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

Semiotics is a tool that can be used to examine the mechanisms of formation and production of meaning in discourses. The logical and narrative discourse is the dominant discourse on the epic stories of the Shahnameh, and often, in the narrative stories of the Shahnameh, the direction of the events, due to having cause and effect relationships, goes in a certain direction, which by examining its structure Narratives can reach the depth of those stories. "Labov;p" and "Waltsky" are among theoreticians in the field of narratology; They have proposed a model for the structure of narrations, which is known as the diamond-shaped model; This research is trying to answer this question with the analytical-descriptive method, in the form of semiotics-semantics and by using the poetic pattern and mixing it with the diamond-shaped pattern of lips. To what extent does the macro structure of this story fit with the diamond-shaped pattern and its hexagonal parts? The research findings show that; The construction of this narrative is completely compatible and adaptable with the diamond-shaped pattern of the lips, and the assessment that the diamond-shaped pattern is the most important part can be seen in most of the narrative clauses of this story. In this narrative discourse, which is dynamic, the dynamic process of meaning generation is on the one hand, due to the interaction of intra-textual factors (actors and receivers) and on the other hand, due to the interaction of extra-textual factors (narrator and listening narration). ) and Ferdowsi has been able to form special systems of narrative discourse by passing through common signs, with common functions and achieving new signs, with aesthetic functions, and form a special system of dynamic narrative discourse. has created semiotics-semantics, narrative body, Labov and Waltsky, poetic pattern, Bijan and Manijeh

One of the points that has not been paid attention to in the subject of rhyme and line is what is the difference between the use of rhyme and line in different literary genres and whether the poet in different literary types (epic, lyrical and didactic) uses Has he commented on the difference in its literary type from the rhyme and the line or not? Although important works such as al-Mujajm Shams Qais Razi and al-Khawaja Nasir al-Din Tusi"s poetry standards and other prominent works in this field are important as the initiators of these sciences, none of these works have mentioned the important relationship between rhyme, row and their use in a specific literary type. and the main focus of these works has always been on rhyme and line as a means of creating music. This research has investigated, analyzed and compared 1279 verses from the two love poems of Weiss and Ramin with the love story of Bijan and Manijeh in the discussion of rhyme and line. The purpose of this research is to show the behavior of these two poets with rhyme and line and their use in lyrical and epic genres.

The research method in this study is descriptive and analytical, which was done in a library form by studying sources, taking notes and classifying the materials.

The special place of rhyme and line in the structure of verse helps to understand and analyze it in the history of various developments of Persian poetry, and by examining these influential elements in verse, we can get valuable results in the analysis of verses and the poet"s style of verse making. He achieved in his type and literary style.

In this research, by extracting the rhymes and rows of verses of these two love stories, we showed that Ferdowsi, unlike Fakhruddin Asad Gorgani, uses rhymes and nominal rows in his verses, and deliberately moves his syntax away from standard syntax, and although a story He narrates a romance, but in no part of his work, he does not leave the epic genre and the unnatural language, while on the other hand, Gorgani is loyal to the natural language by using more current rhymes.

The story of Bijan and Manijeh is one of the charming stories of the Shahnameh, which has gained a lot of influence among the general public. One of the areas where this story has been prevalent for a long time is the Siakh Darengun area of Fars province. The purpose of the author is to compare this narrative with the narrative of Ferdowsi's Shahnameh. The author has tried to first record this legend by field method and then to compare it with Ferdowsi's narration by library method and content analysis. The findings of the research show that Naqqali's narrative can be divided into two parts: the first part, which covers the beginning of the story until Rostam's departure to save the king's son, the story progresses slowly and logically. In this section, the outlines of the story are similar to the Shahnameh; However, fundamental differences can be seen. The second part of the story, which includes from Rostam's departure to Turan to the end of the story, the course of events becomes very fast, and of course, the story progresses completely differently compared to the Shahnameh. Part of the differences between the two narratives is the result of the narrators' efforts to be authentic and attractive to the audience; But the reason for most of these differences is not clear. However, this narrative has fundamental differences from Ferdowsi's Shahnameh in various aspects, such as characterization, the main lines of the narrative, and the atmosphere that governs the story.

In this article, the differences and structural and content similarities of the introductions of Bijan, Manijeh, Rostam and Esfandiar in Ferdowsi's Shahnameh are examined.Despite the difference between the war-tragedy story of Rostam and Esfandiar with the love story of Bijan and Manijeh; Why did Ferdowsi use some words, combinations and concepts in the introduction of these stories in a similar and close way?The coincidence or purposefulness of these subscriptions; A special look at Ferdowsi's style and interest in the themes and topics used in the revenues of these two stories and also the achievement of several prominent reasons about the permanence of the verses of these fictional introductions are among the hypotheses raised in this research.The method of fundamental analysis and quantitative and qualitative comparison with the help of available library resources has been tried to analyze the various dimensions of the subject. After the introduction and general work and statement of the problem and research background, a separate analysis and review of each introduction is given.The differences and similarities of these two introductions are stated. At the end of the discussion, while answering the proposed problems and hypotheses, we find out:Ferdowsi probably for some reasons such as motivating and attracting the audience, content independence in fictional incomes and novelty and avoidance of obsolescence at any point in time, has tried to compose the introduction of Shahnameh with considerable commonalities.

The presence and absence of the main and secondary elements of the sentence in the text of a literary work has a great impact on the transmission of rhetorical intentions and concepts to the addressee. Some pundits and researchers in the knowledge of rhetoric have considered the topic of removing grammatical elements as a way to prevent the speaker or writer from exaggerating in words and some others, in addition to removing additions, have introduced the ellipsis method from the text's aesthetics; This is while the method of substitution is often examined from the point of view of emphasis and its role in lengthening the sentence. Traditional rhetoricians and scholars of semantics such as Sibouyeh, Jahez, Khatabi, etc, have superficially and transiently mentioned the role of this method in rhetoric. Abdul Qahir Jorjani, due to the Evidence of Miracles in the Quran, placed the topic of "ellipsis and mention" in a regular and specific framework and introduced it as the basis of the cohesion of the word. Although he considers mentioning a grammatical element in the sentence is very important in creating secondary purposes and rhetorical meaning, but for remove the elements of the sentence, he has also considered the ability to influence and even considering the special situation and circumstances, he considered the removal of a grammatical element to be much more eloquent than mentioning it; Absence of presence that helps to approach the word in its most eloquent form. On the other hand,  Michael Halliday, a linguist of Functional grammar, describes this as "ellipsis and substitution" and considers the use of this method to be effective in text coherence. In order to be able to examine the topic of ellipsis and substitution in a literary text, a work full of abnormality in grammatical and rhetorical will be needed. The story of Bijan and Manizheh of Shahnameh and the poem of Garshaspnameh, due to their poetic and epic linguistic format, have provided a favorable capacity for various syntactic manipulations, especially the removal of elements in the sentence. The importance of the status of the elements in the sentence for conveying rhetorical intentions by Ferdowsi and Asadi Tousi, expresses the need to examine the status of ellipsis and mention of the main and secondary elements of the two literary works; Therefore, this Research, by descriptive-analytical method, examines and compares the effect of ellipsis and mention of main and secondary elements in 3000 sentences of each work in order to identify the secondary meanings. Among the main elements of the sentence, the rhetorical effect of the status of the subject, object, predicate and verb is discussed. Also, among the sub-elements of the sentence, the status of the adverb, the complement and demonstrative in the transmission of some rhetorical intentions of the poets have been examined in two literary works. The results of the research found that the omitted form of the elements of the sentence is more effective than mentioning them in terms of rhetorical value; Because the removal of one or more elements in the sentence by the poets is a sign of textual coherence and also the existence of a high level of communication between the poet and the addressee and this is the basis for the emergence of rhetorical purposes. The results also show that the ellipsis of elements is more in the context of conversations, which is one of the main reasons for the centrality of speech during the interactions of individuals. It can be said that the ellipsis and mentioning of the main and secondary elements of the sentence in two works happened for various rhetorical purposes. Persistence in the mind and creating emphasis has been one of the purposes of mention and also, low information value, brevity, avoiding unnecessary repetition and maintaining the narrative rhythm can be considered as the most important goals of poets in removing of the elements of the sentence. Generally, the method of the two poets in using the ellipsis and mention of elements in the sentence, has served to convey the rhetorical intentions correctly to the addressee.

The position of words in a sentence and its effect on rhetoric is one of the most important topics that Abdul Qahir Jorjani has raised in "Nazm" theory. He examines the position of elements under the heading of "preposing and postposing", and, of course, in relation to definition and refinement. Jorjani’s ideas are consistent with information construction and subject-information construction in Halliday's "Functional Grammar" theory which focuses on lexical arrangement in sentences. Vocabulary arrangement can be considered as one of the most prominent features and the basis of syntactic structure in the Garshaspnameh and the story of Bijan and Manijeh. Therefore, in this study, we have examined the prepositions and postpositions of the main elements of a sentence and analyzed the rhetorical function of each in about 3000 sentences of the two poems. In this regard, first we examine the frequency of preposing and postposing of the main elements in sentences which have a subject and also the sentences with a deleted subject in the mentioned range of two poems. Then we have entered the statistics in the tables representing the distribution in terms of number and percentage creating a precise analogy between the poems. Then, with reference to the table related to each section, we have analyzed the rhetorical function of the elements according to its position in the sentence. The results of the research suggest that in addition to compulsion in observing the meter, rhetorical intentions such as emphasis, paying tribute, humiliation, confinement, etc. have a significant effect on preposing and postposing the main elements of the sentence, and on the position and order of words in Ferdowsi and Asadi Tusi's poems. The Main rhetorical method of the two poets is their foregrounding of of the main elements, especially the verb as a means of emphasis.

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.

Music is one of the characteristics of literariness and a factor for literary work which influence the audience. Music can also be considered as a factor of distinguishing the various literary genres. The quality of applying the music-making techniques in poetry varies according to the skill, taste and creativity of the poet, the content of the literary work, the textual-linguistic context and other and etc. In this article, by examining and comparing the two lyrical stories of Bijan and Manijeh, and the epic of Rostam and Sohrab from Ferdowsi's Shahnameh, we showed that the music of poetry in these two narratives are significantly different. In other words, Ferdowsi uses different methods to create music in these two stories, and this difference does not occur by chance or without reason and logic. In order to show the quantitative and qualitative differences in the applying of music-making techniques, we identified them in three main categories of external, lateral, internal and semantic. In this section, we have extracted and introduced some of Ferdowsi's methods for creating poetic music, which have been less or not considered in the books which are dedicated to this subject. Then, considering the skill of the poet in using the techniques of creating music, we came to the conclusion that the music of poetry in the epic story of Rostam and Sohrab in comparison with the lyrical story of Bijan and Manijeh has more diversity, creativity And consistency because of some reasons.

This essay investigates the foundations of Anahita's religion in the story of Bijan and Manijeh. Foundations of Anahita's religion, including life and nascence, holiness and benediction, domination and power, etc., are observed in the story of Bijan and Manijeh which has the thin and invisible thread of plant myth and story. Anahita, the goddess of water, is the purity and cleanliness angel throughout ancient Iran. She has played a role in creation myth of Zarathustra and the promised child of Zarathustra. She is the symbol of female chastity and purity. She has power and is dominant, is doer and actor. The results from this research show that in the story of Bijan and Manijeh, Manijeh represents Anahita's performances. She has fallen in love and is lovesick. Her feminine spirit flows in the story. She is Bijan's savior and provides him with food and water and librates him. His fall in well leads to consummation of her marriage because Bijan has to go through tough times to be qualified to consummate the marriage of Manijeh who manifests the traits of Anahita goddess.

Although the formalists' theoretical emphasis on literature and literary arrangements used in the text does not negate the importance of the content, it indicates the central points through which the literary text is separated from other works. The present article tries to examine the applications of the two main formalist arrays in the two stories of Ferdowsi's Shahnameh. The attribution of the Shahnameh to the "epic" genre has never been questioned, but this does not mean that a text of such magnitude, which has a variety of content features, is devoid of lyrical themes. Among these stories, the focus of this article is on "Zal and Rudabeh" and "Bijan and Manijeh". The goal is to discover and then combine the two important formalist elements of "de-familiarization" and "highlighting". The goal of formalists is, first, to bring about a fundamental change in the automatic and conventional process of language, and, second, to create a shocking interruption. Although the use of formalist arrays, both in the traditional novel form and in the form of arrangements that were later considered by theorists, can be seen throughout the Shahnameh, the frequency of their use in these lyrical stories is higher. The results of the discussion show that the use of such arrangements greatly enhances the attractiveness and literature of the text in terms of the attractiveness of the lyrical aspects. Combining both tricks in the mentioned narrations shows that Ferdowsi was aware of this issue and its capacities. The use of unfamiliar words, the use of indicating /ɑ/ at the end of the shutters, the exaggeration, the de-familiarization of the concept and the lexicon, and the emphasis on narrative are the most important formalistic examples used in these two systems. Also, although the lyrical burden of these two stories has been dominant, but due to their presence in the context of an epic work, some epic words and crafts have been mixed with its narration, which, through strengthening familiarity, de-familiarization and highlighting in them, differentiates them from Creates other Shahnameh stories.

In psychological criticism character is the main focus of the research.  According to this approach, hero’s character in Bizhan and Manizheh which is a romantic tale is studied and analyzed in terms of psychological principles to prove the hypothesis that far from the romantic aspects, this genre of stories revolve around the journey the hero undertakes to reach his superior self or his ideal self. This research is based on the descriptive analytic method.  Bizhan experiences the darkness of the unconscious by falling into a well, then feeling of guilt prepares the ground for his perfection; a path which begins with an exile in a dark well which is a symbol for the dark side of Bizhan’s self whose deliverance necessitates a procedure such as a psychological cure to transform the darkness of the within into the brightness which consciousness and freedom brings forth. As a result Bizhan himself together with Manizheh who is a symbol of his id, pays the price of his guilt with the most enduring tortures in order to gain his freedom.  His final trial is a symbol of this advancement.

Human being has always looked after recognizing different tribes' thoughts and beliefs and that's why two old neighbor countries – Persian and Turkish – own two famous epics: Bamsi Beyrek and Book of Korkut from Turk land and Ferdowsi's Bijan and Manijeh" were concerned by comparison approach. The researcher of the present article – in descriptive analytical method – attempts to express and study the connections and relations between two texts which create similarities such as: meeting other country's girls and falling in love with them, sending maids' by girls to send messages, forgiving anti-hero by a hero, jealousness of anti – heroes, returning the heroes to their motherlands, marriage with the girls after their freedom, merchants' departure to release the stories' heroes and so on.

Bijan and Manijeh is one of the ancient Iranian story which has a long history on the territory of the Georgia. this story has been narrated in this contury . Apart from a free translation of the story was that in the sixteenth century, another Georgian folk versions of this story are available, which have the same features as iranian narration. Georgian narattor inserted Georgian -Christian elements in the story, and changed the narrative space ,they added details to the story or have it reduced. They also added some new characters or some Changes and displacements in the story and have been caused confusions in the plot. In this study which was conducted to compare this narration whit the narrative of Shahnameh, Meanwhile the t ranslation the summary of the Georgian version, referred to some of the differences and similarities and the Place of this story in Georgian folk culture&literature have been investigated.

Over the years, a variety of patterns and designs have been created on pottery thanks to the potter’s interest and talents. Being regarded as the main element of pottery decoration, the designs represent the concepts such as creeds, beliefs, thoughts, tendencies and ambitions. Paying attention to wisdom and knowledge as well as allusion to cultures, traditions and national myths are the main issues referred to in poems and proses and other artistic works of this country. In the 6th and 7th centuries AH, Kashan experienced boom and revitalization in pottery art. This could not have been achieved without attention of the ruler and authorities towards the art and artists. In this process, the Iranian potters took advantage of motifs and artistic decorations of pre-Islamic era in order to design pottery. Some of these designs are deemed to be as great masterpieces of painting in Islamic era.
The purpose of the present study is to introduce the features of Mina’i pottery of Kashan illustrating the concepts of Lyrical literature. Taking “Bijan and Manijeh” and “Bahram and Azadeh” stories into account, the most outstanding designs of lyrical literature on these pieces of pottery have been reviewed. The study was carried out using a descriptive-analytic method and the data were obtained through desk research. The results of the study indicate that Mina’i pottery technique have had greater contribution in portraying the lyrical poems compared with other techniques. Moreover, the Kashani potters have made an outstanding contribution in creating culture and artistic works appropriate for their current society. Indeed, it can be argued that these concepts and artistic and literal motifs of the aforementioned era have had Sasanian archetypes, with this difference, that these concepts are exaggeratedly represented in artistic works of the Islamic era.

Narratology, which is the one of the achievements of structuralism in literature, helps the critic to analyze various stories at two levels of story and discourse by studying the role of functions and actions. At the story level, the critic can discover similar narratives in terms of episodes, characters and settings by ignoring the historical, cultural and social differences. With this in mind, The Shahnameh Stories "Zal and Rudabeh", "Bijan and Manijeh" and the "Romeo and Juliet" play by Shakespeare is worthy of comparison and evaluation. All three stories narrate the love of lovers from two feuding families who face many obstacles in their way to: union:. With this level of analysis, we can find out what actions and functions cause the fate of the heroes of these stories. At the discourse level of narrative, Ferdowsi and Shakespeare's status as the narrator can be specified and their orientation and worldview can be sought in text through analyzing the language in the context. Through discourse analysis and the narrative codes, the underlying beliefs, traditions and culture can be perceived in the aforementioned narratives.

Manije and Bijan story, a poem by a great poet, Firdausi Tousi, like his other stories in Shahname is a story which can be analyzed by archetyoal approach. According to this approach, this story can be considered as the individuation of here of this story, Bijan, who voluntarily enters into the individuation and psychological growth by being called. In his perfection cycle which is started and in Iran, by the trickery of evil wise old (gorgin), Bijan meets his Anima of unconscious. Bijan, who lived in Ashkanian era as some researchers believe, is one of the prime characters in Shahnameh. From mythical point of view, Bijan story, which is known as one of ancient myths, is the indicator of feminine society in Iran. Bijan story, like Bahram Chobin, Rustam and Sohrab, Ardeshir Babakan, and Rustam and Esfandiar, is an independent story added to Shahnameh. The comparison of Bijan story with other stories of Shahnameh represents this issue that Ferdowsi composed Bijan story in his youth and just after Daghighi’s death. Because Bijan story, like most other stories of Shahnameh and other myths, has a quite symbolic structure and motifs, Jung archetypal point of view is helpful to discover a lot of mysteries. In the present article, Bijan story is analyzed from Jung’s archetypal point of view. According to this theory, there are a lot of symbols, motifs and archetypes in this story. There is a united structure in every story formed base on its plot; thus, to discover the structure of a symbolic story is an important act. The symbolic motif of Bijan story is reaching the perfection and the story structure is completely commensurate with this motif; the move is started from Iran, which is the indicator of Bijan story’s consciousness, then the hero after getting individual experience in land of unconscious, Turan, comes back to Iran. Bijan voluntary goes on a dangerous and symbolic way as the hero. Actually he is the portrayal of a part of Keikhosrow’s consciousness because both Keikhosrow and Bijan live in Iran. According to what Ferdowsi said, Bijan is unable to finish his heroic act by himself because he is young and not experienced; consequently, he is tricked by Gorgin, the old impostor in the story, and got in a predicament. This inability causes Rustam, the primmest hero of the story, to enter in order to help Bijan and finish the progress. In addition, because of linked construction of stories of Shahnameh, whereas Bijan story is independent, it is slightly connected to its previous story in Shahnameh, Rustam and Akvan Div, and it are a justification for the presentation of Rustam in this part of the story. The connection between these two stories is that according to Asrasiab’s order, the hole which Bijan is trapped in is covered by the Akvan Div stone. In Bijan story, Manijeh, who is Afrasiab’s daughter, has the role of the Anima archetype. At the beginning of the story, she is a temper, immoral and whimsical person and she gets the hero of the story in a predicament by her characteristic which is the indicator of the first phase of Anima. Manijeh enthralls Bijan with helps of Gorgin and her nursemaid as the Mother archetype. Accordingly, Bijan undesirably enters Turan. In other words he steps in the devilish land. During the story, Manijeh’s negative function changes to a positive one after an upheaval. This upheaval causes her to move from a devilish section to a heavenly one.

The old-age and widespread story of Bijan and Manijeh and its episodic place in Shāhnāmeh has led to dispute among researchers. Some attempt to present a historical justification for it and consider the story to be originated in the Parthian Era. The main issue is what kind of thought the story of Bijan and Manijeh contains which makes it so widespread and inclusive. At the same time, the question is how it could be placed in a great book like Shāhnāmeh. Analysis of the structure of the story based on Vladimir Propp's method shows the main structure is based on the plot of familiarization of the hero. Repetition of functions and main characters of this story in other Iranian stories confirm the basic and non-historic structure of Bijan and Manijeh. Investigation into the deep structure of the story too shows that it is formed under the influence of fertility rituals whose various forms are present in other stories. The reasons for the geographical inclusion of this story are the joint plot, structure and deep structure of the story.

In the prologue to love story of Bijan and Manijeh, Ferdowsi presents a meaningful description of a night. This is, in fact, a foreshadowing to the story and the difficulties the heroes encounter in the land of Turan. Along with his engagement to the motif of the battle between good and evil, or light and darkness, in the Iranian doctrine – the most striking example of which in Shahnameh is the battle between Iran and Turan– Ferdowsi employs similes for describing the night originating from the ancient Iranian beliefs. The mythical accounts of these beliefs are given in Pahlavi books, and through studying these sources, directly or indirectly, Ferdowsi has employed them. Based on the sources from the Iranian Middle period such as Bundahishn, Pahlavi Rivayat, Mēnōg ī xrad and Vizīdagīhā ī Zādisparam, the present study examines the implicit links of Firdowsi with Iran's ancient beliefs and traditions in the prologue of Bijan and Manijeh.

Currently, we can hardly find any criticism that has not paid any attention to structural functionalism. Contemporary literary criticism leads to structuralism inspired by de Saussure's linguistic theory. Structural analysis, especially, of narrative works is one of the most extraordinary achievements of contemporary literary criticism. In the stories, fairy tales and epic realm, Vladimir Propp's method is the best for structural stratification and analysis. His method is based on tales stratification and symbolic analysis of each stratum. Vladimir Propp used structural linguistic analysis for narrative analyzing. Propp, having studied one hundred narratives with similar composition, uncovered the structure of "main narrative" and by analyzing one hundred stories of Russian stories concluded that there were thirty one genres. He believed the method could be applied to other folk tales and even novels. Propp's method has been used by other scholars and sometimes was criticized too. Although Propp's system has its own defects, it has provided a proper starting point for other theorists and has influenced subsequent theorists. This article follows Propp's model and method and intends to stratify and analyze "Bizhan and Manizhe” Story, one of Ferdowsi's Shahnameh stories, The aim of this article is to probe Propp's model in this story.