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

This article delves into the transformative journey from formal literature to folk literature, scrutinizing the diverse forms and content that storytelling assumes during this transition. The theoretical underpinning of this exploration is grounded in the dichotomy between orality and literacy, as well as the concepts of presence and absence in oral storytelling elucidated by Walter Benjamin in "The Storyteller." Additionally, Marzolf's classification of literature into “formal”, “popular”, and “folk” genres provides a conceptual framework for understanding this literary evolution. Employing a qualitative-explanatory approach and relying on library research methods, this article conducts a comparative analysis of two renditions of the "Fair Division" folktale, classified under the Arné-Thompson type 510. The selected versions hail from both classical and folk sources: a moralistic interpretation found in the Javamehʻ al-ḥikāyāt by Ufi, and a humor-laden rendition from an Arakī folktale. The analysis concentrates on the thematic, linguistic, and structural attributes of these two versions. The moralistic tone of ʻUfī's version and the satirical tone of the Arakī version are discussed, highlighting the need to consider the political agency of vernacular literature. The linguistic and structural features of the two versions are also examined.

This article explores the semiotic approach, as a post-structuralist method, for analyzing folktales, with a specific focus on the story of "Haji Luva'as." In contrast to the structuralist approach, which primarily examines fixed and variable elements, as well as the thirty-one functions and seven spheres of action, the semiotic approach, particularly rooted in Greimas-2, delves deeper by considering the underlying meanings and concepts. This approach illustrates how the semiotic square becomes evident in the narrative syntax on the surface level. Subsequently, these deep and surface structures are realized in discourse syntax, contributing to the development of discursive meaning. Greimas-2 aims to construct discursive meaning through semiotic analysis while acknowledging the limitations of structuralist semiotics, viewing them as "meaning deficiencies." This article seeks to provide an analytical and explanatory response to the question of what unique characteristics the semiotic approach brings to the examination of folktales and how it differs from a purely descriptive and structuralist approach.

One of the stories of the famous book One Thousand and One Nights is called "Ala'addin Abolshamat". This story narrates Ala’addin’s adventure from his birth in Egypt to his trip to Baghdad and permanent marriage to the girl with whom he was supposed to be with for just one night as well as other adventures until the end of his life. A part of this story has become the source of legends with the same structure in Persian folk tales. In this article, ten types of these narrations have been identified and analyzed. Some of these stories have been published in collection of anecdotes, but most have remained unknown. These narrations have more or less some differences in the method and details of narration as well as linguistic and literary issues. Although the general structure of the stories is the same, the narrators have inadvertently or intentionally made changes in the details over time; maybe because it was more attractive for the audience or the story became more believable for the Iranian audience. By analyzing the details of these narrations, we can get some interesting points. From a broader perspective, we can determine the order of changes in the narratives based on the same details.

Examining the history of Ashiqs confirms that the peak of the literary creativity of Ashiqs is tied to the period of Safavid rule, and the evolution of Ashiq art took place after that period. One of the famous Ashiqs of Azerbaijan is "AşheqGhorbani". AshiqGhorbani is one of the Ashiqs committed to the court of Shah Ismail Safavi, who was famous and accepted during his lifetime. There is no information about the biography of Ghorbani in the historical sources, but his biography is based on his poems and the story that is narratedin the name of him and his beloved Pari or Parizad, a story that, like other stories of Ashiqlar, is connected with mythology. In addition to Iran, this story is also famous in Azerbaijan and Turkey with differences in epizods. In addition to examining the history of the Ghorbani, this article has compared the storey of "AshiqGhorbani and Pari" in the narratives of Iran and Turkey.

On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.

Marriage and related themes exist in the folk literature of all lands and regions; According to the cultural, social and climatic characteristics of each region, its components change. These themes have many reflections in the folk literature of Lamard region, which shows the importance of the marriage tradition and its related rituals in this geographical region. While examining 83 folk tales of Lamard region, the researchers analyzed the main themes of marriage and the scatter rate each theme in the folk stories of this human geography. From the results of the research, it appears that 24 stories have ritual themes of marriage, among them, themes such as defining the test and conditions for marriage, marriage by searching for signs, the journey of the hero of the story to find a wife, the opposition of the girl's father or brother to marriage, marriage Human with non-human, the king's daughter or son becoming interested in a person from the lower class of society, the exchange of a bride with another girl, choosing a wife by throwing fruit, and the freedom of girls in choosing a husband have been repeated in these stories. Among these themes, the king's daughter or son's interest in a person from the lower class and the marriage of a human with a non-human are the most frequent themes, and choosing a spouse by throwing fruit is considered the least frequent themes.

Karistan Hatem, a single manuscript which is kept in the manuscript Treasury of the Leipzig University, is the work of a poet named Farid Ibn Ghazfar. This legend is a poetic narration of one of Hatem Taichr('39')s stories. The poem gives a description of the mania of the Sham princes named Munir for Hosn Banu, the beautiful queen of Khorasan, and about Hatemchr('39')s sacrifices that led to their marriage. Although the protagonist of this story is an invincible superhuman, his activism owes much to the dramatic role-play of the women in the story. In the following article, after briefly introducing the manuscript, the story has been deciphered from the viewpoint of the female characterschr('39') performance. By giving an in-depth investigation and analysis, it can be concluded that the story is based on the ancient beliefs left over from matriarchy. This claim is corroborated by implications for motherhood, including the city of women, totemism, exogamy, plant God themes, and sacrifice for the mother queen. Another result of this research is to deepen this story and its capacity to accept comprehensive readings of mythology, sociology, and psychology.

This essay seeks to explain the typology of kings and to report on their practices to represent their role in the advancement of tales. The method used in this research is library-based and qualitative in terms of content analysis. The criterion for choosing these stories is, besides its reputation, a wide range of readers, the general interest and the frequencies of the presence of kings. After reviewing these stories, the author found that kings often seemed to be in Iranian and non-Iranian affairs according to the narrator's type of attitude, and that the picture of kings was reported according to the general context of the story and its context. In addition to requiring a particular content, it also requires certain heroes and types of character. Darab-Nameh has an epic & mythological content, and therefore the behaviors and actions of the most kings are mythological epics. Hussein- Kord is also an epic-religious tale. Our hypothesis is that storytellers seek to shape and regulate the structure of society in the form of king, the courtiers and other heroes; in other words, they seek to establish a definitive framework that is occasionally violated. They are problematic and are considered as unforgivable. In order to study the stories and according to the frequency of types, the author concluded that the "courtiers", especially the king, his family and his ministers, had the highest frequency and presence, and most of the stories began with the words "Shah" or "Prince". There is an intense sense of indigence and Iranism in these stories, so that the types of Iranian kings are much more subtle, more human, richer, more just and wiser than other non-Iranian officials. Darab Nameh is more epic than the other two stories, and the type of kings has been portrayed in a more fictitious, confident and historical way. It should be noted that in Hussein- kord, the kings are not very present and do not act much more.

Folk tales reflect the cultural identity of each nation and show the dominant ideology and context of that society. By adopting a semiotic research methodology to the analysis of literary discourse, the current study seeks to explore underlying structure of this tale taking into consideration discursive elements such as action and to become. Mutual interaction of these semiotic elements crystalized between prince and foal is considered a core element of ongoing changes in narrative chain. In this discursive regime, action feeds to become and meaning is achievable through the interrelation of sensation and perception. In addition, in this research, the authors have been explained different stages of promoting the material and spiritual capacity of the horse as an instinctive and material creature to the mythical and celestial actor namely the horse’s transcendence mechanism.

Folk tales are an integral part of Iranian folklore and their examination, whatever be their literary aspect pave the way to the recognition of the mysterious world of human culture in the distant past. Hosn Ara’s tale is considered a unique version of a popular tale most likely written in the Safavid era by Mohammed Riyadh. This edition is being kept in the manuscript collections of Leipzig University. Hosn Arā’s tale narrates the history of a rich who ends up marrying four women. They are the symbol of female sex in four great prehistoric and historical Iranian periods. Among them, two women have a mythical function and two others have historical implications. This article attempts to analyze the text of the story by examining the quadruple image of women and by recognizing the mythological and historical symbols associated with Khwarazm using non-textual texts and signals. Thus the objective of this study is to demonstrate the cultural integrity of Iran and the lands of the distant past.

The purpose of this article is to review a comparative analysis of the diversity of Persian and Russian tales. In this article, we seek semantic search about the kinds of Persian and Russian tales, and the similarities and differences between them and the way of discovering new facts of the tales during periods in history and the formation of important passages of them. Iranian and Slavic (Russian) tales based on the mythological stories and instructive and wise tales arisen from the rich culture and civilization and morality, various nations, opened an introduction of them to the nations of Iran and Russia in particular and to the world in general. In this writing, we also analyze common features of the Iranian and Russian fairy tales according to the book titled “Morphology of the Tale” written by V. Propp, a leading researcher of Russian descent and pay more attention to the research field of the folk literature which was neglected in the literature studies so far and was almost studied only by the European Orientalists, especially Russian (Slavic) ones which collected works of the Persian folklore, and provide the grounds for the increasing research of Iranian folklore in the light of growing public awareness.

Folklore is considered as one of the indispensible features of Payandeh's stories. Folklore in his stories included the use of popular beliefs in social, religious, superstitious and medical fields. Local dialects and lexicon are used frequently, Current proverbs among communities is one of the symbols folkloric literature which abound in the works of Payandeh. Due to the fact that Payandeh deals with different classes of people in his prose works, his stories contain literary, media and local features and rarely do others works contain all these together. The characters in his stories from intellectuals to peasants, feature their own linguistic features. The fact juxtaposes dialectic and aesthetic features with each other. His prose style alternates as the speakers change. Therefore, we expose to a realistic linguistic atmosphere when common people speak. On the other hand, when the intellectual class speaks, the language becomes pompous, formal and pretentious. Two important reasons lead to this impressionability of Payandeh's stories from pop culture:1. Writer's hometown
2. The environment where these stories have taken place.
The local customs and beliefs applied in his stories are divided into three categories:1. Social customs and beliefs including those concerning pilgrimage, burials, marriage, inheritance and so on. Metaphysical issues such as jinn, cosmology, charm, chance and fate are also referred to.
2. Religious customs and beliefs: Writer's hometown is known as Dar al-Momenin and abounds with pure religious beliefs which have manifested themselves in his works. Beliefs such as prohibition of drinking and usury are rooted in the beliefs of his community.
3. Superstitious beliefs: Superstitions are popular beliefs which are severely criticized in Payandeh's stories with a comic tone. Among these superstitions are those related to eclipse, looking into mirror and bad omen.
4. Medical beliefs: Ancient's beliefs in metaphysical power and their ability for curing diseases are frequently referred to in his stories. They include popular beliefs in charm, magic, mystery and traditional remedies.
5. Proverbs and ironies: Proverbs in Payandeh's stories are visible in high frequency and they are also sometimes altered comically. Irony, in the same vein, is applied every now and then in his stories. His stories are sometimes replete with the use of irony. According to Nasrehesfahani, the most conspicuously used figure of speech which is rooted in popular beliefs is irony. After simile, he believes irony is the most effective means of giving his stories the required sense of imagination.
6. Slang Language: Various elements of slang language are obvious in his stories which make them as close as possible to pop culture.
Recently a new books is compiled through the scattered notes left by Payandeh which is entitled Ghadamgahe Shahrake Noon.

The present research focuses on the question of genuine and un genuine in literary discourse by adopting the semiotic approach which regards discourse as process-oriented phenomenon in order to create semantic structures and investigate their effects on the interactive regime of actants based on Heidegger, Austin, Baudouin, Greimas and Tarasti thoughts in the field of semiotics and discourse analysis. At this point, to explain the language correlation with genuine and un genuine, our focus of attention as the corpus will be so–called Persian folk tale “Sezaye Niki Badist” by concentrating on this question that how folk narrative can replace the process of detecting genuine and un genuine by changing the signification production process. By genuine, we mean an utterance or statement which is linguistically and semiotically speaking the best choice according to the context and situation of discourse production and speaker's ontological point of view, while, un genuine refers to every property which disturbs or damages the natural process of signification production. The goal of the current research is to detect the conditions of realization of these opposite factors in language, according to selected corpus of Persian literary folk narrative to understand the manner of formation and their resulted changes in discourse. The main question in the current article is that what kind of factors intervene in the formation of these elements in the language and how these factors strength the discursive system, change and in some cases disarrange the realization of the signification and the reliability of the process.

With the establishment of the field of Popular Literature in Iranian universities, scholarship in the area of Persian folk tales has accelerated. In this regard, one of the innovative and new approaches is the application of literary theories in reading, investigating and analysing oral and written Iranian folk tales. Maryam Sharifnasab’s A Narratological Study of Iranian Folk Tales can be regarded as one of the newly-founded studies, which has attempted to present a new perspective by integrating structuralist narratological approaches, in particular the ideas of Propp, Chatman, Lintvelt and Gérard Gennette, with the traditional approaches in criticism, i.e., studying the elements of fiction. Given the necessity of critical assessment of academic studies, the present article, following a content-analysis method, has attempted to discuss the incompatibility between Sharifnasab’s theoretical and methodological approach and the subject of her study. The article concludes that despite Sharifnasab’s attempt to read Persian folk tales through structuralist narratological theories and present a comprehensive narrative structure for the folk tales, the prevalence of mistakes in the content of the work as well as theoretical and methodological misconceptions have undermined the achievements of her study.

This article, as a part of a broader study about the efficacy of the Conceptual Blending Theory in explanation of cognitive component of meaning construction process, examines how Conceptual Blending Theory can be applied for exploring text coherence in folktales. Two main questions of this paper are that: by using the parameters of Conceptual Blending Theory, is it possible to analyze the text coherence of a folktale and to what extent the findings of this paper can be generalized. It is assumed that by using Conceptual Blending framework we are able to explain the text coherence, as an important factor in meaning construction. The findings of this paper show that the application of Conceptual Blending provides an excellent analytical tool for exploring text coherence and meaning construction process in human mind.

In many of mythical، folklore and fairy stories، the birth of the hero has many mythical and fictional characteristics. The grounding of the birth of the hero traces on the hero’s future life. In many stories، which have the birth function، there are many barriers in the birth process. Among these obstacles، we can name aging parents and their disability to have a child. The remarkable point in this story is that the child، despite many barriers، is born، and after a dangerous and wonderful life، becomes a hero. The main goal of this article is the psychological analysis and classification of the type of tales. This research investigates the birth of the hero as a current theme in mythical، folklore and fairy stories، and its conclusion shows that we can classify the different types of birth function in the following groups as: the birth without parent origin، the birth process with one origin (father or mother)، the marriage of the king with particular girl (sometimes a fairy)، and the birth of the hero in the aging parent time and eating apple condition for mother.