فصلنامه ادبیات عرفانی و اسطوره شناختی
سال نوزدهم شماره 71 (تابستان 1402)

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.

In the depiction of the social and political situation, contemporary poets utilize natural phenomena, such as the moon, which serves as both a poetic symbol and a mythological emblem. This usage plays a significant role. Therefore, it becomes imperative to purposefully interpret the mythological portrayals that are rooted in collective unconscious and archetypes inherent within the poet. Based on this, the portrayal of the moon in a poet's poetry reflects his/her style of thinking. This study aims to explore the visual implications of the mythological narrative surrounding the moon in Badr Shakir al-Sayyab's poems, employing a descriptive-analytical approach. The term 'qamar' (moon) appears 83 times, 'badr' (the full moon) 3 times, and 'hilal' (the crescent moon) 5 times in his poetry. Based on the results, we can conclude that the portrayal of socio-political issues through the moon symbol signifies a protest against the governing system within Iraqi society. This issue is illustrated in Sayyab's utilization of the myth of the moon and the archetypal analysis of the animus (masculine manifestation) and anima. The archetypal portrayal of animus embodies wisdom and guidance, while the archetypal manifestation of anima represents immortality and passion.

Apart from its literary beauty and charm, Rumi's Masnavi Manavi encompasses profound concepts that continue to resonate with today's intellectual standards even after centuries. This timeless nature of the work prevents it from becoming obsolete and keeps it perpetually fresh. Undoubtedly, one of the most profound concepts in Masnavi Manavi is the concept of human. According to the Masnavi Manavi, man possesses various levels and dimensions, each with its unique characteristics and attributes. Sometimes, he/she may appear weak and humble, but despite these traits, he/she also exhibits pride, rebelliousness, and overbearing nature. Additionally, there are moments when he/she has a god-like presence, portraying dignity, with the entire world being reflected in him/her. But what is important is that these two dimensions form the basis of anthropomorphic depictions of God, the world, divine matters, and natural affairs. The present study reflects on the origins and contexts of humanism and anthropomorphism, and aims to analyze the anthropomorphic images and their themes in Rumi's Masnavi Manavi using a descriptive-analytical approach. The research shows how human knowledge, cognition, language, expression, and imagination are consistently influenced by anthropomorphism, even when talking about "tanzih" (transcendence).

One method of gaining a deep understanding of texts is through examining the interactions between different works. Authors are often influenced by each other's writings, whether intentionally or unintentionally. The focus of the essay is to explore the intertextual reading of two stories: "The Sufi Who Caught His Wife with a Strange Man" from Masnavi Manavi, and the second story from Day Seven of Decameron ("Peronella Hideth a Lover of Hers in a Vat, Upon Her Husband's Unlooked for Return") through the lens of Genet's theory of transtextuality. These two stories share similarities in themes such as unfaithfulness, betrayal, enjoying life, women's cunning, and the fear of scandal. The present research adopts an analytical-comparative approach to compare these two classic works and highlight their commonalities and differences. The research findings suggest that Boccaccio recreated a story from Masnavi Manavi in a remarkable manner within his own tales. The study not only establishes a favorable foundation for comparative analysis but also paves the way for further exploration of Rumi's works.

The present research aims to apply Gilbert Durand's mythological criticism to Bahram Beyzai's dramatic works, including playwrights and screenplays, in order to uncover the underlying mythological pattern. The task was accomplished by utilizing the method of mythological analysis. It involved carefully studying the author's significant work, and identifying the principal sub-myth present in his works. In addition to analyzing the text and metatext (such as exploring the sub-myth present in other works by the author, studying his personal-professional life, and assessing his personal complex), a psychometric approach was employed to uncover his personal and extra-personal myth. The findings of the research indicate that the principal sub-myth in Beyzai's works revolves around several key themes: studying the past to shape the future, battling against oppression and ignorance that hinder the growth of the homeland's fertility, and being willing to sacrifice oneself if necessary to achieve this fertility. Furthermore, the priority of life over death and femininity as the source of life are significant aspects of this sub-myth. Beyzai's personal complex, described in the language of Jacques Lacan, involves a fixated state and difficulties transitioning from the imaginary to the symbolic realm. Lastly, his personal myth can be associated with the goddess Anahita.

The current research aims to compare the actions of mythological characters from Homer's Odyssey and Darab-nama of Abu Tahir Tarsusi. This study is based on Georges Dumézil's theory of comparative mythology and utilizes a descriptive-analytical method. The primary focus is to evaluate the extent to which these characters' actions align with Dumézil's theory of three functions. In doing so, the research considers both the similarities and differences between these mythological characters. The findings of the study suggest that the main characters of Darab-nama, namely "Darab" and "Iskander," can be classified in the same category as "Ulysses." When analyzing the actions of Darab and Ulysses, it becomes evident that both characters, as kings, exhibit characteristics associated with all three functions: sovereignty, force, and fertility. However, it is important to note that Ulysses is the son of Zeus while Darab possesses divine royal glory (farre izadi). Ulysses is characterized by his intelligence and cunning, while Darab is known for his power. Furthermore, Iskander forsakes kingship for religious conquests, whereas Ulysses faces punishment for neglecting to make sacrifices to the gods. Other characters such as "Tamrusia," "Buran-dokht," and "Penelope" also play significant roles, embodying the concept of "purity" with slight variations. In the case of Odyssey, fidelity to the marriage contract takes precedence in the narrative, while in Darab-nama, religious conquest serves as the dominant discourse.