جستجوی مقالات مرتبط با کلیدواژه « Shahnameh » در نشریات گروه « علوم اجتماعی »

These notes discuss several words and expressions in the Shahnameh that have been subjects of debate among scholars of the text. In each case, the current understanding by literary experts remains incomplete. The words and expressions in question are: “Shahr-e Iran”, “Bargvā”, “Rakhteh”, and “Sūgvār”. Referring to texts and documents from pre-Islamic languages can shed more light on the meanings of these terms.

In this article, several other Geographical Names from the Shahnameh have been translated into Persian from Davood Munshizadeh's book on the geography of the Shahnameh. The discussed place names in this article include: Mount Sepand, Kalat, Charam, Lādan/Lāyn, Mayam, and Bizhan. The author also examines information from Pahlavi and Avestan books, as well as Persian and Arabic geographical and historical writings, to determine the precise or approximate locations of these places based on the insights provided in the Shahnameh.

The discussion of moral virtues and vices is one of the common ideas in the moral and mystical beliefs of ancient Iran and India. According to the idea of dualism, vice traits are caused by the forces of evil and darkness, and good traits are influenced by the forces of good and light. Avoiding vices, especially the vice of anger, is emphasized in this common thought and its expression in Avesta, Pahlavi, and Manichaean works of ancient Iran and the works of Vedic, Brahminical, and Buddhist literature of ancient India. In the Shahnameh, the battle of these two forces of good and evil can be seen in the thoughts, words and actions of the characters in Ferdowsi's stories and words. In Mawlavi's Masnavi, there is a battle between good and evil in human existence. In this research, the attribute of anger in ancient Iran and India has been investigated based on Shahnameh and Masnavi, with a comparative and analytical method. According to this study, anger is used in the two concepts of the demon of anger and the vice of anger in the works of Iran and ancient India. We can see the reflection and influence of these two concepts in Shahnameh and Masnavi. Therefore, the research shows that the devil makes people feel demonic through the unpleasant attribute of anger and moves them away from the group of goodness and light and closer to the group of evil and darkness. Now, this anger can have a demonic face or a blasphemous quality. Therefore, by analyzing the evidence of the works, we have shown that Ferdowsi and Molavi, as two great poets of the Islamic period, have well expressed these concepts of ancient Iranian and Indian thought in the Shahnameh and Masnavi, and have adhered to the continuity of their ancient Aryan culture.

In this article, another chapter of Davud Manshizadeh's book about geography and history of Shahnameh has been translated. The summary of his opinions in this chapter is that the name that is in the form of Krūshān and similar forms in the Shahnameh manuscripts is the same as Kāsān, and for the name of Golzariyyūn, one should look for two other places. There is also a reference to the spelling of the names of Sinjabū and Perak River in the Shahnameh and other texts.

The topic of this issue of "Notes on Shahnameh" is a discussion about the two words "Dīnāvar" and "Khīshkār". The commentators of the Shahnameh, as far as the author of this essay knows, have not discussed precisely the meaning and recording of these two words, and if some have mentioned them correctly, their opinions have been lost in the incorrect words of others. Dīnāvar is a variant of the word Dīnvar, and  Khīshkār is the same familiar word in Pahlavi books and treatises, meaning "dutiful" and "honest man", and contrary to what some say, it has no relationship with the persian word "Khīsh", the plow a famous agricultural tool, of course. An attempt has been made to substantiate these two points with the evidence of Persian and Pahlavi writings.

The geography of Shahnameh, despite the research done so far, still has ambiguities. Perhaps this matter was paid less attention than anything else in the comments written by the Shahnameh editors, and geographical names were usually in the margins of the glossaries devoted to Shahnameh. What Davoud Monshizadeh wrote about this years ago, despite its brevity and some bold opinions, is still the best source in this regard. In this article, a chapter of his book has been translated and his discussions about places like Gonabad, Pushte Gushtaspan and Dej Gonbadan have been translated into Farsi.

In cosmology of certain Shamanisms, and specifically the Asian Shamanism, the universe  is embodied with three different cosmic regions, connected to each other through a central axis. Shamans are able to ascend to the skies and convene with the Gods, or descend to the underworld and battle with the demons of death. In the state of ecstasy, they descend to the underworld, and learn the ways to conquest the demons from those Gods ruling the underworld. For Altaic people, “The descent to the underworld” is the function of Black Shamans whereas “The magical flight” is that of the White Shamans. Several of the most famous journeys to the underworld in epic literature and mythological sources are structurally shamanic. The mystics use the Shaman methods to reach the state of ecstasy.In this article, we have investigated the effects of the duality phenomenon in Shamanism, By looking at the Iranian mythical resources,  we have analyzed two mythical characters named Jam and Afrasiab’s trips to the underworld, which are named “Var Jamkard” and “The Descend of Afrasiab to The Underworld”. We have also used the universal symbolism of “the difficult bridge or the passageway,”  that has examples in the rapturous trips of the Asian Shamans, to discuss the Zoroastrianism myth of Chinvat..

In the third issue of "Notes on Shahnameh", the origin of some proper names in the Shahnameh is discussed. These names include Pishdad, Garvi, Chehrdad, Farshid. What has been said about these names in Persian and sometimes Western sources is obscure. It is natural that there have been changes in the form of these names over time, which has caused their origin or the way they were made to be hidden. In these notes, which are mostly reminders, an attempt has been made to eliminate the defects and to make the correct derivation of these proper names in Shahnameh clear.

In the present study, the importance of Game play based on Shahnameh is explained in cultural and intercultural issues and in the wider context of other literary works that can be transformed in to game play while reviewing the text of the Shahnameh. Adaptation helps to produce the work, because it is aware of the inherent difference between the two media. How this game play was adapted from Shahnameh is the subject of this study and With a method based on experimental observation and qualitative study in the field of two media tries to answer the question to what extent this adaptation has led to changes in the structure and content of the literary work. Apparently the adapter uses the text and adheres to the content with some changes to the media game modification requirements, but ultimately what happens is that the content of the main story is destroyed and several stories blend together. In other words, the adaptation is just the starting point for rewriting and rereading the literary work in game.

Many characters who are known as worlds’ myth, are extraordinary and incredible creatures, that make connection with people by these abnormal and super national power. Basically, their existence is considered as one of the main attribute of myths, caused to being attractive for audience. These type of extraordinary creatures in myths and legend of Iran can be seen too. Dualism worldview is not only belief of Mesopotamia’s Religions but also belief of religions in India and Iran nations where extraordinary creatures in Iran’s myths are categorized in two groups as the devil and ahura. Each one plays a special role in connection with human and due to turning from myths into epic could entry the Shahnameh. This is really significant and essential to study the role and self-doing of these creatures in connection with human in Shanameh in order to clarify all angles of beliefs and costumes of Iranian before Islam. Here in this essay, the relation between human and extraordinary creature is formulated and studied via analytic and descriptive method. Based on that, in Shahnameh most gods were downgraded to kings or bad and good heroes.  Ormazd (wise lord) is the only God and creator of bad and good in Shahnameh. Soroush, Simorgh) a mythological bird) an Esrafeel (or seraph( are the other creatures who help the human on the other hand, the Devil , demon, dragon and Gog and Magog are the creatures who did continually enmity against human.

“Paradise” is one of the concepts common between myths and religions. This paper uses an analytical-descriptive method to study the concept of Paradise, the origin of which is different in religions, and there is existence of commonalities of this aspect. The existing similarities and shared view of the Paradise indicate the conceptual commonality of this word in rituals. The religion of Islam uses the Paradise in the form of the word “فردوس” and considers it as a reward for the pious and righteous. In other religions, too, the high-frequency of Paradise in religious books suggests a broader concept of it. In other words, its purpose is to be close to God and the Creator of the universe to achieve immortality. Mythical man, by imitating the gods who are immortal, wants to join eternity and open the wings to the infinite world and immortality from destruction in the immortal universe. He has tried to build a utopia on Earth and his image of the Paradise that bears a complete resemblance to the worldly Paradise. The Paradise-like cities imitated from the heavenly ones and built on Earth were analyzed in this paper. Examples of the mythical heroes of Shahnameh who tried to build Paradise on the Earth were mentioned.

Marriage and its narrated forms in Shahnameh, like many social phenomena, have mythological and social bases that determine their intellectual infrastructure and theoretical basis and explain whether they are norm or anomalies. Marriages narrated in Shahnameh can be classified into two general groups: endogamy and exogamy. In this article, while studying the important types of exogamy in Shahnameh, by searching for their mythological and social foundations, the normality or abnormality of each according to Ferdowsi and some of the characters is examined.  For Iranians, exogamy has mythological and social foundations; Its mythological basis is derived from the mixing of divine forces with demons in the myth of creation and its social basis is rooted in the social customs of the matriarchal era, in which men sought to acquire the originality and rule by bonding with women of other countries. The most important types of exogamy in Shahnameh can be seen in two forms of temporary marriage and polygamy. The former is based on the myth of the union of man with fairies and from a social point of view represents the efforts of other tribes to obtain the lineage and race of the enemy hero to overcome him and his country. In this research, it was found that polygamy in Shahnameh has no mythical basis and its social basis is rooted in the traditions and customs of the patriarchal period that According to it, men have turned to polygamy in order to have more children and more labor. Ferdowsi and several other figures in the Shahnameh have considered the excessive polygamy of kings to be abnormal due to the oppression and harm it inflicts on women.

The most important issue in this article is to obtain a social analysis of the historical narratives of ancient Iran to the narration of Shahnameh. It is a science, in the study of group life and human behavior is a realistic approach or "landing" that the experimental world of this approach is the natural world of such life and group behavior, according to the subject of this study, research is inductive strategy and The method is qualitative. Achieving the meaning and mental interpretation and social imagination desired by Ferdowsi in Shahnameh is possible by using a qualitative approach. Is active and the methodology of studying phenomena and narratives in Shahnameh is a kind of dialectical analysis that is done in the space of symbolic interaction. The society depicted in Shahnameh is in dire need of charismatic leaders who, due to sin and mistake, Have not lost, in such c With the emergence of problem and problem, people's interaction in the field of wisdom, religion and ideology, which forms the general meaning of people in interaction and understanding with each other, a confrontation with the problem is formed, which can result in social dynamism, social demand. Or revolt and social transformation or even revolution.

The spread of national narrations is common in the history of their narration and writings. Sometimes this expansion is done with the aim of explaining and interpreting a sentence or a part of the main narrative, in the form of a sub-story. Therefore, these stories can also help to unveil the textual knots; because they gain a historical understanding of a sentence or a word in the form of a sub-narrative. One of the cases of spreading the narrative is the story that has been mentioned in some sources in the discussion of Anoushiran''s financial reforms. In talking about the financial reforms of this king, the line of narration in Shahnameh and most of the chronicles is such that with a brief reference to the status of tribute in the period of previous kings, there is talk of the beginning of reforms in Ghobad''s time when remains unfinished with his death and Anoushiran continued the reforms . Some chroniclers have cut along this line, and before beginning to talk about Anoushirvan''s reforms, they have narrated a story that is also Ghobad''s main motivation for financial reform. In this article, we try, first, to talk about the recording and the correct meaning of the phrase "No one praises the escaped one" of the kingdom of Anoushirvan, which is in a chaotic state in the manuscripts and the editions of this book, with the help of this narration. After that, we will discuss the authenticity of the narration and the origin of this narration in the second part of the article, and thus show one of the examples of the spread of narration in the national narrations.After that, we will discuss the authenticity of the narration and the origin of this narration in the second part of the article, and thus show one of the examples of the spread of narration in the national narrations

The story of Bahram Choobineh in Ferdowsi's Shahnameh is one of the epic and historical stories in Iranian culture. This story is very important both from the perspective of narrative subtleties and artistic consideration, and from the perspective of historical implications. In the Shahnameh narration of this story, there are many things to consider, even in the usage and forms of the words. One of these cases is the message that Bahram Choobineh sends to Parmoudeh (Pajhmudeh). In the following article, the author examines half a verse of the story, "Be Giti Nakhurad Ān Ke Bar Pāy Bast." and concludes that the correct reading is "Be Giti Nakhrad Ān Ke Zad Nāy, Past".

"Shelter" is one of the basic human archetypes that is embodied in the "homeland"; A body for the emergence of the worldview and social structure of people with common cultural, political, linguistic, and historical characteristics. Anthropologists have proposed two components to the definition of "homeland": the originality of the border and what is seen within the borders. According to this issue, land, government, and enemy are components that each have a share in creating this concept and according to the paradigm of each historical period, it becomes more or less important. In Shahnameh, "Iran" or "Iranshahr" is the homeland in which all narrations are formed; But the fusion of real and surreal places, mythical and historical governments, and various enemies in Shahnameh makes it difficult to identify the homeland. "Place" is the most important and obvious component for defining the concept of homeland, so in this study, in order to obtain the definition of "homeland", the "places" of Shahnameh are divided, described, and analyzed. "Surreal places" are a reflection of the Iranian mentality about the settlement and the ideal king, and "real places" depict governmental and social structures. The study of real places and surreal places reveals the fact that "homeland" in Shahnameh is a mental, collective concept and includes a sphere of civilization; it is a collection of cities and people that are interconnected and managed by a powerful central government and protected from enemy damage.

This study presents the possible and hitherto unknown or little spread influence of the Shahnameh of Ferdowsi on the Spanish writer and educator Baltasar Gracián, and consequently, the projection of Ferdowsi in modern western thought through certain European philosophers and thinkers of special importance. In a comparative vision of aspects of the works of both authors, an attempt will be made to support Ferdowsi’s legacy to Western thought, specifically in the educational and moral aspects.

Sajjad Aydenlu in his book entitled “Azerbaijan and Shahnameh” Has conducted research on the position of Azerbaijan, Turks and Turkish language in Shahnameh and the millennial position of Shahnameh in Azerbaijan and has dealt with various aspects of the connection between Azerbaijan and Shahnameh; He showed the place of Azerbaijan, Turks and Turkish language in Shahnameh and also examined the position of Shahnameh in Azerbaijan and among the people, culture and art of Azerbaijan and responded to the problems and criticisms raised in this regard that Shahnameh is an anti-Azerbaijani work.The author has written the following article with the aim of introducing the mentioned book.

In a part of Ferdowsi's Shahnameh, which is called "historical section" by Shahnameh scholars, among the stories that tell the story of the Sassanid Empire, "The Story of Bahram Choobieh" is one of the most beautiful stories. The focus of the present article is on one of the key and difficult verses of this story, which is also in an important part of the story and has attracted the attention of many readers of Shahnameh so far. There have been various speculations about its words and meaning. Therefore, in the following article, the author has considered the meaning of the verse "Be soori ke dastānash choobin bood/ chenān dād ke khānash no-aien bood" from the Shahnameh along with different ideas regarding its meaning. To this end, he talks about some of the prose rewritings of Shahnameh and expresses some commentators' views on the meaning of this verse. At the end, he presents his own reading and understanding of the text. According to him, "dastān" (hands) mean pots or pans or cooking utensils and something like that, and it seems that the meaning of the verse is: Whenever a wooden pot is used at a party, know that the food itself would be new and different from what you have seen before, and you are going to a quite different party, and they serve you with unexpected meal. Finally, the author concludes the article by discussing the irony used in this verse.

Didactic writing is a valuable legacy that reflects Iranians’ wisdom. The contents of didactic texts, as the name implies, are moral, religious, political, and social advice of the elites and reformers addressed to the king. Therefore, didactic texts are an illustration of the ideal king of the Iranian elite. Didactic texts, as the crystallization of one of the most important forms of knowledge, originate from two sources, i.e. Iranian and Islamic sources. In this paper, the works of two prominent Iranian intellectuals, that is Saadi’s Nasihat al-Muluk and Ferdowsi’s “Bozorgmehr” in Shahname, who have tried to revive the tenets of Iranian ruling, one using Islamic teachings and the other by referring to the ancient Iranian sources, are studied. In fact, this article seeks to find out how the Iranian and Islamic sources influenced the features of the ideal king in both practical and mental aspects. Seeking help from phenomenology and Pareto’s elitism, one can find similarities—which reflect this influence between the texts of Saadi and Ferdowsi. These similarities reveal the historical continuity of Iranians’ conception of the characteristics of the ideal king. Thus, this paper focuses on the common points of these two historical texts written in different historical, political and religious contexts about the characteristics of the ideal king.