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

Symbolism is a literary approach that uses symbols, including words, people, signs, places, or abstract ideas, to represent something beyond their literal and real meanings in the real world. The purpose of this article comparatively compares the similarities and differences between the concepts that related to the metaphorical and the mythological symbolism of the symbol of " Lion" in Shakespeare's "Othello" and "Hamlet" and great and lyrical work Nezami's "Khosrow and Shirin."
The present paper shows that the use of the mythical symbol of "lion" in the expression of both authors includes extensive and particular abstract concepts. In Shakespeare's Hamlet, this symbol has associated with the concepts such as madness, anger, revenge, hatred, and in "Khosrow and Shirin" with glory and grandeur. In the book "Othello" Shakespeare used the symbol of the lion in a different way as a social strategy.
An analytical and descriptive study of the symbol of the lion shows that the symbolism of the "lion" has helped writers persuade the reader to understand their mentality and accept fictional characters. In addition, we see that the authors have pursued common rhetorical goals in brevity and exaggeration; the symbol of the " Lion " beside its conventional meanings among different societies, in the works of these two writers, has its similarities in their use.

The application of certain rules in style, language, and tone of various narratives gives coherence to an anecdote’s context of the text. The anecdote "Qazor wa Khar", taken from Kalile wa Dimna, is recreated in a different way in Mathnavi and Movlana uses it in a distinct narrative. The main objectives of the study are comparing these two different narratives of the anecdote according to the context of the text, examining the development and expansion of the anecdote’s concepts during its transition from a literary form to a mystical text, analyzing its content, explaining its themes and the way it is in form of a special narrative in Mathnavi. In this research, using content analysis and criticism criteria and theory, the researcher explicates the reasons why Movlana retold Kalile wa Dimna’s story. According to the findings of the research, Movlana, by resorting to some techniques of eloquence, introduces the thoughts and actions of the leading characters of the story as representatives of two groups in order to fulfill the aims of his story in explicating the sincere repentance, and to examine its relationships with related terms such as acquisition, trust, imitation and research in a new narrative. Movlana in this new interpretation exploits the capabilities of the language of mysticism and other small stories to explain the fundamentals of the subject and its broad implications. He emphasizes the understanding of esoteric mysteries through symbols and in referring to the adventures of the characters and analyzing their discourse, he expands the content to present the implied meanings embedded in the new story.

The word "qaswara" in the verse "farrat men qaswara" is one of the words that translators, especially Persian translators, have not given a identical meaning. but Latin translators have translated the word almost identically, but it is often accompanied by a question mark and sometimes a surprise that indicates the translator has doubts about the meaning of the word. also translators, commentators have also expressed different views on the meaning of this word, so that in the commentaries up to seven meanings have been mentioned for this word. There are many narrations in Shiite and Sunni interpretive sources that refer to the meaning of qaswara. Hence, the commentators, based on the narrations, have each chosen a different interpretation for themselves. This research has been done with the historical-linguistic method with an analytical approach and with the aim of achieving the causes and sources of differences in the meanings of this word in the process of time and presenting the meaning close to the correctness by the library method. Examination of word sources and historical course of interpretations and analysis of narrations carrying the meanings of this word shows that both the word researchers in the meaning of the word do not have a definite opinion and over time some meanings have overcome other meanings and has been gradually established and later crystallized in translation. The study of the genealogy of the word in the Semitic languages has given rise to a new proposed meaning that is presented in the article.

Adab Al-Harb va A-Shaja’ah is a valuable and specialized book in the field of war and war etiquette, which unfortunately has not been studied much. During the main topics of the book, which is militarism, we can find issues related to popular culture, customs, and folk beliefs. Due to the existence of various popular beliefs in this book, this study aims to focus on only a few specific beliefs related to wolves, ostriches and lions, which are rare and underused. Beliefs about ankle bone and bowstring are examined in the wolf debate, fire-eating beliefs in the ostrich debate, and fear beliefs in the lion debate. Extensive studies have shown that none of these beliefs have been studied so far, and in this article, as one of the first attempts, evidence from other texts and sources are examined. So far as research method is concerned, first, the book was carefully studied and different public beliefs and folks were extracted, then some specific beliefs were selected and described based on different sources.

In Kelileh and Demeneh, in the Lion and beef clubs, characters such as Kelileh and Demeneh reveal political-organizational behaviors. In the political system, this story of law and order does not have a stable place, and it is based on the use of a force-based instrument. The will of the king and the ruling classes as a general rule is the criterion for evaluation and implementation, and changes according to the views and opinions of the governing body. The lack of a set of well-defined rules of conduct and lack of meritocracy in the selection of individuals provides grounds for spreading rumors and conspiracy against others. Political behavior is not always bad at the organization. Therefore, it must control and control the destructive political behaviors. Organizational-political behavior empowers people to understand the complexity and organizational issues of the organization. Whatever the manager or ruler knows more about the features and special events of the organization, his reaction and reaction will be better and more open. Power in the hands of different individuals in an organization seeking their own interests results in unusual political behaviors and people react differently to power bases. In general, one can say that certain political attitudes and culture have influenced the behavior and thought of fictional characters. In this research, the methodology of library-political behavior in relation to human organization has been discussed in terms of status, mistrust, rumor and pessimism.

The presence of animals in human life has caused these creatures to serve human thoughts first in mythical life and then symbolically. Kelileh Woodman is one of the works in which animals have played a role. Due to the rich culture and history of ancient civilizations, Iran and India, the same and common myths can be seen in these two cultures. Given that the main theme is often common myths. Myths are very similar not only in content but also in structure. In this research, with descriptive-analytical method and library method, common roots and symbols in Zahak story with the story of "The Lion and the Rabbit" by Kelileh Woodmaneh and "Behim Sin and Bakeh" Mahabharata have been compared in terms of mythology and common cases have been analyzed and deciphered. . Kelilehudmaneh anecdotes have always been of interest to the authors of Persian texts and have created a bridge between Indian and Iranian culture. In this article, the roots of the story of "the lion and the rabbit" with the story of Behima and Bakeh (Mahabharata) and Fereydoun and Zahak (Shahnameh) in Indian and Iranian mythology have been searched and analyzed and deciphered. Their similarity is that a powerful tyrant (king or demon) kills a number of inhabitants (city / forest) every day to feed himself; The inhabitants of the city / forest send one or two people to him every day so that he does not harm others, and eventually one of the cruel prey causes his death and destruction.

In the literature of each ethnic group, different techniques are used to attract the reader's attention and influence. One of these literary methods is the use of symbol in symbolic texts so that the author conveys his intended purpose to the reader in symbolic and indirect language. The use of animal symbols is one of the cases that is most widely used for expressing and justifying a goal or instilling a particular belief. In this article, we examine the animal symbol of the lion. So far, the symbol of the lion has been studied in history, art and literature; But the mystical and religious aspects of this symbol have received less attention. The purpose of this article is to study this symbol from religious, mystical and literary aspects, so that the reader can be guided to understand the animal symbols of the lion based on scientific findings.

Marzbannameh has played an important role in the history of Iranian civilization and Islamic societies. This book focuses on human and community attitudes in traditional society. Most of Marzbannameh's stories are allegorical and animalistic. The main reason for using animal characters is probably political and social content. Borderline stories illustrate the function of power in societies. By analyzing the anecdote, one can examine the structure of political culture and its impact on individual and social behaviors. The prevailing political culture in society is related to human relations. In this anecdote, the allegorical characters are the successor characters, that is, the animal is the successor to the thinking, the mood, and the intended concepts of the author and narrator. In this study, the lion, as a symbol of power, is at the top of the pyramid of power, and the force that causes the lion to occupy such a position is his power, power, and dominance over others. The ruler or ruler in the hierarchy of power must delegate duties and responsibilities to persons who have the competence, competence, and ability to perform those tasks, and are not disruptive of order and security as they enter the lion's court. From the educational point of view, we can also mention the losses of the oppression and the consequence of the oppressors of the oppressors of the foregoing and the impatient extremists who seek to preserve their lives, their political position and their status.

Sufi and mystic poets employ linguistic evidence, especially expressions regarding animals, to represent mystic concepts. In this study, to explore and clarify the meanings Mulana intended to convey as the field of destination, we will examine the linguistic expression “the Lion” as the field of origination in ghazals of Divan Kabir by using the conceptual theories of metaphor introduced by George Lakoff and Mark Johnsen. Studies have shown that Mulana, by utilizing linguistic economy and provoking multiple mental images with the use of a single expression (lion), has successfully exhibited a vital and variegated spectrum of his mystic thoughts.  According to the frequency explored in this article, the expression ‘lion’ in the mystic conceptual system of Mulana enjoys a positive meaning; heart and love are more significant in comparison to reason; the crucial concept of “complete man” against human ego and “beloved” are used to represent the absolute superiority of God through visual representation of “the lion”. All in all, employing the expression of the lion to point to sublime meanings and concepts central to mysticism is an indication of Mulana’s idealistic spirit, his sanguinity and sublimated nature. In this piece of research, which is carried out through a descriptive-analytical method, after an introductory note on conceptual metaphor, origination of animal metaphors, and Mulana’s metaphoric language, the writers provide different verses as an example of different kinds of destination fields. Determining the conceptual framework, field of origination or emotive field, application of various meanings’ general and local inscription in each category would be the next step. Finally, the frequency of the fields of destination and their conceptual generalizations will be presented in a table and the data will be explicated.

Symbols are part of a culture of a nation and for better understanding of the myths of each nation their concepts should be comprehended. Symbol is a mark, hint, or a word which imparts a message sometimes appropriate to the surface meaning and at times beyond its apparent sense. Animals, plants, people, and objects are true examples in connection with symbols. This research deals with the study of symbolic concepts of lion in epic, lyric, and mystic masterpieces namely Shahnameh, Kamsa of Nezami and Masnavi respectively using the library method and analytic comparative approach. First, the all encompassing view of lion from Avesta and Pahlavi texts are provided next, the symbolic concepts of this majestic creature in the above genres are stated and towards the end of each section the degree of correspondence of symbolic concepts in each work, the frequency of the name of the beast and the percentage of the symbolic concept of lion employed is determined for every work. The result obtained from this study shows that lion is the most employed beast as far as repetition of its name is concerned (1487 times) and second to horse is the most employed beast for the number of symbolic concepts used (19 concepts). Lion’s four symbolic concepts such as bravery, might, predatory, and rage in three works consist 21% correspondence. Six characteristics such as massiveness, agility, being tyrannical, and rancorous, immensity, and faithfulness correspond to 31.5 % in two works and nine features 47.5% is observed in one three works. Also 47.5% of concepts belong to epic domain, 10.5% in lyric domain, and 42.5% concepts fall into mystic domain.

The story of line and cow is one the main stories of Panchatantra, in which power relations and its connection with science and rationality, can be investigated. In Fukui treatment, power is and interactive and mutual action, which is productive and ways of resistance against it leads to creation of new forms of behavior. Knowledge and Truth regime is not neutral and forms based on the discourse of power in each period. Sixth century is the peak period of intellectual and cultural interactions between different ideas. Panchatantra that is confluence of Iranian Islamic and Hindi culture, similar to epistles of this period which are affected by Iranshahr idea, is based on three major principles, including: Importance and attention to wisdom, justice and class meditation. What can be observed regarding power relations in story is challenge in these three situations. Panchatantra Opposition to accepted definitions of wisdom as well as its expertise in language, challenge the established order and logic of its resistance practices  against ruling power and discourse system. On the other hand, the policy of governed power to punish and insist on enforcement of intellectual practices in punishment, is a respond, which is apply due to fear of reverse power relations. In this story, power play is not based on force and one-way domination, but it is based on a reading of rationality that show the whole system and structure of story believable, logical and rational.

Structuralists define the logic of human mind and language based on a bipolar structure; between the two sides of which there is a contrastive relationship. Subscribing to the central idea that there is a close relationship between the text generalities and its elements, structuralist critics seek the micro-contrasts of the texts in order to reach the macro-contrasts and interpret the implicit meanings or connotation of a work. In this study, the contrasts of Mathnavi and Ghazaliat of Shams are investigated and analyzed. The research methodology is based on four steps: first, delimiting the semantic field of the contrasts by considering macro-symbols in Mathnavi and Ghazaliat of Shams; second, extracting the contrasts made by Lion and Sun meta-contrasts; third, understanding the mutual relation of the contrasts; and fourth, analyzing the meaning and method of expression of the identified contrasts. The research findings indicate that in many cases natural and reasonable relations of contrasts in Mathnavi and Ghazaliat of Shams are common. Breaking away from the norms in contrastive relations is sometimes more in Mathnavi, and sometimes more in Ghazaliat of Shams. Besides, firstly, frequency and variety of departure from the norms in the contrasts of Ghazaliat are more outstanding; secondly, in some cases, conformity to the norms and departure from them are similar and common in the contrastive relation of binaries in Mathnavi and Ghazaliat; and thirdly, in a few cases, contrasts have been processed only in one of the texts.

One comes across the story of "Removing the crown in between two lions" as a symbolic narrative in two eternal works of Hakim Ferdowsi and Nezami with striking similarities and slight differences. This research studies the function of Lion's imagery in Shahnameh Ferdowsi and Haft Paykar Nezami based on Gilbert Durand's theory. Durand's view towards myth is a particular one and has a different function. According to him myths are the most significant manifestation of imagination, and imagination is also composed of symbolic imagery. Applying the structures delineated by this great contemporary theoretician to this story in both Shahnameh and Haft Paykar, the symbolic imagery of the story is described and also how the imagination led to the creation of these imageries in the mind of their composers is accounted on.

Motifs used in Shahnameh’s imagery are on one hand in connection with the textual sign systems and on the other hand are of a nature belonging to the visual sign system. An example from this dual system of textual-visual kind is seen in the visual motifs of heavenly concept of farr. In textual system, Kiani Farr refers to Shah’s legitimacy. Researches made in this regard generally describe the concept of Farr, and deal with its application in Shahnameh and ancient texts. The emphasis of these works is mostly on the semantic aspect of Farr. This essay however attempts to study the concept of Farr from another approach. Looking for its meaning among the images to find out how the visual artists depicted the concept of Farr. Thus the attempt is made in this article to seek and find symbolic imagery in between the images in Shahnameh, rock reliefs, and images depicted in banners. For this reason apart from the textual sources, one made use of visual sources as well. Studying the images illustrate that Farr is manifested in form of three motifs of light, bird and crown. These three motifs each has different manifestations dealt with in detail in this study. The purpose of this research is to find the symbols of Farr by inspection of visual sources.

The present article analyzes one of the most amazing symbols of Maulana in Divan-e Shams (the Book of Shams) the semantic domain of Deer's image is a vast domain in Maulana's sonnets. This Deer is not the deer of literary tradition which ends to the Nafe (navel-bag) and musk and Tatar, but behind this symbol, there lies deep layers of meaning and new spiritual realm. In other words, Maulana has bestowed different functions to the picture of Deer and this image has found a dignity in his poems which had not had before Deer's meaning rises in Rumi's sonnets, and adopts the role which the hoopoe has in Manteq al-tayr (the logic of bird) butmore over and beyond. In Divan-e Shams, Deer is a symbol of God generally, and then it comprises Maulana himself, Shams, Salah al-din, Pīr (saint preceptor, the man who guides towards God), Sālek (the man who goes towards God by purifying his soul), Mashouq (beloved), 'Asheq (inloved), Abdāl (the main preceptors in the way towards God), Rouh (Soul), Jān (Spirite) and ma'āni (meanings). To achieve a better result, deer's organs and all the images associated with it have been analyzed, and if necessary, Rumi's verses have also been cited.

An important subject in the field of linguistics is the impact of one thought system on the community of lingual symbols. The relationship between mind and language conventions has long been of interest to linguists. The importance of this relationship becomes more prominent in comparative approaches where, through comparative study and analysis of the main schemas of the ideas of several thinkers or artists, the researcher traces the consistent and common use of linguistic symbols.In the hermeneutic analysis of the works of Mowlana Jalal ad-Din Mohammad Rumi, the interpretation of symbols, analogy and codes governing his mind and language is a major research interest. One of the most important branches among these researches concerns the kinship of Mowlana’s language codes with other thinkers and artists.On the other hand, Nietzsche, as a transcendental thinker, tries to use a symbolic language in explaining his thinking system. Due to his familiarity with the culture and literature of the East and the essential sameness of some of his principles with Mowlana’s transcendental approaches about the existence, morality, art, etc., Nietzsche achieves a set of symbols common with Rumi, which forms a shared language between the two thinkers.

Structuralists mostly deal with general rules of structures, and when it comes to narratology, they are mostly concerned about linguistic comparisons instead of paying attention to the language in a specific context. Therefore, in order to study the plot in each story, they look for the accordance between the structure of a narration and the syntax of a sentence, so that they would achieve a general pattern for all stories this way. In line with this, many structuralist narratologists, including Claude Bremond, have attempted to develop this structuralist pattern in a way that would make it possible to analyze it in any type of story. After a brief overview of narration theories, the present paper studies Bremond's model, which is based on the relationship between the smallest narrative units, and its accordance with the plot of Lion and Cow story in Kelileh and Demneh. The aim is to study both the plot and its features based a new approach and also to reveal the accordance of this model in such stories.

The story of Lion and rabbit in Masnavi is a creative rewrite of its main source, Kelile and Demne, is an amazing source for psychological analysis and because the mystical area is the tension field between the extreme opposites like good and evil, being and nothingness, form and meaning, they can show mental universe and psychology of science and they can strike a balance between opposites and between conscious and unconscious (outside and inside). This paper analyzes the story of "Lion and Rabbit" in Masnavi based on "analytical psychology" of Carl Gustav ung. According to the mystical interpretations that are essential for review of mystical works. In this paper because of its allegorical story and presence of animals, ancient patterns of Jung, besides special symbols of his psychology has been considered. The rabbit is the symbol of anima and adjutant, and the lion is the symbol of consciousness, and animals are the symbol of collective unconsciousness.

Sometimes, gnostics understand points and long meaning of mystic by fitness and little similarity of story with controversial meanings and could provide interpretation (also, commentary) by different look at personalities and occurrence of story and this is separate from moral meaning. For example, view of Molana to some Klile and Demneh stories (such as rabbit and lion's story) and their commentary. Gnostics pay certain attention to animals’ stories, because they are deal with unexplainable realities and facts.Of course, many religious and moral meaning have such traits which their understanding is not easy. But, these meaning have foreign proof more or less and according to that proof become valuable and well-known. This research was done in the purpose, the analytical effected of knowing Klile and Demneh on story Rabbits from MathnawiMolavi. Obtain results show that allegories of Molana are under the effect of Klile and Demneh by writing one story and manner of making scholarly sentences.

Some parts of the story of “Siavash” in Shahnameh is similar to the story of “Lion and Cow” specially that part in which the Iranian prince arrived at Turan and then was killed by Garsivaz (Afrasiab’s brother). It is worth mentioning that the root of the story of Siavash is known to be related to the myth of Ishtar and Tamuz of Mesopotamian’s myths which is just related to the first parts of the story and was not included in this article. As it could be seen in the following, the scenes and dialogues of the story proceeded similarly but the differences such as symbolic characters in Kelileh va Demneh in comparison with Shahnameh could be studied. Therefore, it was not unusual to look for this part of the story of Siavash in the aforementioned story of Kelileh va Demneh. However, it was possible that these two stories were rooted in another older story. In this paper at first the roots of the stories were analyzed to have a precise comparison of them. After that the scenes, dialogues, and different characters of these two were compared and finally, the difference between the two stories were emphasized.