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

Research in the field of rituals is important and necessary because the identity of the people of a society lies in them. In this research, using a descriptive-analytical method, to investigate magic, poems and rituals in rituals, Zar, Azaim -Nashini, Kondo, Nonposh and Tabe Garmak were studied. Magic is one of the prominent elements that can be seen in these rituals. Accordingly, the rituals are examined from the point of view of George James Frazer. The results show that only the treatment of the Nun-Posh ritual is done with the magic of proximity, in other rituals, the magic of similarity is observed. In addition, poems and verses are recited in rituals that are effective in treating diseases.

In the present study, the linguistic atlas of Bushehr province is discussed, as the first linguistic atlas of the provinces in Iran. It is a collection of maps compiled to show the linguistic restrictions on a geographic area. The data collected for this study is based on the questionnaire of national linguistic atlas of Iran (105 words and 36 sentences) by Parmoon (1385); and interviews with speakers from 500 villages in the province. Then the interviews are transcribed into international phonetic alphabetic form (I.P.A). It is tried to show the aords with the least and the most dialectal diversities in the dialects of this province. It is also possible to see dialectal diversities of each word and sentence, in question, on the maps of this province in graphical forms and in different colors. Finally, the dialectal diversities of this province are analyzed and then explained linguistically.

Folk poems are an important part of oral literature, resulting from feelings, sufferings, joys, wishes, prayers and love of the public. From generation to generation, they represent the culture, thinking, beliefs and traditions of the given region and have remained intact. Due to the diversity of its climate and environment, the sea, the mountains and the plains, Bushehr province is one of the rich and popular- cultural regions. People’s life of this province has always been accompanied by many poems, from birth to death, to which these folk poems have been applied in the dialect of the population for various purposes. By adopting a descriptive- fundamental research methodology, the authors seek to identify, collect, categorize and analyze different types of poems from Bushehr province. To this end and to carry out this research, the authors used a combination of two research methods called field study and library-based. This research aims to answer the following questions: What are the most current types of folk poems in Bushehr province? What time were these poems being read? Who were the narrators and their audience? The results showed that these poems were of seven types including lullaby, game poem, work , lyric and mourning songs. These poems have always been accompanied either by music played with a special instrument, or by using voice length and different sounds which gave them special rhythm and intonation. The narrators of these poems were usually women.

Bushehr province can be considered one of the country's historic provinces. In terms of popular culture, this province is one of Iran's richest treasures. This immense treasure has increased, especially in ritual music, mourning and requiem. Due to the traditional subcultures and the particular geographical conditions of this province, folklore plays an important role. This research tries to investigate the typology of requiems analytically. Research methodology is library-based and field study. Thus the main objective of this study is to explore common folk requiems in special domains such as Senj Va Damām , Zikr , Alam, book reading, Pish Khani , Pāmenbari, chest beating , Ali Asqar lullabies, Qasim’s Hijlah , Chavosh, Rawda khwani, like Zhuljanah, Shāme Qaribān used in the mourning ceremonies of Bushehr province. In addition to the typology of requiems in Bushehr Province, the findings of the current study indicate the influence of these verses in terms of language, expression, thought, music and format on the ritual literature of this province.

The present study aims to analyze the morphology of some local stories of the city of Bushehr in Iran. These three stories, with some difference, correspond to the patterns of Vladimir Propp and are in harmony with the functions of his theory, though with slight differences. The present article mentions some of the elements that are not in Propp’s model. The novelty of this article is the reviving of the patterns of the Boushehrian stories and pointing out the differences between Iranian stories and the constructivist principles of storytelling.
This research aims to answer some of the following questions: Do Bushehrian stories have a structure such as fairy tales of other nations and other magical legends in Iran? Is the structure of these stories the same as the structure of other Iranian stories? Do these stories share similar aspects? Which aspects of the story and its functions are identical to the patterns of Propp, and which ones do not correspond? Can one choose a native pattern for these stories and refresh the symbols of its elements?
The structure and sequence of the events and elements of these stories are as follows: the time and place of these stories are as vague and unclear as the narrated story.
These stories begin with an initial condition, a problem occurs for the proponent of the story (hero) and the hero travels (becomes absent); he is struggling with difficulty; he overcomes the problem and sometimes he takes on a magical object and overcomes the wicked one; he returns to the first place anonymously, or goes to the palace that has been driven out, and the vicious character of the story is punished and the story ends well. The functions, with a slight shift, are similar to the myths, the examples of which have been given by Ms. Pegah Khadish in her book, Morphology of Magical Legends of Iran. To analyze the elements of Bushehri's myths based on theories, it should be done similar to the methods of this book.
Of the six functional pairs, the A-Z pairs form the main narrative frame. This pattern, which Khadish has designed, is also seen among these three stories, especially the first two stories, which have more magical aspects. The pair of D-F (dealing with helpers - getting the magic agent) (Khadish, 2009: 105), in these three stories, is the first pair. The M-N pair (difficult task and doing it) was also seen in these three Bushharian stories; in the first story, it is hard to find the "deer brain" to treat the Shah, which the main hero -the king’s son- finds it. In the second story, difficult task to achieve, here the finding of the finding of the Shawl and Mani Chang, which the hero helps with the help of a helper to pass a forest and battle with giants. In the third story, where the difficult task is waiting, the poor groom to wait patiently, or to confront the helper inside the well and meet his needs in a trip to the holly city of Mashhad.
The Pr-Rs pair is less seen in these three stories. Actually, there is release, but there is no such pursuit. The pair of warfare and victory (H-I) is also in the second story between the boy and the two giants of war, and of course they do not win over the boy, and the mother of the giants know the son as the victorious person and bestows him the magic object. .
The anonymous entry and identification is also present in three stories, and the tone of the final elements of the story is set up by the O-Q pairs. The king's daughter appears behind the curtain, and the father sees and knows her and then he is pleased. In the second story, moreover, the daughter and son of Shah (the children of the seventh wife) are finally identified.