جستجوی مقالات مرتبط با کلیدواژه "فردوسی" در نشریات گروه "ادبیات و زبان ها"

The ironic combination of "Derafshi shodan/kardan" in the meaning of "to be infamous" was used for the first time in Ferdowsi's Shahnameh, and it has no history in other poetry and prose works before that. The questions that arise when encountering this combination are: what connection exists between the words of the combination (true meaning) and its ironic meaning? In the creation of this ironic combination, what interpretation and idea did Ferdowsi have of the Derafsh, and how did he perceive its presence on the battlefields, which caused him to bring out the ironic concept of "infamy" from it? The findings of this study indicate that the use of "spear" in a special way on the battlefield, to perform martial arts, was the origin of the creation of this ironic combination. The words of this combination convey correctly not only the true meaning of irony, which means getting into the shape and form of the flag but also its ironic meaning, which means being infamous. To create this ironic combination, Ferdowsi recreated the real world of the epic in his mind and language, expressed the image he perceived from the epic, and narrated it with the most suitable words for the audience in a comprehensible way.

IntroductionThe most important topic discussed in this article is the study of epic syntax based on rhyme in the Shahnameh. According to the findings of this research, epic syntax is the way language is used in the literary genre of epic. Accordingly, there is a close relationship between the epic literary genre and the language used in it. In this article, we aim to examine the role of rhyme in the formation of specific syntactic patterns in the Shahnameh based on the two rhymes of "kam and naam" and to show the effect of rhymes on the syntax of the verse and its rhetoric. Examining the rhymes in the Shahnameh that have a syntactic structure and how Ferdowsi rhymes in this work can lead us to a correct understanding of the method of verse formation and the construction of its syntactic patterns.This research seeks to answer the following questions:Does the use of conjunctions and attributive verbs in verses that have "kam va nam" rhymes affect the grammatical role of rhyme in the verse?Does the use of supplication verbs in verses that have these rhymes create a common syntax between the verses?Is the number of syntactic patterns of these rhymes in Shahnameh diverse and different? In which syntactic role is this diversity greater?The aim of this study is to examine and classify different syntactic patterns of verses from the Shahnameh with respect to the two rhymes "kam and nam".  Research MethodologyThe research method in this study was first conducted in a statistical and frequency manner and then in an analytical and descriptive manner using a library method.  DiscussAmong the rhymes that Ferdowsi used in composing the Shahnameh, the words "kam and nam" are used in 151 rhymes. In this study, we placed these rhymes in 5 semantic perspectives and examined them in terms of syntax. One of the most widely used patterns of "nam and kaam" is the predicate + relative verb + predicate, in which Ferdowsi mentions the names of people and places. In some cases, the verb of the sentence is irrelevant and the "nam" is placed in the object position, while the second stanza is still an explanation of the first stanza. In these verses, the second stanzas are adjectives whose rhetorical role can be to further introduce a character. In the third stanza, "nam and kaam" are placed in the position of rhyme, while Ferdowsi's purpose in using this rhyme is to ask someone's name and surname, and in the second stanza, "kaam" means desire and wish, and finally, the fourth and fifth stanzas include the most diverse syntactic patterns.  ConclusionIn his work, Ferdowsi has a special treatment of the syntax of verses and rhymes, which we called "epic syntax" in this research. Based on the two rhymes of "kaam and nam", we sought to analyze the syntactic role and common pattern of verses and examined it based on five perspectives.Based on the findings of this research, whenever Ferdowsi uses a conjunction in a verse; the rhyme “nam and kaam” is placed in the position of the predicate. In all the verses of the first perspective and the first pattern of this perspective, we witness conjunctions, while in the second pattern, which is among the most widely used patterns, we encounter more conjunctions.Among all the verses that rhyme with "nam and kaam," there are only three verses that have a prayerful content, and the syntax of the two stanzas is also similar.In the third perspective, Ferdowsi's purpose in using the rhyme "nam" is to ask for a person's name; and the rhyme "kaam" in the second stanza means desire and wish. The notable point is that about 60 percent of the verses that are included in this perspective are in the stories "Kamos Keshani and Rostam and Esfandiar".

 In Ferdowsi"s famous and unique work, the fields of research and research from various aspects; Especially war is available. But contrary to the idea of ​​the present age, which does not consider peace to be a necessity of this age, in the Shahnameh, both war and anti-war, i.e. pacifism and pacifism, have been praised. War in the world of yesterday and today is not a negative phenomenon; It has even been praised as a leading element in political, moral, scientific, philosophical, etc. views. To the extent that the philosophy of war and peace has long attracted the attention of many such as Plato, Ibn Khaldun, Heraclitus, Kant, Hobbes, Nietzsche, Heidegger and others.
According to Ferdowsi, war does not arise from human nature, nor is it a cause of warrior"s depravity. However, Ferdowsi is not only a praiser of war; Rather, the category of "anti-war" apart from the exceptional and inevitable factors of reconciliation in wars, such as famine, natural disasters, dreaming, etc., consciously and wisely emphasizes the non-war or anti-war. In Shahnameh, both war and anti-war have a strong presence. Wherever there is war, there is pacifism and anti-war. With all those unique descriptions of wars, sometimes war is said to be the cause of human shame, and Ferdowsi puts his inner desire and desire in the mind and language of the characters of Shahnameh to point out that he is anti-war.

 The study method in this research is analytical-descriptive based on library resources combined with individual analysis.

 There is no war in the Shahnameh because of lust or sedition. The philosophy of the most famous wars and anti-wars in the Shahnameh is generally based on the philosophy of patriotism, anti-badism, revenge, asceticism and religion. Examining the wars based on these five divisions opens a new door for the reader in relation to the Shahnameh.

 The results of the research show that war in the Shahnameh has philosophies that express human values ​​and thoughts and praise Iranians. These wars, together with a glimpse of anti-war, show the most logical and humane wars in the history of ancient Iran. In this article, the author has been able to show the philosophy of wars well and documented by presenting many verses.

Seeking truth is a trait that has always been in humans and has manifested itself in various ways. including in Shahnameh and Attar's logic, which are two different literary genres. In this research, we have discussed the common concepts and truth between two types of mystical and epic literature, in order to achieve this result, Haft Khwan Rostam has been compared with the Haft Wadi mystics of al-Tar Attar.  With the symbolic interpretation of the common concepts of the two works with the help of mythological texts and the codes of numbers, we will reach that lofty concept, which great superhumans like Attar and Ferdowsi have always been looking for.In this work, we reveal man's long-standing friendship with truth-seeking and show that great topics such as mysticism and epic are two sides of the same coin, and that coin is nothing but man's reaching the ultimate humanity and self-knowledge.In Haft Khuan Rostam and Haft Wadi Seluk, there are common concepts such as: mountain, king, country, number seven and difficulties of the road, and the existence of all these similarities cannot be without meaning.

The concept of Iran consists of multi - dimensions due to the different statesmanship rules and ancient sovereignty in Shahnameh. So this study aims at indicating the relationship between the function of concept of Iran and its name pluralism both pre- and post- Islam in Shahnameh. It is possible to reveal the total structure of all ancient governments and their statesmanship rules based on Shahnameh documentaries and poems. Ferdosi narrates anecdotes which refer to general structure of pre-islamic monarchy and their sovereignty acceptance criterion in 50 narration in the shape of story. The most significant affairs usually come in the beginning of each narration or story and among the numerous stories which are important from the political point of view. Ferdosi telles both the story and evaluates the parts that make clear the structure of pre- islamic Iranian and even non- Iranian sovereignty in one side, and their norms in other side by his own perspective. Ferdosi assesses 50 kingdom periods and appraises their actions and speeches from minor to major. Consequently, it can be inferred the kinds of structure of ancient governments and their formality acceptance through Shahnameh texts and narrations. Meanwhile, it is also possible to awaken Ferdosi’s perspective in Shahnameh. There are other samples which show the distinction sides of king’s fair and unfair by comparision.

In ancient Iran’s mythic frame of mind, power rotation in kings’ hands was rationalized with concepts based on racial and blood bonds such as the Light of God. However, in Shahnameh, a character like Zahhak became a king without possessing the privilege of the Light of God. Also, in the same epic, some characters became popular at least for a limited period without the grace of the Light of God. As an important character in Ferdowsi’s epic, Kaveh the Blacksmith is known as a charismatic person in Iranians’ collective memory without enjoying the Light of God. Employing an analytic-descriptive approach and benefitting from the library and electronic resources, the current essay seeks to scrutinize Kaveh the Blacksmith’s deeds in Shahnameh and match these deeds in other Iranian epic and historical works to detect the mythic and historical identity of Kaveh the Blacksmith. Specifically, it deals with the roles and functions of charisma and anti-charisma in Kaveh the Blacksmith and other characters related to him. By reading Kaveh’s character based on Marx Weber’s charismatic authority, the essay concluded that although Kaveh had a charismatic character, he did not have charismatic authority. Kaveh was not solely a fighter against Zahhak’s government, he could oppose Fereidon and Jamshid because he rebelled against the authorities to establish justice, thus, Kaveh had an anti-charismatic character in a clash with any type of charismatic power

This article tries to take a quick look at Ferdowsi's narrative from the beginning of the Sassanids to the end of Bahram III's reign and its values and shortcomings by using historical sources and Sasanian studies. Ardashir's narrative is detailed and legendary due to his power, legitimacy, territorial integrity, the union of religion and the state, his founding, and the necessity of genealogy and transmission.Shapur I was a policy consolidator and has a relative importance, but it has faded under the shadow of his father and Shapur II. Hormazd I and Bahram have the least number of narrations in national traditions. The shortness of the kingdom, the namesake of several Hormazds, the namesake of sevral Bahrams and the mixing of data, the lack of interesting narratives and the presence of Shapur II after them are the reasons for this lack of importance. In these sections, the Shahnameh has detailed sermons, admonitions, and commandments, most of which have been deleted. These sections are rich in Iranshahri political philosophy and ethics. In general, the narrative of Shahnameh is a historical narrative with idealistic, moral, heroic and literary attitudes, but Ferdowsi's trustworthiness and transmission of historical and narrative data have increased the historical and narrative value of the text.

Looking at the form and content of historical Shahnamehs written from the Mongol era to the end of the Safavid era shows that during the Mongol period,historical storytellers focused on Ferdowsi's Shahnameh. Back then, Ferdowsi was respected and admired by writers of historical epics, and his Shahnameh was seen as the only proper model to follow. On the other hand, Nezami wasn't given much attention by Mongol-era historical writers. You could almost say their respect for him was close to nothing.However, things changed completely in the Timurid and Safavid eras. Nezami took Ferdowsi's place in these times. Evidence suggests that Nezami was given more respect and credit than Ferdowsi in the historical Shahnamehs of this period.This text uses library research and existing evidence to show the influence of Ferdowsi and Nezami on writers of historical Shahnamehs from the Mongol era to the end of the Safavid era. It explains and describes how the importance of these two literary giants changed throughout the historical Shahnamehs written during these periods.

Examining the types of anti-utopias and criticizing them is one of the important topics in the political thought of Ferdowsi’s Shahnameh. In Shahnameh, the anti-utopia is formed when the Iranian utopia is not formed and there is no Iranian ideal prince to rule over the people. "Absolute corrupt monarchy of the foreign king", "pseudo-democracy" political system and "Mazdaki communal society" are the types of anti-utopia in Shahnameh and according to Ferdowsi, the formation of these systems will only result in the destruction of the country and the destruction of the people. Also, in some stories of Shahnameh, Ferdowsi has spoken about people who live in utopia but do not adhere to its principles and have anti-utopian ethics. Finally, by examining Ferdowsi's critiques of various anti-utopias in Shahnameh, we can identify some of the political crises of his time and draw aspects of his utopia and the best way of governing for Iran. At the same time, criticizing and denying anti-utopias can be a kind of critique of the well-known alternatives to the government crisis in Ferdowsi's time.

Shahnameh. , without any extravagance or presumption, without any pretensions, it is the letter of Verjavand and unlike the culture of Iran; It is a raging sea and a vanishing border, in which the waves of the millennia, the story and the novel, great and mighty, glorious as a mountain, are rolling in each other; The risers that rise from the depths, from the darkness of history; They raise their heads; They span the time zones; To connect our pasts to our present and our present to our futures. Shah nameh ; It is a bridge, fast and strong, meeting the chasms of time and an unbreakable thread that connects the past with the past. It is because of this that we can consider this famous letter as Shiraz and the foundation of Iran's history and culture; The history and culture of Goshen Bikh and Precious, are the basis and the growth of the material that is the bed and excuse for the cuteness of every Iranian. The truth is, if it were not for the Shahnameh, we would not be what we are and like other clans and clans, in the shadows of history. And we were lost in the rounds of Gitti, with a broken address and a broken name, and we were lost in the memories and on the winds. This article was prepared by the invitation of the Academy of Sciences of the Republic of Tajikistan on the occasion of the international symposium of Hakim

The agency of literature is one of the keywords of New Historicism. New historicists believe that literature is not simply a product of history; it actively makes history. History, power discourses, marginalized parts of society, and the mutual relationship between literature and culture are central concerns in new historicism. Both Ferdowsi and Shakespeare, although from two diverse cultures and six centuries apart from each other, their works share similar characteristics seen from a historical and literary perspective. Ferdowsi was contemporary with the Sāmānids age of reviving the Persian language and culture after a long period of repression. Shakespeare also lived during the Renaissance age of change in beliefs, views, and worldviews. In addition, challenging the dominant discourses of power and cultural clichés, they created new outlooks towards women in their respective culture. Women who were so far voiceless and marginalized during the times, now get an active presence in their works. The passive, silent Persian woman, kept marginalized for centuries, has an active role and presence in the Shahnameh. Silent and obedient women considered sinful during Shakespeare’s era, have a voice and dynamic presence in his plays. This study tries to depict women’s dynamic personalities both in their contemporary societies and selected literary works. By examining the dominant discourses regarding women, reading their contemporary texts, and analyzing the role of women in their literary works, it is found that both writers in the selected works had different viewpoints towards women compared to the dominant discourses of their time.

This study shows the connection between Ferdowsi and Ismailie by examining the thoughts and ideas of Ismaili and Atar Ferdowsi (Shahnameh). This connection has been made by examining and analyzing the four elements (water, wind, soil, fire) and has examined how the views of Ferdowsi and Ismaili thought are in conflict from the perspective of Akhshijan. Ferdowsi's Shahnameh has a lot of income from mixing with Akhshijan with rituals and myths older than it and has had a great impact on the beliefs and religions after it.

The current research is a basic and applied research. The work method is analytical-descriptive and the method of collecting information is library.

Ismailie thought has been deeply used in the beliefs of the four Akhshijans. Because in Ismaili belief, the four elements are repeated and each of them has a role in the hierarchy of cosmic creation. In addition to the structural kinship of the Gnostic and Ismaili religions, which in their approaches to living are limited to reason and asceticism, we can mention such ideas as the contradiction between ignorance and knowledge and the instability of the world.

Ismailie thought, inspired by older mirrors such as Manichaeism and Gnosticism, has a cosmological and fundamental approach to the four elements, as well as a commonality in the reflection of these concepts in both.

The present study examines the element of happiness in Ferdowsi's poems and compares it with Farrokhi's poems, and the purpose of doing it is to familiarize with the themes of happiness in the poems of the mentioned poets and to briefly compare the Samanian period with the Ghaznavid period. The great reflection of happiness and living happily by the mentioned poets and their praisers and the advice of people to be happy is one of the most important reasons for dealing with the present topic.

In order to carry out this research, in this thesis, firstly, all the divans of the mentioned poets were studied, and then all the verses related to happiness in the studied area were extracted and tabulated; Then the poems were classified and analyzed based on the content structure with the help of scientific sources related to the research topic. This research is represented by reference to library sources and descriptive-analytical method.

The frequency of happiness in Farrokhi's poetry is much less than that of Shahnameh.

In examining the symbol of happiness in Ferdowsi's Shahnameh and its similarity with Farrokhi's poetry, it was noticeable that the themes and concepts that mostly had the aspect of external happiness; But happiness in Farrokhi's poetry is different from happiness in Shahnameh in terms of some concepts, especially in the context of praise.

Ferdowsi is very subtle and precise in the use of rhyme. One of the points that has received less attention in the subject of rhyme is the investigation of the rhetorical role of rhyme in different literary and linguistic fields. In Shahnameh, Ferdowsi has used "alef-e-etlaq" in some cases as an end rhyme, which most of the researchers have considered as extra (al-zaidi), used to add weight to the verse, and ignored its rhetorical value. In this research, an attempt has been made to take a closer look at this "alef-e-etlaq" from a linguistic and rhetorical point of view. Since the time of Shams Qays, due to Shams' negative view of this “alef-e-etlaq”, it has mostly been undermined. In this article, we have tried to change the views of the past about this alphabet and introduce it not as a gross weakness in the Shahnameh, but as a kind of stylistic feature in a certain period.

One of the well-founded romances of Ferdowsi's Shahnameh is the story of Zal and Rudabeh. A work that has beautifully mixed epic and love and narrated it in the language of poetry. Similar to this story in European folk literature, there is a story called Rapunzel, which has significant similarities with the story of Zal and Rudabeh. The purpose of this research is to compare the two stories and examine whether the story of Rapunzel is adapted from the story of Zal and Rudabeh or not.

Based on the theory of narratology, this research compares the story of Rapunzel and the story of Zal and Rudabeh. After the paleontology of the stories, it was found that the story of Rapunzel was printed in Italy a century before the introduction and arrival of the Shahnameh to Europe and existed in the folk literature of the people of the Danube coast; Therefore, the hypothesis that Rapunzel is adapted from the Shahnameh is rejected.

In the discourse analysis of these stories, common elements and symbols were found such as the originality of love, tower and height, mountain, hair and hair, and child, which points to the archetypes and common cultural views of the origins of both stories.

In both stories, love is introduced as the path to excellence and is a process that opens its way to union and finally, victory is with love. On the other hand, wisdom and love are introduced as the wings of flying and excellence, that wisdom without love and love without wisdom have no meaning. "Highness" which appears in the image of the tower in both stories, indicates the inner desire of man to move forward and what can provide the ground for this exaltation is the hair of Faroheshta Yar, and finally, having children refers to the continuation of romantic nature and immortality, which in The story of Zal and Simorgh leads to the birth of Rastam, and the story of Rapunzel leads to the birth of twins. In general, although these stories do not have the same narrative process, in terms of discourse and the message of the work, many common aspects can be counted in them, which shows that this similarity is not accidental.

The subject of the present article is the study and analysis of the narrative element of dialogue in Siavash's story. The story begins with a conversation between Toos and Giv, who has found Siavash's mother, and ends with a conversation between Siavash and Pilsem, the elder brother, who asks him to convey his message to the elders. Therefore, Siavash's story is basically dialogue-based and all the information that the story is supposed to provide to the reader is transmitted to him through dialogue. In addition to this dialogue, in relation to other elements of the story, its different functions reveals. Ferdowsi uses it to describe and introduce the characters of the story. Shows narrative actions and conflicts, indirectly presents its idealistic thoughts to the audience. It objectifies mental phenomena, points tothe psychological problem of mental connection and language, and shows in practice that the functions of dialogue cannot and should not be neglected in the study of the story. The data of this research are provided through library studies and after classification, they are described using analytical method. This research shows more than anything that Ferdowsi, as a storyteller, not only knows the elements of the story, but is also more aware of how they work.

Understanding the events and content of each story is closely related to the time of its narration. Genette, as the most influential theorist regarding text time in narratological criticism, facilitates the discovery of the details of narrative time. The purpose of this essay is to compare narrative time with an emphasis on Genette's comprehensive theory and his structuring mechanisms in the two narratives of Peléas and Mélisande and Zal and Rudabe from three perspectives: temporal order, delay and frequency, in order to analyze the general rules of narrative time and its regularities. This research, with a descriptive-analytical approach based on library studies and with an emphasis on the commonalities and differences of the application of the narrative technique of the time of narration, deals with the comparative analysis of two stories. The narrative structure of these two works, from Genette's point of view, have a different chronological order. The narrative work of Peles and Melisande has a regular linear temporality that gives strength to the dramatic aspect of the work, but in Zal and Rodabe we see the disruption of the chronological sequence of events and numerous past and future predictions. Therefore, Pelleas and Melisande, unlike Zal and Rudabe, does not have a time lapse, and its delay in the narration time in the two stories is based on staging, and the dramatic form has turned these two works into dialogue-filled texts. In addition, the frequency of single quotation in two narrations is the dominant aspect.

Investigation and presentation of social components in Ferdowsi's Shahnameh Ferdowsi's Shahnameh is a clear mirror and a comprehensive view of the principles, manners, ideas and thoughts as well as comprehensive of all the civil, moral and cultural characteristics of ancient Iran. This unique work gives a new spirit to its characters and actors by dealing logically with the stories and anecdotes. While describing the battle scenes, it has also considered the social manifestations. The present study aims to is to investigate and explain the social components in the poems of this great poet. This research includes the verses of the Pahlavani section. The Shahnameh cited in this article is a copy of the Shahnameh compiled by Jalal Khalqi Motlaq (from 1 222 to 2332 ) in eight books. The results show that the presence of social components is 1200 times, among which, the highest frequency is related to the component referring to the past kings with 86 repetitions and the lowest frequency is related to the language component with 7 repetitions.

 Security, as one of the key concepts in the opinions of the experts of the Copenhagen school, has been reviewed in recent decades and has expanded its meaning, which includes the combination of "social security". In this context, what is emphasized is the principle of identity and ways to protect it. In the literary culture of Iranians, Ferdowsi"s Shahnameh is known as the main epic book of Iranians, in which the category of identity as a subgroup of social security is mentioned in its various parts, and various explicit and indirect solutions are presented to preserve and strengthen the components of identity. For example, during the reign of KeyKhosrow, one of the people"s concerns was the ability or lack of ability of the kings to provide security and identity. The issue and purpose of the present research is to investigate the actions of this king in order to establish the components of social security in the country"s borders with emphasis on the category of identity.

 The present article was compiled based on library sources and descriptive-analytical method.

 The main components of social security in this period of the kingdom are: trying to ward off military and civilian threats; providing group identity and social security; Establishing social security by creating a distinction between "us" and "them"; maintaining common bonds between community members; Establishing financial, life and political security for citizens.

 KeyKhosrow is one of the kings who created identity and created security in the history of ancient Iran. With a unique will, he changed the unfavorable political conditions and the economic, social, military and cultural crises that have been the result of Keykavoos statehood into a favorable and pleasant way.