جستجوی مقالات مرتبط با کلیدواژه "shahnameh of ferdowsi" در نشریات گروه "ادبیات و زبان ها"

Examining the types of anti-utopias and criticizing them is one of the important topics in the political thought of Ferdowsi’s Shahnameh. In Shahnameh, the anti-utopia is formed when the Iranian utopia is not formed and there is no Iranian ideal prince to rule over the people. "Absolute corrupt monarchy of the foreign king", "pseudo-democracy" political system and "Mazdaki communal society" are the types of anti-utopia in Shahnameh and according to Ferdowsi, the formation of these systems will only result in the destruction of the country and the destruction of the people. Also, in some stories of Shahnameh, Ferdowsi has spoken about people who live in utopia but do not adhere to its principles and have anti-utopian ethics. Finally, by examining Ferdowsi's critiques of various anti-utopias in Shahnameh, we can identify some of the political crises of his time and draw aspects of his utopia and the best way of governing for Iran. At the same time, criticizing and denying anti-utopias can be a kind of critique of the well-known alternatives to the government crisis in Ferdowsi's time.

Investigation and presentation of social components in Ferdowsi's Shahnameh Ferdowsi's Shahnameh is a clear mirror and a comprehensive view of the principles, manners, ideas and thoughts as well as comprehensive of all the civil, moral and cultural characteristics of ancient Iran. This unique work gives a new spirit to its characters and actors by dealing logically with the stories and anecdotes. While describing the battle scenes, it has also considered the social manifestations. The present study aims to is to investigate and explain the social components in the poems of this great poet. This research includes the verses of the Pahlavani section. The Shahnameh cited in this article is a copy of the Shahnameh compiled by Jalal Khalqi Motlaq (from 1 222 to 2332 ) in eight books. The results show that the presence of social components is 1200 times, among which, the highest frequency is related to the component referring to the past kings with 86 repetitions and the lowest frequency is related to the language component with 7 repetitions.

Shahnameh is a character-oriented book and there are characters who carry the burden of the story and its narrative aspects. In addition to the main characters of the story who become famous to the readers, there are also sub-characters who are responsible for part of the story and their presence is as important as the presence of the main characters.One of the most important sub-characters in the story of Rostam and Esfandiar is Esfandiar's brother Pashtun. In this story, we see the battle of two mythical and popular heroes, who each have their own reasons for this battle and are present as the main characters in the story. In addition to the emotional dimension as Esfandiar's brother, Pushtoon's presence gives narrative logic to the story and, while helping to narrate it, also answers the reader's possible questions. In a way, its absence creates a huge gap in the story.This article examines the character of Pashtun in sources such as Avesta, Dinkard and Bahmannameh; He deals with the functions of his character in the story of Rostam and Esfandiar and examines them in several parts: creating a difference of opinion in the story, representing the ruling power, presence to advance the story, and so on

Old age and youth are important concepts in the culture and literature of every nation and many articles have been written about them. In the Shahnameh, the characterization in relation to the young and the old and their personality traits can be clearly seen. The current research, which was carried out with the descriptive-analytical method and using library sources, is based on Ferdowsi's view of positive and negative characters, both young and old in the Shahnameh, and the change or lack of change of this view and the static or dynamic nature of positive and negative characters in the Shahnameh. Shahnameh has paid. According to the results of the research, Ferdowsi's view of the characters in the story, both young and old, is not constant and changes throughout the story. Characters who are more believable and attractive because of their positive and negative aspects.In general, it can be said that Ferdowsi attributes qualities such as patriotism, bravery and greatness more to the young, and on the other hand, attributes such as knowledge and wisdom are more attributed to the old.

The Shahnameh embodies the culture and ideas of the ancient Iranians through numerous elements, including myths, epics, and stories of kings and heroes. These ideas narrate the cosmological perceptions, social structures, traditions and moral and behavioral examples of the ancient Iranians which is known as Khosravaniphilosophy. These profound thoughts have been formed in a philosophical way from various religions such as Manichaeism, Mithraismand most of all Zoroastrianism; The basis of Khosravi's wisdom is light And the manifestations of this issue in Shahnameh  with high-frequency components such as wisdom, Light, Fire, Splendor (Farr), Angles (Emshaspandan), Goddess (Izadan) and dark forces like the Devil (Ahriman) and Demons (Divan) which are in contrast to the light and Ahuraian Lighting, along with its romantic and lyrical aspects, express the philosophy of life from the perspective of Khosravi wisdom.In this study, using the method of content analysis, components of Khosravani'sphilosophyhave examined in Shahnameh and shown that the brilliant reflection of these themes interrelated to its roots in Shahnamehhas provideda ground for establishing transcendental ideas, creating free thinking space with flowing it to the the heart of society and literary works, as well as a situation for the dialogue of texts throughout history.Therefore, by recognizing this trend, a systematicperception of Iranian literary, historical and religious works can be achieved.

The most important central element in the entire Shahnameh is the character of the king, which is derived from the two origins of history and mythology. The elements that were effective in the formation of the kings' rule in the Shahnameh are: Divine Farr, Royal Farr (inheritance), wealth and politics, power and having support and social base. Among the fifty-four kings in the Shahnameh, three were women and the rest were men. Shahnameh’s women play a key role in the government because they carry the blood of the kingdom through heredity and play a significant role in the affairs of the country (governance) and army. Sometimes they appear as the king's mother and wife, and sometimes as queens and empresses. This essay has analyzed the rule and foundations of Iranian and Non Iranian queens with analytical-descriptive method and compared the worldliness of male kings with queens. The findings of the research show that three Iranian queens (Homai Chehrazad, Puran Dokht and Azram Dokht) came to power through Royal Farr and the legitimacy of their government was based on fear and terror, except for Homa who was based on vigilance and negative power and two Non Iranian queens (Qidafa and Mother Talchand and Gov) were women with tact and wisdom who sat on the throne with royal and epic Iranian characteristics.

Moral and social themes are one of the main topics in Persian literature and from the past until now it has been the manifestation of the purest and purest meanings and moral and educational themes, so that in each period, a large part of Persian poetry is devoted to wisdom and sermon and literature It is a teaching of one of the most common and ancient literary genres in the world, which provides rational and moral teachings to the audience in order to achieve happiness and prosperity by applying them in life. In Shahnameh, which is an epic work, there is talk of ideal human beings who are adorned with good human qualities and adherence to morality is the most prominent feature of their lives. Ferdowsi, who has a pure and well-groomed speech, is committed to moral virtues, and in the stories of Shahnameh, he expresses these values ​​in human life. The Avesta, which is an educational and moral work, is also full of goodness and humanitarian thoughts; In which moral themes are expressed in different ways. This article tries to examine the common moral characteristics of these two works by using content analysis method and descriptive-comparative method and by library tools; The result was that Shahnameh, while being influenced and absorbing the cultural components of the religion of Islam, has also taken many influences from the culture of pre-Islamic Iran, and has preserved and recorded many of its cultural components.

Masterplot is a group of plots that are widely repeated among different ethnic groups and cultures. The purpose of this paper is to discover the structure of universal masterplot of “deal with the Devil” in two narratives of “Zahhak” in Ferdowsi’s Shahnameh and Dr. Faust by Goethe. In the present study, we have tried to answer two questions by descriptive-analytical methodFirst, what is the repetitive structure that governs this masterplot; second, what are the similarities and differences between the narratives of Ferdowsi and Goethe in this masterplot in different sections such as the reasons for dealing with the Devil, the motives of the deal, the actions of the heroes, how the Devil appeared to the heroes and their fate. The results show that the structure of this masterplot has a repetitive pattern in this form: Devil’s deal with individuals having superior characteristics, selling one’s soul to the Devil, performing similar kinds of functions after dealing with the Devil, and a complete downfall or return to salvation after suffering the painful consequences of wrongdoing. The differences between these two narratives from a single story include the motives of making a deal, which in Faust is the full enjoyment of material and worldly pleasures, and in Zahhak’s story is power-seeking (domineering). Another difference is in the actions of the heroes after the deal which in Faust involves false testimony and acceptance of stolen property, but in Zahhak it includes murder and illegitimate sex, which are common in both narratives. How the devil appears to these two is also different. In Faust, the devil appears in the form of a dog, a hippopotamus, and a scholar seeker, and in Zahhak, he appears in the form of a well-wishing man, a cook, and a physician. The end of the deal in Faust, after enduring many difficulties, is salvation and in Zahhak leads to his imprisonment at the bottom of a cave. Based on this research, one can speculate the possibility that Goethe was influenced by Ferdowsi.

The headlines of the Shahnameh are phrases placed between the verses and mention the important events that occur in the continuation of the story. In addition, headlines have a variety of functions, the most important of which is to identify parts of the story and storylines. When a reader reads a long story text, he or she becomes more aware of the need for titles that define the storyline. By removing such phrases from the stories of the Shahnameh, a part of Ferdowsi's art in organizing descriptions is also neglected. Since titles, like verses, do not have the capacity to contain stylistic and artistic features, correctors are mainly content with what is recorded in the manuscripts in choosing the correct form. This method of selection creates problems because it is one-dimensional. However, the structure of the story and the title are related to each other, and more accurate recordings can be made by knowing the structure and elements of the story affecting the titles. This approach to the text and the headline provides helpful elements to the corrector and can be used to make better choices. In this article, considering the structure of the story and the connection it has with the titles, we have provided solutions for more systematic selection. In addition, during text editing, the location of each headline is as important as the recording. Considering the structure and content of the verses of the Shahnameh, we have also mentioned the exact location of these phrases and have provided suggestions for organizing the correction of the title with the approach of paying attention to the construction of the story.Introduction In the manuscripts of the Shahnameh, among the verses, prose phrases can be found that inform the reader about the parts of the story and the subsequent events. In correcting the text, one should pay attention to these headings as verses and choose the most appropriate form from the forms registered in the manuscripts. This choice, of course, is more difficult than choosing the exact form of the verses. Such difficulty is due to several factors. First, in selecting additional verses of information that the knowledge of text correction and typography provides to the corrector, it is possible to use stylistics and related matters such as grammar, rhetoric, etc. But in choosing the title, one cannot use stylistic criteria. Second, correctors made changes to the titles. These changes were sometimes in imitation of the version they had, and sometimes according to the taste of the correctors. Third, the variety of recordings in the headlines is much greater than the verses and narrations. Fourth, the scaling method in the copies affects the increase in the number and length of the headlines as well as their addition or omission.Materials and Methods The sources used in this research are a number of manuscripts of the Shahnameh and some side sources. First, the position, number, and recording quality of the titles were examined, and then the characteristics of the titles of each version were recorded. In the next step, points about the relationship between the structure and components of the story and the titles were extracted from the manuscripts. Some points were identified related to the structure of the Shahnameh stories, with the help of which the titles can be selected more accurately.Discussion of Results and ConclusionsIt seems more difficult for the correctors to choose the correct form of the Shahnameh titles from the verses of this work. It is not possible to use stylistic criteria in choosing the appropriate form of these expressions. For this reason, correctors have been content with the content recorded in the manuscripts. However, the headlines are directly related to the two pillars of the narrative of the story, namely the event and the character, and by considering the importance of these two elements, it is possible to determine the more orderly form of the headlines. In choosing the appropriate form of headlines from the forms registered in the manuscripts, paying attention to the importance of the event and the character can be a more accurate selection guide. How the titles are recorded in the old and valid versions of the Shahnameh could confirm this claim. In addition, some events have always been influential in the course of the story, and in each story that is mentioned, they have a title in most versions. These events are related to wars and letters.In addition to determining the correct form of the title, it is also important to determine the appropriate location. To determine the appropriate location due to the special way of drawing the title boxes in the manuscripts and writing the verses around this box, an auxiliary method should be used. This helps to pay attention to important events such as letters and wars. According to the versions of the Shahnameh, especially its ancient versions, the headline must be written at the beginning of such important events. In addition to these types of events, if an event is to be a turning point in the story, the headline must be given before the verses begin. Ferdowsi uses this type of introduction at the beginning of important events in the heart of the story, just as he uses the principle of initiation in the beginning and sermon of the stories. Whenever a fateful event in the story is about to take place, Ferdowsi begins it with an allegorical statement. In addition to the rhetorical value, this method can determine the appropriate location of the headlines (i.e. before this introduction).

Stories, legends and myths of ancient Iranian literature are considered as a rich support of dramatic literature. Shahnameh, in terms of aesthetic dimensions and structural and linguistic features, has valuable capabilities and functions in the field of performing arts. This work can easily be a source of inspiration and an important platform for the formation and evolution of Iranian theater. The purpose of this study is to study the two stories of Siavash, and Bijan and Manijeh of Shahnameh and a deeper understanding of the stylistic features of Shahnameh that can be effective in turning it into a play.

The method of this descriptive-analytical research and data retrieval is library.

Shahnameh is one of the most prominent and beautiful examples of classical literature in Iran and the world that by providing the best illustrations, has helped its audience to imagine themselves in the middle of the story and by putting verses together, the process of the story Understand clearly like a movie and a show.

Both Siavash, Bijan and Manijeh stories have all the dramatic elements and have the ability to become a play or a script. In these two long stories of Shahnameh, the elements of plot, characterization, dialogue, scene and place, peak, complexity, conflict, crisis, and suspension are clearly and artistically present.

One of the heroic poems that has been written in imitation of Ferdowsi"s Shahnameh is Shahriyarnameh. The poet of this poem is an anonymous poet named Mokhtari, who probably lived in the Safavid period. This poem is about the heroism of Shahriyar Borzoo in the lands of India, Iran and Mazandaran. The purpose of this study is to analyze the stylistic features of this Masnavi.

This research is a descriptive-analytical approach. For this purpose, resources related to the subject of identification were studied and recorded.

Masnavi Shahriyarnameh has weak verses and is full of verbal and spiritual flaws. This Masnavi has been composed in twelve thousand and sixty-nine verses in a convergent format. Since this poem belongs to the Safavid era, many features of the Safavid era such as the extensive use of sending proverbs, allegories, as well as the use of slang, words The traditional composition of the Safavid period is evident in it. The poet has composed this poem in a parody of Ferdowsi"s Shahnameh.

This system is full of mythological themes and beliefs and also has themes such as justice, benevolence, advice of Wonders, praise of wine, misogyny, Ayari character and popular beliefs. Puns in the realm of rhetoric, simile in the realm of imaginary forms, exaggeration, and observance in the realm of spiritual novelty are among the most prominent literary arrays used in this system. One of the features of the language of this system is the use of rare or artificial words. Many grammatical and linguistic features of Khorasani style imitating Ferdowsi"s Shahnameh can be seen in this poem.

This article seeks to examine how the Iranian heroes think about peace in Fereydoun story. In this story, several peaceful methods are discussed. The wide distribution of wealth among the needy by Faraanak, the division of the world into three parts and pluralism in the method of governance, and the avoidance of individuality in the division of the world, which is the work of Fereydoun, Emphasis on dialogue in resolving conflicts among heroes and relying on finding a solution to peace and absolute rejection of violence, avoiding the use of military force to resolve disputes, not belonging to the world and avoiding stubbornness and struggle to stay in the power that is the characteristic of Iraj in front of his brothers, paying special attention to justice, and avoiding oppression and tyranny in Fereydoun's actions and speech. What Fereydoun has benefited from, as well as the actions of the words and thoughts of the Iranian heroes in Fereydoun's story, are in line with today's peaceful views.

"Alawiya" epic by its Egyptian poet Muhammad Abdulmutallab (1871-1931) is one of the most famous and venerable poems in modern Arabic literature, which is distinguished by a prominent enthusiastic style and has epic features that make it one of the early stages of the epic art in Arabic literature at the beginning of the twentieth century. In this article, and in a descriptive-analytical approach, we have studied the epic elements in this poem, and since the epic is an ancient art of some peoples, such as the Persians and the Greeks, we compared these elements with the elements of one of the world famous epics, which is the Shahnameh of the great Persian poet Ferdowsi, to see how Alevism has the artistic features associated with the epic Was the poet able to come close to some extent from the world epics, or not. In a fleeting look, we can say that the poet was able to create a great epic, and his poem has epic features that almost make it a great epic, and the most important of these features are describing the quantities and their heroics, photographing battles, arenas, the ghost and the tools of war in an enthusiastic way, and taking advantage of some techniques of the epic and enthusiasm, such as “Magnify the opponent” ”artistic exaggeration,” “paranormal customs,” and “proverbs” in narrating events and describing battles.

Evasion or deviation, which is called in English literature by Digression and Excursus, is a speech outside of the main subject, which the author/ poet speak for his aims during the narration. In this research, which is done through descriptive-analytical-documentary and library studies, we are going to define the digression in the heroic section of Ferdowsi's Shahnameh. The central question of the research is how basically digression is a statement, what kinds of it has been reported in Shahnameh, and what the poet pursues, what goal or goals he is trying to find out. After examination we found that Ferdowsi in the first, middle, and ending episodes of his work presented the kinds of digression. In the first part, the poet through some devices such as Prologue tried to deliver his idea. In the middle section, he has deliberately a pause to deliver a moral point, and in the final section he often refers to by wording, blame the world state, blame of avarice, condemnation, worship of wisdom, and inevitability of death. The most digression is related to the wheel of time, and among them, the instability of the wheel has the highest frequency and this matter is due to the reflection of Zorwanism's beliefs. In digression which related to avarice, the point of view of poet concerned with demon of avarice and the poet through animism he tries to beware of human kind. The only way to cure this disease and this devil- in the poet’s view is wisdom.

One of the important functions in constructing Shahnameh narratives is the role of nature elements in events and human destiny. Among these natural elements, the element of wind has a special place. In Avesta, the difference between fire, water, soil on the one hand and wind on the other is significant. While the first three gods are only one species and have positive attributes, wind is two species. In Middle Persian texts, "God of the Wind" or "Wai Nik" and other "Demon of the Wind" or "Woe Bad" are mentioned. In the menu, wisdom is the wind among the gods, which is praised for its strength, and on the other hand, it is the devil wind that causes storms and strong winds. In the mentioned texts, the god of wind is praised for making kings and heroes in battle and their victory. This article has tried to study the role of the element of wind in ancient texts and Ferdowsi's Shahnameh and to show what changes this element undergoes after entering the epic space.

In this research, information was collected through library sources and the method of this research is descriptive-analytical. The basic text of Ferdowsi's Shahnameh is a 4-volume correction of Jalal Khaleghi Motlagh.

In Ferdowsi Shahnameh, wind is known for its pleasant and fragrant attributes. Bad wind is also associated with traits such as sharp, hard, dark and smoky. This element, regardless of its divine-demonic character, rushes to the aid of kings or heroes and often comes to the aid of Kaykhosrow.

Bakundukav in the narrations of the national epic came to the conclusion that this element has lost its divine character and has become a natural element that acts only by the command of God Almighty and often supports the king and the worthy hero and fights for the right. They are.

Empathy is one of the ten life skills in the definition of the world health organisation. In this research, based on the mention skill, the characters of Shahnameh have been psychologically analyzed. In this way, types of empathy have been explored in this valuable work. The concept of empathy in psychology has also been explored. It has also been examined who in which style of behavior and for what reason is more proficient than others, and whether all the empathies of the Shahnameh is genuine and effective, is the central theme of this article. Reflecting on the Shahnameh, we find that ministers and advisers, servants, and members of the kings and heroes' families have the greatest role of empathy in this immortal work and empathy is sometimes supportive and affectionate, and sometimes from supportive to expedient and sometimes used to refuse an inappropriate request. In Shahnameh, those whose communication style is daring usually empathize with others because they have healthy, decisive and appropriate expression and behavior

The oldest version of the Shahnameh (The Epic of Kings) dates back to 614 AH, 214 years after the time of its completion at 400 AH. However, a variety of chapters and verses of the Shahnameh have been remained in some ancient historical and literary sources from this period. Among these is an Arabic book entitled Khalq al-Insan(The creation of Humans) by Bayan al-Haq Neyshabouri (died in 521 AH) which has quoted 54 instructive verses for the interpretation of a verse from the Holy Qur'an. The current study compares these verses to the Shahnameh edited by Jalal Khaleghi Motlagh and manuscripts used in his edition, some other copies as well as the book of Ikhtiarat Shahnameh (474 AH), and it discusses some records. Based on the research findings, Bayan al-Haq has derived the verses of Shahnameh from Ikhtiarat Shahnameh, not from the copy being studied.

One of the most important reasons for the impact of the tale of Rostam and Esfandyar is the way these two main characters confront each other.  Despite most battles represented in Shahnameh, Rostam and Esfandyar before confrontation had always been on one side.  Therefore it seems that we are neither faced with good and evil in its literal sense nor with a sort of misunderstanding that happened in the tale of Rostam and Sohrab. Hence the characteristics that put these two characters opposite one another gain significant importance to such extent that the analysis of their fundamental differences is one way to discover the enormous impact of this tale.  To reach this purpose it is essential to find a suitable criterion in order to classify the characteristic features of each protagonist.  Attempt is made in this article to study the principal differences of the protagonists according to theories of “Authentic life” and “inauthentic life” put forward by Martin Heidegger paying attention to the role of the differences in the course of the tale that gradually brings about its tragic end.  The results obtained show that looking at the tale from Heidegger’s perspective not only can help us to better understand the root of their discords but also it can justify certain conflicting behaviors of Esfandyar.

In the Ferdowsi narrative of the myth of Zahhak, Ermiyel, and Garmiyel, after reaching his reed, each day, by combining a young brain with a sheep's brain, they save one from the dead. The young people will go to the mountains and the desert with the goats and sheep that the Ermiyel and Garmiyel gave them. Ferdowsi then reminds us that the Kurd race has been made up of these young people. Some scholars from Shahnameh, including Akbar Nahvi, Mostafa Jayouni, and Timur Malmir , have been referred to in the covenant, not in terms of ethnicity and race, but in the sense of shepherd, nomadic, simple, and emmi. In this essay, after reviewing the texts of pre and post Islam and the internal and external forms, the authors find that the four errors of rigorous evaluation, imperfect succession, maladaptive generalization, and neglect of the semantic context of the Shahnameh abstract led to the incorrect analysis of the word "Kurd" , Because pre-Islamic texts and the history of the Islamic era all indicate that the use of the word "Kurd" in the meaning of race and ethnicity is a constant and, albeit later, by the Kurdish pastoral tradition, the term in some texts in the meaning of the pastor is also It has worked; it can not be generalized to the Shahnameh and the desired works.

Characters and their connection to the stories of Shahnameh are of particular importance Therefore, today's research on the effective communication skills of the ten life skills in the definition of the World Health Organization, all human connections have been extracted and categorized from the stories of Shahnameh. Then exemplary examples of this communication have been analyzed in this psychological work by identifying the causes and obstacles that make communication unhelpful and the painful communication and impasse. What determines which communication is effective? What factors can lead to correlation or conflict? The role of reason is intriguing, and the ideals of Iran, although it is based on wisdom, is sometimes the case of good and evil people, as well as some of the main characters, sometimes Changing the direction of the flow of communication is a central theme of this text، and, surprisingly, Ferdowsi, the professor of the power of creating a diverse relationship, finds that, one thousand years before today, the knowledge of the last part of this science has become apparent to the European, and, through this communicative skill, in the light of the prevailing doctrines, sometimes deliberately and elegantly, Effective, different. This methodology, analyzing its qualitative content and its statistical society, all of the variegated archeology of the ancient Naqvar.