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

Trees have special importance in Persian poems. Cultural, religious, mythical, ethical, mystical, and political elements have propositions influenced by trees. Following water and the sun, the tree is an important phenomenon from which special literary elements and situations are created. The creative ways of connecting natural phenomena with human elements have been highlighted by the emergence of various political events in the last century on the one hand, and the creation of many artistic ideas and styles on the other hand. The tree image has found a new and multifaceted effect in modern poetry. Modernist poets give special roles to non-human elements and among these, the tree is a human-like mirror image that shows the evolution of human society in its stature. Using the library method and based on an analysis and explanation of poetic evidence in the thoughts of selected poets the current research revealed that the tree could be an image of personal failures, love, a medium of perception, an indicator of freedom, a representative of an ecosystem, a symbol, a sign of death and nonexistence, and a reflection of tyranny and a denial of human existence under the rule of tyranny.

Comparative studies of the poems of great poets assists in the affinity among different nations and the recognition of their outlooks and sometimes under the aegis of these studies, the possibility of better understanding of their poems and their effective criticisms is ensured. Sohrab Sepehri and Octavio Paz are among those poets who, due to their excessive interest in the culture of India and world mythology, have a similar poetical approach specially towards the basic elements of the entity, tree, water and light and since in mythological context these elements have a coherent relationship, they have been appeared with a same function in the poems of Sepehri and Paz. In this study, the functions of these natural elements in their poems have been studied and expressed in a descriptive-analytical method. Both of these poets, using mythological construct, have reflected the union between the human and tree, the union among tree, water and light, and the union between water and light, and finally the deep relationship among human, tree, water and light have reflected in a similar poetical utterance which understanding this not only helps in the analysis of many of the odd and weird poetical compounds of these two poets, but also in the demonstration of their poetical pulchritude and under the aegis of this study the link between Sepehri and Paz from a poetical and mythological approach is revealed.

The current paper is a phenomenal semio-semantic study of the tree in Iranian modernist paintings. The motif of the tree would escape definition if confined to its semio-semantic dimension. That is why the present study intends to find new meanings for the complicated motif of the tree within the visual frameworks. The focus on the visual elements is central to this semio-semantic method. Interestingly, some Iranian modernist painters were preoccupied with the phenomenon of the tree in different forms. I have selected some works by Davoud Emdadian, Abulqasem Sa’idi, and Abdullah Ameri Alhosseini (picking two works from each artist). Along with the desk research including library and online sources, the data have been collected and analyzed according to the semio-semantic approach. The data shows that the becoming agent A/painter represents the motif of the tree by drawing a connection between the sensory-perceptual and the esthetic functions. Moreover, in the discursive processes, the becoming agent A/painter takes the advantage of elements such as the event, becoming, tension, phenomena, and body. The becoming agent B or the interpreter’s repetition of the process, during the passage through different layers of meaning and culture, re-creates the meaning of the tree as different layers are accumulated.Keywords: semio-semantics, phenomenology, phenomenal semio-semantics of the visual, tree

Plants, especially trees, have always had a symbolic presence among various religions and denominations. An example of a tree is full of mysteries that humans are a part of, or rather the central part of this image. The tree is a kind of link between earthly and celestial elements due to its distinctive properties. Suhrawardi and Rumi, by combining the mythological and mystical features of the tree, created an image that is multifaceted, evasive, ulterior, and at the same time comprehensive of opposites. In their works, they used the image of the tree to express various meanings and concepts. In other words, the tree has been used as a single image for several meanings. This article tries to study the image of the tree as an image that is a constructor of meaning and at the same time the life and worldview of the mystic with this image and the like by defining descriptive and analytical methods and relying on the allegorical stories of Suhrawardi and Rumi's Masnavi. It becomes

There are various theories about what is holy and is unholy, and their causative agents. Generally, due to these theories, it can be said that communication with supernatural forces, differentiation, perfectionism, and being free from any contamination, are the most important holy attributes leading to a sense of fear and attraction in believers. These attributes in the Islamic culture go back to the nature of God, and accordingly, the creatures are sanctified to the extent that they possess this divinity. Based on these definitions, one of the holy manifestations can be the tree. The nature of the tree as a masterpiece of creation has always been admired and respected by various peoples, as much as it has been praised as a totem. Accordingly, this article attempts to examine the concept of holy issue, methods and holiness factors of the tree in the popular culture of the people in the field of civilization of Halil Rood. 

According to the field of study of this paper - which is popular culture – the method of collecting data is the field method. In this way, the authors have gathered information on this subject by attending among people and visiting holy places and phenomena. The research method is also descriptive and analytical method. It means that firstly by describing the holy phenomena, the characteristics of the holy trees are shown. Then we analyze the reason and condition of the holy issue according to a semiotic approach. "Semiotics is the study of everything that points to something else. Semiotics is associated with the production of meaning and representation- as the Meta-analysis- seeking to show how meaning is constructed through the interaction of signs with one another. Meaning is influenced by systems and codes, so it is necessary to reach the methods of meaning, to obtain the codes or systems that govern the phenomena or texts. Accordingly, the goal of semiotics is to classify and regularize the structure of texts in order to achieve systems that consciously or unconsciously create meaning in the texts. Myth, too, has a very high capacity for semiotic analysis because it wants to provide a symbolic response to ontological and metaphysical ambiguities. Myths consist of signs that symbolically represent the ideal human world. Although different myths differ in details, but derived from human mind, it can admit that they are similar in structure and pattern. The holy issue- as already mentioned - is the basis of religion and mythology, which has manifested itself in various forms and traditions in the mental structure of man and mythology. Accordingly, the semiotics of myth is an attempt to achieve the unifying structure of the human mind and the integration of its mental products. From a semiotic point of view, any phenomenon that enters into the mythical structure, based on the contradictory structure of the human mind, enters into one of the holy antithetical categories, and accordingly constitutes a part of the myth as a whole. The holy and the unholy are also understood in this way through the contrast.   

  Sanctification (holiness) is a kind of cultural process that connects man with the meaningless nature in a supernatural sense. So every sacred thing is as a material symbol that is accompanied by an immaterial (spiritualistic) sign. This transforms sanctification into a process of sign that is achieved through the co-existence and succession of signs. The Sanctification of the tree also has a symbolic mechanism. It means that the tree, through its succession and communion with the sacred phenomenon, transcends its material status and becomes an immaterial (spiritualistic) phenomenon.   Old age and greenness are the factors that can distinguish one tree from the other, and this distinction gives the tree a new and unmistakable image and brings it into the sacred structure. This distinction results in the "perfection" of the tree. One of the trees with this feature is the cypress tree. Being old and green as a distinctive and natural characteristic of the cypress and its association with saints such as Prophet Zoroaster is one of the main factors of sanctification of the cypress in Iranian culture. Trees and other plants, not through themselves, but for the sake of what they discover, become manifestations of power and take on a sacred aspect as a religious matter. One of these discoveries is the medicinal and medical properties of some trees. Linked to the phenomenon of human life, death, and immortality, this gives the tree a symbolic aspect.  Symbolism of the tree with the sacred and the cosmic issue has appeared in the myths in the form of the body of God in the form of a tree, depicting the plant gods. The medicinal property of the tree is the characteristic that separates and transfers the tree from the natural status to the sacred or holy status. Any phenomenon can be sanctified by being replaced by the divine, such as the old age and the medicinal properties mentioned before because it indirectly replaces the immortality of God. Sometimes the sanctification (holiness) of the phenomenon is made not by the substitution property, but by the proximity and co-existence of the sign with the sacred or holy issue. Lotus, for example, is sanctified because of its proximity to burial places or Imamzadeh or Ghadamgah for "something else" on it. In other words, by its presence in the proximity of the sacred or holy place and by the natural property of its tree (resurrection) it repeats and renews something superhuman (female fertility) and becomes a symbol and allegory as a matter of divinity. In the structure of religions, this sanctification (holiness) usually manifests itself in the form of specific individuals (prophets, imams, devotees, etc.). Any phenomenon that somehow falls into the companionship of these people can have the attributes of the sacred or holy issue. The attribution of the palm tree to Ali (AS) is one of the reasons for the holiness of this tree. In the field of Halil Rood, any tree that is in any way related to the world of the dead and the world of jinn, and in general to the mysterious forces, is taboo and sacred. This means that it simultaneously evokes a sense of admiration and fear. The source of this fear is the belief in the supernatural and evil force that exists in the tree.   

The main reason of the holiness or sanctification of the tee comes from the natural and intrinsic properties of the tree itself, such as the constant growth, renewal, and greenness of the tree that has led to an animistic and vibrant thinking about it and has found a supernatural power. In some cases, the communion and succession of the holy tree has made it sacred. From a semiotic point of view, it can be said that the meaning of the holiness of the tree is formed by differentiation and difference. That is, the distinction that creates a supernatural belief about the tree and turns it into a sacred concept. The results of this study show that this distinction and holiness in the tree is mostly made through the process of companionship and in some cases by substitution with the sacred issue. Until the tree enters into the sacred structure of myth through the human mind, it is a sign as other signs without any particular meaning, but becomes a holy and meaningful element upon entering the sacred structure. This structural character is not just limited to the tree and can encompass other broader contexts such as place, time, objects, rituals, and so on. In the cultural domain of Halil Rood, this sacred inclusive structure is present.

From the very beginning of creation, the tree has somehow been linked to human life and has played an important role in the myths, rituals and beliefs of the people; Because of the relationship between literature and mythology, the tree has also been reflected in literary texts;Marzbanameh is one of the Persian literary texts in which the tree has a wide reflection. In this paper, the mythological and symbolic concepts of the tree in Marzbanameh are studied. The authors hypothesized that the tree in Marzbanameh stories had a mythological, religious function in addition to its literary function.Based on the aforementioned idea and by analyzing the content of the stories, this hypothesis has been verified. It must be explained that ten mythological attributes of the tree Marzbanameh can be observed, such as the cosmic tree, Illumination (awareness), healing, the relationship between the tree and the fairy, relationship with the snake, the role of the tree in determining the fate, the shelter role of the tree, the relationship of the tree with the genealogy, the worship of the tree, the speaking tree. The widespread application of the mythological concepts of the tree in Marzbanameh reinforces the hypothesis that the book was written in the Sasanian era and in the time of Anushirvan. In addition, the tree's sacredness and respect for humans and its presence in their lives have been due to humans' need for the tree as a food and medicine source. The research method is descriptive-analytical in terms of library work space.

The various representations of the sanctity of tree and plant have long been recorded in mythology, literature and culture. In the culture of the Kohgiluyvu-Bouir-Ahmad tribe, certain representations of the mythology of tree and plant enjoy from evident exemplifications. These include swearing, the ritual of the freshening up the houses, the alighnment of the human race with the plant, the symbol of the death and livelihood of the local poems, and the rituals of these people. The aim of this study is towards an analysis of mythological indices of plant and tree in the Kohgiluyvu-Bouir-Ahmad people with respect to the literary facets of these indices in their folk/local poem. Being fundamental in type, using content analysis, this study has been conducted based upon library-local resources and studies. Many of the indices such as hair cutting, freshening up the house using the plant smoke, believing in the healing power of plants and vegetal pedigree of human have got mythological representation, which can also be found in the culture of ancient Iran. Swearing to the tree is done mostly by farmers, intended to put an emphasis upon the greanness of the tree and proving the truthness of his words. They use mountain plants to freshen up their home environment and to treat illnesses. This is believed to remove the evils.

The conceptual metaphor of “the universe is a tree” in three mystical texts of the Perfect Man by Azizedin Nasafi, Morsad al-Abad by Najm al-Din Razi and Education by Baha'valad will be examined in this paper. The research questions are: a) Which of their mystical-abstract experiences about the universe have the authors elucidated deploying the territory of the tree? b) What corresponding pairs have been shaped through interaction between the source and target domains in the conceptual metaphor? To answer the questions, the researchers initially examined the texts inductively and extracted instances of application of the conceptual metaphor, "the world as a tree". The research data was then analyzed using descriptive-analytical method. The findings indicate that the authors have utilized the conceptual metaphor to express concepts like the origin of creation, inherent monotheism, perfect man, puberty and liberation, the origin of spirits, the origin of the universe, the unity of existence, death, and resurrection. Some of the corresponding pairs in the studied works are derived from mapping tree and its components onto the abstract phenomena of the universe, including “tree/universe, creation and existence, earth and sky (metaphor for world), human body”, “fruit/human, the Prophet Mohammad (PBUH), human soul”; “seed/first intellect”; “Mohammadi soul; sublime divine essence”; “fruit growth and ripening/reaching perfection by human”; and “fruit separation from tree/detachment of soul from body”.

In Persian classic literature, Nizami Ganjavi is the most prominent poet of lyrical poetry, and his Panj Ganj (Five Jewels) are well-known and have great importance. Among these five books, Haft Paykar is an outstanding one, because its legends and fables present myths, symbols and codes to the reader. Every described character, region, planet, dome and color, have a symbol or code. Among these myths and symbols, vegetables, especially trees, are most salient. Some of the symbols can be found in the myths of other nations, but some of them are special and unique to this book. Using descriptive-analytical and library methods, the authors of present article attempt to examine symbolic trees in the legends of Haft Paykar.

Fairy Tales are a part of popular tales that are full of great and wonderment events. We can unlock thoughts and beliefs which are rooted in human unconscious and have a sublime status in nations’ cultures by reflecting on these tales. Herbal myths are among these beliefs. The article reviews Iran fairy tales from “Dictionary of Iranian Myths” book which are classified in magic and witchery stories No. 300 to 749 in Aarne–Thompson classification system with library method; and it also unlocks constructive elements of these tales with descriptive-analytic method; after these, we analyze the thought of plants’ holiness and presence of herbal heroes which are a various form of herbal and productivity gods. High frequency of believing in wish tree and its related stories, emergence of fairies and humans through trees and plants shows effective presence of plants’ holiness and hidden link of human and plant in Iranian fairy tales.

Tree is one of the nature's phenomenons that is sacred by the nations even at present. This phenomenon that engrafted into light and knowledge, in Holy Quran is joined with origin of creation in many myths and engrafted into light and illumination. This accompaniment of illumination and tree is appeared in sohrab's poem. In his poem, thisaccompaniment is started from origin of creation, that in Iranian myth from rhubarb and in Indian myth from water – lily and in Japanian myth from one pipe; and continues to description of spiritual way. The poem of Neshani is culmination of this accompaniment that started from poplar and culminate, in nest of light upwards the pine.

The purpose of this research is to study the hostile behavior of Ahriman in destroying Ahura Mazda and his good creations, specially the creation of man. This hostility also continues in the reign of Jamshid. One day Jamshid sat upon a jewel-studded throne and the Divs who served him raised his throne up into the air and he flew through the sky. Feeling proud of what he saw, Jamshid began to forget that all the blessings of his reign were due to God. He was deceived by Ahriman into belittling God and telling lies and doing evils. As a result, he lost his wisdom and the divine Excellency (Farr). From that time onwards, the Farr departed from Jamshid, joined and united with Fereidoun. Zahhaak, the ruler of Arabia, under the influence of Ahriman, attacked Jamshid, and brutally murdered him. Their purpose was to attain Farr, but they never attained it. In the end, the behavior of Ahriman and Zahhaak, led to the symbolic death of Jamshid and the descending of his soul into hell.