جاودانگی

One of the significant concepts that Kundera, a Czech-French novelist, criticizes in the novel is the concept of Kitch. Kitch is all that is outward and flashy, based on the form and the image, and refers to non-thought ideas and non-genuine thoughts but prevalent. According to its general character about imagology (dominance of the demonstrative, propagandistic, and suggestive), Kitch rejects any strange, alien, and unknown phenomena. The novel's mission is to resist and defend something that Kitsh denies as an unknown and the abject, according to Julia Kristeva's thought. In the present article, it has been shown through the phenomenology method that the abject closely overlaps with Heidegger's Being, and the novel Immortality revolves around the heterogeneous subject of Agnes and her ontological strangeness in the world based on kitsch. Agnes is an isolated subject and does not belong to the world around her. Her reflections are explained in three axes: criticism of kitsch society, criticism of imagology, looking for the way of Being, and transgression of symbolic matters. As a result, the novel Immortality ironically prevents forgetting and rejecting Being due to the characteristic of representing Being and the abject.

The myth and thought of the upper body, which has an ancient root, can be an allusion to the human desire to remain invulnerable, immortal and eternal life, and it reveals the human need for immortality and bravery. Man, as a living being, when he realized that death and nothingness threatens his life, he decided to find a way to get rid of death. This issue created the ideal of immortality and the appearance of the body became the long-standing desire to remain immortal. In this research, an attempt has been made to investigate the relationship between the element of water and Esfandiar's physical appearance in comparison to Siegfried and Achilles.

The current research is a theoretical study that was carried out in a descriptive and analytical way.

Some bodies are transformed by gods and superhuman beings with elements such as water and fire. In the myths of nations, there are many stories of super-body myths that often share many points, and one of these commonalities is the role of water in the super-body. Esfandiar has a special place in the Shahnameh with his mythological, religious, heroic, and epic role. The most important physical superiority of Esfandiar is the prophetic breathing in the water of Dahiti River by Zoroaster (a guardian and spiritual personality) that Esfandiar becomes a new body due to the spread of the Behi religion by washing himself in the holy water spring, and if during purification and washing his eyes It didn't close, it didn't have vulnerable parts and it remains eternal and immortal.

In comparing the physical appearance of Esfandiar, the Iranian hero, who had a human frame, with Siegfried, the hero of the German Nibelungen epic, who had a demigod example, and Achilles, the Greek hero, who had a godlike example, it is clear that Esfandiar's physical appearance is due to the following reasons. It has precedence over other mythological characters: 1) Esfandiar Pahlavi is a clean body; 2) Humanity is human; 3) He is a powerful prince; 4) His body is covered with holy water; (5) His bodily fluids have been sanctified by breathing prophetic breath; 6) His physical appearance was the reward for the spread of religion; 7) Holy water is a symbol of transformation and positive transformation; 8) Otenha was the person who chose Ruin-Teni.

Comparative study of eternality in the Sepehri and Albayati mythical world, humans have made struggle for perception and reaching eternality since beginning to fulfill his innate desire..The human tendency toward eternality has been manifested in different forms including myths and literature so the humans considered the demons as their primary enemies which prevents them from attaining eternity .Since the one of the important aspects of demon and his power is causing death; hence struggle for rejecting demons is connected with avoiding death and achieving eternal life.Various poets have created eternal manifestations of combination of the myth of eternality and poetry in the literature scope. This research investigates the subjective and talented commonalities of Sohrab Sepehri and Abdullvahav Albayati with two different nationalities.Avoiding death and immortality in their poems are manifested by reliance on love, nature, being trans- temporal, hyperspace that this article aims to investigate this subject.

Intending to teach wisdom and relying on the concepts of wisdom, speech and immortality, Kalileh and Demneh seems to have evolved from previous texts. Kalileh and Demneh has so far been translated into different languages, with each translator writing his own introduction to the book. While reproducing the main themes of Kalileh and Demneh, each introduction has encompassed references common in the discourse and language registers of each period to the main text. Employing a descriptive-analytical approach, “mythological symbolism”, and  “intertextuality”, the present paper aims to analyze the traces of meaning in Kalileh and Demneh and show how  they are reproduced and transferred to the translators’ introductions. To this end, the author describes, analyzes and reviews the introduction sections of various translations of this book in relation to the main text of Kalileh and Demneh. The analysis reveales that, in addition or contrary to the main text, the introductions have tried to find a structural connection with the main text by repeating the traces of meaning of Kalileh and Demneh, and to contribute to its ever-lasting “wisdom”, so that each translation and its introduction has a different interpretation based on the discourse and the language conventions of each period. As a result, each introduction creates a new chain of signifiers, making the introductions an inseparable part of Kalileh and Demneh.
 

During the course of humankind’s mythological history, we come across many common forms of myths. These mythologies include death, creation, etc.Regardless of the origin of these myths, they share common purposes.As an example, death is considered a result of sin or enmity and while humankind chases after Immortality, he/she turns mortal as a result of sins or a curse from the gods or the evil forces.It is clear that humankind has always feared death.Death, as one of the most important sources of stress, comes in many different forms and Scharer has presented an example of it, the fear of non-existence, through word and image in her book.In her book “Death on the Apple Tree”, considering the common myth of death, the author has made an effort to present a unique point of view on life and death. In this book, death is not the outcome of sins or enmity but only a part of life. In fact, death is life itself, to the point that life is meaningless without death, as death is without life.This research has used analytical-descriptive method to study how death is reflected through text and illustrations in "Death on the Apple Tree" and to point out that the mythological side of death is only one of many representations of death. 

Immortality of Shahnameh is due to the representation of "Emotional Me" that comes from the Great individuality, described in conjunction with the mythology in a deep and mysterious semantic system. "Emotional Me" indicates the identity of each agent. "Emotional Me" is more represented in the lament; because the enthusiastic "Emotional Me" at the laments is a good place to evaluate and reflect the represented me. The subject of the present essay is to examine the reflection of emotional me in the laments of Shahnameh. The lamens in the Shahnameh are analyzed in a case, after explaining the framework of the research and clarifying the types of emotions based on psychological typology –“Limited Human Me”, “Social Me”, “Transcendental me”. The result is that in Shahnameh, men’s mournings are reflected more than the women’s. Firdousi composes the shahnameh with morality and spirituality, and thus the transcendental emotional me is seen in the shahnameh, especially in the behavioral actions of Rustam, Siavash, Feraydoon, and sometimes Rudabeh. Generally, Turanians have shown in the three reactions of "anger and hatred", "sin and despair", "denial and regret" in the grief of their loved ones, that reflected their limited me. In the Persian’s laments, "social me" and "transcendental me" are more represented. The alignment of reflected “me”s with the characters of Shahnameh demonstrates the success of Firdousi’s success in the storytelling.

There are many stories which have been created on archetype of immortality and transmitted to us mouth to mouth or in literal forms. Alcestis by Euripides and legend of Crazy Demerol are two examples which despite of cultural differences, have many similarities. The main question is in what context do the two worlds share and differentiate? What are the similarity and different aspects of these two works? This research is based on a descriptive-analytical method and data collection is done through library method. Findings show that despite of similarity in subject and endings, narrative process of two story are different. Alcestis narration is based on back-story and Aristotle unity. Play begins with Alcestis’ testament and ends with returning her by Heracles. But in Demerol the whole story is told in a linear way from the beginning, and there is no back-story related to the events. Demerol encounters with death-angel and beg him to let him alive and his wife sacrifices herself for him. Their titles show that, Demerol comes from a patriarchal culture because the name of the man entitled the story despite of woman’s devotion. But in Alcestis the woman's name is on title of the play. This point also attributed to author's (Euripides) point of view and also indicates to Iranian and Greek cultural differences. Finally by his begging to god, he forgive them. This comparative study shows that one single subject in two different story in two different cultures may have different components and functions as well.

The Amshaspandan are six or seven sacred concepts of Zoroastrian theology referred to only as the highest attributes of Ahuramazda in the earliest times. In later recollections they have become the first and foremost creatures of the One God. The two notions of "Khordad" and "Amordad" mean perfection and immortality respectively.Among the works of the Persian literature, Shahnameh is closest to the archeological and philosophical system of ancient Iran. In this article, using the content analysis method we intend to search and analyze the direct and indirect signs of the two Amshaspand called Khordad and Amordad in the Shahnameh. The research sought to see why Amshaspan’s thought despite its epistemic importance in Shahnameh, seems to be ineffective and invisible. In this study after searching for the meanings and general features of Amshaspandan and then the specific functions of Khordad and Amordad, we looked at these features in the Shahnameh. By exploring all the Shahnameh, only one obvious mention of the two Amshaspand was found. We also counted all the general features of Amshaspandan and their specific meanings. After calculating their frequency, we analyzed the content of the data.

Ignoring the relatively large number of works that while describing Shahnameh, they also paid attention to its influence from ancient Iranian philosophy, we can also find very few studies focusing entirely on the effects of Zoroastrian Wisdom on the Shahnameh. In this regard, a useful and valuable thesis has been used extensively (e.g. Akbari Mafakhar, 2010; Moein, 2005; Qasempour, 2009; Sohrabi, 2008). But the fact is that perhaps because of the thinness of the Amshaspandan theme in the Shahnameh and the ignorance of these works to Amshaspandan's signs and features in the hidden layers of the text, none of these works focuses on this issue. For example, in the book Mazdisena and Persian literature, although the author has referred to one position to reflect the pre-Zoroastrian Aryan beliefs in the Shahnameh, (Ibid, vol. 1), in another position he has pointed to the reflection of Zoroastrian worldview in Persian literature . In another article he has also addressed the subject of Mazdisena and Ferdowsi. However, none of these positions have independently discussed the presence of Amshaspandan in the Shahnameh. In this respect, the subject matter of this article may perhaps be new and unprecedented.

In this article, content analysis method is used. It is a method through which the researcher counts all the evidences and then transforms all the conceptual elements of the text from qualitative and conceptual to quantitative and statistical after collecting and extracting from the text. After counting these symptoms and obtaining all their ratios and quantities, the researcher analyzes and interprets the results. Using this method and referring to the Moscow edition of the Shahnameh, we have studied the presence of two Amshaspand Khordad and Amordad in this context in two areas: 1) explicit references to the name, and 2) the indirect indications to their meanings and functions.

According to the general and proprietary features of Amshaspandan, we have listed 13 signs for Khordad and 17 for Amordad Amshaspand. Of the signings of Khordad, the most frequencies are jointly attributed to "presence in Amshaspandan system", "emphasis and prominence" and "belonging to the cultural landscape of ancient Iran". The attributes of "accompanying the concept of God" and "superiority over other creatures" are followed by them in terms of frequency. Of the specific concepts of this Amshaspand, the concept of “perfection and transcendence” has the highest frequency, followed by the concepts of “health and prosperity”, along with the concept of “immortality”, and finally with “the symbol of water”. Also the most prominent features of Amordad are “the connection with the concept of God”, “the emphasis and prominence” and "belonging to the cultural landscape of ancient Iran". Following these general features, the concepts of" presence in Amshaspandan system", "immortality", "superiority over other things", referring to the supernatural, companionship of Khordad , and ultimately companionship of the plant have the highest frequency respectively.

The two Amshaspand Khordad and Amordad are mentioned only once in the Shahnameh. This indicates a weak and slight reflection of Zoroastrian beliefs on the outer layer of the text. There is a similarity and closeness in the way of using and coming the two Amshaspand and in their signs in the Shahnameh; in fact, only the meanings and symbols of Amordad are little more than Khordad in this book. These concepts are mainly associated with the concept of God, and it means that the spirituality in the Shahnameh is very powerful and bold. The only explicit mention of Amshaspand, and consequently the mention of these two Amshaspand in the Shahnameh are in the story of Kikhosro and from the language of Rustam. It is worth noting that Kaikhosrow's perfection as the perfect human being in the Shahnameh world is linked to the perfection and immortalityrelated to  Khordad and Amordad. Among the results of the research are religious and epistemological function of Amshaspand without philosophical and ontological views, eight existence of Khordad asthe month and day , and lack of mention of Amordad in in these meanings.

Utopia and dreamland have always been human concern and he has dreamt about it in his thoughts. In the contemporary era the literates and poets have worked on it from different aspects and utopia owns a special effect in their works. Iranian Sohrab Sepehri and English William Butler Yeats also applied utopia in their poetries. This paper – which is done descriptive analytical – in the comparative literature field studies two poems: "beyond the seas" and "Sailing to Byzantium" with Utopia and the existing symbols as the main subjects. The result is finding out similarities in poets' thoughts. Although their hometowns are west and east, the utopia concept has the same meaning in their minds and poetries. Utopia for both is one place and the way to reach there is also the same. For both it is just and only a dream and not a reality. Utopia for both means perception, spirituality and immortality.

In the passage of history, man has objectified his images like immortality by external symbols. Man nourishes the concept of immortality in order to escape death and mortality; this is done by elements of nature. One of these elements of nature is fire which is used to show the mysteries and symbols of immortality. In the passage of time, the concept of fire is seen through generations, and has been preserved in certain terms. In Persian language, the terms like ‘ojaq-koor’ (she is sterile) ‘ojaqe khaneh’ (fire-place) and ‘ojaqe khanehat khamoosh mabad’ (I wish you have son) contain the term ‘ojaq’ or fire-place that denote to son and having no child to carry a man’s name. In the present article, first, we consider one of the most important symbols of fire that is according to the people of antiquity contains the notion of immortality. Then, the linguistic signs that show the relationship between the notion of immortality and fire-and-son are entertained.

Pashutan is the most distinguised son of Goshtasp in the mazdayasna tradition and literature. As far as his fate is concerned we are faced with three contradictory narratives. First according to the most renowned one based on the documents and evidence available from reports and narratives of the ancient Pahlavi texts, Pashutan is one of the immortals who on the Day of Judgement before the Hooshidar Millenium resurrects against evildoers and demons and also in that millenium he reigns. Second is a narrative from the Zaratosht Nameh which speaks of Pashutan's immortality by drinking blessed milk from the hand of Zoroaster, and the third narrative is a unique version of Bahman Nameh informing us of Pashutan's death in the hand of Banu Goshasp. This latter narrative is incidently more appropriate to the lexical meaning of his name. In other sources particularly in Shahnameh of Ferdowsi, Thaalibi's Shahnameh, and other mythological, epic, historical, and Naghali or oral popular narratives available, there has not been a slightest reference to Pashutan's death or immortality. Having considered all three reports, the writer of this article has contemplated on the Zaratasht Nameh version and using the counterpart evidence in Persian literature and other world nations has analyzed the cause of immortality.

he said. Through the concepts of eternal myths, traditions and Tmsyl¬Hay Astvrh¬Ay and mystic approach and interpretation in different literary genres appear, that in this paper is made in the genre of mystical review.The study, Astvrh¬Hayy as eternal return, a return to unity, superman myth and the myth of immortality within them there is a circle that escape from My¬Kndv move from myth to explain Astvrh¬Shnasy look toward mysticism and change elements Astvrh¬Ay structure in Rumi's mystical thoughts citation analytical method makes visible.
Rumi's mystical approach and interpretation Yad¬Shdh Astvrh¬Ay themes reflected in his poems and thoughts can be reproduced Vhdt¬Grayanh he Jan¬Mayh this Astvrh¬Ha the spirit of the mystical concepts through mythology, he said.

Intellectual property rights have particular importance in today's world and have attracted the attention of governments due to their economic value, so that in some countries such as China there is a special discipline with the same name up to the Ph.D. level.  In Islamic jurisprudence, this issue does not have a long history and it is referred to as "monotheistic issues" and they theorize by this title to prove or disprove this issue. The opponents of these rights have put forward their views about the rule of Taslit, the lack of signing of the Shareh, the prevention of the concealment of science, the necessity of guiding ignorant and the inclusion of intellectual property in the property of the state.  The proponents of intellectual property have also developed their own views about the rule of Lazarar (No-harm), accuracy, falsehood, the theory of al-Fraqih, Velayat-e faqih, the public of Ophawab al-Aqoud and Sire Oghala (the lifestyle of the wise).  In this article, the views of the Islamic jurists have been considered in rejecting or proving this issue and we have legitimized it with respect to the consensus of the wise in proving the legitimacy of intellectual property.  There are also issues on how to submit ideas and thoughts.

Immortality and undeterminity of myths cause them to have continuity in human unconsciousnessthrough the passage of time, and to be considered as one of the inseparable parts of human life. Indeed, it seems that, semantically, continuity of human life is not possible without myths because myths provide a deep response to one of the great challenges of man, that is, immortality instinct. By using the analytic-documental method, the present article tries to study the main themes giving rise to the immortality instinct and reasons of using the same structures in the different cults and ethnic groups. The theme of immortality can be found in mythical motifs like eternal return, myth of fertility, resurrection, the days of childhood, return to unity and myth of becoming a writer. The processes of formation of these motifs are the same, because the mythical mind (collective unconscious) has common function.

In some epic- mythological, ritual and historical narrations a person (king. Hero, saint and etc) goes to cave, well, pit, grave, under world and etc (appearances of earth ś pit/ grave) and ascends/ disappears in that place or become immortal and sleeps to end of the world for appear in that time. This subject is a worldly motif. Bahrām V (entitled Gōr) probably dead with normal death but in numerous stories about his end of life, he disappears in cave or dome and falls in well, lagoon or salt- marsh and is vanished. Probably these narrations are based on mentioned motif and Iranian people believe that Bahrāme gōr has ascended to heaven and he will return in Resurrection and fights for final victory of charity/ justice. Perhaps this idea/ believe has created for two reasons. First, conversion of Bahrām ś personality to epic- mythological king- hero in Iranian tradition. Second, his homonymy with Bahrāme varjāvand (one of Zoroastrian savior) and displacement of some functions of famous Bahrāms in Iranian narrations.