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

The main issue of the present study is how narrative lying can be a platform for suspending action, preparing new action and changing the narrative course of the story to a discourse perspective. Lie with prosthetic function and with the ability to increase, expand and replace causes the change of the horizontal system of the narrative to the vertical system and from this perspective, turns the action plan into a transcendental one. In the story of "Rostam and Sohrab", the main path of the narrative takes the form of a planned action. But each time, the actors of the narrative challenge the action plan of the story in the form of a narrative lie, and by making a change in the main direction of the narrative, they provide the ground for entering the fraction. Discourse legitimization, discourse rupture, value collapse and replacement of new value, status quo, change of action, magnification and illusion Instrumentation is one of the functions of narrative lies. In the present article, how narrative lies work and its role in changing the action process to action is analyzed. The main purpose of this article is to explain the functions of narrative lies and to examine its role in how to accelerate narration and achieve a transcendental situation. The results of the study show that the strategy of narrative lying hinders the adaptability of a sign and marginalizes the main action, thus replacing it with a new sign and semantic condition.

Literary criticism is the exploration of a text's semantic layers using theories and methodologies that are mostly drawn from other humanities disciplines. New Historicism, which Steven Greenblatt developed in the late 1970s and early 1980s, is one of these theories. Modern historicism holds that literature and history both have an impact on one another, in contrast to conventional historicism, which speaks of the one-sided influence of history on literature. In this study, we attempted to evaluate the tale of Rostam and Sohrab in relation to modern historicism, identify and analyze its discourses, and propose a novel interpretation from it. In this narrative, a variety of discourses have generally been depicted, and they develop the plot in conflict with another. These discourses include the Nirani discourse (Afrasiab), the official wrestling discourse (Rostam), the informal wrestling discourse (Sohrab), the women's discourse (Tahmina and Gerd Afrid), and the Shahriari discourse (Kikavos) (other Iranian and Nirani wrestlers).

Orhan Pamuk is the author of the novel "Red Haired Woman". In the narration of the novel, he has mentioned the story of "Rostam and Sohrab" and "Prince Oedipus" in a frequent and wide-ranging manner. This contemporary Turkish novelist has  analyzed the themes, motivations and details of the story "Rostam and Sohrab" and "Prince Oedipus" in addition to narrating the stories and recreating them. This causes a question in the mind: what  is his purpose by using the themes of these two stories? In this research, the quality and purpose of recreating two myths belonging to two ancient civilizations with the theme of father-son relationships has been analyzed. The results showed that in this novel, the author has compared the archetype of "father killing" and  'son killing" from the mythological stories of Western and Eastern civilizations. Pamuk tried and was able to show that Turkey's culture is a bridge between East and West, as well as its location, and there are cultural signs from both civilizations in it. Even thoug the stories have been forgotten In the current society of Turkey for different reasons; But their  cultural expression are alive yet. In fact, Pamuk's initiative is that he has purposefully created a postmodern novel by benefiting from ancient literary works, and in this way he was able to present a symbolic interpretation of the national culture and psychology of his society. In the current research, data collection has been done in a library manner. Its method is descriptive-analytical.

In addition to forming the identity of individuals, the “border” phenomenon, in its both objective and subjective concepts, acts as the separator of the political, and geographical interests of the individuals or groups. Having a contractual nature, the objective and subjective borders take their root from the commonalities and differences among the persons and phenomena. Such borders and oppositions are so pervasive that they cover all the natural and man-made domains. The epics “Rostam and Sohrab” and “Rostam and Esfandiar” as the research area of this article, tend to narrate such demarcations in the objective and mental spheres in both surface and deep structures. They have formed fundamental nodes in the fields related to the causality of plot and the development of other events of the epics in the form of opposition of structures, personalities, and actions. Accordingly, in these epics, given the content and the climax, there are several infrastructure nodes represented by opposing structures, including the opposite between Zoroastrianism and Mithraism, warrior and ruler, father and son, wisdom and lust, matriarchy and patriarchy, Iran and Turan, self and other, and hidden and visible identity. These infrastructure nodes in fact account for some of the reasons for the formation and emergence of such epics in Shahnameh. In terms of content, such borders in two epics, from the point of view that this article addresses them as a limited and opposition-oriented reading, can reflect the process of replacing the matriarchal social system by the patriarchal social system and the bloody wars of the Iranian peoples in line with promoting and consolidating the Zoroastrian religion instead of old Iranian religions, including Mithraism.

In addition to its various missions, literature is also responsible for social prophecy.  The creators of literary works view social political context of their time and are influenced by them.  Sometimes they are for and at times they are against the events that take place around them.  They show and represent their standpoint in variety of ways using different elements in their works. Calling forth epic mythological characters in novels is one of the elements that help authors achieve their ends.  Certain novelists depending on the favorable or unfavorable position they adopt, invite such characters not only to represent infra textual discourses but also to reinforce or weaken some dominant political social context discourses.  The present article seeks to find the answer to this question that how and why the author of Sohrabkoshan calls the epic characters to his work?  The results obtained by using the content analysis method show that the author brings the epic characters in his novel in order to weaken and marginalize the rival’s discourse and hence highlight certain dominant discourse of his time.  In other words, the author who is one of the activists in the social political context and is also a proponent of the dominant discourse by calling characters such as Sohrab and Rostam to his novel and by the transformation of their acts in the first place represent some intellectual foundations of discourses of his time, namely the discourses and type of approaches regarding women and the youth, and in the second place highlight the intellectual foundation of the discourse he had in mind that is reform, is accentuated to the point that he could marginalize rival’s discourse.

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.

Shahnameh is the most famous epic work in Iran. Works such as Shahnameh, along with the narration of heroic stories, by performing norms and anomalies in front of each other, also perform the task of teaching virtues. The story of the battle of Rostam and Sohrab, although a small part of the Shahnameh, is one of the most famous stories in this book. This article looks at the story of Rostam and Sohrab Shahnameh Ferdowsi from the perspective of educational literature and the topic of truthfulness. At a glance, To the story of Rostam and Sohrab, Appears from the beginning and end of the story, The reader thinks that Ferdowsi, like many people of that time, considers destiny without the active role of man as the most important cause of the tragedy of Sohrab's death, But with a closer look at the story, It seems that Ferdowsi, in arranging the conversations of the characters in this story, shows that everyone is involved in hiding the truth. And their work has gone hand in hand with concealing the truth, leading to disaster.

Text correction is one of the most difficult and delicate areas of research in the Persian language and literature. In the field of Shahnameh, since the first correction of Lamzend's incomplete correction, there have been many useful efforts. Undoubtedly, one of the best efforts in this field is Khaleghi Motlagh’s work. This work is greatly used as a guide for those who are researching and working on text correction. In this correction, despite some merits, there are also such weaknesses as fully relying on Florence's version, neglecting some of the mistakes, misunderstanding the meanings of the verses, and ignoring the narrative context of the story by the wrong choice. The sample of the weaknesses in the story of Rostam and Sohrab has been examined and corrected by mentioning the reasons and examining other works and publications. In this research, it became clear that the old versions and the majority of editions can not be completely relied on, and sometimes a new version can solve text problems.

Due to having dramatic and story appeals, many dramas, operas, and screenplays were adapted from the tale of Rostam and Sohrab so far.  This tale is one of the most prominent and controversial stories in Shahnameh in which destiny brings father and son in two opposing sides.  One such adaptation is the animation of Rostam and Sohrab produced by Kianoush Dalvand in 1392. Since production of animation in our country is quite new and needs substructures according to the writers of this article the most important of which is screenplay hence the purpose of this article is to compare and contrast the screenplay of this animation with the criteria proposed in Richard Krevolin’s book “How to adapt anything into a screenplay” which is the most important reference in writing screenplay adaptations. This comparison further provides aid to systematic writing and finds errors in the screenplay adaptations produced from the masterpieces of Persian land’s literature. From this perspective and with the comparison of the genuine story with its animation copy it was concluded that the Shahnameh text lends itself well with the structure and content proposed by Krevolin, yet the animated screenplay adaptation has certain discrepancies such as not dealing with the genre of adaptation, not considering the spirit of the tale, sudden change in the story’s end without providing the foregrounds, changing the tale’s theme, and not introducing the tale’s author.  Furthermore, alterations made in the tale caused the work to get out of its main genre which is tragic epic, and thereby induced distortion in such popular tale.

The correction of the Shahnameh by Jalal Khaleghi Motlagh, Mahmoud Omid Salar and Abolfazl Khatibi, is one of the most trusted and cited corrections of the Shahnameh. In the previous corrections, there were some drawbacks that Khaleghi Motlagh and his team tried to minimize and resolve it in their work. However, their correction also has some shortcomings that can be addressed and corrected to make a better-edited text of the Shahnameh that can help researchers to have a more trustable source for further studies. Therefore, this question arises: which corrections of verses of the Shahnameh can be suggested by focusing on the exact meaning of some vocabulary and numerous authentic manuscripts? Accordingly, in the present study, regarding the authentic manuscripts and photographic prints of the Shahnameh manuscripts and its provided edits, as well as the reserch presented by the epic scholars in the field of Shahnameh in their books and articles, attempts have been made to suggest the correction and meaning in some of the verses of Rostam and Sohrab story. These suggestions are in accordance with the evidence presented in the Shahnameh including ‘Badandish’ in the meaning of ‘Apprehensive’ or ‘Suspicious’, ‘Khanbidan’ in the meaning of ‘Bend’ and ‘Ahoun’ in the meaning of ‘Tunnel’

Every act of communication is connected to encryption, which refers to any regular and integrated sequence of symbols, words, and letters optionally used to convey concepts. There are two categories of codes, verbal codes and non-verbal codes. Non-verbal codes include codes that relate to physical movements, use of time and space, clothing, makeup, and sounds that are not related to language. In this article, an attempt has been made to examine the story of Rostam and Sohrab by Ferdowsi in terms of non-verbal codes of communication. This is done from an interdisciplinary point of view. As it is found, Ferdowsi has used a wide range of non-verbal codes in this story which give it dynamicity, mobility and truthfulness. The story is also endowed with great effects on the audience, leading to its persuasion. The most frequent and prominent messages taken from non-verbal cues are sadness, anger and battle, which are in perfect harmony with the tragic-epical nature of the story. In this paper, the non-verbal instances of communication in the Rostam and Sohrab story are identified and examined by a descriptive-analytical method. The corresponding diagrams and frequencies are also presented.

The psychological warfare is a non-violent tactic, which provides a platform for infiltration and overcoming the enemy. Today, the knowledge of politics and security has given this policy the strategic rationality of sovereignty. In ancient societies, this strategy was taught as a form of educational, sports and recreation. By examining the political and military functions of the past, it is always possible to list many examples of this complex and political plan of mankind, both in the strategic and tactical sectors.In this article, the sample of the tactical part of the psychological operation of the story "Rostam and Sohrab" is examined. After mentioning the case for seventy eight of the nineteen types of tactical psychological operations, it is concluded that good and bad imagination and police Which with the highest coefficient of 12.82% and the wagon category with the coefficient of 1.29% at the lowest level of the flow of the diagram. It is noteworthy that levels and types of psychological operations have always followed the discourse and the rationality of time.

The article examines the name “Tahmina” in the Shhnmeh from two perspectives: first from the codicological point of view which the archaic form “Tahmima” in the oldest version and some of the old and authentic versions of the Shhnmeh is preferred to “Tahmina”; secondly, in terms of etymology that in Tahmnak – the older form of “Tahmina” – three components can be recognized: Tahm: brave, -n and -ak: endearing/ affectionate suffixes.

In every narrative there exists a kind of deconstructive logic that is formed by the contrast between components of the narrative structure, namely, events and plot.  Concentrating on each of these components creates different readings.  Due to its tragic genre, the tale of Rostam and Sohrab must lead to disaster.  This feature turns events towards specific plot structure, and therefore, it is implied that the events are laid according to the intention of the author and in line with genre of tragedy; hence, the outcome of tragedy becomes inevitable.  On the other hand, logic and probabilities formed in the text because of chain of events implies that the logic behind events led the story towards a tragic end.  Based on this paradox, an attempt is made in this article to study this conflict in the tale of Rostam and Sohrab to analyze the plot and its semantic and structural consequences.  Weaknesses of the events, boldness of the plot, poor causal relations, rising action in order to compensate for the semantic fallacies, justifying causality of events by fate and determinism, rising suspense and plot deconstruction are among the consequences and techniques formed by the deconstructive tension between the narrative and the plot in the tale.

 The story of Rostam and Sohrab, among the tales of the Shahnameh Ferdowsi, has a great place. Although the origins and roots of the story of Rostam and Sohrab of Shahnameh are still unknown to us,  But there are many similar examples in the literature of the world comparable to that of comparative. In the literature of the Iranian tribes, there are similar stories to the story of Rostam and Sohrab. This story is deformed in the Balochi literary poetry system called "Muhammad Hanifa". In the epic "Mohammed Hanifa", the story of an unwanted battle between a father and a son who do not know each other has occurred. Other adventures are similar to those of Rostam and Sohrab in this story has occurred. At the end of the story, the son is failing.  The main difference between this story and Rostam and Sohrab is the happy ending , Because in this case, neither the son was killed nor the father. Based on some of the evidence in the story of Mohammad Hanifah, we can surely say that the origin of this narrative is the story of Rostam and Sohrab. This story, with its current form, Remains the prevalence of religious literature.

Considering that Baluchi literature is largely influenced by the Persian literature, we have tried in this research, By using library resources and analytical description of these tow stories,find  The key points and signs in the story of Rostam and Sohrab of  Ferdowsi's Shahnam were shared by Mohammad Hanifa's story in Balochi literature and by revealing the signs that bind these two stories, we want to show the background of the emegence of the Mohammad Hanifa religious story in Balochi literature and with this way, we can show the effects of the influences of  masterpieces of Persian literature on Balochi literature.

Ferdowsi's Shahnameh is one of the most famous epic books in the world. The battle of Rostam and Sohrab in Shahnameh is one of the most famous stories of this epic book, which even some critics have considered it to be the most important story of this book. In the Middle East, Shahnameh has been the source of inspiration for many epic tales. The main core of the story of Rostam and Sohrab is the father and son’s battle, which has many similar examples in the world literature. Rostam, the famous epic hero of Iran, went to Turan to hunt. It happened that his horse was lost. Rostam went to Samangan to find his horse and became a guest of the king of Samangan. On the same night, the daughter of the king of Samangan asked Rostam to marry. And he said: I want you to have a son. On the same night, Rostam demanded that princess's father officially allow him to marry his daughter, and that same night he married the princess. Tomorrow that night, Rostam farewell to his wife, Tahmineh, and returned to Iran.  Before his farewell, Rostam gave a reminder to his wife and said: If a boy was born, close this sign to his arm and if a girl was born, close it to her hair. After nine months, a boy was born from that woman that named Sohrab. That boy, in the same childhood, was powerful as his father, and nobody could fight him. Sohrab does not know who his father is. One day, Sohrab asked his father's name from his mother in dismay. The mom said to his: do not be upset! Your father is the world's greatest brave man, he is Rostam. Sohrab was happy and decided to attack Iran with an army and make his father king. The news came to the king of Turan. This news came to Afrasiab the king of Turan. He was the enemy of Rostam and Iran, and was pleased with this event. Afrasiab sent troops and gifts to help Sohrab to fight Iranians. He said to his officers: Do not let Sohrab and his father know each other. Because if any of them are killed by another, it is in our favor and one of our enemies has been killed. Sohrab attacked Iran with his armor, and after the adventures, Rostam came to the battlefield to confront the enemy. Rostam and Sohrab met each other. They have fought each other without knowing each other. In these battles, the boy was defeated from his father and was killed by his hand. This is the culmination of the tragedy of this story. Accordingly, some critics of literature have analyzed this story and similar stories with Freud's ideas based on the Oedipus’s Complex. The Baluchi story of Mohammad Hanifah has a similar narrative with Rostam and Sohrab of Ferdowsi’s Shahnameh. In this story it says: One day, the Prophet (pbuh) sat with his friends. Someone knew that in the far land, there is a woman named Hanifa who is the king of the disbelievers. The Prophet urged his friends to volunteer one person to conquer the country. Ali (AS), the most famous brave man among the Muslims, volunteered for that country to fight. Ali (AS) went there and prepared for the fight. Hanifa had bet that if anyone could defeat him, he would marry him. Ali (AS) defeated him and married him. After a while Ali (AS) was asked to return to Medina. When he said goodbye to his wife, he told his wife: If a boy was born, put his name Mohammad. Ali (AS) presented gifts to his wife when he said goodbye to her and gave her a sign for her son. After a while, Hanifa gave birth to a son and named him Mohammed. That boy, in the same childhood, was powerful as his father, and nobody could fight him. Muhammad did not know who his father is. One day, Sohrab asked his father's name from his mother in dismay. The mom said to his: do not be upset! Your father is the world's greatest brave man, he is Ali.  You are the son of the bravest man of the world Ali. Mohammad was happy and decided to go to Medina. After some events, Muhammad and his father met with each other. They fought together without knowing each other. After a while, the boy lost his father and his father wanted to kill his opponent. The boy threatened his opponent by naming his father. After hearing these words, Ali (as) asked for the sign from Muhammad and recognized him by seeing the signs. In this war, one of these two people was not killed and the story ended well.

There may be a story other than Rostam and Sohrab among the Baluchis and other peoples living on the eastern plateau of Iran, which was also the basis of the work of the narrate of Shahnameh, But we did not find the source of such a narrate, As well as references to Rostam in the Balochi Mohammad Hanafah's story, As well as structural followings and elements of the story of Rostam and Sohrab Shahnameh in the Baluchi story, Certainly, we can see Rostam and Sohrab as the pattern of Wright Mohammad Hanafah's story. Considering that the exact source of Ferdowsi's narration in the story of Rostam and Sohrab is not clear, it is also possible to suggest that perhaps the story of Mohammad Hanifah in Baluchi literature is a revived narrative of the core of the ancient story that in Persian literature as the story of Rostam and Sohrab Has come to us. This story is based on the specific geographical and historical conditions of Baloch life. It can be considered as a kind of reconstruction of ancient Iranian narratives in a new style that is suitable for the Baluchi Muslim era and their particular Muslim type. In any case, the references contained in the story of Mohammad Hanafah suggest the impact of this story on Rostam and Sohrab Shahnameh or its re-creation. The story of Mohammad Hanafah did not include mythological patterns from Rostam and Sohrab of Shahnameh, but in parts we also can see the influence of the story of Solomon and Belgias.

The story of Rostam and Sohrab is one of the most famous epic tales in the world. Despite its beauty and literary and artistic value, it is not exempt from some flaws in narrating the story. These flaws whether originated from Ferdowsi’s sources, Ferdowsi himself and Shahnameh editors are not very significant. This article deals mainly with the manner in which Sohrab addresses his mother Tahmineh about his origin. Spontaneously and furiously Sohrab questions his mother about his father’s name and ruthlessly threatens to kill her if she fails to provide an answer. In different editions of Shahnameh, there is not a justified and acceptable answer to this question, however in minstrels’ narration and also in Kurdish Shahnameh the main reason for raising the question with such rage is well accounted for. The extraordinary might of Sohrab among the boys of his age and the fact that Sohrab is the fruit of the union between Rostam and Tahmineh outside the customary wedlock prompts his comrades to question his lineage and regard him as illegitimate child. Sohrab’s fury of such insult explains why he questions his mother about the secret of his birth with such rage and menace

Rostam and Sohrab as one of most exciting stories of Persian national epic, has been considered by editors and commentators a long time ago, and publication of numerous books and articles concerning of this poem, particularly about the difficulties of the text proves this claim, however, several of which are college textbooks to explain the lexical and semantic problems which have, in many cases, no consensus and there is still debate in discussion and is being researched. The verses which are disputable in this article have different explanations in many commentaries. In two lines, distorted words created problems and in the other two cases, transmission of lines is making semantic ambiguity. In this study, along with review of commentators and express ideas and weaknesses aspects of explanations it was trying to solve as much as possible semantic ambiguity of these verses. The main criterion of correction is, the citation of various evidence from the text of Shahnameh, which has ignored in many commentaries

The aim of present article is to study the story of Rostam and Sohrab based on moral virtues in the thoughts of Aristotle. According to Aristotle, virtue is a praiseworthy ethical habit between excess and negligence. Some of these virtues are courage, honesty, nobility and hauteur. In the present article, after a cursory examination of the Aristotelian approach to moral virtues, they are studied in the story of Rostam and Sohrab. The analysis of the story shows that there is a considerable correspondence between virtues and moral conducts of the characters of the story and Aristotelian virtues. It also shows that moral codes have an important function in Shāhnāmeh and the behaviors of Iranian heroes. The moral behaviors of Sohrab, considerably correspond to Aristotelian virtues.

Matthew Arnold’s “Sohrab and Rustum” is a poem in English literature composed as an imitation of Ferdowsi’s “Rustam and Sohrab”. This work, typically known as a free translation and a re-composition, has earned great fame and propagation for Shahnameh in England. Matthew Arnold has primarily adapted the underlying motif from Ferdowsi. Then, he has conformed and decorated the work with the epic literature of ancient Greece. It is actually stated to be a combined poetical work. In general, we can definitely state that the work owes its inspiration to Shahnameh. However, for its mode of expression, descriptions, similes, as well as literary and epic traditions, the work is quite inspired by Homer’s Iliad. Arnold has left out most essential parts of the story such as the missing of Rakhsh, Tahmineh’s falling in love, Hajir’s captivity, Rustam’s conflict with Kavus, asking for antidote, etc. Moreover, he has made changes to some parts such as Sohrab’s being killed, Rustam’s knowing about his son’s gender, and the like. Although he is claimed to have greatly damaged the story’s main plot, Matthew Arnold has made up for some deficiencies of Ferdowsi’s Shahnameh in several cases. In both stories, maximum similarities are considered as the basis. Thus, the present study merely points to some of the differences, and instead, it mostly deals with Matthew Arnold’s inspiration from Iliad; something that has already been overlooked by critics.