mythology

The present research was conducted with the aim of comparative analysis of the elements of natural mythology in Ferdowsi's Shahnameh and Abu Mazi's Diwan Al-Tabar and Al-Trab. Comparative studies, simply put, is the act of comparing two or more things with the goal of discovering something about one or all of the things being compared. This method often uses several disciplines in one study. Among all mythological topics, this research has done a comparative study of nature myths in Shahnameh and Divan al-Tabar and Al-Trab, and in this regard, it has also used the descriptive-analytical research method. The results of the studies showed that there is a harmony between the Shahnameh and Divan al-Tabar and al-Trab Abu Maazi in the general concept of myths. In Ferdowsi's Shahnameh, natural myths are represented more according to the history and culture of ancient Iran and Zoroastrian beliefs. These myths show the close relationship of man with nature and its forces and are often depicted as mythical creatures and nature gods. On the other hand, in Diwan al-Tabar and Al-Trab Abu Maadhi, natural myths are depicted mostly in the form of parables and poetic metaphors and reflect the specific cultural and historical views of the Arab world.

The numeral system is one of the most important and challenging components of the writing system, which has two dimensions and is not simply limited to the written form of numbers. The challenge of number writing, on the one hand, is due to the nature of numbers and the way they exist in each language, which itself is the result of the different attitude of each nation to existence, and the second dimension of the challenge is related to the way of writing numerical entities in each language. Therefore, even though number writing is a phenomenon of the writing system, it cannot be considered a purely inscriptive phenomenon, but to describe the numeral system, it is necessary to pay attention to the type of attitude and vision of peoples and nations towards existence and especially the mythological foundations of the attitudes of each nation. Middle Persian is no exception to this approach, and one of the neglected requirements for responding to the ambiguities of the Middle Persian numeral system is the attitude towards existence, particularly the mythological beliefs of Iranians. Following the valuable efforts made so far to compile and describe the Middle Persian numeral system, this article proposes other considerations while discussing the answers to some uncertainties still existing in the Middle Persian numeral system. Moreover, some of the traces and reflections of this system are tracked in the Modern Persian language and script, which on the one hand helps compile the Middle Persian numeral system and on the other hand, facilitates the understanding of Modern Persian words and texts. The findings of this study show that it is possible to describe the Middle Persian numeral system, and to do so, seeking help from the mythological foundations of Iranian thought is beneficial and crucial. The present article does not claim it has formulated the Middle Persian numeral system, although it presents considerations and suggestions for compiling it.

Jesus, the son of Mary or Jesus of Nazareth, nicknamed the Messiah in traditional Persian culture and literature, is a prophet of peace, tolerance and submission and a symbol of the soul, spiritual knowledge, revival, healing and life-giving, but this ritual character and people and elements related to him in Contemporary committed poetry has undergone a transformation in the field of thought and discourse, social action . The aim of this research is to show the dimensions of Christ's character and the conceptual transformation of elements of Christianity in contemporary committed poetry. This article is presented in a descriptive-analytical way, and in it, we have paid attention to Fairclough's theories in the three areas of discourse analysis. The results of this research indicate that Christ has become a hard-working fighter, a harbinger of freedom and liberation, a vivifier of struggles, a helper of the oppressed, a revivalist of revolutionary and ideological ideas, and a harbinger of dissidents. In the works of these poets, Christ is a symbol of the poet's struggling "self" who strives for humanitarian, political, social and revolutionary ideals, and is bound to die in this way. Also, in his works, other dependent characters such as Mary, Judah, and Eleazar, and elements of fear such as the cross, the Garden of Gethsemane, Golgotha, have also been taken into account and used to express ideological goals and in general comparison with the role of the traditional position has undergone transformation.

Fish is an ancient myth that has had a significant presence among the myths of ancient nations for a long time and has enjoyed a special place in paintings, drawings, stories, various texts, poems, etc., due to Attribution to the mineral element of water has always been praised for its purity and sanctity, which, due to these inherent capacities, has never been depleted of mythological concepts and meanings, and in any period, according to the dominant thought system of that time, It has been used to express good and Ahurai themes. In this research, using the content analysis method, we investigated the presence of the fish myth from love worship to mysticism, which the results of the research showed The myth of the fish has been present in the ancient narratives of this mysterious ritual since the birth of Mehr, which is also linked to Anahita due to its connection to water. Fish has a mythological-ritual presence in Avesta in the form of "Kermahi", which is the white guardian of Home in the Pahlavi texts, thus it is the life-giver of Zoroastrians in the end times. In epic and heroic texts, the presence of this myth fades until finally, in mysticism, along with the mysterious themes of the sea of ​​monotheism, it becomes a symbol of the existence of the seekers who are immersed in this sea of ​​true existence. The pure and ritualistic nature of this myth has not changed much in the beliefs and texts of different periods, and it has preserved its mythological characteristics in every field.

The Kurdish oral chronology of Kermanshah represents one of the oldest manifestations of Kurdish culture and civilization of the people, with its specific stories and rituals closely linked to ancient Iranian myths and religions. The present study employs a descriptive, analytical, and field-based approach to examine the mythological aspects of Kurdish chronology and its associated rituals among the Sanjābi, Kalhor, and Gorān tribes. The finding indicated that Kurdish oral chronology is heavily influenced by fetishism, Mithraism, Zoroastrianism, and shared beliefs in Mesopotamia.  Within this chronology, the year consists of three hundred sixty days and four seasons; however, due to the importance of spring for rural communities, most rituals are specific to this season. Notably, the beginning of spring coincides with the 15th of Bahman in the Jalali calendar.  The ritual of cooking "Pa peg" on the first day of spring is associated with fetishism and Farrah. Additionally, the belief in the mother of the first spring reflects the era of matriarchy; the story of the Kore Seyāy symbolizes the resurrection of the martyred Vegetation god; the tale of Shave Gā Huyl, is connected to Mehri beliefs; and the story of Kale vā, embodies the ongoing struggle between vāye nik and vāye bad.

Today we see storytellers and screenwriters using world myths. These works have imperceptibly drawn the minds of readers and viewers to ancient myths and symbols, and paying attention to these mysteries and mysteries can reveal the hidden intent of the owners of these works; Because the authors of these works sometimes deliberately use these symbols to hide their original meaning. In addition to this revelation in the series "Dark", the present study seeks to show the connection between Greek and Persian mythology in this series. "Dark" is a European series that has probably benefited greatly from Greek mythology In this article, we find out to what extent the beliefs expressed. in this series are from the beliefs of Iranian mythology, especially Zarwani beliefs, a religion that has been prevalent since the Achaemenid period and reached its peak during the Sassanid era, and then in the form of Mithraism. Inside, it originated and also how they were reflected during the scenes of this series.

Language is perhaps the most important cultural evolutionary phenomenon of humankind. The artist’s particular view of the world is necessarily manifested in a particular way of expression; In other words, each particular view occurs in a specific language, and the artist must use a language other than ordinary language to convey his new mental forms; he inevitably uses metaphors, symbols and codes to visualize his conscience. Many words of any language, in addition to their central and general meaning, have implicit meanings and their use in the text is emotionally charged and this causes ambiguity and expansion of meaning. Every poet has something in his poetry that is unique to him and has signs of the poet’s personal and psychological characteristics. In the case of a poet like Rumi, these features are quite prominent, his lyric is selfidentification. This article deals with the “secret” in the lyrics of the Shams; Criticizes the aspects of showing Rumi’s thoughts and emotions in them. In this regard, library and inductive research methods, fractional analysis, have been used. In Rumi’s intellectual evolution, he relied especially on the element of music and dance (Samaa) and these topics are the beginning of our discussion. Then in continue, I will talk about the cryptic aspects of the myths and stories of the prophets. In the fourh chapter, I will talk about the cryptic aspects related to astronomy and at the end I finished this article with the codes that are related to the letters.

Engaging with "tradition" entails paying attention to the historical-cultural legacy and reflecting upon its significance, which contemporary poets and critics have approached from various perspectives. This dominant aspect of Shafiei Kadkani's poetry is shaped by his strong and decisive engagement with traditions, as well as his attachment to the cultural heritage and rituals of Iranian and Islamic civilizations and the exploration of their diverse dimensions. His poetry can be considered an example of ritualistic literature due to his vivid and resolute incorporation of traditions and his encompassing of their multifaceted aspects. This present study, employing a descriptive-analytical method, aims to elucidate the position of religious rituals in Shafiei Kadkani's poetic works. The main focus of the research is to examine the intricacies of utilizing the ritualistic heritage from the perspectives of mask, mythology, local identity, and textual heritage, and to explain the functions of these traditions at linguistic, intellectual, and literary levels in Shafiei Kadkani's poetry. In his poetry, the literary and rhetorical function of the mask is evident and serves the poet's political and social ideas. Mythology, with changes in meaning and function, is primarily employed as a symbol, adapted to the poet's contemporary concerns, contributing to the richness of his thoughts and literary expression. The reflection of local identity and the profound and extensive attention to customs, traditions, and textual heritage are also factors that strengthen the language of his poetry and contribute to the creation of artistic spaces in his discourse.

Myth is a very effective and complex concept in people's lives, which always shows itself in a different way. In the distant past, they were a real and inseparable part of human life, and now they are part of the unconscious memory of humans. Gods and active inhabitants are a part of mythology that have more of a religious function and according to this role, they have undergone more changes over time. Therefore, the question arises whether there are any traces of these myths left today or not? Considering that poetry is one of those arts that provide the ground for the emergence of mythology, we have analyzed the poems of five poets of this period to answer this question. Studies show that in the vast land of Iran, although with the change of religions over the years, these myths have sometimes been adapted and changed; But they have never disappeared and in the fluid space of the poets' minds, they have sometimes appeared.

We want to examine the signs of the mythology of gods and active inhabitants in contemporary poetry, which are apparently more shrouded in silence.

descriptive-analytical library.

Ahuramazda, Amshaspandan, Azar or Atash, Mitra and Nahid are sometimes shown in contemporary poetry while maintaining their self-interest. Also, the active residents sometimes in its ancient form (Soroush) and sometimes influenced by the religion of Islam (Angels) have had various expressions in contemporary poetry.

In Persian literature, the old rock is a symbol of impenetrability and hardness, and the mountain is a symbol of stability and endurance. The multifaceted nature of stone in culture and literature has both positive and negative aspects. It is also a factor of fertility and destruction. This research aims to investigate the archetype of stone and mountain in mythology and in Nizami's "Khosro and Shirin" in an analytical-descriptive way and how the word "stone" is used. In this regard, examples are presented by examining the mythological roots of "Khosro and Shirin" Nizami. The main tool for collecting information is to get files from library sources. In this research, it was found that the words "stone" and "mountain" are frequently used in military works, especially "Khosro and Shirin". In many places in this story, the word "stone" is used in several key ways, both in the construction of literary arrays and in different parts of the story. Shabdiz's mysterious birth, sweet life in a stone building with the intrigue of Khosrow's palace women, Farhad's stonework to create a milky stream and bring him the desired drink, and digging a mountain for sweet love are among the things. Highlights of this story, which has a mythological aspect. Examining the presence of the main characters of this story is not complete without considering the rock and the mountain.

In Western civilization, the genre of the novel has turned towards mythologism, which was previously often negated and concealed due to the ideological functions of myths. Even in its early stages, the return of myth to Western novels signifies an undeniable aspect. In this process of transformation and grand narrative, fundamental backgrounds and stirrings that have significantly influenced the intellectual transformation of Western civilization and served as the triggers for ancient myths and constructs are observed within the realm of the novel. Firstly, there is a clash between the essential nature and the negation of myths. Secondly, there is the distortion of narrating events and the attainment of self-centered perceptions. Thirdly, there is the inclination towards divinity over identity rupture and accepting resulting transformations. Fourthly, there is the pursuit of justice by opposing movements (such as feminist totality and radicalism) and efforts to reform the intellectual infrastructure of Western societies. Fifthly, there is the reconstruction of ancient myths and the retrieval of constructs. The sixth stirring involves abstract references combined with tangible perceptions. These hermeneutic stirrings unveil the Western response to contemporary historical realities. Along this path, adherence to self-reflexivity and the expressive role of ancient myths is also felt.

Plants, especially trees, have always had a symbolic presence among various religions and denominations. An example of a tree is full of mysteries that humans are a part of, or rather the central part of this image. The tree is a kind of link between earthly and celestial elements due to its distinctive properties. Suhrawardi and Rumi, by combining the mythological and mystical features of the tree, created an image that is multifaceted, evasive, ulterior, and at the same time comprehensive of opposites. In their works, they used the image of the tree to express various meanings and concepts. In other words, the tree has been used as a single image for several meanings. This article tries to study the image of the tree as an image that is a constructor of meaning and at the same time the life and worldview of the mystic with this image and the like by defining descriptive and analytical methods and relying on the allegorical stories of Suhrawardi and Rumi's Masnavi. It becomes

In a general sense, a symbol is a sign or an image to create a relationship and convey a message in various ways. In a particular sense, as an image, often like an explicit metaphor, it is based on the literary element of simile. The symbol plays a role in all types of literature, including popular literature and, accordingly, in myths. Myths like other manifestations of popular literature, form a major part of human literary and cultural norms. In other words, they are the epitome of cultural norms, moral teachings, psychological tendencies, events, and meta-history of peoples. They have been part of the life of peoples’ memories and nations for a long time. One of the examples of myths in Persian literature is the myth of ‘Malek Jamshid and the Apple Thief Demon’ from the collection of Mashdi Galin Khanum. The purpose of this study is to further introduce this myth, with an approach to understanding the symbolism, the dependence and intertwining of myths, symbols and archetypes, the types of symbols in it, and most importantly, to show the functions and capacities of the literary element of the symbol in the myth. This research is done in a documentary-descriptive way using content analysis. The study concludes that the myth of ‘Malek Jamshid and the Apple Thief Demon’ in addition to all the beauties, has wide capacities from the point of view of criticism and analysis of symbolism and all kinds of symbolic images. Studying and deciphering the symbols of this myth helps in understanding the concept and its message. It also increases the pleasure of reading it and finally adapts the reading to the important topic of intellectual-psychological development and personality of the audience.

The concept of the center plays a crucial role in understanding and explaining various phenomena in the universe. Many scholars rely on their perception of this concept to establish the ontological foundations of their respective disciplines. The present study employs an analytical-comparative approach to examine the symbolic concept of the center, drawing upon the theories of two distinguished mythologists, namely Mircea Eliade and Carl Gustav Jung. The primary focus is to investigate the symbolic concept of the center as perceived by Eliade and Jung, and its manifestation in the external world. To address this query, the paper initially explores the perspectives of the two scholars concerning the world, man, and the relationship between them. Subsequently, the concept of the center in their epistemological framework is explained, and finally, the symbols associated with this concept in the external world, as introduced by their symbolic viewpoints, are presented. Eliade regards the center as the starting point of creation, where the various levels of existence are connected to each other. He introduces the cosmic pillar as a symbol of this concept. On the other hand, Jung seeks to understand the human psyche and introduces the archetype of self as the center of the psyche. The mandala is introduced as a symbol of this archetype in the external world.

The transfiguration of a person into a corpse is one of the mythological and symbolic elements in Kurdish folktales. In transfiguration, the shape and nature of creatures are changed from one state to another by using supernatural power of person or creature. The current study was carried out in a descriptive-analytical method based on the library sources and field research. In this research, using mythic criticism, the roots of petrification were investigated. Then, the way people faced it, as well as the causes and tools necessary to get rid of this change, were discussed. The results showed that the reflection of mythical beliefs, passing through history and reaching the present age, in Kurdish folktales, shows the immortality and dynamism of these beliefs, by deciphering and analyzing of which, the common root of this mythological view can be discovered and interpreted.

The theorists of intertextuality observed a new meaning of the text that there is no text without a pretext, that the text is not closed, independent and self-sufficient, and that every text is a memory of other texts. In this research, we investigated the ritual and performance in the ceremony of "Tir-ma-size Sho" in Mazandaran. Considering this ritual as a text, and using Genette's transtextuality, the effect of this ritual from previous texts (hypertextuality) was investigated and the role of different texts in the performance of this ritual (intertextuality) was discussed. The purpose of this research is to study the relationship between ritual and drama in order to answer the following question: What is the co-presence of ritual and drama in "Tir-ma-size Sho" from the aspect of transtextuality? The article is done in a descriptive and analytical way borrowing Genette's transtextuality approach based on library research. The hypothesis indicated that in the transtextual relationships of "Tir-ma-size" ceremony, there is a co-presence of various systems such as the dramatic and ritual system with the pretext derived from the mythological sources. The action of "trifunctional" based on “Sovereignty”, “Military” and “Productivity” can be checked in this ritual. The practical battle of good and evil is a dramatization of Tishtar's fight with the demon of drought. It is also a manifestation of the battle with the demon, the enemy of the vegetable gods and plants. "Laal Shu" can be seen as the continuation of Arash's life in the form of a plant symbol that brings existence, birth, and life to people.

The subject of the first man and how he was created has always been one of the intellectual topics of different nations and tribes and has been widely reflected in their beliefs and myths. In Iranian mythology, although there have been various reports throughout its several thousand years of history, most of the Middle Persian texts of Zoroastrianism have given this relation to Gayomarth. Sometimes other figures such as Manu,, Jam and Jamig, Mashi and Mashiane, Houshang and Tahmorath have also been suggested in this regard. Examining Middle Zoroastrian Persian reports, which are usually taken from the Avesta book and Zoroastrian religious tradition, and their writings mostly belong to the end of the Sassanid era and the beginning of the Islamic era, introduced Gayomarth as the first human and considered Mashi and Mashiane to be the offspring of Gayomarth. This topic, in a review of the aforementioned texts, shows that Iranian thinkers and mythologists at the end of the Sassanid era agreed about the first man and his origin.

Music is very important in the mythology of different nations. This science, as one of the parts of theoretical wisdom, has an unbreakable connection with literary mysticism through similarity in intuitive and inner perceptions, metaphysical dimension, infallibility, etc. The conceptual expansion of music originated from here, which led to liberation from the monologue and one-dimensional atmosphere and to the music of the cosmic spirit, which gradually penetrated and gained strength in mysticism. The perception of music, which is a manifestation of mystic hearing and the resurrection of the worlds and spiritual states of the seeker, reveals and intuitively finds a celestial and cosmic music and directly engages emotions and feelings.Molavi has a very aesthetic view of receiving music, and because it is at a high level of heart import in esoteric receptions, and in other words, it is a symbol of all systems, customs and habits, the connection between his view and his thoughts with cosmic music is important. Show

Postmodernism is a combination of modernism and mythology and is a return to pre-modernism. Moniro Ravanipour is one of the writers who turned to the style of postmodernism and used the elements of this school in some of his works. The purpose of this research is to know the characteristics of this school in the works of this author.

In this research, based on post-modern characteristics and descriptive-analytical method, the works of Moniro Ravanipour were investigated.

In these works, with the use of elements such as: the involvement of the narrator in the story, criticism of the story in the story itself, changing the direction of the story, using fantasy characters, changing the roles of characters, uncertainty, symbolism and intertextuality, the postmodern style emerged as metafiction. By creating postmodern works, the author tried to convey his point of view to the audience in an indirect way.

Postmodernism has become a platform for the expression of the author's opinions in the form of novels and stories and has provided the possibility to create different voices in the story.

There are two common approaches in the research of Shahnameh. The first group of studies scrutinize one unique story of Shahnameh, while the other one emphasizes on the coherence of all the stories. In this research the Iranian national epic is interpreted using structuralism. It suggests that Iranian national epic is not a set of scattered stories, but basically it has an Indio-European style. To that end, present study embeds on two theoretical foundations: first, according to George Dumézil’s theory, Indo-European universe has a class system. Secondly, according to Bahman Sarkarati, Iranian national epic is classified into three eras based on limited age of the universe and a confrontation between the celestial and the evil powers. In the first era, celestial order became a class system with the rise of Hooshang, Tahmoores, and Jamshid dynasties; respectively, which agrees with George Dumézil’s theory of three functional groups. In the second era, an evil period is manifested through the destruction of the class system.