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

Myths and rituals are fundamental elements of human life and culture, reflecting people's desires and fears. The confrontation with death and the consciousness of death is one of the most fundamental themes of mythology and its rituals. Contemporary narratives are one of the most prominent formats that can be used as vehicles for mythological and ritual themes, including death consciousness. This article is based on the mythological approach, using a descriptive-interpretive method and aiming to reveal the inner effect of confronting death and reaching the consciousness of death formed by the ritual of initiation, in order to examine the structure and depth of the story "Fal -e Khoon" by Dawood Ghaffarzadegan. the story "Fal -e Khoon", which highlights the theme of death consciousness, is obviously based on the structure of initiation; Expulsion, mystery learning and mystery education. The main character of the story, a budding soldier, is confronted with various phenomena and events on his mission to achieve his goal. These events form the basis for the rookie to pass his most difficult and final test. The most difficult test of the main character in the story is to become aware of death and to accept death as part of one's existence. This theme, which was one of the first and constant concerns of mankind, is juxtaposed in the story with mythological elements such as mountains, trees, numbers, cows, names and huts, so that it gives a mythical tinge to a modern story and conveys an ancient ritual. In this way, modern art, literature, and ideas cannot only be separated from ancient mythological and ritual strains; ; Rather, these strains, by blending with human's constant reflections, such as death, provide the context for the richness and brilliance of today's narratives.

Initiation rituals that prepare individual to move from one stage of life to the next, are all mythological. Initiation includes physical, mental and psychological dimensions and is associated with rituals that intend to help the individual to cope with his new responsibility in society. In all religions there are different rituals for the stage of initiation, which are in line with individual growth or acceptance of a new position. This research, which is based on library studies and has been done in a descriptive-analytical manner, analyzes the initiation rituals of different cultures. By examining the mentioned types of ceremonies such as puberty, travel, spiritual death, sacrifice, etc., in Avesta and comparing them with world examples, it was determined that the stages of transition exist in all religious and non-religious professions and drinks and their analysis shows common points with other cultures.

Rostam’s family is very much associated with magic-healing and shamanism in Iranian epics. It is possible that this family belonged to one of the most influential Aryan brotherhood associations in Iran. In these associations, each person performed initiation rituals before entering and in addition to fighting, he acquired the ability to communicate with the underworld to communicate with the spirits and cure diseases. Two stories about Rostam in the national epics of Iran are related to the two concepts of initiation and traveling to the underworld. The first is the story of ''Babr-e Bayan'', which is Rostam's initiation in the shamanic and militancy associations, and the second is the story of ''Haft Khan Rostam'', which is an aspect of a journey to the underworld. In this article, we have examined the signs of shamanic rituals in these two stories. Eventually, it becomes clear that ''Haft Khan Rostam'', unlike ''Haft Khan Esfandiar'', is not his initiation; rather, it is a narration of the shaman traveling to the spirits world to recapture the sick soul.

Eliade believes the ritual travels of heroes is one of the main themes of epics. On the other hand, Iran is one of the most influential societies in shamanic rituals and shamanic manifestations are seen in many Iranian epics. Esfandiar's Haftankhan is one of the examples of the connection between Iranian epics and shamanic rituals which includes the basics of ritual travel. In this story, Gogsar is a symbol of the novice guide shaman and the stories of Haftkhan are symbols of initiation, the arrival of the learned hero in the associations and his journey to the dead's world to bring back the souls of the sisters. In this article, an attempt is made to compare the manifestations of the initiation ritual in this story by comparatively checking the stories of Esfandiar's Haftkhan with the shamanic passage rites and show why this story is his initiation. The article will also show that Esfandiar in the third stage passed the rites of initiation successfully. And the stories that follow are a description of his journey to the underworld to restore the soul. This task was performed by shamans in ancient societis.

Mythology appears to be a kind of intellectual school which explains the existence and the presence of mythological of humans in the text rather than a method for the study of ancient rituals and stories. Regarding, those texts which have maintained the signs of mythological rituals until now. What those signs are and how they refer to the hero seem to be the main question of this article. Bakhtiari songs have passed their own long lives throughout the Iranian culture and then we have gained them; Recognition of the secret achieving and initiation of ritual explained by Mircea Eliade and Joseph Campbell, are represented in traditional songs of Bakhtiari with reasoned differences. According to these researchers, recognition of secret introduces structural organizations, while they are not obvious in micronarratives of Bakhtiari songs; therefore, scattered signs of recognition of secret and hero in love’s travel should be recognized and gathered by the researcher.  Thus, the existential situation and experiences of the lover is suspended and endless and this suspension which has rooted in collective subconscious is the main concern of the hero. In this article, some examples of Bakhtiari songs in the works of Masud Bakhtiari have been interpreted based on their capacity of mythological narratives. Most of the songs belong to Masud Bakhtiari himself and a few of them have been taken from Bakhtiari folklore by Masud Bakhtiari.

Rites and symbols of initiation and the mysteries of birth and rebirth are one of the subcatagoreis of the herochr('39')s  mythological model, contains a collection of rituals and techniques whose ultimate purpose is to acquaint humans with the sacred things and superior beings.One of these rituals is the familiarization of the age of puberty among different ethnic groups, which more or less have the same structure. Based on these common structures, Mircea Eliadeh proposes a universal pattern for the familiarization of the age of puberty among the rituals, ceremonies and other texts. From this perspective, the epic of Bourzonameh, the work of Ata bin Jacob Nakuk Razi, seems to be the narrative of the age of puberty ritual, in terms of plot and deep structure.  In his way, Borzou, the novice in this epic, is accepted by the warrior class after his success in the passing of the age of puberty rituals.

Joseph Campbell influenced by Jung, raised the pattern of "Hero's Journey" in literary criticism. He believes that ancient myths and stories have one structure that the structure is more or less quantifiable in stories.In this structure, he give the three, separation, initiation, return steps for the symbolic hero’s trip that it can be examined in Faramarzname epopee. This article by analytical method and in literary criticism attempts for reviewing and explanation of the symbols of mythical and psychological constructive components of Faramarzname epopee in the context of the analysis of the Hero's Journey.The study, to be paid to the antiquity human mind and taking full advantage of the symbols, examined the Campbell's Hero's Journey pattern example with a slightly different structure.The results indicated that the archetype "Faramarz" is the hero’s pattern which traveled to India voluntarily by hearing the voice of the invitation to achieved themselves that is the ultimate goal.He was encountered in the departure with assist symbolic representatives such as Rostam and Bijan. , Talking wolf, Ebullient snake, thirty thousand rhinos, nooshdar and Kidd Hindi which are his inside Shadows .Then, with the passage of rites of passage and freedom from domination mother achieved to Lordship and finally he could brought ultimate blessing for magic people.

Among the literary texts of Persian, there are ten poems called Vis and Ramin by Fakhruddin Ass'ad Gurgani; Khosrow and Shirin, Haft paykar, Sharafnameh and Eghbalnameh by Nezami Ganjavi; Gol and Nowrooz, Homay and Homayoun Khwaju Kermani; Jamshid and Khorshid by Salman Savoji; Bahram and Golandam by Amin al-Din Safi and Homayname which has features of the literary type of romance. In this paper, based on the model of Claude Lévi-Strauss structuralism, we extracted the minima of the narrative of Persian verse romances and studied their structure.
In the narrative structure of Persian verse romances, the common minima have always been repeated. The first step for understanding deep-structure the stories is to explain the structure of their narrative. Based on the existence of dual oppositions in the structure of these romances, the main elements of the structure of stories can be extracted. These elements are Mytheme that stories structure based on them. From the stroke of the stories mentioned above, six narrative minima can be extracted: 1) The hero sees science and martial arts. 2) The hero, loves a beautiful girl. 3) The hero travels to gain the demands. 4) The hero for gaining demands, tests or quests. 5) The hero receives a reward. 6) The hero returns to his homeland. As Strauss extracted the Mythemes on a sentence scale, these elements are also in the form of a sentence, which can generally be summarized in single words; the elements of "education, love, travel, test, reward, return."
According to the aforementioned minerals, the main structure of the Persian verse romances is based on the initiation or the achievement of the championship. Initiation and traditions of encouragement and passing on a series of ceremonies and rituals and oral education, the purpose of which is to create a fundamental and decisive transformation in the religious and social status of a person who is mysterious, overlooked or strangled. In Persian verse romances, the hero with a motive that is generally sought after by a beloved goes away from home and takes a long journey with all kinds of hardships; Tests are difficult to survive and eventually return home with victory over enemies and obtaining desires. These propositions are the structural elements that illuminate the original structure of the romances based on the pattern of pagan rituals. In this template, the hero goes away from the community, while at the same time differs from his previous state of affairs, in order to achieve perfection and change his religious and social status. The findings of this research show that the use of an initiation structure in the narration of Persian verse romances is due to the importance of extra-family marriages in deep-structure these stories.

The story of Siavash in Shahnameh has been discussed more than any stories. Researchers continually have discussed the structure and deep-structure of this story. Especially they have tried to find a deep-structure in the story of Siavash that can explain the multiple structures in this story. In this article we are going to explain the major structure of the story of Siavash based on his diverse deep-structures so that we can able to explain the position and relation of Siavash, Kaykhosrow and Forud in the big scheme of the story of Siavash. The results show the determinant role of four deep-structures in genesis and narrative of the story of Siavash. Among them, the myth of First Prototype of Human is the fundamental deep-structure in the major structure of Siavash story and it plays a key role in genesis of other deep-structures in the big structure of this story. Each of these deep-structures, with their multiple structures, have effective function in shaping of major structure of the story of Siavash. All structures branching from these deep-structures are so interrelated that caused the complexity of structure of the story of Siavash.

By presenting the archetype of hero's journey, Joseph Campbell has tried to show that this archetype has a common pattern in narrative texts of different nations. He believes that the archetype has three parts: departure, initiation and return. The present article, studies the way in which the journey of Darab (in Darab Nama of Tarsusi) with the archetype of hero’s journey correspond. Piki invites Darab to journey and at first, Darab delays in responding his request, but then, he begins his journey. After overcoming the guards of ‘the first gate’, he enters ‘the road of examination’ and prevails upon obstacles. Then, he comes face to face with the tempter woman and finally marries Khodabanoo. Darab is successful in making peace with his father and reaches final blessing (barakat). Despite his refusal at first, finally he returns to his homeland and triumphs over the guards of ‘the return gate’, and after overcoming the difficulties, he becomes the master of two worlds. Even though some of the patterns presented by Campbell are not present in the story, but the results show that the journey of Darab corresponds with his overall pattern.

Myths are rooted in deeds and beliefs that once were sacred to man and had an indispensible relationship with his material and spiritual life. These deeds and beliefs can be found in various cultures in the passage of time; sometimes they were preserved their original form and sometimes later they have been transformed and reflected in literary books. We can find some of mythical beliefs and deeds in Asrar al-Tawhid (The Mysteries of Unification), a work of 12th century Persian literature about the Sufi mystic Abū-Sa'īd Abul-Khayr. Indeed, it is a good source to follow them. By using descriptive and analytic method and regarding to the ideas entertained by myth scholars, like Carl Gustav Jung, James George Frazer and Mircea Eliade, the present article tries to study the subjects of number seven, old man, and incantation, symbol of circle, initiation and cleaning hair in Asrar al-Tawhid.

Myths are powerful and stable. They can survive in the toughest conditions by changing their shape and remain alive and active keeping their dynamicity. Much of the issues in mysticism, such as customs, tales, stories and gnostic literature, have either emanated from myth or affected by it in other ways. The existence of ancient myths in some Sufi's traditions is a sign of wholesomeness and integrity of these ideas with the teachings of Sufism. To explain the coherence of myth and mysticism, we have reviewed the functions of myth and the ways it has continued in Persian mystical texts up to the end of the eighth century. The results of this study show that mythical thoughts such as salvation, Asha, and the holiness of water and fire as sacred elements has continued to exist according to context of mystical ideas and in the form of mystics`"Keramas"(Miracles).The structure of the mystics`"Magamas" books is also based on the myth of salvation. Initiation rites have been replaced in form of testing pass of mystics through the water or over the fire and in framework of Keramas. The importance of the characters such as Sage, Ghotb and the Abdal is also a form of displacement of myth in the form of Keramas.

It is hastily aligning to the study of literary theories and comparing them with Persian literature. One of these theories is Vladmir Propp's morphology theory (1970-1895) by which many theses and the scientific studies have been compsed.The study tries to examine twenty one scientific essays which have been published since 1389 to 1393 as the most frequent years of applying Vladmir Propp's model in Iran.The results show that there are only five essays have adapted Vladmir Propp's model from all of essays and the left essays were not adapted with it,which has influenced on the received results.Such inconvenience include the cases initiation, such as self-managing, the fault of assigning self-managling, dont considering the combined movements and the faults of assigning movements in the texts.

The Horned god is an early 20th-century syncretic term for a horned or antlered anthropomorphic god with pseudohistorical origins. These Gods represents the male Gods of the religion''s ditheistic، the other part being the female Goddess or Mother Goddess. the deity is always shown with either horns or antlers upon his head، in this way emphasizing «the union of the divine and the animal»، the latter of which includes humanity. Methode: The Horned God has been explored within several Archaeological theory، mythological، psychological، historical، cognitive nature، anthropology، and so on. The Horned God has become a recurrent theme in fantasy literature. Evil creatures in Iranian mythology، evil (Ahryman) companions، the most prominent being the villain in Iranian mythology، demons (Divān) are. In this paper، a new analysis of this existing presentation، which is based on comparing them with horned deities in ancient cultures of Asia and ancient Europe and provide a new theory about what is the origin of the Persian demons? In this paper، the analytical comparison between demons and deities Horned، this result was compared between the two sides shared the following parameters: relevance Horned deities and demons with the sun god at the age of religious thought turns naughty and as a result، the deities ancient Horned devil and his followers converted. Black and Horned demons and deities of the Horned (morphology)، communication with the gods known as bull، dark world of underground and traditions associated with death and sacrifice and cannibalism legend terrible gods. Horned deities belong to the cultures of the era of the goddess worship. This has led، in monotheistic culture، «battle» with horned deities and demons، dragon-killer has the same function، this conflict has become a test for the initiation heroes are hard، they function as a barrier against creatures that God created well the challenge to the hero in the course of their evolution. Hero with divine support charisma (Farreh or manna s) on creatures with Magic won، defeating the locks and pass the initiation، is immortality.

One ofthe important stages in the journey of the heroes in myths, legends or folk and fairy tales, according to Joseph Campbell, is separation. The separation usually happens with a secret call, a vocation or a dream, which includes some archetypal symbols. The summon or requestof a Prophet, a master or a father, or falling in love with an image of a beautiful girl who sometimes happens to be a fairy, along with yearning for wealth or power are oftenthe reasons of this ritualistic journey of the hero in the stories.In this article, besides surveying the different “callings”in the stories their psychologicalcauses are discussed.According to Sigmund Freud and his student Bruno Bettelheim, some defects or desires make the hero to start the journey and on passing this stage he has the honor to reach the stage of initiation. Freud and Rank believe this development happens in the first period of the individual’s life, whereas the unity of the conscious and the unconscious for Jung belongs to the second stage of the hero’s life, which is also confirmed by Campbell.

Sometimes speakers pause in a part of their speech or repeat one of their saying or word in daily conversations due to some reason or even interrupt their speech. These behaviors which are a specific kind of correction are named self-repair. The study identifies different kinds of self-repairs and their status in succession of alternations in Persian daily conversations and real occurrence frequency of every one of self-repairs and also their concomitant Lexical-initiations and Non-lexical-initiations. The study involves 254 sentences or phrases which have repairable elements and have been collected from different environments and with different subjects during one month of 1392/2013. Findings show that self-repairs and their status in Persian daily conversations are similar with results claimed by “Shegloff and colleagues” (1977) about English Language. It is also shown that the frequency of self-initiated self-repair is more than other kinds of self-repair in Persian daily conversation.

Metamorphosis is one of the important literary elements especially in mythological and epic literature. One of these forms is initiative metamorphosis which is highlighted differently in Shahnama. The story of “King Fereydoon putting his sons on trial” is a distinguished example of this kind in which Fereydoon is transformed into a dragon. The current paper analyzes this story from a comparative literature perspective, i.e. poetic conjunction and painting. Illustration of metamorphosis initiation is one of the outstanding examples of creative design based on Shahnama. In order to analyze the selected figurative content, after focusing on the verbal narrative text and the reason why Fereydoon is temporarily transformed into a dragon, the paper examines the visual contexts of morphological analysis in different schools of painting as well as the interference of painters in transferring the verbal context into visual ones. This essay deals with the paintings through a trans-semiotic approach, and the methodology is based on descriptive-analytic and comparative approaches as well as data collected from libraries. The result indicates that the metamorphosis in the proposed paintings have a trial effect to reach the status of kingship, chivalry, and marriage. They are reflected in the theme of dragon-killing as a representation of initiation ritual which is illustrated by the symbols of imaginary dragon as well as the ritual itself. However, the metamorphosis is understood by verbal pre-texts alone.