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

Examining and analyzing text contrasts to achieve the nature of the central concept in a work through dual contrast analysis is one of the methods of studying texts in the constructivist method. Claude Levi-Strauss is a constructivist linguist who believes in bipolar opposition or semantic opposition. Based on the confrontational attitude, many of the stories of Shahnameh are formed from dual confrontations; The main purpose of this article is to investigate the contrast between the two stories in the historical part of Shahnameh based on Strauss's constructivist theory.

In this article, the authors have emphasized the descriptiveanalytical method based on the method of document mining and library studies in three stories of the historical part of Shahnameh, namely the story of Bahram Gour, Khosrow Anoshirvan and Bahman.

The findings of this study show that in the historical part of Shahnameh, under the influence of its mythological part and also the concept of duality in mythology, we are still faced with the infrastructure of dual contrasts to historical events.

The findings of the study indicate that the confrontations in the historical part of Shahnameh such as the confrontation of justice and oppression, Iran and Iran, the battle between good and evil, the confrontation between father and son or confrontation with predatory and wild animals all serve as general confrontations. And in order to strengthen the fundamental reciprocal aspects of myth, that is, the idea of good and evil.

The story of "Rostam's death" in Shāh-nāma and Ghorar-assiar Tha'ālabi is different from all other sources. In these sources, there are four narrations of Rostam being killed by Bahman: natural death, the death of both opponents at the end of the war with Esfandiār, and being killed by “Ŝoghād/ Ŝaghād”. The source criticism of the story of Rostam and Esfandiār shows that it did not exist in Khodāy-nāma. The difference between the narrator of the story (Azād-sarv) and the narrators of Abu Mansouri's Shāhnāma and the anonymity of Ŝoghād in the sources has obscured the origin of the story. This article, considering the continuity of ancient contents in the folklore sources analyzes the role of Bahman in the murder of Rostam in narrative scrolls and epics. It also investigates an episode in Khāvarān-nāma of Khusfi (15 AD), which depicts Rostam being thrown in the camouflaged wells of Bahman. Finally, this research has proved that the killer of Rostam, in the oldest sources, was nobody other than Bahman, and in order to reduce the humiliation of being killed by a Kiani king, his guilt has been projected on the betrayal of a half-brother.

Based on the report of Shahnameh, “Gushtasb”, the Kiani's king, announces that his condition for giving power to his son “Esfandiar” is arresting of “Rostam”. Rostam kills Esfandiar in a battle. Before dying, Esfandiiar ask Rostam to teach his son, Bahman, the royal and martial arts. Later, Bahman returns to his grandfather and at this time, Gushtasb calls “Jamasb” and tells him that he intends to step down from his monarchy. The purpose of the present study is to investigate how power is transferred from “Gushtasb” to “Bahman”. This article examines the events that took place after Esfandiar's death which were recorded in various sources. The events is show that “Gushtasb” was ousted in a public uprising by the royal family and under Bahman's supervisor. For the Sassanid kings who extended their ancestry to the Kiani's Bahman, it was not pleasant that the others read the story of a coup against Gushtasb. Therefore, they have deliberately sought to demonstrate that it was a peaceful power transition.

Ancient stories and folktales are one of the most appropriate contexts for the manifestation and continuation of the life of gods, goddesses and Amesha Spentan; they continue to live in different forms through metamorphosis. Khosrow and Shirin, composed by Nizami Ganjavi, is a famous tragic romance which its main source is local narratives. The mythical figures and characters of ancient Iran are present in this book. By using descriptive-analytical and comparative method, the present research tries to examine the characters of Khosrow and Shirin including Hormizd, Khosrow Parviz, Mahin Banu, Shabdiz, Golgoon, Shirin and Shapour, and to compare them with Amesha Spentan including Vohu Manah, Asha Vahishta, Kshatra Vairya, Spenta Armaiti, Haurvatat, Ameretat, Anahita and the god of wind. The results show that the characters mentioned have much in common with Amesha Spentan. Also, the book provides a platform for the presence of the ancient Iranian gods, goddesses, and Amesha Spentan, and it should be considered more than just a collected lyric poetry.

Azar Burzin, the son of Faramarz, is one of the famous heroes in epic texts after Shahname. In Bahman Name for the first time he appears without any introduction in the story and then after taking revenge on Bahman he disappears. In other epics like great Faramarz nameh and Shahriyar Name, stories about how Faramarz got familiar with Azar Burzin’s mother and even in Shahriyar Name, Azar Burzin future is predicted. Furthermore, in some narrations carried out by narrators of Shahnameh and some of folklores, various points about his life have been stated. Although in all these narrations about Azar Burzin one can find a structure similar to the story structure of Bahman Nameh, some additions have been made which have no realities in old narrations. However, these indicate that Faramarz and his son Azur Barzin have been famous among the people.
In this article, the author has tried to study the narrations of Azur Barzin from his birth to his death and paid particular attention to his war with Bahman Shah.
After this accomplishment done by Azar Burzin, the author has concluded how Azar Burzin as a hero disappears from the national stories and in turn the stories about heroic events got finished.

In the 12th paragraph of the 33rd Zand of Yasna, the name of the god “Bahman” has been followed by the adjective griftAr and another word whose spelling and meaning are not so clear. griftAr has been rendered “acceptor” and “recipient”. In this article, with respect to the meanings of griftan and griftAr, it is suggested that griftAr is a passive participle and its meaning is “perceivable”. The connection between this adjective and Bahman will be demonstrated by surveying sentences and phrases from Middle Persian texts. At the end, it will be proved that this word and that one which follows it, should be read griftArOmand and this latter one be rendered as “perceivable”.

The story of Bahman in Shahnameh, despite the apparent independence, isn’t an independent narration; and In fact, it is a part of the main story of Rustam and Esfandiar; but the story, independently, becomes the subject of "Bahman-Name" of Iranshah ibn Abelkhayr and "Bahman and Faramarz" of Nowshad of Abolvafa , famous Lak poet in the Safavid era. The adventure of Bahman in Shahnameh is a brief story. In this story, after Bahman's Enthronement, he has attended to his animosity of the house of Rustam. He addressed there to Bahman's enthronement, his campaign in Sistan (to vengeance of Esfandiar), captive of Zal and Faramarz war, and finally, the marriage of Bahman with Homay and his death. But narrative of "Bahman and Faramarz", is the painful tragedy and partial description about oppressed death of Faramarz. This verse book begins with a description of Faramarz's bravery; narrates Bahman's Unequal battle with him and after describing his deplorable death, describes the story of revenge of Azar borzin in a beautiful and effective narrative voice. In this paper, we are going to analyze and compare the similarities and differences between the narrative of Ferdowsi and the influence of Ferdowsi of Nowshad and also show the degree of Nowshad's independence from Ferdowsi and finally, the particular characteristics of the verse book "Bahman and Faramarz" of Nowshad. Overall, the differences between "Bahman and Faramarz" of Nowshad and Ferdowsi's narrative, are more than their similarities.

In the 12th paragraph of the 33rd Zand of Yasna, the name of the god “Bahman” has been followed by the adjective griftār and another word whose spelling and meaning are not so clear. griftār has been rendered “acceptor” and “recipient”. In this article, with respect to the meanings of griftan and griftār, it is suggested that griftār is a passive participle and its meaning is “perceivable”. The connection between this adjective and Bahman will be demonstrated by surveying sentences and phrases from Middle Persian texts. At the end, it will be proved that this word and that one which follows it, should be read griftārōmand and this latter one be rendered as “perceivable”.

Bahmannameh is an epic account of Bahman, son of Esfandyar. Dr Afifi, proofreader of this poem specifies the author’s name as Iranshah ibn Abi’l-khair, and Dr Matini proofreader of Koushnameh, another epic of this author, for some reason assumes the name Iranshan ibn Abi’l-khair to be correct. The exact date of composition of Bahmannameh is not clear and it is said to have been composed at the end of the fifth and beginning of the sixth century. Thus uncertainties still remain as to the exact name of the poet and date of its composition. This essay with reference to Mojmal-attavarikh-valghesas manuscripts, and also studying the events referred by the composer of the poem in its preface has proved based on certain evidence that the composition of Bahmannameh had already been completed slightly before the tenth of month of Zihijeh 495, and after Garshaspnameh it is considered as the oldest national epic of Iran. Furthermore the name of Iranshan despite its oddness is quite genuine. It is verified with reference to the Fiqh al- lughah and its meaning and other examples of similar names are also discussed.

Hakim Abolqasem Ferdowsi’s Shahnameh and also other heroic compositions in the Persian land have constantly been considered by the Kurd composers. One of these heroic stories briefly dealt with in Shahnameh and later in Persian literature and also in Kurdish language composed independently, is the adventure leading to the ascension of Bahman to the throne and his battle and conflict with Rostam’s family. Prominent Kurd Poet, Seyyed Noshad Abolvafaei has also versified this battle in Farsi (Moteghareb meter). This research first narrates coming to throne of Bahman and his attack on Sistan in Shahnameh, and then deals with Noshad’s Bahman and Faramarz in terms of narrative, content and events in the story.

One of the important subjects in folk literature is to compare an oral version of a text with its written version. In this article، the oral narrations of Bahman saga has been compared to its written version. Among the written texts، Bahman Saga in Shahnameh Ferdowsi، Tarikh-e-Thaalabi (The Thaalabi History) and Bahman-Nameh of Iranshah-ibn Abelkheyr، and among the oral narrations، 16 of them have been chosen. The writer has tried to show the linguistic and narrative differences between the written and oral versions of this saga. This is the first study conducted in this field.

A comparative study of different narrations of an epic, especially its oral versions would Certainly lead to a deeper understanding of its various aspects. One of the Iranian epics, narrated differently at least in three versions, is the story of Bahman's death. Bahman, the son of Esfandyar, is the first hero of the Iranian epic who is killed by a dragon. Studying the reasons of this unprecedented issue would clarify the vague points of it, because fighting with and killing a dragon has been a substantial heroic touchstone in all cultures and in different parts of the world. In the present paper, firstly the theme of killing a dragon by heroes is investigated in Iranian epics and then with the help of important characteristics of these heroes, such as benefiting from splendor, "farrah" ["glory" or divine mystical charisma], these heroes are classified in two categories. Secondly, the different narrations are collected and classified in three categories. Finally, by analyzing Bahman's death and considering the presence of Azar-Barzin, the grandson of Rostam in two different functions, the origin of the probable reasons of this grave inauspicious destiny of Bahman is investigated.

Bahman-nāme، a late 5th-century (A. H.) or early 6th-century (A. H.) epic poem، is one of those significant poems that used the Shāh-nāme as a model. This story was composed by Īrānshāh in four parts. The first part recounts the adventures of Bahman، son of Esfandīār، who، at the behest of Rostam، marries Katāyūn، the daughter of the king of Kashmir. Although generally this poem belongs to the epic genre، the first part is more lyrical in nature than heroic. In fact this part comes close to being a distinct love story. By comparing the narratives of Vis and Rāmin and Bahman-nāme، the author، in this study، is trying to show that Īrānshāh، in writing his book، not only benefited from Vis and Rāmin as a model، but he also used this book for depiction of scenes، developing the characters، selecting stories and themes، types of events، styles of narrative، parables.

Fantasy and its dimensions in literature is one of the new objects of study in the area of Persian literature especially those works which are closely related to epics and myths. Fantasy of sorcery and witchcraft are of vital features of scary atmosphere. In this article, the similar and different use of this feature was attempted to be achieved in the two epics of Garshasb-nameh and Bahman-nameh. At first, a brief introduction about fantasy was tried to be given. Afterwards, the characteristic of Garshasb and Bahman in these two epic were analyzed. Finally, by giving some related evidence, the frequency of the use of sorcery was compared in these two collections.

Literary varieties are divided into Epic, Lyric, Pedagogical, and Dramatic literatures according to content. These varieties are interfered by each other; in other words, a lyric work may have some epic episodes and there may be some signs of pedagogical or lyric in an epic work; the presence of one literary variety in another variety, sometimes, adds to the work variation and attraction and sometimes causes the interruption of tone and language in literary works. Bahman-Name (5th and 6th Hegira century) is written by Iranshah-ibn-e Abi-al-khier is one the epic poems which is not devoid of lyric aspects. Reviewing the lyric themes and their harmony or disharmony with the epic text was done in this article, since epic and lyric are so different from each other in literature. Lyric themes, available in this poem, were extracted and classified in this article which resulted in identifying 12 lyric themes like: apology, oath, praise, elegy, eulogy, gravamen, pride, lampoon, and so on. Epic tone and archaism of language is observed in these lyric themes, too. The presence of lyric themes does not partition the epic tone and this work has a unity in tone.