbance of the human and put one's mind to this continuous terrible secret. The human is tested many ways to encounter. With the death or its escape of it, but he/ she come to nothing and then he/ she accepted the death bitterness and shoumitted to it. Every the nation with acceptation of the death reality to think appreciate this part of live base on the religion and culture and its tradition with specific custion, to bonor. The dead and self prepares encounter the death. Probably, preparation display against of the death be command by will. In this article is tried deal with to mourning custom in several epical works.

Epic is an outstanding literary genre concerned with war and heroism which encourages warriors to battle. Today, however, man has made great progressions and developed organizations like The United Nations to establish conversation and peace among peoples. This study, therefore, attempts to justify composing epics in contemporary time. It is understood that epic poetry does not concern war only; in other words it includes other concepts such as: nationalism, heroism, teaching generosity, opposing enmity and identity making.

Shah name is one of the literary masterpieces and because of its comprehensiveness of subject, variety of stories, and philosopher composer is a combination of epic, lyrical and didactic literature. Examining these dimensions leads to better understanding of this literary masterpiece and its composer. This research tries to survey the manifestation of didactic literature and its different branches in Shah Name by using the analysis of content. Subjects like attention to religion and religious teaching, advices and ethical results at the end of stories, praise of knowledge and science, ethical excellences, composer modesty speeches and etc ……. A didactic and ethical atmosphere governed in Shah name. Ethical messages in Shah Name in two ways presented first story theme and direct address. One of the lasting secret of Shah Name is Firdausi's advice which originates from his philosophical thoughts, religion and nation. Since these advices are not personal but humanitarian and its therefore comprehensiveness goes beyond particular time and place and include many things.

William Jones is one of those who has been involved with extensive research and translation works of Persian literature in East India Company and has inferred from the examination of Shahnameh’s texts and words that there are similarities in Indo-European languages. James Atkinson from the Fort William College in Calcutta released his translation of the story of Rostam and Sohrab in 1814 A.D. Matthew Arnold (1888-1822 A.D.) has dedicated his famous poems to the story of Rostam and Sohrab. Arnold has attached too much significance to two categories of exploiting Shahnameh and Iranian passion plays or “Tazie”. James Russell Lowell (1891-1819 A.D.) praised Shahnameh highly and offered expression of regret at those who haven’t focused on these works. Jones, Arnold, Jules mole, Atkinson, Fon Shak and others, have all translated and exploited many works of Persian literature, especially Shahnameh. People such as Alexander Rogers have occupied a crucial cultural role in terms of strengthening the west literature through exploitation of Persian literature.