immortality

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.

Myth has a special value and place in the contemporary Arabic poetry and is strongly intertwined with it. Prominent contemporary Arab poets turned to this element in order to symbolize the poetic language and to express ideas indirectly and more artistically. A very important myth that has appeared in a large bulk of contemporary Arabic poetry is the myth of Gilgamesh. This mythical character is defeated due to the inclusion of various meanings, including the attempt to discover the mystery of immortality, the desire for immortality, enmity and friendship together, enduring difficulties in achieving goals, meeting a wise old man, and trying to destroy evil. In the test of awakening, the loss of the plant of youth and the water of life, the surrender to destiny, etc., have created a good opportunity for contemporary Arab poets to present their personal and social experiences to the audience in the light of calling that myth in the context of their poetry. Samih al-Qasim from Palestine in the poem "Jaljamesh, Alloh-Al-Thales Ashar", Adonis from Syria in the two poems "Jalqamesh" and "Sajil 1999", as well as Saadi Yusuf from Iraq in the poem "Manzel al-Masrat" are among the poets who used this myth artistically. This research has been done by a descriptive-analytical method, and content criticism has been performed through the analysis of the three poems. One of the most important mythological characters mentioned in the poetry of Samih Al-Qasim (1939-2014), a famous contemporary Palestinian poet, is "Gilgamesh". The myth has entered the poem book My exterior is the face of the essence of the day published in 2000 for the first time. In this poem, Samih Al-Qasim is inspired by the myth of Gilgamesh. What is striking at the outset is that the poet "unfamiliarizes" himself with this name. Because a tablet is added to the twelve tablets of the myth, the beginning of the speech is attractive to the audience and creates enthusiasm and motivation for reading the poem to the end and learning from the new words of the mythical character. It is worth mentioning that the poet based the poem on the centrality of Gilgamesh's character.In the relatively long poem Sejil (1999), Adonis has paid attention to this myth many times and tried to use the "formula of speech" and the technique of masking and identifying with the myth of Gilgamesh, as an intangible and objective equivalent, from the theme of that ancient text. In "Sajil", the poet has tried to use the same myth to portray the oppression and isolation of intellectuals. He wishes Gilgamesh had power and all the people of the city would obey him. But Gilgamesh is an unruly ruler and no one pays attention to his words. Therefore, the poet's purpose is to highlight the isolation of intellectualsThe contemporary Iraqi poet Saadi Yusuf has paid special attention to the myth of Gilgamesh in his poem "Manzel al-Masrat" from the poetry book "Al-Layali Koloha", which was published during the Ba'ath party's rule in Iraq. The poet "Manzel al-Masrat" represents a house in Baghdad where dancers and actors live and dance and have fun. This poem is one of the works in which Saadi Yousef invokes the myth of Gilgamesh in its opening lines so that he can express the socio-political issues of his country.According to the type of concern and desire, mainly based on Gilgamesh's journey, the poet is disappointed of achieving his desires. Confusion, bewilderment during the migration, Enkidu's death, and his quest to unravel the mystery of life and death help the character unravel and liberate his backwardness. Therefore, despite the fact that Samih Al-Qasim has placed his Gilgamesh in a wider space by using various tricks, and apart from mentioning the same philosophy of life and death, he has not gained any new experience in it and in the process of invocation; the use of old faces is a redundancy in poetry. The study shows that Samih Al-Qasim tried to inspire the audience with the idea of ​​"human immortality" through inspiration from the mythical character of Gilgamesh. His poem is a reminder that the twentieth century man has not discovered the secret of immortality and he has no share other than death. The purpose of Adonis in invoking the ancient mythical figure in his poem "Jalqamsh" was to inspire the audience with his literary works in line with the twelve tablets of Gilgamesh's epic. He insists that, just as the mythical Gilgamesh after enduring the hardships of the journey to attain immortality, he has come to the conclusion that he must write his experiences on the Twelve Tablets to guide people. He believes that poets have to travel and go through hardships in order to gain experience, knowledge and permanence.Saadi Yusuf also aimed to depict Iraq as the equivalent of the cedar forest of the Gilgamesh period by creating an intertextual link between his poetry and Gilgamesh's speech and focusing on this character's experience of death. The poet seeks Gilgamesh so as to destroy contemporary Hombaba and restore morality and chastity to Iraq. In another interpretation, Iraq is envisioned as Enkid for Saadi Yusuf who died of moral corruption. The poet describes the death of his friend to the audience in this text.

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.

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.
 

In this paper, we first gather the contents of the library through the views of Islamic and non-Islamic philosophers and scholars on death. Then, by analyzing the content and comparing these theories with the Qur'an and the traditions, it is revealed that the fear of death causes human tendency to immortality. Therefore, people's responses to death vary depending on whether or not they believe in life after death. The greater the awareness of death, the less fear of death. This desire reflects the eternal reality of man and shows that there is an eternal and immortal life in the creation world. The scriptures, and above all the Quran, the traditions of the Ascension, the works of philosophers and mystics, poets and writers, each expressing this immortality in Islamic and non-Islamic texts. Death is an existential affair and transfer from one world to another. The disappearance of the fear of death does not mean that this fear will never exist. This fear, if temperate, guarantees one's health and avoids the dangers they face on a daily basis. According to philosophers and scientists, reforming attitudes toward death and reducing worldly attachments greatly reduces the fear of death. The acceptance of immortality and the posthumous worlds by Western and Islamic scholars and the inspiration for the Qur'an has largely solved the fear of death problem, helping to refine human attitudes about death.

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.

One of the persistently ubiquitous preoccupations of human beings is the concept of death and mortality; which has engaged us all with its awesome omnipresence one way or another. And the way one looks at it affects our whole life, not least our culture. Meanwhile, there are some who do not confine dying merely to the moment when one’s heart stops beating and one’s lungs cease inhaling and exhaling. John Milton and Leo Tolstoy are among those outstanding figures who have enjoyed such a transcendental outlook and have plucked its aesthetic fruits in their major work.. Considering their seminal positions in Western literature, the present paper intends to provid a close examination of how exactly these writers viewed this perennial concern, as depicted in their representative works. Reading closely Milton’s Paradise Lost and Tolstoy’s The Death of Ivan Ilych, this article concludes that the two authors offer their own specific classification for death.

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.

Allāme Tabātabāii in his philosophical works hasn’t extensively and independently discused about philiosophical psychology and only sometimes in some positions, have referencd to some of the mentiond topics. So the purpose of this paper that has been written with Descriptive-analytical method is to explain of his perspevtives based on Al-Mizān Fi Tafsir al-Quran. The result of the paper is that Allāme Tabātabāii in philiosophical psychology followed the path of Transcendental Wisdom of Mullā Sadrā and it can be said that in some of the debates which he has proved them on the based of Holy Quran verses, he considers that Quran confirms the proof.

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.

Natural sceneries are main and common theme to explain and depict in world and Iran myths which the poets have the deepest and nicest relationship with them. "Water" is one of the nature's manifestations which has been talked about and discussed in different nation's myths; the heroes have always been confronted with it. Water manifests variously in "Shahnameh" and "Iliad"; according to different natural geographical conditions, most of the natural sceneries in Shahnameh are dry lands and in Iliad in immeasurable waters and seas. But both poets had enjoyed similar depictions and explanations in order to strengthen the relationship with the reader and make it more believable.

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.

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.

Nezami’s works, especially ‘Seven Bodies’, contain messages and concepts emerging from his individual and collective unconsciousness reflected in symbolical and mysterious expressions. This literary trend has emerged from his deep mythological understanding manifested in the form of stories that impose on the reader an experience of wonder and timelessness. This article aimed at demonstrating Nezami’s mindsets which have mythological tenets in their innermost aspects. The analysis was based on a mythological approach with a focus on the myth of creation an and the myth of circle. The study was an attempt to explore myterious and interpretive meanings of issues such as the myth of tree, the myth of immirtality (staying in heaven for a day and night), and the main reason for Adam’s fall. The findings of this study provides a new understanding of the two legends of Black Dome and Turquoise Dome in the narrative structure of the myth of creation.

The problem of incorporeity of the soul is one of the most important issues in the divine system, especially in Islamic philosophy. This issue has been regarded by the Muslim philosophers from different perspectives. In Islamic philosophy, the Islamic and rational reasoning is expressed to prove incorporeity of the soul. Proving the incorporeity of the soul would have various cognitive effects including immortality, the incorporeity of the knowledge and perception, the unity of wise and reasonable, proving the resurrection, explaining the immortality of the verses of Quran, and the perception of time. The present study, with a descriptive and analytical orientation, has studied the issue in a philosophical approach and the consequence is a deep understanding of the issue, and especially explaining the various dimensions of the incorporeity of the soul.