نشریه فرهنگ و ادبیات عامه
پیاپی 21 (امرداد و شهریور 1397)

Regarding their beliefs and cultural roots, Indians and Iranians share cultural, ritual and literary features in common. These similarities may be seen in their literature which is the mirror of their beliefs and culture. We can see many analogous structures and motifs in the literature of the both countries. The well-known fairy tale which has been narrated on Fayez, the famous poet of Dashtestan region and his marriage with a fairy woman, is one of those similarities. This fairy tale is similar to the Indian myth entitled the "marriage of Ganga and Santanu" being narrated on Mahabharata. In this study, by structural analysis of two narratives, and based on Levi-Strauss ‘s “Structural Mythology” theory, the authors explored the structures, motifs and signs of both narratives. The analysis showed the similar structure of both narratives and the mythical roots of the Iranian fairy tale. Furthermore, the results of this study indicated that both narratives include the “fertility/infertility” binary oppositions in their deep structure.

This article seeks to answer two questions: first, what effects has the experience of migration had on Bakhtiari poetry as a unique experience? And second, how do these poems represent and interpret the outer and inner worlds of these migrating nomads? In this paper an attempt has been made to analyze some aspects of the form and content of the Bakhtiari poetry which has been formed through the great experience of migration and to illustrate the philosophical and aesthetic aspects of this experience through folk songs and poems. The research methodology and theoretical foundation of the current research are based on the notions of “ Sporadic “ and “ Completed” experience outlined in John Dewey’s book entitled “ Art as Experience”. The results of the present study showed that the experience of migration as a great central experience has strongly influenced the mind and the worldview of these migratory humans in such a way that both the form and content of Bakhtiari folk poetry have been influenced by it and, on a more general basis, this experience has tied the mentality, aesthetics and ontological system of these people to their lifestyles.

Colors, in addition to their artificial meanings, express human emotions, thoughts and characteristics, for this reason, color in the general and modern sense and with respect to its functions and inherent elements shows the better understanding of the emotions and thoughts of the layers of the tales. Thus the authors by adopting a descriptive-analytical research methodology and by referring to the “Iranian Tales “compiled by Anjavi Shirazi try to classify the colors and their usage in these tales. The findings showed that the colors come into new usages in the narrative texture of tales which can further be divided into several categories: the expression of value and class beliefs, colors with the function of public interpretations and beliefs, symbolic beliefs, colors to serve the expression of details, expressing the aspirations of the public and mythological beliefs. With reference to such usage, colors can be divided into two categories: colors such as black, white, green, and yellow are used to express intentions, public interpretations, symbolic and value beliefs. Sometimes the colors are used with other colors to describe the details or specific functions. Golden and golden attributes of yellow are allocated to rich classes of people, and its various ranges or shads are attributed to the wishes and demands of the lower class of society.

The nightlife is one of the indicators of community's lifestyle that shows the people's view of night and the manner they benefit from this period of time. Although the concept of theoretical biology at night, was formed after the industrial revolution and the transition to economic growth for efficient use of time, but it is obvious that most nations appropriate to their culture and values have experienced the nightlife. In Iran's traditional society, the old soirée is the main focus that by its analysis we can find the quality of Iranian's nightlife; time, place, food, the manner of invitation, a variety of cultural and art Entertainments, are amongst the most important components of common Soirée. Except that, many aspects of social vitality in Iran due to nocturnal rituals are performed in the context of night, natural rituals like Yalda, Chaharshanbesuri, Tirmasizdahsho or Religious rituals like the nights of holy Ramadan, Muharram and specially the night of Ashura, the Baraat Night (mid Shaban), The Night of Wishes (The first Friday night of Rajab) and family rituals like babies six nights, baby's first teeth, circumcision night, wedding night and non-monsoon rituals like asking for rain and eclipse. This article tries to study the origin and background of 24 hour cities, the tradition of soirée in Iran as the most important leisure activities and social effects of Iranian nightlife.

Tales are the heritage of the public in literary, intellectual and cultural contexts that have a powerful and creative function. They can be considered the first and most valuable subjective and linguistic creations that are highly prominent in their depths. The narrators have also created stories of events, human concerns and dreams benefiting from artistic structure and multi-dimensional meaning as a permanent function. Yazd area has a special place in this regard. Hence, the diversity of research based on binary opposition and structural analysis in the field of storytelling have reduced the meaning of folk tales. The purpose of this research is to examine the perverse basis of the confrontational structure in Yazdi's popular stories. Research methodology in this paper is descriptive- documentary and analytical. In such an approach, it is clear that the binary opposition in the folk tales have the potential for reversal of meaning, and through the notion of deconstruction, the reproduction of other meanings which corresponds to the mind of the audience and the reading time would be possible.

In the not- too- distant past of the Great Iran, there were jobs being actually disappeared or deformed in some way. Since introducing those forgotten jobs can help us better understand the Iranian society of that time, in this article, the author has introduced a number of old guilds that are derived from Sayida Nasafi's urban poetry, the Persian –speaker poet of Tajikistan in the eleventh century. It should be said that these jobs selected from more than two hundred jobs introduced in Sayida Nasafi's poem, have been common in Safavid period. The results showed that by introducing the jobs that has named in her urban poetry this Persian-speaker poet, in fact, has sought to support the lower and depriving classes of society and his behavior was an implicit criticism of the government and social issues.

Sacrifice is a religious custom spreading among different folks and nations with various purposes. Many religious traditions recommend killing an animal in order to stay away from disaster or to avert it. Some scholars take into account that the killing a camel ordered by Esfandiyār in the story of Rostam and Esfandiyār, and also the killing of Siavash by Afrasiyab and Sorkheh due to command of Rostam are amongst the types of sacrifice. The present research which has been conducted in a fundamental way, based on library studies and descriptive-analytic method has tried to show that there is no ritual sacrifice in the story of Rostam and Esfandiyār (killing a camel by the order of Esfandiyār) and the story of Siavash (how to kill Siavash and Sorkhe). To clarify this issue, the story of Rostam and Esfandiyār and Siavash in Shahnameh has been analyzed after analyzing and defining the sacrifice custom. Finally, there is no sign of sacrifice in these two stories, and killing a camel in the story of Rostam and Esfandiyār is a kind of apotropaic magic.

Amir Arsalan is one of the most important and popular Persian epics and one of the first works which manifests the signs of the transformation from story to novel in Persian prose. Although Amir Arsalan is regarded as a modern text and so many valuable studies are carried out on it, it still seems necessary to discuss the name of the story teller as well as the year this story emerged.Furthermore, many researchers believe that a few years earlier the emergence of Amir Arsalan, the first Persian novels were translated and published, and hence it is believed that these signs of transformation emerged under the influence of novel. The present study consists of two parts: the first part addresses the story teller and the time this story emerged and it is tried to shed light on the dark aspects of this attribution and date the emergence year of this work more precisely. After eliminating these ambiguities, the cultural space of the time Amir Arsalan emerged is addressed regarding the printing industry and it is attempted to introduce translated novels and plays along with travel memoirs which were written in Persian so as to investigate the likelihood of the familiarity of the story teller with these genres. Following this path, a more coherent and precise picture of the story teller and the cultural space of the emergence time of this story will be drawn.

Theatrical songs are a part folkloric literature and are usually accompanied by traditional music in comic performances. They reproduce cultural and social identity of Iranian people and, with a linguistic simplicity, reflect the lower class life. The present study is a descriptive-analytic reading of theatrical songs in terms of phonological, lexical, lexical, syntactic, and rhetoric layers. It aims at revealing originality, simplicity and commonplaceness of these songs which are overshadowed by new literary trends. Results indicated that theatrical songs predominantly stimulate emotions and were essentially lyric and sentimental in nature and seek to please. Use of emotional, commonplace and even rude words with linguistic trans normativity is typical of theatrical songs which are initially to delight the audience and ease the process of communication. These songs make use of rhetorical components with social origins that are natural and lucid as they are associated with external layers of language.

Proverbs are amongst the treasures that play an important role both in representing and internalizing religious identity, therefore, it is essential to analyze and scrutinize these proverbs in order to better understand religious culture of people. In the present research, the cognitive components of religious identity have been investigated through content analysis method in Bakhtiari's proverbs to show how the cognitive and received components of these components are reflected in the counterexamples and what is the function of this cognition? The issues of theology, resurrection, prophet hood, and Imamah, the practical commandments of religion, the Quran, religious places, and Quranic characters are reflected as the cognitive components of religious identity in the Bakhtiari expressions amongst which the most frequent encompasses the theology. Religious identity in these proverbs has both the psychological and socio- cognitive function. Thus, Individuals relying on God and the principles of prophecy and imamah retrieve the hope in their life and by reminding the resurrection and the glory of God and reform the ethical and social dilemmas.