جستجوی مقالات مرتبط با کلیدواژه « آیین های ایرانی » در نشریات گروه « ادبیات و زبان ها »

Ritual literature has a long history in the history of Persian literature, which shows the importance of ritual topics and concepts for poets and Persian speakers. In the past, the main theme of ancient religious literature was myths, traditions and cultural customs, but from the Islamic era and especially with the coming of Shia governments, it took on a religious flavor. Regarding the nature of ritual poetry, especially in the contemporary era, definitions have been made that are not usually comprehensive; furthermore, there has not been a precise boundary between ritual poetry and other poetry, and sometimes in the definitions of researchers, ritual literature has been mixed with mystical, religious or didactic literature. In this paper, library research has been used to identify what ritual poetry is and present a more comprehensive definition of ritual literature. In what follows, the most common types of ritual literature are listed. The structure and content of ritual literature are briefly examined.

For a long time, rituals, customs and traditions have been very important and valuable for different nations; Iranians rituals have also been universally acknowledged and respected and preserved by Iranians. Adopting an interpretive approach, the present study tries to narrate the role and sociological functions of Iranian rituals in terms of regional peace and security. The theoretical framework of the research is based on a rationalistic approach and is consistent with previous research, observations and experience. The research method is conceptual and descriptive. Thematic analysis was used to analyze the data. Some of the Iranian rituals are deeply rooted in Iran’s culture and are of great value in other countries. Their functions have changed to peace and friendship over time. This study tries to show that Iranian rituals and traditions, in addition to strengthening solidarity, creating cohesion within the country and deepening Iranian identity, have the capacity to create unity with many countries in the world. Paying attention to universal Iranian rituals results in the development of the authority and legitimacy of Iran’s global image. Cultural commonalities rituals can bring security, peace and friendship.

Persian literature, especially Sufi literature, as a mirror of human thought and behavior, functions as the source of a lot of seven arts, specifically cinema. Dariush Mehrjui, as an Iranian filmmaker, has been able to establish a new philosophical thinking in cinema. Although cinema is an imported product and is not that much old in this ancient land, the precious heritage of Iranian Sufism, which is a symbol of our rites and traditions, can be considered one of its main sources. Although some of the people well educated in cinema have a certain opinion about its origin and find its roots in the Western world, there are filmmakers who are familiar with artistic and human concepts and who are not intimidated by the West, but are trying to give their art a local color. Dariush Mehrjuim, the Iranian filmmaker who has studied philosoiphy in the West, has been the founder of a new way of thinking in cinema. In this research, we have adopted content analysis and an intertextual approach to explore Sufism, as the hidden layer of the film called Hamoun, through symbols and signs. Finally, we came to the conclusion that modern man needs to pay attention to his past traditions and customs to acquire deeper knowledge and know himself. Therefore, Mehrjui finds common ground between Iranian Sufism and Western philosophy, especially some of the key principles of existentialism, which considers pragmatism and human agency very important to achieve excellence and a better. Similarly, Sufism emphasizes special human capacities and following a path based on one’s own abilities, to reach true happiness and perfection.

Man has always adhered to his national, ancient, mythical, and religious traditions and ceremonies; he also has placed great value on them and tried to preserve them. Some traditions are so much parts of a culture that even political and religious revolutions have not been able to challenge them or break with them, even though they may have been given new names. One of these traditions is the ceremony of Omar-Koshoon, which is probably a modified version of an old Iranian ceremony. This tradition which is still cherished, though more secretly, has a history of several centuries in some cities of Iran, especially Kashan. What is called "Omar-Koshoon Show" in this article is based on an older form practiced in Kashan and several other cities in Iran, not the form that is now held in many cities in Iran. In this article, we first refer to the roots and historical backgrounds of Omar-Koshoon in Iran and Kashan and, then, compare it with some other Iranian and Babylonian celebrations. Afterwards, we compare it with Mire Nowrouzi. It seems that Omar-Koshoon and its Shiite-like form has been rooted in Mogh-Koshi ]Megaphonia[ (or Mire Nowrouzi in Islamic era). There are some similarities between these two ceremonies in terms of performance, manners, and the clothing of the organizers, while both rejoicing and breaking away from legal and religious constraints on the days of the performance

In ancient Iran, the five extra days of the twelve thirty-day months (in English: Epahomene) was named Panjeh, Behizak, Andargāh, Panjeh Dozdideh for Iranians, and Khamseh Mostaraqeh for Arabs. Iranians and Arabs were holding many feasts and rituals on this occasion, mostly forgotten now, and merely through historical accounts or the ancient poetry we can find their names. One of the rituals practiced in Iranian Epahomene during the early Hijri centuries was a type of dance named “Dastband”, which means hand-in-hand, and apparently, it was the most significant part of these rituals. There is almost no trace of this dance in the Persian texts or ritual books; the dancers held each other’s hands to perform this dance and danced together in a circle to the music of the instruments. In Arabic dictionaries, other names such as “Fanzaj”, “Banjakān”, “Daʻkaseh”, “Mehzām”, and “Nazawān” are mentioned for this dance, which easily connote “Dastband”. This paper first examines the texts in which the word “Dastband” has appeared, and then refers to other synonyms used by the lexicographers. Results show that the dance was gloriously performed in various cities of Iraq during the first centuries AH. Some texts referred to the synchronization of this dance with Iranian Epahomene on the eve of Nowruz; conceivably, that is why the dance was called Panjeh.

Roudaki Samarghandi is called as the father of Persian poem because he has versified all concepts, meanings and intentions of poetry of Dari Farsi among which lies his concern for wisdom and knowledge reference to myths, heroes of national epics and Iranian culture and traditions.This paper studies the quality of Roudaki's impression ability from resources of National Epic and the manifestations of epic, myth and old Persian traditions which caused fact-revealing and realism ending to the distinction of his poem and speech will be described and analyzed in a library method.