جستجوی مقالات مرتبط با کلیدواژه « arash the archer » در نشریات گروه « ادبیات و زبان ها »

The interaction and correspondence of a set of linguistic, literary, narrative, and discourse elements form a network of relationships with varying degrees of influence in connection with the text. The combination and integration of the views of theorists in linguistic, discourse, and narrative fields prevent the researcher from giving a one-sided account and pave the way for achieving more desirable results. In this study, using an integrative approach, we have attempted to present some of the most important linguistic, discourse, and narrative elements as effective factors in meaning formation, and to describe the position and the role of each of these elements in the text to understand the intra- and extra-textual aspects. To this end, the present research based its analysis on Halliday and Hasan's three-tiered theory of linguistics (context, agents, and mode of discourse). It also referred to Riffaterre's views for the description of the discourse context in poetics. Regarding the narratology, reference has been made to some statements of structuralist narratologists, and finally, for the description of discourse agents, Van Leeuwen's (2008) views on discourse and actors have been utilized. The results of the research show that firstly, the foundational theme and discourse context in Arash the Archer's poetry is the reproduction of the anticipation and hope for liberation through the emergence of a hero and savior. Secondly, the agents (actors) of discourse are divided into two main categories: the agent of action and the recipient of action. Arash, in the role of the sacrificed hero, is the agent of action in the narrative, and the people of the city, who are passive and waiting, are represented as the recipients of action. Thirdly, due to the specific discursive and ideological field to which Kasrai belonged, he omitted the ‘king’ character in the narrative.

Arash the Archer (Ārash-e Kamāngīr in Persian), a narrative poem by the Iranian poet Siavash Kasrai, is one of the favorite poems among those interested in the Persian literature. The poem deals with universally attractive themes such as homeland, heroism, chivalry, and self-sacrifice, the novelty of which is never lost. These features make the poem rich in meaning and constantly make it apt for analysis and writing. In this research, which adopts a descriptive-analytical method, the poem is analyzed by the application of isotopy and the actantial model, concepts introduced by the French semioticain, Greimas. The high frequency of words in the semantic field of light and that of the semantic field of darkness in this poem can indicate the idea that alongside the physical war between Iran and Turan, a clash between light and darkness is also present in the poem. Considering light as a symbol of knowledge and darkness as a symbol of ignorance, from a semio-semantic perspective, this poem represents a clash between knowledge and ignorance on the one hand and light and darkness on the other hand. The results of the research show that in Kasrai’s narrative of the ancient epic of Arash the Archer, Arash is represented as a unique hero who is different from many other famous heroes both in action and character. The findings also indicate that in this poem an ancient myth has been represented in a modern and realistic fashion. In this narrative poem, Arash is represented as a hero whose actions, unlike those of many ancient heroes, are directed not by hubris or wrath, but by reason and wisdom.

One of the methods for review of literary texts is formalistic glance to worksliterature. this way, Meanwhile, close delaminating on the components andelements of the text, relying on frequency and connections between literary figureor form components are checked. The authors of this paper a briefintroduction contains information about the life and poetry of Siavash kasraie, byformalistic looking, while reviewing elements of Arash the Archer text, try inthree major fields : A - aspects of language, b - rhetorical aspects and (c) - anarrative poem the coordination or lack of coordination among its componentstheir system. This long poem is important from different aspects of language,grammatical, stylistic, morphological, syntactic, semantic, musical, rhetorical,literary, political, social, and show its values, requires a careful examination of allaspects such as the way of author, have adopted.

In the historical texts written in Persian and Arabic in the first four centuries of Islam, only in two books, Shahnameh of Ferdowsi and Ghurar Akhbar Muluk of Tha'alabi, the Nowzar's kingdom is mentioned. Most historians after Manouchehr refer to the kingdom of Afrasiab and Zav (Zaab) and never refer to the kingdom of Nowzar. On the other hand, the story of Arash the Archer (Kamangir), which many historians consider to be in Manouchehr's kingdom, is not included in Ferdowsi's Shahnameh, and Ferdowsi does not mention Afrasiab's campaign in Manouchehr's period. Arash's name is only mentioned in a few scattered verses in various of Shahnameh's stories. This research seeks to answer the question of whether there is any connection between the absence of Arash's story in Shahnameh and the lack of Nowzar's kingdom in historical texts. According to the evidence, it is possible that the kingdom of Nowzar was not in Khodaynameh and the authors of the Shahnameh of Abu Mansouri narrated the story of the kingdom of Nowzar from another book. On the other hand, the story of Arash the Archer has not been mentioned in Abu Mansouri Shahnameh and consequently in Ferdowsi Shahnameh; otherwise, the Zoroastrian priests should have noted the Afrasiab's kingdom in Iran for the two periods of time, and this was in contradiction with historical narrations.

In stylistic analysis of text and viewpoints of the poet, it is important to examine and identify “categories of modality and syntactic voice” of the layered stylistics structure. The purpose of this paper is to understand the correlation between modality with meaning of speech, degree of certainty of lyrics, and determination of the poet's words. In order to discover the relationship between the poet's language and his insight and worldview using a descriptive-analytical method, three syntactic modality variables including verb, adverb and adjective as well as two active and passive syntactic voice were examined in two valuable collections of contemporary poetry, Arash the Archer and Derafsh Kaviani. The research findings indicated that there is a consistent and complementary relationship between syntactic structures and speech content. Indicative mood, as a dominant mood with definite degree of expression, makes statement about Arash the Archer and Derafsh Kaviani. With great interest and based on the needs of society, Kasraei and Mosadeq tried to restore those myths. Passive voice is the most frequent syntactic voice. However, in the texts of this study, as the sentences with intransitive and copular verbs cannot be passive, they work in the opposite way of diagnostic criteria so the active voice overcome the passive voice and adds to the authoritative power of the speaker's words. Four stylistic components – dynamic poetic syntax, emotional and idealistic stylistic form, two views of hope and disappointment, and overt and covert position – are created by the confluence of two syntactic layers.

The purpose of this article is to explain the descriptive characteristics of the poetry book of Arash, the archer composed by Siavash Kasraei according to Nima Yushij’s descriptive theory.  Since description is one of the main tenets in Nima’s poetic theory and also because Kasraei is a follower of Nima’s poetic style this article is concerned with the study of this poem from this perspective using descriptive analytic method.  The results obtained show that different themes such as nature and its elements, characters, abstract phenomena, time, place, and objects are described in this poetry book. Expressive devices employed in these descriptions fall into two groups of poetic and grammatical ones, the latter used with higher frequency than the former.  Among the grammatical devices adjective has the most frequency in describing different subjects, and amid the poetic devices simile and personification have the most frequency.  Since employing adjective and simile are regarded as the elements of description, therefore it can be concluded that Kasraei’s poetry book is a descriptive one.  One interesting feature of this work is the application of many different descriptive devices to express one single theme.  Sometimes on the other hand he uses one device repetitively in describing different themes.  In general it can be said that Kasraei had been under the influence of Nima’s descriptive theory in composing this collection and had profited from its precepts.

Linda Hutcheon points to the formation of a new genre in postmodern literature which is called "historiographic metafiction". In this writing method, narrative techniques such as introspection, irony, anachronism, and intertextual references are challenged to ensure the history and feasible narrations replace dominant narrations. This writing apparently supports the thought that the existence and nature of realities and not a reality itself should be accepted, and the term "reality from other's point of view" can be used instead of “unreal”. In reading out mythical history of Iran, Bahram Beyzai in the same way attempts to paraphrase and then recreate the text to crash the strong internal foundation of the story. Beyzai believes that myths do not have a solid form. Beyzai's Three Recitations try to readout three mythohistorical stories. The second recitation is related to Arash. Although the exact historical origin of Arash the Archer is not clear, he has been presented in a two-thousand year period of myth/history of Iranian beliefs and writings. The purpose of this comparative study is to find special literary techniques of historiographic metafiction in Arash recitation. Findings obtained from analysis show that Beyzai has removed mythical aspects of this story by critical political-class point of view and by utilizing postmodern literary tricks and then has given new roles to them through a new narrative arrangement. In this study, the mythical and historical importance of Arash in pre- Islamic writings and its effect on the Islamic era literature is studied after investigating the historical identity of myth in Barthes' semiotic system and postmodern literary features from Hutcheon's point of view, and, after that, Arash's recitation is analyzed by relying on intertextual references, differences in versions of historical resources and utilizing historiographic metafiction narrative techniques.