نشریه فرهنگ و ادبیات عامه
پیاپی 50 (خرداد و تیر 1402)

Folklore literature is considered as one of the important parts of the folklore culture. Besides its general and artistic aspects, it remarkably affects the development of the serious literature of that society. It mostly affects the originality of the works of its artists. An artist's mind as a cultivated person in a native culture of a society is full of different aspects of folklore literature. Applying them in individual's artistic works gives a fresh and profound inspiration to the work. Although different aspects of the folklore culture and even folklore literature have been discussed in different views, the functions and its artistic aspects have not been investigated. This study has been done based on descriptive-analytical method (of case study type) and the purpose is to deliberate the aesthetic aspects of folklore dialogue in the story of Ahukhanum's Husband written by Ali Mohammad Afghani. He has been able to use the broad aspects of this type of literature, such as: the use of anecdotes, proverbs, allusions, vernacular poems, and vernacular idioms in creating a suitable tone, imagery, atmosphere, creating intertextual relationships, and building cultural support and context appropriate to the subject, which is a part of the literature and cultural depth of this story, instigated from the artistic use of folklore literature, especially conversation traditions within.

The clothes used in ritual ceremonies show the continuation of an ancient mythological rite. The type and color of the clothes, decorations and objects used in rituals have certainly a symbolic root; though not everyone who is wearing these clothes or using these objects is necessarily aware of their symbolic meanings. This research, in an analytical and descriptive method, is dealing with the relation between clothing and ritual-mythological ceremonies. In every ritual ceremony, we are witnessing special clothes and tools related to that special ritual. Different nations and tribes have different mythological narratives, usually with a common root, regarding the process from primitive life moving towards the modern life. The subjects related to the industry, producing fabric and the method of putting on the clothes are normally ascribed to gods, while in epics they are attributed to the characters and heroes. The color of the ritual clothes is in harmony with the universal symbols and their roots could be found in the mythological beliefs.

Figure-transfiguration is one of the commonly used themes of folktales, which refers to changing the appearance and the basis of existence and legal identity of a person or something by using a supernatural force. Various forms of representation and its semantic implications are rooted in the mythological thinking of mankind. Therefore, in the present article, based on the descriptive-analytical method and mythological sources, the figure-transformation of four volumes from the ten-volume collection of Khorasan legends have been extracted and categorized. Then, the connection of each type of figure-transformations with mythological elements was analyzed. The result of this study showed that in the 79 investigated stories, there were 165 cases of personification, in which the mythological functions of animals such as snakes, lions, pigeons, roosters, deer, etc. were symbolically manifested in the personification of talking animals. Also, the transformation of objects into humans in Khorasan folktales can be a reflection of animism. The mythical essence of immortality and plant descent of man is reflected in the transformation of man into plants such as watermelon, reed, pomegranate, orange, etc. The metamorphosis of demons and fairies into humans and other creatures indicates the influence of Iranian mythological beliefs regarding their demonic nature.

One of the basic fundamental factors of knowing mythological sources, and preserving and promoting them is to conduct scientific studies in the field of popular folk culture and literature. Swearing, in its various forms, is one of the rituals that has long been manifested in Iranian popular folk culture and literature in various ways. In this study, we analyzed the bite-taker ritual, as an instantiation of swearing (Var) in the Bakhtiari tribe. It was assumed that this ritual takes root from the traditions of ancient Iran. Emphasizing its importance among the Bakhtiari people, this ritual was known to recognize the right-doer from the wrong-doer. So far as the bite is concerned, right from the wrong and the correctness of the word is the importance of the bite from the perspective of the Bakhtiari people. In this study, firstly, the story of bite-taker was narrated and, secondly, their literary manifestations and mythological aspects were investigated. The data was qualitative, and the method of data collection was based on field-library sources. The method of data analysis was in the form of qualitative content. After examining various sources and analyzing the literary and mythological manifestations of motifs of the bite-taker test in the Bakhtiari people, it can be argued that this ritual is a remnant of the ritual of drinking sulfur water in ancient Iran, which, by preserving mythological elements among Bakhtiari people, is believed to be the last solution to prove the truth of the word and distinguish right from wrong. Besides, some certain elements of this test, such as the presence of fire, wearing perfume and white clothes before the test, and perfume, are considered as reminiscent of the story of Siavash in Ferdowsi's Shahnameh.

One of the manifestations of every culture is its folk literature, and one of the oldest examples of folk literature are adages. Adages contain the thoughts, worldview and customs of every people and nation. Their origin is not definitely known, but over time, people choose an adage that is caused by an event, legend, myth, poem, etc., and change it to their own style.“Like the Daf have earrings in the ear” is one of the adages recorded in proverbs book, and in this research, we investigated the background, the time period of changes and its application. First, we investigated the origin of adages through descriptive-analytical methods and library studies, and then we searched for its history and the course of its use in various texts until the present day, and finally we found that the history of this adage goes back to at least the sixth century of Hijra which has been updated in poetry texts. It is believed that until the 6th century, it was a common adage that was attributed to the poetry of the poets of this century, or it was introduced into the folk literature from the poetry of the poets of this period, especially Khaqani Shervani, and it often emphasized that the Daf has been a servant, playing the role of a metaphor. However, with the changes in social conditions in the present era and the change in the public attitude towards music and the Daf instrument, it has progressed towards destruction.

In Koohmare Sorkhi dialect, ergative constructions can be viewed in terms of recent phase theory and bare phrase syntax in generative view. Koohmare Sorkhi includes canonical forms such as “om goft” in which a clitics is added to the left part of the verb in past accusative constructions. The production of this form and other similar forms can be justified in the framework of phase theory as well as incorporation. In this dialect, V is considered as phase head and T shows both V features and T features. V feature causes movement of V into T. In the next stage, incorporation works after post syntactic operation and the deleting features occur before reaching interfaces. Clitics are bundles of features, and V attracts them as phase head. The mechanism for incorporation is adjunction, and the label of clitics should not be distinct to which it is incorporated. Incorporation and movement have been viewed in the framework of bare phrase structure. Movement to T is syntactic movement and after that incorporation combines past form with clitics in logical form to produce the final form. This operation has been viewed in several languages. Introducing vPs as phases in ergative constructions can be a solution to their contrast in this structure with other structures.