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

In the literary arena of the Persian Land, Ferdowsi’s Shahnameh, which is considered as one of the greatest epical works of the world, has always had a special status among different Iranian clans, so that they have been thinking of recomposing this rich work in their own language. Among the Kurdish clan, because of their close cultural and lingual attributes to the Persian language, the consideration is more powerful. The theme of most lyrical contexts including the elegy originates from beliefs whose recognition can lead us to sociological and cultural destinies. Since the effect of language and culture will be appear in this translation; the paper tries to extract samples of couplets with the lament content in common stories (Rostam and Sohrab, Siavash, Bijan and Manijeh, Rostam and Esfandyar, Rostam and Shaghad) of Alamas Khan Kandoleei’s Kurdish Shahnameh and Ferdowsi’s Shahnameh. Then, in addition to determination of the frequency of the subject, the statement of common and distinctive aspects, the way of burial rituals and funerals, the extent of the Kurdish authorchr('39')s influence in translating the stories from linguistic and cultural views will be explored.

Immortality of Shahnameh is due to the representation of "Emotional Me" that comes from the Great individuality, described in conjunction with the mythology in a deep and mysterious semantic system. "Emotional Me" indicates the identity of each agent. "Emotional Me" is more represented in the lament; because the enthusiastic "Emotional Me" at the laments is a good place to evaluate and reflect the represented me. The subject of the present essay is to examine the reflection of emotional me in the laments of Shahnameh. The lamens in the Shahnameh are analyzed in a case, after explaining the framework of the research and clarifying the types of emotions based on psychological typology –“Limited Human Me”, “Social Me”, “Transcendental me”. The result is that in Shahnameh, men’s mournings are reflected more than the women’s. Firdousi composes the shahnameh with morality and spirituality, and thus the transcendental emotional me is seen in the shahnameh, especially in the behavioral actions of Rustam, Siavash, Feraydoon, and sometimes Rudabeh. Generally, Turanians have shown in the three reactions of "anger and hatred", "sin and despair", "denial and regret" in the grief of their loved ones, that reflected their limited me. In the Persian’s laments, "social me" and "transcendental me" are more represented. The alignment of reflected “me”s with the characters of Shahnameh demonstrates the success of Firdousi’s success in the storytelling.