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

In some Middle Persian texts, there is a story about Gayōmart which is not mentioned in older texts such as the Avestan texts, and also it is difficult to find evidence of it in Persian and Arabic epics. This story refers to the killing of a demon named Arzūr by Gayōmart, the work which is counted among the most important works of Gayōmart on the day of Khordād of the month of Farvardīn (the sixth day of month Farvardīn). In addition, in Avesta, Arzūr is the name of a mountain where the demons gather and in Pahlavi texts such as Bundahišn, Šāyist Nē-šāyist and Pahlavi Rivāyat, it has been mentioned as the gate of hell and the passage of Ahreman and demons. In this article, an attempt is made to explain the relationship between mount Arzūr, the door of hell and the demon Arzūr, by searching for the name Arzūr in Avestan and Middle Persian texts, and also in the Šāh-nāma and Ātār al-Bāqīah. As far as the author is concerned, Šāh-nāma story can be reconstructed with respect to Pahlavi sources and Bīrūnī’s account like this: Gayōmart killed Kharzūr/Arzūr’s demon; After that, Ahreman sent Kharzūrān (= son of Kharzūr) to fight with Gayōmart and in this battle, Siamak was killed. Finally, Siāmak’s son took revenge on Kharzūrān and killed him.

Imagination and symbolism are tools that mythology language and mystic language choose for expressing their fundamental teachings.The concept of hell is one of the universal topics that mythology and mysticism have attention to this. Terrible images that has presented from this evil and dark place in the mythology, expresses human’s depth of thought and world review in old ages and shows the man’s deep religious and moral needs.The hell-this valley of fire and eternal of the spirit’s fearful metamorphosis- has described in most texts with the words are related to material.The hell’s fire punishes evils and from another dimension, is a passage way for the ascent of the soul and the soul attains perfection with symbolic passage from fiery hell in its evolution.Also from a mystical view, the allegorical of hell is a point to degrees of separation and neglect from manifestations of God and to be cover sensual veil.If we die out the fire of internal hell, we can travel the path to perfection in a heavenly relaxation.With a look to the process of human’s insight to the hell’s concepts and its teachings, from the mythology world to mysticism’s arena, causes the extent of vision and a deeper understanding of different dimension of the adventure.

The purpose of this article is to investigate the capacities and trends of the literary text in the transformation into a computer game by analyzing the descriptive-analytical method by examining the part of inferno from the text of Dante's Divine Comedy and its adaptation game. The main question to answer is that the Ardavirafname of Persian classical literature, given the structural and content similarities with the Divine Comedy, will have the capabilities to reproduce in the form of a computer game. With this description, it is possible to conclude from the simultaneous review of the game and the text of inferno and to compare the artifacts with it, it can be concluded that the fictional framework of both the literary works is similar, and the narrative of the artifacts is also reinforced by the struggle, suspension, and complementary narratives, The ability to become a fitting story of the game is adapted. The heroes of both texts have common characteristics and, like the game of inferno, one can remove the characters in a descriptive way, and by turning the function and the active connections into desirable characters for an adaptation game. The space and place described in Dante's text and detailed in the adaptation game is faithfully reproduced, and in terms of both qualitative and symbolic expressions, the visualization function has the same capability and has the capacity to be amplified and expanded descriptions and spatial images are becoming an appropriate place to create a multi-stage adaptive computer game.

The comparative analytical study of the great literary works of the world, known as comparative literature and intertextual research, is a striking and remarkable issue that addresses the essential requirements of interdisciplinary and comparative studies. Accordingly, the present study focuses on the comparison of the foundations of Hell in the Divine Comedy and Islamic Sufism and also more on the teachings of Ibn Arabi. It aims to define the principles of differences and similarities of the mentioned book and Islamic teachings. The research method in this study is descriptive analytical and is based on documents and on the content of the text. The comparison between the poems of Dante's Inferno and principles of the Quran, discursive, mystical and literally reveals the mysterious and secretive language of the text. In the end, the study concludes that there are apparent and substantial semantic and formal connections between the epistemological principles of Dante's hell and Islamic Sufism especially teachings of Ibn al Arabi which shows the influence of ibn Arabi and Islamic texts on Dante. They include creation and availability of a circular board, the division of levels of hell, and conflicts of its followers. Of course, the differences between the form and nature of the ideological foundations of Dante’s Divine Comedy and teachings of Ibn Arabi due to the differences among Christian sources, Greek mythology of Dante and Islamic resource of Sheykh Akbar are really notable and impressive. Some of the differences are: the discrepancy in status and geography of hell, the number of levels of hell, and immortality of it

One way to understand the facts is to discover and witness which the gnostic attempts to find the world’s fact by his heart and passing the completeness ways. “Dante’s Divine Comedy” and Sanaie’s “Stairway to Heaven” are the samples of inner journey and fact discovering by heart in which both authors try present the levels of journey and releasing of worldly and sensual wishes and expectations. The present researching paper attempts to study the abovementioned works comparatively and show their similarities and differences in order to find and discover the fact, ways of journey to completeness and human excellence which Molana and Dante have tried to express them.

The conflict between two views namely the ‘existence of death’ and ‘love for eternal life’ has always preoccupied man’s mind. It has eventually ended with the victory of the second belief that is ‘immortality’and ‘a new birth in another world’.The reflection of attaining eternity in different forms of the myth of ‘the world of the dead’is clearly apparent in different time periods.In this article, the author endeavors to study the trend of evolution in the thought of ‘the world of the dead’and its classification into various stages of paradise, purgatory (inter-world) and hell as conceived by people of ancient Iran based on old and new Avestan texts and Middle Persian scripts.

Accepting resurrection and events beyond life is one of the basic Zoroastrian beliefs. It is central to Zoroastrianism, and colors almost all aspect of their religious life. It also seems to have had a deep impact on neighboring religions, notably on Judaism and through it on Christianity, as well as on Manichaeism. The concept of eschatology in Zoroastrianism consists of two views. First, fate of individual’s soul after death, judgment of souls, allotting of reward and punishment to the righteous and the wicked and second, the resurrection of the dead affected by future saviours and the ultimate fate of the word and its reconstitution. The author reviews Gāthās, the oldest Avestan text presumably composed by Zoroaster, and surveys eschatological concepts and notes which deal with resurrection, saviours, judgment and life after death.

This study focuses on meeraj, and tries to, comparatively; analyze the existing merajnamehs (ascension writings) in Persian literature and translations. The motivation, date, quality, type and the scientific and rational analysis of such a phenomenon by the experts, how meraj (ascension) is reflected in the literary and mystic texts, and the spiritual journey of some Moslem and non-Moslem figures, including Bayazid-e-Bastami, Zarathusrtra, Buddha, Dante, and Milton are emphasized, too. Besides, the following points are also discussed: the characteristics of the heroes of this phenomenon (in terms of their intellectual and spiritual ranks), those who accompany them throughout the journey, its time, place, and those who are met, rewards and punishments and its worldly and spiritual reasons, the intellectual justification of these rewards and punishments, and the final destination of this spiritual journey. Based on their importance, the results achieved have been pointed out at the end. Meraj (ascension) and merajnameh (ascension writing)–which is still being created and realized - in human history is regarded as a combinatory and secondary genre; and, as a literary genre, it has not been analyzed or criticized independently.

The present article analyses the quality and nature of two Jewish and Zoroastrian journeys of the afterlife namely “Book of Ardaviraf” and “Dream of Enokh” while expressing their similarities and differences. The main characters of both works (Viraf&Enokh) are great men of their nation who experience this spiritual journey and visit heaven and hell and walk with creator of the universe and finally they come back to their people with great experiences and instructions. They inform people of what they have observed. In the “Dream of Enokh” the way the universe was created and how it works systematically is also explained but this article mainly focuses on the differences of Heaven and hell in these works.

The characteristics of human beings for creating imaginations and the attempt for escaping from worldly limitations led him to think paranormally. The manifestation of this thinking is a form of literature which is called spiritual itinerary or itinerary to another world. This literature is very noticeable in world and every culture has some types of it. There are some masterpieces in this style in the Islamic literature which somehow reflected in European literature and affect it. Just as Dante's Divine comedy which reflected in the works like Erdaveiraf Nameh, Fotoohat Makiyeh and etc….. We can claim that all works of this type dates bakes to ascending of Prophet Mohammad. Among Islamic spiritual itinerary, there are two masterpieces, namely; Seyr al- 'ebad elal-ma 'ad of Sanai and Moayeri's Thesis of Alghofran Abolala which have different points of view. These two masterpieces havent been analyzed properly due to their complex structures and thoughts of their writers. In this article, the attempt is firstly to introduce theses two journeys and then to find common features of them. Therefore, the similarities and differences of these two journeys are presented within the limits of all spiritual journeys for those who are interested.

The main subject of Meraj Nameh is “journey”. The passengers of these spiritual journeys explain the ourney of their spirit since they ascent according to their beliefs.“Viraf” – the Zoroastrian priest – and “Ibn Qareh” – the Arab poet and writer – are two passengers to the afterlife who explain their observations and the status of their journey.The present article analyzes the quality of their journey to the afterlife and surveys the similarities and differences of their books – Ardaviraf Nameh and Al Qofran Resaleh with a comparative look.The author of the present article tries to express the similarities as well as the effect of Ardaviraf Nameh on Al Qofran Resaleh and introduce this Iranian-Zoroastrian line as the first Meraj Nameh of religions.

Dante’s “Comedy” has three sections or volumes. The first section is the hell, the second one is the purgatory (in other words a place for being purified from sins) and the third is the heaven. Her book involves one hundred rhymes. Every section (volume) consists of ten layers.
There are two special numbers in this book; one of them is 3 which is a symbol of trinity and the other is 10 which is a symbol of unity. Dante’s trip starts from the hell then goes to the purgatory and purifies himself; finally, he moves to the heaven. “Ardavirafnameh’’ is one of the writings which had a great influence on Dante. Ardaviraf is a Zoroastrian person who reports his seven-day fanciful trip about what he has seen.

Satan has an exceptional face in different religions and sects and is so shrouded in mystery and ambiguity that discovering its existential nature is still a problem for researchers, especially those who deal with religion, mysticism and philosophy. All through history, many views and comments have been presented about this mysterious and controversial character and many people have spoken for or against his insubordination and insolence. A group of religious people and scholars have blamed and condemned him for his disobedience of the divine order, while some mystics and thinkers have sought to justify his insubordination. This article studies the character of Satan in some outstanding books that are among the eternal works of Persian, English and Italian literature in order to study their author's points of view on this mysterious and milli-faced creature.