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

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.

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.

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.

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.

The intellectual teachings and philosophical foundations of Shahnameh (Book of Kings) serve as the best example and model for constructing a desirable and refined society based on human principles. Some researchers have considered Ferdowsi's worldview the best model for creating a globally balanced world with relative happiness. "Wisdom," "Justice," and "Wonder" are the three main pillars of Ferdowsi's thought in Shahnameh. Alongside these principles, concepts such as joyful living, moral lessons, contemplation of the ephemeral world, the mystery of death and fate, freedom and liberty, and many other concepts find expression in the artistic expression of the grand palace of literature.This article, collected through a descriptive-analytical method and library sources, explores the linguistic functions of Shahnameh and the range of linguistic capacities and concerns of the enduring face of Iranian culture and literature in creating a foundation of Persian language elements, unique Persian names, and authentic Persian vocabulary, which are essential aspects of the national epic of Iran. The article also analyzes and examines Ferdowsi's artistic expression in three axes: "simplicity of language," "tone and music," and "rhetorical and innovative principles."

Conversations have been prevalent in the famous works of Persian poets and writers from the past until now in different ways. In the Shahnameh, the conversation is generally done in two ways, the face-to-face conversation and the distant conversation, and each of these conversations is done with different people and with specific goals and perspectives. The dialogues of each story express the characters of that story and it is through the dialogues that one can reach the hidden angles of the characters of the stories. The story of Zal's love for Rudaba is one of the most important love stories of Ferdowsi's Shahnameh. Because the result of this love is the birth of Rostam, the great hero of Shahnameh. In this research, the author is trying to investigate the syntactic norm avoidance with a descriptive-analytical approach and a library tool in romantic dialogues in the story of Zal and Rudaba. Also, investigate innovation and norm avoidance at its syntactic level. The results of the research show that Ferdowsi, in the story of Zal and Rudabeh, has distinguished his language from the standard language by using syntactic avoidance and has somehow made his poem stand out. In this type of norm avoidance, Ferdowsi messed up the structure governing the language and used the grammatical features of the language to highlight, and tried to create in this field.

Rhetorical forms are important elements of semantics that, in addition to linguistic functions, have a tremendous effect on the outcome of meaning. Ferdowsi and Nezami are so intertwined with word and meaning that on the one hand in linguistic richness and on the other hand reinforcement of meaning is very important. Irony is one of the forms of expression and artistic style of speech and usually has a high frequency in the poetry of poets, and military and Ferdowsi speech and poetry are no exception to this rule. The purpose of writing this article is a comparative study of irony in Khosrow and Shirin Ferdowsi and Nezami. The research method is descriptive-quantitative. The results showed that the number of allusions in Khosrow and Shirin Nezami is far more than the allusions of Khosrow and Shirin Ferdowsi. The irony is more than the verb in the military work and Ferdowsi has used the irony of the name and adjective more in this. The reflection and frequency of cryptic allusions, implication and elaboration are low in both works, its percentage is very low in Khosrow and Shirin Nezami, but no frequency was found in Khosrow and Shirin Ferdowsi.

"Rostam and Esfandiar" is one of the most prominent stories throughout Ferdowsi's Shahnameh. Its semantic depth and richness of content and its great attraction have caused many to prefer it to other prominent stories of Shahnameh such as Rostam, Sohrab, and Siavash. The introduction to this story has been provided even in previous stories. Its depth, richness, and elasticity are not only following the content and plot, but also contain the tricks and techniques that have been used throughout the story. In this research, the techniques used in the story of "Rostam and Esfandiar", which are in complete harmony with its content, are to be discussed and analyzed. The results of the study indicated that the main techniques used in this story are used today in fiction and modern cinema. Furthermore, the story uses not only the classic techniques of storytelling, but also goes beyond these techniques at some point by the provision of some additional elements. Therefore, it is entirely reasonable to use not merely a storytelling technique, but a combination of fiction in Ferdowsi's narrative.

Few world literatures can be proud of a masterpiece like Firdausi's Shahnameh. This masterpiece of epic poetry has been translated into more than thirty-five languages in the worldtill date. MoniruddinYusuf, the most prominent author and translator of modern Bengali literature, translated the entire Shahnameh into six volumes in Bengali. He translated the complete epic in Bengali prose literature, but was very careful to retain the poetical weight of the original Shahnameh.Which means it is not an ordinary prose translation;the rhythm of ‘free verse’ were maintained in every line translation of this great epic. Yusuf has translated the descriptions of the characters accurately as the original.Renowned personalities like Rostam and Sohrabhave been described same as the Persian epic. So it seems like we are reading an epic by a Bengali poet. Although Firdausi's Shahnameh has been translated into many languages of the world, the Bengali translation of it by Muniruddin Yusuf can be considered as one of the best version of it. The purpose of this research is to introduce Moniruddin Yusuf and his literary skills to the Persian speaking scholars.