جستجوی مقالات مرتبط با کلیدواژه « magic » 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.

One of the most common motives for ancient magic and medicine was the belief in mysterious properties of the universe element. Believers of this knowledge would investigate the universe’s elements (from animal body parts to numbers and letters), their properties, and their effects on universe creatures and phenomena. They used their findings in various fields such as medicine, fortune-telling, dream interpretation, weather forecasting, Alchemy, magic, and talisman. These beliefs were also manifested in ordinary people’s life and ideology which is traceable in the context of their contemporary stories. The mysterious nature of some of the Persian stories can be also attributed to this knowledge. Adventures such as Simorgh and his magical and therapeutic actions, Rostam's battle with Div-e Sepid, Key Khosrow's magical actions, etc. are among the mythological stories in Shahnameh, in which the beliefs related to this knowledge have had a significant reflection. In the present study, we shed new light on the topic based on parallel texts, along with mythological and allegorical stories such as Nozhat Nameh Alaei, Ajayeb almakhluqat, Javaher Nameh Nezami and AlAbniyeh an Haqaqeyeq AlAdviyeh. These works contain information about the mysterious properties of elements. From this point of view, literary works written in two genres of magic and common medicine were analyzed in relation to four categories of animals, plants, stones/metals, and noises/voices. We also tried to show the roots of some of these magical, scientific, and folklore practices.

The national epic of Iran includes the religious and social beliefs and traditions of older times, which are the context of the occurrence of its narrative events and have been extensively presented while telling stories. Including the belief in the influence of stars and constellations on the emergence of events that somehow connect the material world to the supernatural world. Also, resorting to supernatural forces such as magic was a way for a person to overcome his helplessness against destinies. Some of Mazdayasna's rituals and rituals are reflected in this work, which is part of the popular culture and beliefs of that time. Criminal sentences and common methods of punishment at that time is another category that is linked to this literary and epic work as social behavior. In this article, which is provided in a library style, the issues raised are discussed as much as possible.

 Poetic recitation and prose recitation are two ancient texts in the ancient Norse language that are the most important source in understanding Scandinavian myths. Mythological scholars have pointed out some basic similarities between Ida and Shahnameh (including the story of the murder of a boy); Of course, the similarity of the themes in these mythological texts is much broader than this example, and with a more detailed study and comparative study of Ada and Shahnameh, we can add to the list of these similarities.

 This article is a theoretical research that shows the similar patterns between some of the stories of Ida and Shahnameh using analytical-descriptive method as well as comparative study.

 This article, relying on love stories in Ada and Shahnameh, shows that in this area, significant similarities can be found between the two texts; I enjoy these commonalities from the beginning of a romantic relationship to marriage, and especially the path that is taken to reach the stage of reunion and marriage.

 The love story of "Freer and Gerd" in terms of the type of beginning of the relationship with Zal and Rudabeh and in terms of the three stages to satisfy the beloved (ie the promise of wealth, threats, and magic and sorcery) to stories such as Zal and Rudabeh, The marriage of the sons of Fereydoun, Kikavous and Soodabeh, and later Siavash and Soodabeh is similar. For example, the pattern of "debate" to prove wisdom can be seen in Zal, Rudabeh, Swibdeg and Manglood. In any case, it seems that the same comparative study can be done at the level of other stories of Shah and Shahnameh and other commonalities can be obtained.

  Myth is one of the original sources of children's stories. Every child's imagination contains all the experiences that human beings have had in their history. The scope of this reflection is especially evident in the fantasy genre. Fantasy also has an essential affinity with myth. The direction of both implies something beyond reality. Myth should be considered as a Minoan story, the origin of which is usually unknown, and is a description of a natural action, belief, institution, or phenomenon that is inextricably linked to religious mirrors and beliefs. In children's stories, elements of myth and fantasy are widely used. 

The present study aims to investigate the connection between the fantasy stories of children and adolescents with myths in a descriptive-analytical way by studying the fantasy stories of the eighties. In our opinion, these aspects are the origin of fantasy stories. The aspects studied in this article are: plant-human characteristics, mythical characters such as giants and fairies, magic, the archetype of the hero's journey and sculpting, and animism. The stories studied in this research have been selected from the authors of the field of children and adolescent literature. DiscussionUsing mythical elements is not a goal for a fantasy writer, it is a very effective tool. With these elements, he can create a new world full of surprises for the audience. Because the child is a myth and the subconscious layers of his mind are still connected to the mythical world and its connections; So he will enjoy the story the most.The story of 6,000-year-old Green Man by Fariba Kalhor is based on the ideas of plant-human myths. This story is a description of a green human life that is six millennia old. He has been the companion of many people and scientists. Even the title of the eleventh chapter of the book is human-plant. The six-thousand-year-old green man, like the legend of Gil the Lost, seeks the mystery of immortality.Another story in which human-plant features are evident is the famous pea story of Qasemonia. This story is rooted in the Persian myth of the plant growing from tears. In chickpea stories, which have been rewritten based on ancient stories, we encounter the birth of a plant from human eyes.The story of the grove fairy by Hossein Fattahi uses mythical characters such as the fairy. In creating the unreal characters of the story, in addition to the capacities of those characters, the author has also paid attention to their mythological aspects, such as pigeons and crows. The important point is that the author pays attention to the ecology of the southern region. The author has chosen the characters of his story from the birds and plants of the same area. The grove fairy, who is one of the most important characters in the story, is originally a palm tree.   Animals are often used in children's stories; As we saw in this story or in the story of autumn on the train, written by Mohammad Kazem Mazinani, part of the story is based on the relationship of the child's character with animals.     The magic object expresses one of the most important human needs. Many fantasy stories are based on the pattern of the magical object, and we will confine ourselves to the story of the three magical whistles. In this story, too, the child character of the story takes refuge in a magical whistle in the face of danger and insecurity.The fantasy world is also a world of wonders. Some of these creations are in the form of animal-shaped sculptures in fantasy stories. The two stories of the boy who became a crow by Mohammad Kazem Mazinani and the wolves do not cry are written by Mohammad Reza Yousefi based on metamorphosis. Rebellion against oneself and against one's false traits can be the basis for writing a beautiful educational story. To do this, the author has resorted to symbolism, the wolf is a symbol of the ugly and predatory aspect of man.A large part of the texts produced for children and adolescents deal with the issue of animism in different forms, which, in addition to representing the mythical mentality of their creators and their audiences, in addition to poems, poems, anecdotes and poems. Are also important from an aesthetic point of view. The animation of objects is very evident in the story of autumn on the train. 

Mythology is the source of inspiration for children's stories. Because every child in his imagination provides the seeds of all the experiences that human beings have gone through in their history. The child discovers fire like a primitive human. There is no way that the early man walked and the child did not walk in his childhood world and his games. The subconscious layers of the child's mind are still connected to the mythical world and its connections, and therefore the poet and writer of children and adolescents in the moment of composing poetry for them, especially poetry in which the dominance of consciousness is less, inevitably Myths take refuge in their mentality and communicate with that audience through that part of their mind.   Many aspects of mythic insight are influential in children's stories, especially children's fantasy stories. But in the meantime, mythical characters, the re-creation of mythical stories, the archetype of the hero's journey, and animism have an undeniable effect. Applying myth to a fantasy writer is not a goal but a very effective tool. Using mythological elements, he can create a new world full of surprises for the audience. It can be said that any story that has benefited the most from the myth has been more welcomed by children and teenagers.    The space that pervades fantasy stories is highly dependent on mythological elements, especially animism and discernment. Diagnosis in fantasy stories is not cross-sectional; It can be seen throughout the text of the story. As it turns the story into a whole. The use of these recognitions has helped a lot in instilling a special fantasy space that is an expression of wonder.

One Thousand and One Nights is one of the ancient and classical Persian texts that in terms of its breadth of content and its references to simple yet profound concepts that have been of concern to human beings throughout history, has been the subject of discussion to this day. The content and conceptual diversity of this work has given rise to the most extensive literary, theological, philosophical and symbolic discussions of this work. But one of the concepts that may not have been well received is the issue of human metamorphosis based on magic and in order to turn in this great work. The purpose of this article is to investigate the role and function of the element of magic and its relationship with rotation in the stories of One Thousand and One Nights.

This research has been done with a descriptive-analytical approach and using the library data collection method.

The concept of magic has long had a special place in the narrative literature and mythology of nations. In these stories, especially the ones that project the idea of ​​human metamorphosis in a completely imaginary way, an approach to the rich capacities of imagination in opposition to natural phenomena is conceivable.

In the stories of One Thousand and One Nights, the strong presence of the concept of magic has caused narrative suspensions and sometimes unravelings. Also, the structural process of concepts such as magic and wandering in One Thousand and One Nights shows them in their interaction with the world of myth, rather than meaning them in the construction of myths.

Knots and related issues, which are among the most controversial topics in magic, are widely used in folklore culture and have been addressed in mythology. Knot magic is one of the types of homeopathic (imitation) magic and it can be divided into two types of positive magic and negative magic. The most important and frequent functions of magic knot are healing, marriage, pregnancy, asking for rain, stopping the rain, finding the lost, closing the malicious tongue, closing the groom, and so on. Recognizing and exploring the magic of the knot as part of the popular culture familiarize us with popular beliefs, thoughts, and spirits. The statistical population of this article is Iran and the method is library research and reference to popular cultural books. In this article, an attempt has been made to classify, describe, and evaluate the most important applications of knot magic in the folklore culture of the Iranian people with a descriptive-analytical approach.

Metaphysics has appeared in the Shahnameh, in one of the perspectives, in the form of a conflict between the forces of good (Divine) and the forces of evil (the devil). That is why in most of the stories of Shahnameh, the footprints of one of these forces are clearly visible. The demonic forces that are the subject of the present discussion in the Shahnameh are: the devil, the satan, the demon, the sorcerer, and the dragon. Most of these phenomena can be transformed by relying on the superhuman force and transforming themselves into another and generally desirable form (such as a deceitful woman) and deceiving and misleading the characters in the story. All these phenomena, with all their strength and power, will eventually be destroyed by the hero, who is not without the help of the divine and good forces, and the world will live in relative peace until the next manifestation of these forces. It is noteworthy that as we move from the beginning of the Shahnameh to the historical parts (the end of the Shahnameh), there is a relatively significant change in the type of demonic forces. , for example, In the historical section unlike the mythological and heroic sections, there is no mention of demons, devils, or the daemon, and the dragon, and sometimes the sorcerer, has become the perfect representative of the demonic forces.

In this study, we conducted a comparative study of magic from »Quran«: »Araf , Shoara , Taha» verses’ points of view by focusing on surrealism and  Although magic is the basis of all divine religions, »Quran« highlights its importance and possess specific perspective. In mystic literature, magic is an obvious consequence of austerity and hard work on mysticism and concentrating on surrealistic subconscious. This study used analytical-descriptive method along with mentioning to some samples from »Quran« and their resembalance to surrealism. Results showe's that: 1- magics, in both »Quran« and Surrealist, are considered as context that fosters people to some allegations,         2- culture of magic has an interweaving relationship with oracular and internal worlds. This study aimed at comparing both approaches and also providing systematic plan for implication of magic from »Quran« and surrealistic points of view.

One of the motives considered a constant and the most applied element in epic texts and the storyteller’s scrolls, is searching for medicines that are supernatural and healing, and that many events are happening around this search. In epics there are strange plants and fruits that have magical properties. Also, there are magical and healing balms that come from herbs, demons' body parts (including horn, brain, heart and liver), the dragon oil or the feather of Simurgh, and they miraculously heal wounds. Magic potions, magic beads, healing mineral springs, healing through prayers and enchantment and, becoming blessed are among the magic items in epic narratives and storyteller’s scrolls. The saints, the devout, the spiritual guides, the kings, the heroes, Simurgh, Zal (Rostam’s father), and the magicians are among the therapists or witch doctorswhose practices of treatment are reflected in the storyteller’s scrolls. This article aims to do a briefly descriptive-analytical study on the therapies, magical and healing medications in narrators’ scrolls

Anthropology is the knowledge of people, their culture and their life history, which have many subcategories. It is necessary to mention the religious anthropology that is one of them. The field of religious anthropology is the belief of different societies about supernatural and their emergence. Magic also forms an important part of the religious belief system. The novel of From Drowning , with its  widespread fame, was written by  Monir Ravanipoor who is one of the great Iranian writers in  the folk tales of Iran that is rooted in the ancient beliefs and the beliefs of  people.  They are the stories of people who inevitably engage in magical behaviors in the face of an unknown metaphysical force. According to research conducted in ancient Iran and primitive religions, these behaviors were divided into two categories: black magic and white magic. The former was despicable and obscene, and the latter acceptable and approved. This article first deals with the definition and characteristics of magical tools consistent with religious anthropology, and then provide the textual evidence. The findings show that various tools such as "magic, spell, salt, spandex" have been used to counter the black magic of magical characters such as "Blue, Boosalame, Disengro, and Majesty" are of the mgical tools such as Magic, Talisman, Salt and Sepand.

The magic is something with a subtle source, which is not seen with eye, and its source cannot be found in a normal way. The magic has a variety of forms that have harmful and non-harmful effects. The wizards use the latter one to deceive people. The motive for choosing this topic among other ones is that some people resort to the magic for different reasons such as: outbreaking demons for the discovery of the lost, confliction between the couples, and conquering the fairies and angels, etc. On the other hand, some verses of the Holy Quran expressly address the magic, and we find the manifestation of these verses in the poems of Mawlana Jalal-ud-Din Balkhi-Rumi. Since the main purpose of the present study was to examine "the magic from the perspectives of jurisprudence and Mawlana", first, the concept of magic was investigated on the basis of both literal and juridical terms and the perspective of Mawlana. The final result of this study showed that the magic is forbidden, and Mowlana's view is based on this result.

Folklore Fictions such as mystery and legends contain magical elements which have been considered since further past years among people. Whereas the metaphysical beliefs provide the psyche calm, they have approved their places despite of scientific progress. Folklore Fictions are one of the most popular features of folkloric culture which has provided the suitable bed for the collective consciousness of a nation. This study approaches two layers including; deep-structure and surface structure of fiction simultaneously. The different forms of magic appear in the surface structure, while the deep structure refers to the critical method of archetype. The findings show that 89% of magical elements appear in the fictions containing the archetype of hero’s journey. Such fictions overlap with the archetypal elements .There are either white or black magic due to archetypal heroes in such fictions, their connections are as if that shadow or the black magic make conflict for the hero and the archetype of old wisdom or white magic guide the hero, in order to remove problems. Their functions are diabolical. The different forms of magic make the elements of fiction which are respectively frequent like: the magical objects, the natural elements, the human personality, the imaginative elements and creatures, the semi-human creatures, the surrounding elements of human, the pseudo-animals, semi-animals, and Satan.

The followers of Zoroastrianism have ever tried to interpret and translate religious texts. Parts of these attempts available today is a Pahlavi translation and interpretation from Avesta, called Zand, which, although approximately presents a word-for-word translation, at times, it reflects religious priest's personal inferences. The part added to it as interpretation is unclear and at times even impossible to understand. Since Vandidad includes Zoroastrian religious exercises, it has been more familiar to the Zand writing priests than other parts of Avesta. As a result, Zand of Vandidad could be known as more complete and definite than other parts of Avesta. The Zand of the seventeenth Fargard which is about clipping hair and nails includes many juridical subjects and provides a better translation of Avesta compared with Zand of other parts. In this Fargard, it is ordered that the clipped hair and nails be taken and buried away from holy men, water, fire and Barsom. The clipped hair and nail are dedicated to the bird Ashouzushta in order not to fall in the hands of Mazandaran Devils that may use them against the owner who will finally remain safe from magician's harm. In interpreting this Fargard, priests have talked about reading Ashamvahu and Ahunawar prayers and even Soroushbazh while burying hair and nails.

Hakim Tirmizi- Hadith Scholar, Jurist, and Quran commentator in the 3rd century A.H (9th century AD)- is one of pioneers of theoretical mysticism ('Irfan) in the Islamic World. He is celebrated among the majority Sunni Muslims by his famous work on Hadith called Nawādir al-Usūl, while he is famous among Muslim scholars as a prominent mystic and theosophist. It could be understood by studying his diverse books and essays that he had tried to localize and theorize the ancient Iranian and non-Iranian spiritual methods of conduct on the basis of Islamic sources of morality (i.e. Quran and Hadith). Although most of Islamic scholars incline to rely on the Hadith as their main reference for their moral and theological doctrines, he treats the Quran as an important source of moral conduct and refers to it as a source of his doctrines approximately equal to his references to Hadiths. Apparently his glossary on Quran has not been remained. However we can find his commentary notes everywhere in his works. His hermeneutical thought, his noteworthy recommendations for some problematic verses, his innovative methods of interpretation, and his semi-linguistic analysis of some Quranic words has been seldom reviewed. This study aims to be the first step in the field.

One Thousand and One Nights</em> is full of fiction and magic. The fictitious episodes of the book depict the events that despite their being normal and usual in the world in which they happen, they are not simply believable. They are weird for us because we consider them as supernatural. Magic and witchcraft are really significant in One Thousand and One Nights</em>, for rather than everybody, only two groups of people exercise them, i.e. the good and the bad, and the wizards and the charmers are mainly women. The world of One Thousand and One Nights </em>is the one in which the common people live with the ogres and the fairies, and because they cannot react against them equally, they exercise magic and witchcraft to fight back the evils, the disasters and even the other common people. Now what makes us to believe in magic and witchcraft is nothing but our Holy Quran asserting them. Some verses in Holy Quran admit the possibility of magic and witchcraft while disallow people exercising them. However, exercising magic and witchcraft is common and familiar in One Thousand and One Nights</em>. The present research is to compare and contrast the magic and witchcraft in One thousand and One Nights and the Holy Quran, where the focus is verse 102 of Al-Baqara Chapter.

Expressing moral and didactic teachings is one of the wildly intends and purposes in the Persian poetry. Poets with regard to this have verified, consolidated and developed moral and didactic teachings by using various backings. The aim of the present article is to study the functions of myth believes in the Mathnavi Manavi. This has been done by using analytic – descriptive method in two areas of Beliefs and mythical creatures. How Molavi has used them, their characteristics and the way of applying them in line with didactic literature have been investigated.in Mathnavi Manavi , the field of myth in the line with didactic and moral goals is very widespread. Behaviors and beliefs concerning magic myth and its variants, banging on drums during a lunar eclipse and ...are put within the field of beliefs. Molavi made use of their characteristics in explaining the propositions such as self-blame, worldliness; avoid deceiving from them and awaking from negligence. In the field of mythical creatures fairy and giant are among the most frequently used creatures in Mathnavi. Molavi has used them in line with didactic goals and expressing moral propositions such as invitation to consciousness and the necessity of strengthen internal insight. Didactic explication of myth not only deepens this piece of literary work but also relieves it from monotonous nature of didactic text types. Molavi’s didactic mentality causes this field of human thought to be used in line with didactic goals creatively.

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.

As exaggeration is one of the inevitable devices in describing the warfare scenes, unlike habits or supernatural habits are the integral pillars of epic poetry. Supernatural habits in this paper consist of heavenly forces, earthly forces, human factors and magical affairs studied in Shahnameh and in several religious epics such as Heydari attacks of Bazel Mashhadi, Heydari attacks of Raji Kermani, Khavarannameh and Alinameh. The themes of this epic device are more pronounced in Shahnameh which was composed under the influence of the ancient culture of Iran than its counterparts in religious epics and in reverse, the frequency of earthly forces, human factors and magical affairs in Shahnameh are more striking.

Kurdish Stories and Fictions are the reflections of a life of hardships
and The ideals of people who have suffered a lot to survive their lives. The style of Kurdish Chirok (Fiction) is much like The narrative style found in magical realism since The imagination existing in The Fiction which is The common Feature between fiction and magical realism results in the break of causation chain in The narration of The Stories. This feature gives two common styles features such as removing The border between reality and imagination which in turn results in strange events, recognition of social and historical realities in fictions and magical realism.
In that condition what is called"magic" in magic realism is located in the unlimited scope of reality representing a concrete concept. So, fiction could be a good place for strange event that have been linked to extra- reality this feature relaty fiction to new style of magical realism. The purpose of This  study is  to  investigate the  similarties  and  differences between Kurdish chiroks(fictions) and the new style of magical realism.