نشریه فرهنگ و ادبیات عامه
پیاپی 51 (امرداد و شهریور 1402)

In the political-social thoughts of Iranians, since ancient times, the belief that the king and the royal family are the owners of God's majesty has prevailed. During many centuries, this belief has shaped an aspect of the Iranian ethnic spirit in such a way that the worthiest person to obtain the position of ruler is someone who is from the royal family and of Iranian descent. In such an intellectual atmosphere, the families that intended to rule in Iran, even at the non-national and local level, should have benefited from ethnic legitimacy and eligibility; otherwise, they would not be accepted in the public mind. In this research, with the help of the theory of the history of popular mentality - which deals with the influence of popular ideas on the actions of rulers - in a descriptive-analytical way, the influence of the Iranian worldview and their attitude towards the role of genealogy in the legitimacy of the government in the mind and language of the Ghaznavid and Seljuk sultans - which is symmetrical with the emergence of the Shahnameh and the spread of national epics - was shown. From the results of the research, it appears that this simulation of foreign rulers (Turkish and Arab) to the heroes of Iran's national epic is influenced and inspired by public mentality and public opinion. Ghaznavid and Seljuq sultans took advantage of the native and collective memory of Iranians by confiscating Iranian mythological-epic heroes for the acceptability and legitimacy of their rule and in the meantime, the centrality of Shahnameh and its narrations is completely obvious.

One of the stories of the famous book One Thousand and One Nights is called "Ala'addin Abolshamat". This story narrates Ala’addin’s adventure from his birth in Egypt to his trip to Baghdad and permanent marriage to the girl with whom he was supposed to be with for just one night as well as other adventures until the end of his life. A part of this story has become the source of legends with the same structure in Persian folk tales. In this article, ten types of these narrations have been identified and analyzed. Some of these stories have been published in collection of anecdotes, but most have remained unknown. These narrations have more or less some differences in the method and details of narration as well as linguistic and literary issues. Although the general structure of the stories is the same, the narrators have inadvertently or intentionally made changes in the details over time; maybe because it was more attractive for the audience or the story became more believable for the Iranian audience. By analyzing the details of these narrations, we can get some interesting points. From a broader perspective, we can determine the order of changes in the narratives based on the same details.

Gagriveh is a term for a type of Bakhtiari mourning songs. Bakhtiari people call their mourning songs "Gagriveh", "Sero" or, "Dandal". These poems, like many public poems, are simple and unpretentious; they do not have specific singers, and women are their first singers. These poems are very old and popular among the Bakhtiaris, but they have not been reviewed in a multilateral manner. This article aims to review these poems through content analysis, descriptive-analytical approach. The data were collected in the form of fifteen samples (675 bits) from the three cities of Ardel, Kohrang and Lordegan located in Chaharmahal and Bakhtiari provinces. In this article, it is briefly stated that Bakhtiari's Gagrivehs are a type of narrative-descriptive poetry that are spoken in a conversational manner by the reader on behalf of himself, his family, and the deceased. Since most of them are arranged in couplets, their format can be called doublet. Their weight is syllabic. In terms of literary industries, simile, metaphor and irony have the highest frequency. 68 similes, 45 metaphors, and 50 ironies were found in the sample size (675 bits). In most of these literary arrays, simplicity and concreteness are evident. These poems, in terms of language, contain a large group of words, combinations and terms of Lori Bakhtiari's language. In terms of content, they have multifaceted content; in them, attention is paid to both the world and the hereafter. The age, gender, occupation, position and manner of death of the deceased form another part of the content of these poems. The local culture is strong in these poems and some of the attitudes of the Bakhtiari people can be seen in these poems, including the fear and reprehensibility of death, belief in the resurrection, and challenge to the sky.

Folk culture is a mysterious world, the analysis of which can open up different horizons. In the following study, focusing on cultural and common practice of people in the northern Khorasan, the ritual of Yovar was analyzed among Tat, Turk, Turkeman, and Kermanj people through interview with candidates concerning cultural issues of the area. Besides describing this ritual, the similarities and differences between the practice, function, and consequence of this exercise. The findings indicated that the Yovar ritual in the past was practiced similarly among groups of this region in terms of gathering the agricultural crops, housing, sheep’s ripping, weaving, among others. Some consequences of this practice is cooperation and solidarity among the people of this area, common understanding, and the expression of happiness and kindness.

Game and entertainment is important for filling leisure time, enhancing intelligent and memory, transferring some cultural and social disciplines, and life’s skills. Verbal games are one of the most famous and common kind of games. The primary element of them is discourse and speech؛ which is counted as a subdivision of common verbal literature. These verbal games have different forms in the zones of the country and follow different goals. Verbal games can be classified into two general categories:1) language 2) way of performing. All verbal games have an entertaining aspect, besides being entertaining, they also have other functions. These are include strengthing the vocal chords and speaking power in children, increasing the vocabulary and familiarity with terms and proverbs, strengthing decision-making power.One of the most important benefits of learning verbal games can be to improve self-confidence and prevent children’s self-deprecation, teach individual skills such as forming sentences, familiarizing with letters of the alphabet, making new words, familiarizing with sounds, and colors, and getting to know grades academic orders.This research has been done in a descriptive and analytic way based on library studies and existing documents as well as field studies in the field of games.

The real goal of this essay is to study all encrypted aspects of Iranian ceremonial masks (Borge) with through archetypical approach. Symbolic masks had always different positions in theater culture of Iranian people. They were sometimes in contrast, effective, meaningful positions for different ceremonies with symbolic, decorative, natural and entertaining modes. Symbolic masks (Borge) have been applied through the time as scene accessories for providing symbolic roles in public culture. Iranian culture and literature has so much reasons and assumptions for all cultural differences of symbolic elements. The relevant stories and backgrounds of masks make this process as clear as possible. Symbolic masks (Borge) are based upon various stories related to ancient characters (oral or written) of public culture with various theater, political, comic, cultural, social and even economic applications. According to the results of this study, it is clear that symbolic masks are famous in Iranian culture and language as Borke, Borka, Borg and/or Borge. They are a symbolic concept with companionship of crow in all seven indigenous native and religious rituals of the Myth of Mitra. The origin of symbolic masks (Borge) returned back to the 3rd millennium BC in Iranian culture and literature. At present, symbolic masks are used by people in south part of Iran, Afghans, Arabs, Armenians and other Non-Iranian groups. They are sometimes named as Borghe’ in Arabic culture and language. Armenians have also a drama ritual named as Barigentan which is named as Masquerade Ball (Bal Masque) by Armenia scholars of art. Iranian symbolic masks (Borge) have found symbolic form in compliance with rituals, seasons and cultures. The research method of this study is library-documentary-field one (Participative observations of writer in research field).