فصلنامه متن پژوهی ادبی
پیاپی 49 (پائیز 1390)

The developed studies on structuralism and theories of narratology provide the grounds for accurate recognition of different narration types. Knowledge on narrative rules in each type and the structural difference between them is useful in better understanding of distinctions between different discourse genres. Epic is a genre emerged as a result of evolution of some aspects of mythical narration. This paper aims at comparing a specific mythical narration (in Avesta and Pahlavi texts) with the structure of the same narration in Shahnameh. The ultimate purpose of such comparison is to see how the structure of this mythical narration changed when it was transferred to and recounted in Shahnameh. Though some main subjects in Jamshid story are similar in myth and epic, there are also significant differences which are discussed in this paper.

Semantic-semiotics is one of the theories which turn the static and mechanic system of structural semiotics into a fluid one. The theory is based on the principles of phenomenology and signs’ trends, and attempts to explain how a sign with semantic systems is involved in the process of gaining manifold semanticity and semioticity. It also makes clear what effect the human factor creates in the link between signifier and signified. Based on the said theory, this paper attempts to answer the following questions: how is Farhad involved in gaining manifold semioticity and profound semanticity? What is Khosrow’s situation in this approach? Why is Farhad given a principal and mythical stance? Why does Khosrow turn into a degraded and lowered sign?

The present paper aims at explaining one of the concepts of “mirror” as an allegory in Bidel’s ghazals and analyzing the link between this allegory and the ones used in thoughts and beliefs of Ibn Arabi. This paper mainly deals with the status of mirror in ghazals by Bidel as reflection of the highest point of Ibn Arabi’s mystical thoughts, i.e. oneness of existence. It is essential to carry out such study in order to explain how Bidel had been under the influence of Ibn Arabi’s thoughts and beliefs in this regard. As for methodology, the present paper is a library research conducted by using content analysis. Ibn Arabi explains the role of human, whose mind and spirit have fully matured and reached the highest rank, with an allegory like mirror, and describes the mystery of “truth reflection in mirror of imagination”. It should be pointed out that two factors are present in this allegory: mirror and the observer or witness who sees his face like an object in the mirror. In this reflective process, human being is both a linking loop and an identification factor, so he is both representative of the mirror and agent of the observed object. Mirror is a symbol of reflectivity of world’s nature and the observed object, and the observer is Allah Himself. Therefore, Ibn Arabi describes human being as “the original reflection”. Bidel, the Persian poet is a mystic who’s fond of mystical thoughts, particularly oneness of existence present in Ibn Arabi’s school of thought. He is considered as a follower and prominent speaker of Ibn Arabi’s thoughts, whose favorite allegory is mirror. The result of investigation into mirror as a motif in the ghazals by Bidel indicates his mystic thoughts about God, human and the world. Bidel’s high status among poets with Indian style, and how his thoughts are joined with language and poetic experiences are also shown.

Individualization process is a psychological factor which presents the mental growth and internal and unconscious discoveries of human being during his life. It also affects his voluntary decisions, even when the individual reaches a maturity point. This psychoanalytic process is considered as the central axis of individual personality, an internal guide and even the unconscious instructor of the mind, with the help of which his thoughts mature in time. It should be pointed out that Sana’i’s ghazals reflect the concept of pure poetry and are the unconscious excursion of the poet’s enthusiastic and effervescent thoughts. Therefore, by investigating into the path of psychological development in the ghazals by Sana’i, one can conclude that the mystical thoughts in the poems present states of being, which are indicative of this spiritual and psychological process. The present paper, which is a descriptive study, aims at revealing the influence of ghazal as a poetry form and also the mystical concepts in the psychological development of this wise and prominent poet. Thus, it seems that the multipurpose application of concepts and paradoxical language of Sufism, internalization of the “old wise” archetype, transformation of Anima concept in some ghazals and the effect of religion and mysticism in all aspects of the poet’s psychology are important factors which cause his sprit to mature stage by stage.

One thousand and one nights is a multi-national book which has been written during the consecutive years and has experienced several languages and cultures. It enjoys a particular status among its hometown communities and even among the western countries. Narrators and storytellers of this story either intentionally or unintentionally, have chosen the characters’ names of the story in a way that absolutely coordinates with their actions and personalities. Hence, the women’s naming, in a book which has been compiled through the effective presence of women and has been strongly connected with a mysterious and symbolic universe, is considered extremely important and worthy. The study of the names, in this book, extends our knowledge of the book and reveals the women’s identity during their lost history. This study is an attempt to examine and present the women’s names and their descriptive worthiness through one thousand and one nights based on a feminine approach and considering the women’s social class. The statistical group of this study consists of the anecdotes of one thousand and one nights; the first volume of it has been translated by Abd-Al-Latif Tasooji and published by Hermes publications. The results indicate that the women’s naming in this book has a particular status. It also phonetically, semantically, and symbolically has an inseparable and meaningful connection with their personality and actions. Several examples of different methods that narrators have adopted for naming confirm this idea.

The opposition between good and evil is one of the main themes of Shahnameh. Belief in two poles of Ahura (good) and Ahriman (evil) is rooted in mythological beliefs of Iranians, which have been reflected throughout Shahnameh. In this epic, wherever there are good forces such as Fereydoun and Iraj, i.e. symbols of wisdom and goodness, dark forces such as Zohak and Tour, who are symbols of foolishness and evilness, fight with them. Immorality is represented by demons, and values by heroes. These two forces are always in a fight. The evil forces are as strong as the good ones to the extent that they sometimes win the battle; however, it is the good force which overpowers the evil one at the end. Nonetheless, the battle between illumination and darkness will never end in the third millennium, for the world continues to exist by it, and if one of these two forces achieves an absolute victory over the other, the world shall end.

Different places are mentioned in Shahnameh, one of which is a devil fortress called “Bahman” located around Ardebil during Kianian era. This fortress is named in the story about the dispute arisen among Iranian commanders over succession of Kavous. Some of the commanders wanted Fariborz to succeed, and some others tended to have Keykhosrow as the successor of Kavous. Kavous came up with a solution that considered the one who conquers the magical Bahman fortress as his successor. The present paper deals with the topography of Bahman fortress by resorting to archeological studies.