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

Every glorious poem has a dominant idea that overshadows the whole work. The poet hides this idea in the form and structure of a sentence or a word. He then artistically marks some words so that the audience can identify the dominant idea through them. Has Simin Behbahani used this artistic function in the poem "I was that day ..."? It seems; To get the right answer, the benefit of Michael Rifater's theory of semiotics is more than any suitable theory. Due to this similarity, the present article has examined Simin's poetry based on the semiotic theory of this thinker and with a descriptive-analytical method. After examining the non-prescriptive elements, the results indicate that there are accumulations with the meanings of "snake", "laughter" and "fear" with a high frequency in the poem. After examining the descriptive systems with the approach of metaphorical clusters and with the nuclei of "traditional society", "demonic temperament" and "quasi-modern society", the hypograms of poetry were identified, the most important of which were: the symbol snake The demonic temperament of human beings and in patriarchal systems is most manifested in the existence of the male sex. Also, the comparison of accumulations, descriptive systems, and hypograms with the intertextual approach created the following structural matrix in the minds of the authors: The demonic temperament of a patriarchal system in traditional societies through folk games, oppression. It inspires girls. In a quasi-modern society, the teaching of oppression continues with modern methodses

"Fairy Snake" is a peculiar expression that has been used by Sanayi Ghaznavi and Khaghani-e Shervani among other Persian poets. They have likened beautiful and disloyal lovers to it. The exegetes and commentators of the poems of Sanayi Ghaznavi and Khaghani-e Shervani have not yet given the correct meaning to and a true concept about this expression and composition, thus being confused about its analysis. According to the author, the combination of fairy with snake showed a mythical and legendary fate because by examining and studying the myths and legends, it could be said that the fate of the fairy as Goddess of debauch and fertility and that of the snake as a mysterious animal were caused by their very natures attributed to the moon, their correlation with debauch and fertility, and their connection with water, as well as magic and witches from the earliest times. This relationship, which continued after the Zoroastrian Religion and Zoroaster's religious reform caused the creation of a mythological-legendary expression called the "Fairy Snake" in the form of one of the mixed myths of transformation, which is a symbol of both debauch and devil. Sanayi Ghaznavi likened the beautiful and disloyal lovers to that strange and hybrid creature.

Every glorious poem has a dominant idea that overshadows the whole work. The poet hides this idea in the form and structure of a sentence or a word. He then artistically marks some words so that the audience can identify the dominant idea through them. Has Simin Behbahani used this artistic function in the poem "I was that day ..."? It seems; To get the right answer, the benefit of Michael Rifater's theory of semiotics is more than any suitable theory. Due to this similarity, the present article has examined Simin's poetry based on the semiotic theory of this thinker and with a descriptive-analytical method. After examining the non-prescriptive elements, the results indicate that there are accumulations with the meanings of "snake", "laughter" and "fear" with a high frequency in the poem. After examining the descriptive systems with the approach of metaphorical clusters and with the nuclei of "traditional society", "demonic temperament" and "quasi-modern society", the hypograms of poetry were identified, the most important of which were: the symbol snake The demonic temperament of human beings and in patriarchal systems is most manifested in the existence of the male sex. Also, the comparison of accumulations, descriptive systems, and hypograms with the intertextual approach created the following structural matrix in the minds of the authors: The demonic temperament of a patriarchal system in traditional societies through folk games, oppression. It inspires girls. In a quasi-modern society, the teaching of oppression continues with modern methodses.

From the very beginning of creation, the tree has somehow been linked to human life and has played an important role in the myths, rituals and beliefs of the people; Because of the relationship between literature and mythology, the tree has also been reflected in literary texts;Marzbanameh is one of the Persian literary texts in which the tree has a wide reflection. In this paper, the mythological and symbolic concepts of the tree in Marzbanameh are studied. The authors hypothesized that the tree in Marzbanameh stories had a mythological, religious function in addition to its literary function.Based on the aforementioned idea and by analyzing the content of the stories, this hypothesis has been verified. It must be explained that ten mythological attributes of the tree Marzbanameh can be observed, such as the cosmic tree, Illumination (awareness), healing, the relationship between the tree and the fairy, relationship with the snake, the role of the tree in determining the fate, the shelter role of the tree, the relationship of the tree with the genealogy, the worship of the tree, the speaking tree. The widespread application of the mythological concepts of the tree in Marzbanameh reinforces the hypothesis that the book was written in the Sasanian era and in the time of Anushirvan. In addition, the tree's sacredness and respect for humans and its presence in their lives have been due to humans' need for the tree as a food and medicine source. The research method is descriptive-analytical in terms of library work space.

The subject of the present article is to study the images of the snake, dragon and their belongings in the Shams' Sonnets that Mowlavi introduces by these images and many complex concepts. For this purpose, first introductory material has been expressed with the titles of experience and image, the concepts and images of poetry and animal images. In the main part of the research, the relation of twenty four comparisons such as the beloved, lover, human, barrier, duality, world, sensuality, suffering and disaster, trapped, separation, language, wish, silver and gold, night, food, despair and God's attention are embodied with the limited component of the snake and dragon along with twenty five common similarities, such as destruction, fidget, sting, prevention, belongingness, duality, independency, humility and submission, life and death, strength, dignity, filth, excitement and pregnancy, movement and effort, and that it shows the maintaining deep mythological, religious and mystical patterns. Since the images of the dragon and the serpent in the Shams' sonnets, carries the dual meaning of positive and negative, rebellion and submission, grace and Fierce, hope and disappointment, suffering and happy, from the spirit and soulful experiences of excited and stressful of Mowlavi; This matter states the perfectionism, the breadth of thought, the exploitation of his contradictions and optimism. Unlike the banal experience, the reader based on Mowlana's positive view of the snake, understands the wise vision of this great poet, that all creatures are necessary in the best system of God.

The snake is one of the most complex and multi-threaded, and yet the most prolific symbol of the world. This mysterious, complex mysterious symbol has been integrated with many concepts in many of Masnavi's ups and downs with religious, mystical and mythological beliefs. Rumi has expressed many meanings for the serpent, some of which have deep connection with the physical characteristics of the beast. In Mathnavi, the snake is often referred to as a bad one, and Rumi has a ugly, black and horrible face and look that is capable of supernatural work. In the light of his mystical insight, he has taken more than a conceptual, abstract, and religious snake, and constitutes it as a symbol of self-esteem, lust, devil, hostility, filth, deceit, ruin, blackness, cunning, annihilation, and so on. The author intends to extract the various dimensions of the semantic meanings of the snake exponentially and extensively in Masnavi, in terms of his ability and understanding, and by presenting visual networks, Rumi's mental concepts become more objective and tangible. The research method in this paper is descriptive-analytic and based on library studies.

The purpose of this research is trying to show two key metaphorical phrases in the preamble of Risala-Alqofran is based on the cultural context of Abulalaʼs mind. Achieving this goal Writer has probed the cultural substructures of conceptual metaphors: "Heart is Hamate tree" and "Heart is snake" to reveal a part of the cultural context of Maaryʼs mind and his attitude, through the analysis of cultural foundations. Also we want to show that correlation between these metaphorical phrases and culture is so interconnected that the correct and complete understanding of both is not possible without awareness of its cultural substructures. One of the results of this study was that Maaryʼs mind in the processing of previous metaphors has impress by the story of Adam descent and Islamic teachings about it, which is accumulated from Jewish teachings, and also the popular beliefs, associated with the connection between snake and Hamate tree and between snake and woman.

Symbol is a sign, point, word, or something which has such a clear and bright feature that it can represent that property. The aim of using symbol is that a message be sent beyond its outward meaning. In this study, we investigate symbolic concepts of snake in epic, lyric, and gnostic works (on the basis of The Shah-Nameh by Ferdowsi, The Khamseh by Nizami, and The Masnavi by Molavi) comparatively and according to the library method and descriptive-analytic method. At first, symbolic concepts of this creature in epic, lyric, and gnostic domain will be expressed. Then, we will determine the percentage of collation of the symbolic concepts in two or all three works and percentage of usage of snake symbolic concept in each work.The outcome of this article is this point that 37.5 percent of this creature’s concepts (baseness, hurtfulness and twisting) in all three works and 37.5 percent (strength, guarding and darkness) in two of them are conformed; 25 percent of the concepts are used only in one of them. In addition, 12.5 percent of concepts are in epic domain, and 25 percent are in gnostic one. There is no concepts in lyric domain for snake. 62.5 percent of concepts are in other domains (besides epic, lyric, and gnostic).

Zahhak, the most central demonic creature in Shahnameh, equivalent to Avestic Azdyhak and the three headed dragon of Indo-Iranian origin is one of the most distinct evil creatures in Mazdisna writings. Numerous interpretations of the Zahhak’s myth were made and considering the fact that Zahhak is of the Arab origin in Shahnameh, and assuming that the plain where horsemen fight with spears (Dashte Savarane Nayzehgozar) a place within Iraj’s domain in Shahnameh is one with the Arabic Sahara, certain interpretations regard the Zahhakk’s myth as a legacy of the migrants’ battles with the races of the Sami origin such as Assurians, Sumerians, and Babylonians. While criticizing other interpretations this research shows that Zahhak’s myth could be related to the Underworld Serpent God in the ethnic cultures of Iran’s plateau and its adjacent lands. According to this myth, the best youth were sacrificed for the God of the Underworld and the dragon killing myth is not a relic of a historic battle, but a symbol to end this bloody tradition of the prehistory.

The snake, well-known reptile, is an animal which is worth considering in the mythology of many tribes and nations in various forms. In Iran, a large part of designs is allocated to snake. Although the ancient people painted and carved the snake image on the artworks and reliefs, it seems that it has a certain meaning; symbolized something and connected with religion and beliefs. This point drew the researcher's attention to the application of the snake role in the remaining works of Elam and neighboring areas, such as Jiroft, and generally their differences with the Zoroastrian religion. The design of the snake in Elam reveals more than anything its connection with God, water, fertility and the other world, while in Jiroft we observe the design of interconnected, intertwined and closed loop snakes and even the strife between snakes and other animals. Afterwards, with the influence of Zoroastrian religion in Iran, this animal finds a new role which is completely different, so far as it is introduced as an evil creatures.