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

Symbols and symbolism play a significant role in creating images and conveying meanings. Color is one of the important components of imagination and the most prominent element in the realm of sensations. It forms an important part of the symbolic language of poets and literary writers. Iranshah Ibn Abi al-Khair is one of the epic poets who incorporated the element of color in the Kushnameh poem. The essay utilizes a descriptive-analytical method. The findings of the research indicate that the most frequent colors are black, yellow, white, green, red, purple, blue, azure, and violet. Black color symbolizes thickness, darkness, the beauty of the beloved. Yellow color represents death, weakness, incapacity, betrayal, power, jasmine.White color signifies brightness, purity, holiness, contrast fight, raising awareness, science,  knowledge, growth of plants. Purple  color symbolizes the flag, cover  in war scenes. Blue is a symbol of purity, clarity, preparation for war. Azure symbolizes the sky, describes the sun, religion. Purple represents joy, happiness.

The two epic poems Bahman Nameh and Kush Nameh are among the national epics that were organized after Ferdowsi's Shahnameh and following it in the late 5th and 6th centuries and played a significant role in completing the narratives and stories of the Shahnameh. By carefully and reflecting on these two works, one can understand the necessity of ordering and printing the works after the Shahnameh in keeping alive the Persian language and the stories of ancient Iran, which Iranshah bin Abi al-Khair, with all his love and devotion, devoted himself to order and compose it. In these two epic verses, on the occasion of many conflicts and grudges between the main characters of the story and their enemies, we are faced with numerous scenes of war and battle; So that the main characteristic in Bahman Nameh and Kush Nameh can be considered as the category of war and fighting, and the best descriptions in these two books can be considered specific to the battlefields. But in the midst of these epic stories, we come across lyrical and romantic scenes that are actually the meeting place of epic and poetry. These stories, while being epic, have the characteristics of Ghanaian stories. In this research, the author tries to investigate the love effects in these two verses by descriptive-comparative method. The results of the research indicate that these two poems are an epic poem. be; But the manifestations of love and romantic relationships can be seen everywhere in these two works.

Archetypes have roots in the first experiences of man and for this reason are placed in man’s individual and collected unconscious. Whether overtly or covertly in all aspects of man’s life especially in epic literature where it reflects the unconscious, archetypes manifest themselves. Based on this fact, the subject of this research is to cast a glance at the character of Kush, the tusked emphasizing the Jungian archetypes of wise old man and rebirth. Jung had regarded certain features for these two archetypes which one finds their reflection in Kush’s life. The most important outcomes of this present research made by descriptive analytic method, show that in accordance with Jung’s ideas with the appearance of wise old man, the main character of the story that is Kush, the tusked undergoes wide spiritual transformation and under the influence of his guidelines and his illuminations Kush turns into an ethical person devoted to spiritual affairs as if reborn to experience a totally new life. Although he had an anti- hero character at first, however under the influence of a wise mentor’s guidance he had overcome his internal darkness and had turned into a king and a popular hero. According to the features mentioned for the two archetypes in the story, the stages of Kush’s life falls into three parts: before transformation, in preparation for the transformation, and rebirth of a new character.

Transtexuality is a critical term in the contemporary literary theory, and it is based on the fact that a literary work is defined and understood only in relation to other literary works, since the creator of a literary work enters a world as soon as he decides to create a work of the medium of communication in his mind, and in this case, all the thoughts that the writer or poet takes with himself are involved in his creation of a new work. One of the major areas in the Iranian literature is the epic literature that can be viewed with the new transtextuality approach which may provide the new generation with novel ideas. Shahnameh Ferdowsi, as the greatest epic of Iran, has been a structural pattern and an appropriate content for its later works. In this regard, after Shahnameh, the epic works have progressed consciously or unconsciously through its narrative style and its structural pattern.
Kush Nameh is a historical epic in which the wars of the Chinese and the Iranian armies were presented. This could be considered to be another narrative of the enemies of Iranians in the Shahnameh. Although the sources used by Kush Nameh differ from Ferdowsi's Shahnameh and contain different content, but undoubtedly, its creator has been directly and indirectly influenced by Ferdowsi's Shahnameh. In this research, based on the descriptive-analytical method, this hypothesis that Kush Nameh and Shahnameh can be viewed through a transtextuality lens (i.e. Kush Nameh as the subtext, and Shahnameh as the super-text) was tested.