جستجوی مقالات مرتبط با کلیدواژه « افسانه » در نشریات گروه « ادبیات و زبان ها »

Reality is what we experience in our daily life, which can include personal or social issues. Social realism in ancient works can affect us in today"s life by the rituals and customs of the past. Therefore, in this research, by examining the social realism that has been carried out in the stories of the Shahnameh, we will achieve this important goal, which links the author of the Shahnameh, Ferdowsi, established between myths and reality, because on the surface, the cause of the events and actions is supernatural and unreal. It is said that while most of the narratives of the Shahnameh are based on the facts of life, the author in this research also examined the social events from the perspective of social, religious, political and cultural life in the Shahnameh.

The present research is a theoretical study that was conducted as a library research. The main scope and society of the study was Ferdowsi"s Shahnameh, works and websites related to the research contents, after studying these works, the analysis and comments of the authors were included.

In this research, we find that the foundation of most literary works is based on the reality of life, and the connection and similarity of the real manifestations contained in the Shahnameh corresponds to the social reality of our lives. Although the most artistic part of the Shahnameh is the mention of superhuman adventures, and apparently, at first glance, it does not fit with the reality and logic of our human life.

It is hard to believe the acceptance of many stories of the Shahnameh in concrete human life. Although Ferdowsi"s Shahnameh has a mythical and unreal appearance; But in its heart it has preserved the roots of reality. It can be said that the Shahnameh is based on the facts of life, and not only the facts of the life of the Iranian community, but the facts of human life.

The history of ancient Indian literature, the diversity of cultures and religious kinds of literature in India have led to the emergence of complex, rich, and voluminous collections of mythical stories. many of which have been transmitted orally for thousands of years. On the other hand, most Indian mythology, exists only at the rural level and oral culture, which must be recorded. These myths are also ancient, and popular traditions and folk myths, and many of them are the myths that make up the bulk of today's gods in India. In addition, the occurrence of extraordinary things in myths and legends are common and fundamental. Therefore, we encounter creatures that suddenly change from solid to animal, from animal to human, and from human to angels, transform and eventually and doing things that are beyond the natural and innate limits of man. For this reason, it seems that these configurations have been created and addressed as a mirror of the aspirations and unattainable aspirations of those people. this study is to investigate and analyze the functioning of various forms of reincarnation in Indian myths and legends, which are human, animal, angelic, God, divan, fairy and even speech and metamorphosis. Includes them.

Music, with a history of thousands of years among Iranians, both as one of the fine arts and as a practical art, has been present in various aspects of individual and social life. In addition to reflecting this presence, the long and close relationship between music and poetry has filled the collections of Persian poetry with musical terms, names of melodies, tunes, instruments, and composers. It is clear that over time, some new words and terms have become popular in this field, while some have remained obscure and eventually forgotten, and some others have undergone verbal or semantic transformation or fluctuation in their scope. On the other hand, a true understanding of the meanings and even receiving many artistic aspects of texts depends on mastering the different semantic features of words and the implications of terms. Undoubtedly, one of the important functions of writing commentaries on the works of the past is to explain the meaning of obscure words or the transformed meaning of a still-common word, and also to inform the audience of the idiomatic meaning of words and combinations that without mastery of them, the reader's understanding of the text is not possible or at least incomplete. Researchers have identified and introduced a large number of forgotten musical terms in the texts, but it seems that some of these terms are still overlooked. "Afsane" is one of these terms. In this study, using content analysis and descriptive-analytical method, the musical aspect of this term has been investigated and the artistic subtleties of a number of verses, which were hidden in the shadow of the forgotten idiomatic meaning of the word, have been revealed.

Surrealism is referred to as an anti-fundamentalist artistic-social movement in the twentieth century which, since its formation in the West, sought to change the worldview and attitude of man towards human evolution. This movement has considered the discovery of the human subconscious mind as a way to create a work of art and, this way, many areas of language have been overshadowed. Nima Yoshij and Serkon Bolus (1946-2007), who is a contemporary Iraqi poet, are referred to as the two pioneers of this new poetic style. This style includes some current approaches and literary styles that create new and transformational ideas in the poems` form and Level which, as the result, have revitalized literature and called for the emergence of new literature in line with modern life. The present article, using a descriptive-analytical method, examines the collection of "Afsane" by Nima Yoshij and "Eza konto naeman fi markab nuh" by Sarkon Bols by observing the similarities, differences, and the quality of the existing Surrealism identities in the two. The research findings indicate the crystallization of surrealist components such as; spontaneous writing, dreaming, amazing images, discontinuity of time and place, and love in both collections. The only difference is that the first four components have almost the same frequency. But the nature of the element of love in the mythical system is the same as chaste love combined with enthusiasm and decency, while this characteristic in the poem of Boles shows a compact, erotic image and far from social values.

Literature is a particular method of creating and producing meaning. This aesthetic logic field divulges a vast range of knowledge, concepts, proportions and new systems. In fact, it is able to affect audience as profoundly as possible. Like adults' literature, children's literature has such logic and capacity. Here, the literary mechanism initiates to produce suitable meaning for children, and it is essential to have aesthetic power, to be steady and coherent, and to find an undoubted response for their passionate and emotional requirements. Analyzing the Persian books from the first to the third grades reveals that the authors have ignored the great capacity of making meaning and the pedagogical and training effects of literature. Further, they have considered Persian books as a means of conveying scientific, religious and social implications. This research aims to deliberate the lack of the principles of children's literature in the aforementioned books. Literature is actually a specific aesthetic system embracing meanings, schemes and training patterns in it. Naturally, it cannot be considered as a shell and carrier for thoughts and content outside of oneself. Therefore, in the last century, much attention has been given to the origin and nature of literature, and new capacities of it are revealed and analyzed in literary discussions and theories. The main question is that have authors heeded these principles and literary theories in writing primary school text books?! From the development of new schools to the one or two decades ago, the elementary school Persian text books have just included poetic texts and sweet and attractive stories. These books are only concerned with teaching Persian alphabets in the first grade and reading and learning words and writing in the second and third grades. The fact is that there has not been a comprehensive concept to be innovate taught through literature. Within the recent decade, the authors of Persian text books have attempted to scientifically teach the language along with the change of the global patterns of teaching children. . For this purpose, the structure of these books has been extended to chapters, texts, pictures, questions and exercises, and teaching language skills (listening, reading, writing and speaking) and meta-linguistics and the power of analysis and creative learning to children has been the foundation of work. Undoubtedly, if this method is exactly and scientifically done, it will contribute to expand the childhood concept. It will also profoundly affect the inception, emotions and learning of children. Nevertheless, it seems that there are obstacles on this way and the unique position of literature has been remarkably ignored in teaching. It seems that the authors of books have considered literature as a decorative means that its only feature is to hyperbolically convey educational, moral, health and religious contents and has no other mission. However, they did not basically differentiate between pure children's literature and low literary level. Anyway, we are going to elucidate these errors and mistakes in order to pave the way with the contribution of the ideas of other researchers. Notably, we have considered the Persian text books from aesthetic and literary aspects including poetic texts and prose books not illustrations, practices and questions. Even though the authors have used a suitable mechanism in compiling and detailing Persian books based on language teaching models, they were not capable of using the potential of literature, especially children's literature, in the finest way. However, narration and rhythm of music has been poorly covered in text books. Literature has this vast and aesthetic capacity to both motivate the inception of children and improve their seeing, listening, reading and writing skills. It also tries to make children learn the literary and artistic techniques. Furthermore, most of the concepts and contents of these books are not childish like. It is mostly descriptive and controlling rather than reflecting children's feelings and removing their mental burden.

Nowadays, new topics have appeared in interdisciplinary approaches to research. Such topics are not limited to theoretical aspects of the research. In humanities, they have been helpful in practical applications of literature. For example, involvement of literature in games and toys has been a breakthrough in the audience's reception of literature. Semiologists such as Roland Barthes have studied games and toys as texts along with many other sign systems. Having roots in the culture and literature (including myths and legends) of every land, these texts have the potential for re-production and reception in another artistic form, and thereby, provide the condition for practical application of literature. In this paper, after discussing the textuality of games and toys, we have addressed questions regarding elements of intertextuality in them derived from myths and legends and the implications of this interdisciplinary approach and its practical application on literature. This qualitative, descriptive- analytical paper, which considers games and toys as signs and texts, offers the readers a different way of reading of myths and legends. The discovery of the intertextual relationships between games, toys and myths and legends of any land is considered a strategy for creating games with a literary context and might also create a specific genre.

Folk stories are kind of oral literature which form the background of today’s written literature. This research aims to scrutinize Iranian myths, which have been compiled by Ali Ashraf Darwishian and Reza Khandan and issued in nineteen volumes, from the viewpoints of folk elements like folk beliefs. Rather than these elements, other subjects like matals, appreciation, deception and cunning, types of allegories, magic and spell, mysterious stories, poverty and wealth have been also considered. Examples have been provided from each one of them. The findings of this research indicates the following outcomes: Almost sixty-eight thematic elements,Twenty-nine items of the role of numbers in destiny,Thirty items of the common traditions and customs in stories,Twenty-nine items of ancient elements in stories, Moreover, the findings have been arranged as tables including the name of the stories, the intended subjects and the use of numbers and the folklores practiced in stories based on different theories such as the theory of Marzelov and the classifications of Mahjub and other researchers specialized in this field.

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.

Choosing the element in a work is directly related to the reader. This study aimed to investigate the themes of the tales of Sankhast from the suburban areas of northern Khorasan in order to figure out how tale tellers used the related theme to achieve their objectives. The findings showed that the tale tellers sometimes expressed the themes in their work and in other times represented them through moral lesson to not only have more impact on the reader but also improve the level of the folk tales from the normal clichés. In general, the method of selecting themes in the tales were discussed, but there were occasions in which the themes were prior to the tale. The themes in the Tati tales of Sankhast showed that most of them were selected based on the hearings, lifestyles, mentalities, and people's opinions. Also, despite the fact that these tales tried to create heroes, attraction, curiosity, and entertainment for the general public, but in fact their fundamental mentality and social aspects were advertising humanity, equality, brotherhood, and social justice.

Apart from superstructure chains in the structure of myths, other points such as "numbers" and their function are involved in their construction. The present study, in a descriptive-analytical approach, has extracted the numbers used in the fifteen myths of Azerbaijan, and then dealt with the quality of their dissemination in popular beliefs in three sections of "less than ten, decimal, and compound". Out of 26 numbers with 462 repetitions, the proportion was 71% for the first group, 23% for the second group, and 6% for the last group. "One" in the counting unit position, "forty" for the celebration, and "twelve" for the group are the most abundant numbers and functions in each category. Numbers have commonalities in their multiples. The other finding is that the epic or love theme of myths has a two-way relationship with the chosen number. Composite and ironic combinations also indicate the presence of numbers in the linguistic structure of myths.

Legends and folktales are an indispensable part of the literature and culture of any nation. They are reflection of the culture, civilization and customs of every nation, which is part of the literature and history of each country. They have also carried moral, philosophical and national messages since ancient times and their main purpose has been to educate the next generation and to transmit cultural and national concepts. The aim of this research is to compare and focus on the mythical concepts and archetypes of the two cultures with the help of comparative literature and intertextuality and to analyze the main literary elements of legends in both Iranian and Polish versions.

“Tiny characters” are among lovely and specific characters in world folk legends. They are very small children who have vegetable or human roots and are born into families that have longed for children, like “Nokhodi” in Iranian folklore legends. These characters can be seen not only in the tales of our country but also in the legends of other nations and can be considered and studied. Thus, this research aims to study and analyze Tiny characters, comparing them and defining their characteristics.Here to achieve this goal, we used Iranians’ folk legends, gathered by Fazl-o-allah Mohtadi (Sobhi), such as “Nokhodoo”, “Jastik Nokhodi” and “Nokhodi and Deev”. Also German folk legends written by Grimm Brothers, such as “Tom thumb”, “Thumb and Thumbling”; and Japanese folk legends written by Shogo Hirata and Florence Sakade, such as “Peach boy, Little OneInch, Little One-Inch ” are used.This research tries to show the similarities and differences of Tiny characters in the folk legends of Iran and the world with a descriptive-analytical method and with the approach of comparative literature. These similarities can be found in the vegetable origin of most of these characters and their ethical features such as confidence, responsibility, braveness, intelligence, justice seeking, fighting against oppression and so on. There are also small differences in the type of their birth, how to achieve the goals, etc., which can be considered.

One of the most mysterious beliefs among the ranchers of Guilan is the belief in a legend called Siah Galash which over time has been intertwined with reality and fantasy and has found a special place in the formation of their cultural identity. Because of his immortality and blessing power, the hero of this myth has been considered as equal as their religious leaders in the people's minds and there are different narrations about his actions in regulating the laws of hunting and production of dairy products and environmental protection. Accordingly, after a short speech in explaining the main identity of this living and active legend and expressing the differences and its narrative commonalities in different regions of Guilan as well as, for the purpose of, obtaining applied answers regarding the function of allegory in different narrations and finally, can allegory play a useful role in rehabilitating the thoughts of the listeners? Or can it be effective in organizing the implementation of social rules among the community of ranchers? And in the case of the existence of positive answers, how much can it be effective? Brief discussion about the nature of allegory in rhetoric, examination the allegorical approach of love and anger, which is considered to be one of the constituent elements of Siah Galash's personality, are also the objectives of this research. This research is new as it is not done before and it is done in a descriptive-analytical method.

Fertility myths are one of the most important and repetitive types of myths of the nations in the world, which describe the fate of "martyred vegetable god", "hero / god dragon", and "hero / evil-killer god" and is usually an allegory of the death and life of nature. It is also the change of seasons. The mythological beliefs, while spreading among the people, are also accumulated in the collective subconscious of the people; therefore, myths - created by the general public - are a good means for the reflection of fertility myths in different eras. So, in this article, a descriptive and comparative method examines the reflection of fertility myths in 140 legends belonging to the provinces of Chaharmahal. And Bakhtiari, Lorestan, Kohgiluyeh and Boyer-Ahmad. The aim of the present study is to achieve the mythical patterns of fertility crystallized in the legends of the mentioned provinces. The findings show that the patterns of "martyred vegetable god" are reflected in 14 myths, "hero / god of dragons" in 9 myths, and "hero / evil-killer god" in 30 myths. The reproductive myths have been transformed into myths influenced by religious issues and the change of the patriarchal discourse to patriarchy.

Persian literature is a full-fledged mirror of the national culture of Iran and one of the most effective factors in strengthening our national identity as Iranians. The connection of literature, which is a linguistic element, with national identity is so close. no nation is considered without its national literature. Literature identified with the audience and if there is no audience, there is no work. It is one of the fields of literature, stories, and legends of children. Given the children's impact of the story and their high acceptance in childhood, these stories can be effective in shaping children's national identity. These myths have a special role in shaping children’s mentality. In this regard, mass media have an important role to influence the thoughts, perceptions attitudes, and behaviors of individuals in societies. Therefore, spreading myths and cultural concepts in world’s literary masterpieces and Children literature is a matter of course and can be researched. Due to the necessity of this matter, analytical-descriptive research with library method, to applying literary culture in the field of media, considering and basing the main elements of the scenario, seeks to study and analyze this as an ancient and effective myth among child's mind (Who is a teenager today). The achievement of the present study indicates that the legend of Yosht Fryan in the initial stage has the ability and potential to become a screenplay, for this, important elements and criteria of the screenplay should be considered.

From the beginning of human, the human mind has always developed imaginations in the mind that do not exist externally and have been created only within a person or persons. Myths are not history, but they are no less than history in terms of cultural value and spiritual resources. In modern times, scientists and philosophers have explored ancient myths, and other circles have been added to the chain. Myths were the best option for the emergence of imagination. The role of imagination in the emergence of imaginary images and symbols in mythology was examined by looking at the myth of Gilgamesh and the legend of Alexander in this study. The present study was conducted to determine the position of imagination from Jung's point of view in the myth of Gilgamesh and the myth of Eskandar. For this purpose, descriptive-analytical method was used and information on research necessity was collected using library and Internet methods. One of the most important findings and results is the attention to the theory of Carl Gustav Jung, who reached the key of mythology by giving importance to dreams and imaginations.

Propp recognizes two initial situations in the morphology of Russian fairy tales: defect and evildoing; however, he considers both as original spontaneous situations. In this article, it is assumed that these patterns are significant and also the deficiency has always its origin in evildoing, but this is not an independent condition in the Iranian thought. To discover the meaning of these patterns, the fairy tales and Iranian myths as well as the national epics have been comparatively studied. The analytical method is structuralism and diachronic. The results of the study show that the myths of creation have two models, both based on the struggle and conflict of two opposing forces; however, one is creative and the other is destructive. In the first, the creator needs an element based on which the material universe is made or dependent on. This model appears in the magical legends as a defect situation. In the second one, the creator creates the universe in an ideal situation, but it can be invaded by the devastating forces and exit from its ideal situation. This pattern appears in the magical legends as the evildoing situation.