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

The literature of popular culture, based on beliefs, thoughts, and desires, has featured many adaptations and revisions of mythical epic narratives. It has been used as a model to create new stories that afford insight into the general perception and perspectives on these tales. This study aims to undertake a comparative analysis of the characters, actions, and mythical epic motifs of the story “Kor-e Asb-e Siah” in Bakhtiari culture and the story of "Siavash" in Shahnameh using document analysis. The comparative investigation encompasses an examination of their social backgrounds, physical attributes, and actions of stepmom characters, horse characteristics, and seeking asylum in another land. The results demonstrated significant similarities between these two stories; the main protagonists are princes with indeterminate maternal lineage, possessing corporeal beauty and horses that share similar qualities such as color, intelligence, and the ability to jump high. Additionally, their stepmothers are seeking for a sexual desire, both ultimately taking refuge in another land, getting married, and building a city and palace for themselves. Nevertheless, there are divergences between these stories; the story of Siavash features more politically motivated character behavior, whereas “Kor-e Asb-e Siah” emphasizes on familial matters. Hence, it could be concluded that “Kor-e Asb-e Siah” in Bakhtiari culture is a creative retelling or adaptation of the story of Siavash.

The story of Siavash has a special validity in Ferdowsi's Shahnameh.The deep meanings and high capacities of this story are such that it has attracted the attention of many scholars of Persian culture, language and literature from various angles. From this point of view, valuable critiques and reviews have been obtained.Mostafa Rahimi (1381-1305), a prominent intellectual and translator of his time, also wrote an article entitled "The Story of Siavash, an allegory of the greatness and catastrophe of morality", which, considering the importance of the title of the article, has looked at this story more from the perspective of moral evaluations.On the other hand, considering that Rahimi was one of the best translators of Sartre's works, in criticizing Siavash's story, like his other fiction and research works,The method of this research is based on describing the achievements and explaining and analyzing them, which has been done by filing works and studying in the library.During the revision of this article and considering Rahimi's ideas in his other works, the similarity and conformity of his views on the formation of Siavash's story with the main components of existentialism, such as the primacy of nature over necessity, the necessity of necessity, the emphasis on human freedom in choosing leading possibilities, humanity, apprehension, personal originality or existentialist morality, impending death, and most importantly the commitment of literature; It became quite obvious.Based on the mentioned findings, this research has shown Mostafa Rahimi's existentialist reading of Siavash's story.

The angle of vision is a perspective in which the author narrates through it the events and adventures of the story. The angle of vision, as one of the main elements of the story, has an impact on the feelings and perceptions of the reader as well as other structural elements of the story such as personality, the development of the plot, style, and stage. In this descriptive-analytic study, various angles of vision and points of narration in the story of Siavash have been investigated. The results showed that Ferdowsi, as a wise narrator, has managed to maintain the structural coherence of the narration, using the narrative of the story and characters from the third, personality, subjective and inward, factual and objective angles, as well as from the point of view of the first person, and applied the types of inner and outer recollections, thus avoiding the mere description of the story. This variety and multiplicity have caused the variables and perspectives of the narrative and points of view in the story of Siavash to be diverse. On the one hand, due to the dominance of the entire knowledgeable narrator of the story, the narratives are mainly related to the third-person perspective; on the other hand, the use of both the outer and inner vision center and the use of the focal species associated with the position of the narrator are related to the personchr('39')s first-sightedness.

Siavash's story is one of the Shahnameh's stories which Ferdowsi has enriched it with artistic elements of some of the story elements and storytelling techniques. Siavash grief involves the two stories of Forbidden Love and the story of Siavash deportation to Turan Land and his killing by Afrasiab, a combination of the epic and richness. This article investigates Shahnameh storytelling techniques with emphasis on fictional elements in Siavash's story and has been written using descriptiveanalytical research method. This article investigates techniques of Shahnameh's storytelling with emphasis on fictional elements in Siavash's story and has been written using descriptive-analytical research method. In mourn of Siavash the element of dialogue is used to represent the characters' thoughts, to develop the story and to advance the events, to express the characteristics of the persons, to introduce the relationships between the persons and their relationships, to illustrate, to determine the places, to specify the time, and to make space. The results show that in this story, Ferdowsi uses elements such as characterization, conflict, and plot in addition to the dialogue, and uses techniques such as suspense, arousal, rhythm, flash back, and combining epic with lyric.

One of common grounds between literature and psychology is the concept of dreaming and its interpretation.  The most significant resemblance lies in their symbolic language.  In numerous literary and historical works of nations one comes across account of dreams that are realized and interpreted by dream interpreters.  Shahnameh as a singular literary work is no exception in this regard to an extent that this recurring feature can be considered as a motif.  Sometimes these dreams are fully realized, at times half come true and other times are totally symbolic.   Jung’s individual and collective unconscious arguments and traditional dream interpretation approach are applied to Siavash’s dream in Shahnameh in order to arrive at an interpretation so that it can be compared with the interpretation provided in the narrative tale.  The method of research in this article is analysis and comparison.  In traditional dream interpretation, every single symbol in the dream is interpreted according to the Persian and Islamic dream interpretation books, but in the Psychological dream analysis section first in view of Siavash’s life, personality and his temperaments and also in view of Jung’s free association method, the symbols in his dream are analyzed, then in the final part the structural similarities of this dream are compared with a certain ancient myth.   The result shows that irrespective of the approaches applied, the perfect juxtaposition of symbols in the dream are well in accordance with the natural trend of the tale in Shahnameh.

The concept of cultural semiotics are existed by semioticians as the first concept that needed more consideration in cultural elements gathering respect. This knowledge provides deep understanding of ones and others culture by use of cultural elements. Shahname of Ferdosi is one of good examples between multi-cultural texts by dealing with different ethnic groups. So we try to consider the story rejection and expulsion of Siavash in cultural semiotic respect and his position from his and others point of views by descriptive and analytical methods in this study. This study wants to specify why Siavash is known among his family and also others as a stranger. We want to expand the scope of cultural semiotic studies and also use the analytical tools in related text. The results show that  Siavash is known as a stranger not only between Tooranian (as others), but also in his home land. From the point of view of one of his relatives (his father), he is a problematic person and should stay away from government. In this respect he is known as others.

This paper attempts to suggest some scientific criteria for investigating what details have been added to his classic text because of some irresistible metric forces. In this research, we assumed that Ferdowsi had not changed the content of his source except for metrics. Hence, for finding how and why these changes have occurred, we have selected 1000 stanzas from one of his stories called Siavash. Then, we have specified the stanzas affected by metrics, and their sentence changes (not lexical) are analyzed. We have analyzed what Ferdowsi had added both from the syntagmatic point of view and paradigmatic point of view. Consequently, the most significant effects of metrics on Ferdowsi’s narration are “Langauge Extension” in the syntagmatic axis and “Ironical Language” in the paradigmatic axis. In order to explain the changes that are observed in Ferdowsi’s version of the story, it is compared with the version written by a famous writer, Sa’alabi.

Narrative process and its narrative mechanisms help the reader make sense of the way events happen in a story. Using repeating images in the text of a story is a method of narrative development.  In Shahnameh, dealing with the world and images it gives rise to is one of the central motives of the text. The narrator in different parts of the poem seems captivated by the image of the world and this fact impedes narrative progress. This article intends to analyze “the images of the world” in “the story of Siavash” in Shahname from Gerard Genette’s perspective, employing his five narrative features. This narrative by the use of prior narration, repeating narration and focalization presents an image of the world, this technique also pinpoints the way a specific image of a special theme has the potential to reduce the speed of reader comprehension by tampering with the order of events narrated or actions or by disrupting narrative time, and as a result it can boost the texts suspense or the reader’s interest in knowing how the events will evolve.

Sacrifice is a religious custom spreading among different folks and nations with various purposes. Many religious traditions recommend killing an animal in order to stay away from disaster or to avert it. Some scholars take into account that the killing a camel ordered by Esfandiyār in the story of Rostam and Esfandiyār, and also the killing of Siavash by Afrasiyab and Sorkheh due to command of Rostam are amongst the types of sacrifice. The present research which has been conducted in a fundamental way, based on library studies and descriptive-analytic method has tried to show that there is no ritual sacrifice in the story of Rostam and Esfandiyār (killing a camel by the order of Esfandiyār) and the story of Siavash (how to kill Siavash and Sorkhe). To clarify this issue, the story of Rostam and Esfandiyār and Siavash in Shahnameh has been analyzed after analyzing and defining the sacrifice custom. Finally, there is no sign of sacrifice in these two stories, and killing a camel in the story of Rostam and Esfandiyār is a kind of apotropaic magic.

In Carl Jung's theory, ‘persona archetype’ or mask is a guise that any person uses in connection with Expectations and social, cultural and traditional standards and replying within archetypal needs. In fact, persona is a role that society expects an individual to play and its aim originally is to influence others and to cover individual's real inner nature. Persona is individual's social character against his private character that he presents to the world unconsciously. In this descriptive-analytic article, we have studied persona archetype in dialogues and encounters of characters of the Siavash story in Shahnameh of Ferdowsi. It has been shown in this article that Siavash and Kavoos do not face the harmful mask in their talks or behaviors due to having godfather qualities. In the article we have presented that main character of the story, Siavash, hasnt any dialogue and encounter combined with persona, conversely, most dialogues and encounters by using persona archetype are from two malevolent characters of the story, Sudaveh and Karsiuse and all their persona are devilish and negative.

The Tragic story of Siavash is one the significant and remarkable stories in Firdausi’s Shahnameh. In this article, the authors will study this story through the lens of Critical Discourse Analysis and based on Van Leeuwen’s network of Social Actors. This is to show how social interactors have been portrayed and see how the poem has reproduced and represented the discourses by linguistic parameters. To this end, dialogic couplets have been singled out, categorized and analyzed. The findings show that Firdausi has equally used latent and manifest parameters. Therefore, concealment of the narrators is as important as characterization and the development of the setting. Moreover, although the story of Siavash is an ancient narrative, it carries with itself Firdausi’s worldview and his emotional, ideological overtone and thus represents Iranian’s idealism, their zeal for identity and conflict between Good and Evil and the final triumph of the Good. The death of Siavash entails the vengeance of the Iranians, and the birth of his son, Keykhosrow, brings about the victory over Afrasiab.

The story of Siavash is one of the most tragic stories of Shahnameh which has a great potential to be studied in different ways. Furthermore, it contains some of the principal messages regarding national epic and Iranian myths, like the battle between good and evil, Iran and Aniran, fighting the dirt and filth in human soul, and etc. One of the theories that has a psychological approach to the analysis of literary works, and seems appropriate for analyzing this story is the theory of Abjection introduced by Julia Kristeva, a post-structuralist critique, based on this theory, the poet or writer projects the filth and dirt in human souls through the text. The story of Sudabeh’s sinful love, Siavash passing through fire to prove his innocence, and his tragic death in Touran are some of the obvious aspects of the story that makes the theory of abjection appropriate for the analysis of this story. Therefore, in this article, the story is analyzed focusing on the such elements of the story like Sudabeh’s love, and other events that led to his tragic death. The article tries to answer these questions: how much is the application of this theory efficient in this story? Is it possible to achieve a new analysis by applying this theory? The results are as follows: Using Kristeva’s theory of Abjection in the analysis of this story can provide us with an explanation, and a novel reading of the story from this point of view. It also provides the readers with a new judgment about Ferdowsi, the poet of the story.

This study poses a literary-psychoanalytic theory based on the Freud's opinions. In short, the basis of this theory is based on the answering of this question that whether by a psychoanalytic criticism of Siavash's Story it would be a link between the events in the middle of the story by changing the moral precepts of the Iranian people? With this approach, a modern literary- psychoanalytic theory in line with the above question is raised: Siavash is the victim of a moral transition of Iranian people from the Instinct - based Provisions of the King. A theory that its producers benefit from the psychoanalytic Criticism of Siavash's story as a tool to prove it. Based on this theory, events like Siavash's life and death challenge some parts of beliefs that were embedded in the mind and conscience of the people. The most important of these embedded beliefs in conscience was that King's verdict at any time and order is moral and it was because the provisions of conscience on that time were influenced by royal provisions more than anything, a topic which is challenged during the story of Siavash and prepares a condition of crossing from the king's conscience of Iranian people to the post-royal conscience of Iranian people.

Description is one of the effective tools for portraying the constituent of existence what and how and social life, as the speaker has experienced. Although description is bond to the all poetic genres, it is firmly bond to the epic poems. For this reason, Ferdowsi, used it more in his epic as poetic visualization and imagery. But in this paper, Ferdosi’s virtuosity in reality description has been exclusively evaluated in Siavash story. It will be appeared that the Toos wise sage is using description both in the horizontal and the vertical axis of the story. This means that sometimes he uses the appropriate adjectives to people and things for better expressing and visualizing their features, sometimes, providing an accurate picture of persons , the scenes things without using adjectival compounds. Demonstrating the power of Ferdowsi in description, at first we take a look on his description from the perspective of "instructions" point of view and then we pay attention to the application of the description in siavash story. We tried to explain its role and visualization on Ferdosi’s view during the story, as well. Description aesthetics is also so important in the story of Siavash . However aristocracy description elements that are part of life of Siavash and other characters are of other categories in this article. The data for this study are analyzed, described and reported with qualitative methods. The numbers near the bits or parts of verses refers to the number of verses of Shahnameh.

Characterization as one of the important elements in telling story exists in Shahnameh’s stories proportionate to the subject and according to the principles and techniques of modern storytelling. Effective processing of each character causes a deeper relationship between addressee and story، until the characters come out of the legendary and epic worlds and they get embodied in live and tangible images related to the real world toward the addressee. Thus the story of Siavash is a suitable area for presenting Ferdowi’s talent in the ways of storytelling. The present study attempts to analyze Ferdowsi’s capacity in characterization، the ways of introducing characters and characters'' actions and reactions. It also investigates characters’ responses in different situations which show us the deep perception of story. From psychoanalysis of characters we understand the introverted psyche of Siavash، paranoia of Kavoos and psychopathy of Garsivars. We can also mention the use of different types of defense mechanism such as mechanism of displacement by Rostam and Siavash، mechanism of regression and aggression by Garsivars and mechanism of compensation and projection by Soodabeh.

Despite many obstacles and difficulties, FerdowsisShahnameh, as a literary masterpiece and record of national identity, entered the lives of people right after its publication. Thenceforth, generations of people have chosen different forms of preserving this masterpiece, according to their time and lifestyle. Minstrelsy or performance of Shahnameh is among these forms. This famous and ancient form, despite all its values, is giving its place to new dramatic forms. Shahnameh's artistic language and its dramatic aspects has given modern artists the opportunity to form its stories into other literary forms, including drama. To show the strong dramatic aspects of Shahnameh, we have chosen five plays derived from the story of Siavash in Shahnameh. To identify and analyze the values and the shortcomings of these plays we have applied Wagner's categories of imitation. This study shows that the playwrights are usually inclined to interpretive imitation, and that comparative imitation and displacement are done not according to the general audience, but according to the modern tendencies in literature an art.

The story of Siavash is one of the most important stories of Shahnameh. This story can be analyzed from anecdotal، ethical، romantic، psychological، and political perspectives. This study adopts a descriptive-analytic methodology to investigate the role of politics and power in this story from a psychological outlook. This paper is made up of two sections. The first section addresses the characterization of Sudabeh and Siavash from a psychological perspective. The second section deals with motives of power in the plot and conflicts of the characters that are analyzed based on their personality types and psychological issues. Due to her dynamic character، Sudabeh persuadesSiavash to abandon Kai-Kavous'' court. On the other hand، Siavash has a cautious، skeptical and careful character، and، due to this kind of personality، he cannot develop a good relationship with Kai-Kavous and Sudabeh، nor can he demonstrate an appropriate behavior. Afrasiyab، suspicious of Siavash، orders his killing، and Garsivaz intends to take revenge on Siavash after feeling the inferiority complex caused by him.

Having tales with modern features، the greatest epic work of Persian literature opens the way for testing، contrasting and comparing modern literary theories. One of the best methods for analyzing and morphological classification of Shahnameh’s stories and mythological and epic tales can be found in Vladimir Propp method. Using his method، this research focuses on the action of characters and analyzes “Siavash tale”. The main hypothesis of this research is to compare that tale with Propp’s theory. In this article، it is shown that such narrative is in complete harmony with functions proposed by Propp، notwithstanding some little displacements in the actions of characters. Actions have been divided among the five main characters and “calamity”، “deceit” and “hero” actions are inseparable and repeated elements of the tale. The process of the tale is moving from calmness to the climax of disaster via three moves and these moves، in spite of their different theme and form، have a single structure.

Shahname authored by Ferdowsi is one of the significant epics in the history of literature. It is truly an epic which wherein a narrative style as a main feature of epic works deployed is to convey the intended meanings and purposes of the poet. The impact the story elements exerts on readers itself represents the cognizance of Ferdowsi to depict the story and its elements. The telling and firm narrative cohesion of story elements is the conspicuous feature of this unique literally masterpiece. Dialogue known as a core ingredient of contemporary literature has effectively been established in multiple stories of Shahname. Inner monologues, mutual utterances, lateral written dialogues, documentary-allegorical dialogues, interaction, and talk shape a wide range of dialogues uttered in Siavash. This diversity bears a close relation to other elements such as plot, complication, resolution, depiction, and more importantly, to conflicts and character presentation. This study explores the element of dialogue and its role in Siavash story.