نشریه فرهنگ و ادبیات عامه
پیاپی 61 (فروردین و اردیبهشت 1404)

With the gaining power of the Turkish and Arab people and their political and religious control over Iran, the Iranian public, realizing the danger of identity collapse, came to an identity confrontation with the dominant nation collectively. The main manifestation of this confrontation took place in the field of language and led to the construction of linguistic actions, the masterpiece of which was the Shahnameh. In this study, considering the theory of history of mentalities, which seeks to explain the spirit of the times and the national spirit in historical periods by finding intellectual signs from literary and historical sources and interpreting them, the role of the Iranian public and identity in preserving and surviving the Persian language has been explained in a descriptive-analytical manner by introducing examples of Iranian public linguistic efforts during the Ghaznavid and Seljuk periods. The results of the study show that in the identity conflict between Iranians and the dominant ethnic group, which was accompanied by the religious prejudices of the rulers and the superiority-seeking view of the Arabs, the Iranian public identity led to the preservation of language as a national unifying factor alongside other identity components such as Iranian culture, beliefs, and rituals. This effort has been manifested in numerous linguistic actions and ultimately led to the emergence and spread of the Shahnameh as a collection of national culture and identity in the field of language.

Of all the pre- and post-Islamic sources that have dealt with the life and personality of Zahhak, the most detailed narratives are those of the Naqals of the Shahnameh. Although these narratives follow Ferdowsi's Shahnameh in terms of structure and general framework, they contain very rare stories and allusions, the examples of which are rarely found in ancient sources. This research, which has been conducted using a descriptive-analytical method and using epic, historical sources, and narrative scrolls - printed scrolls and some manuscripts of narratives that have not yet been published - addresses the untold parts of Zahhak's story in the Naqals' narratives and recounts stories and allusions that are unprecedented in the Shahnameh and heroic literature. The results of the research indicate that the unspoken parts of the story of Zahhak, as narrated by the Naqals, are either the inventions of the storytellers and Naqals, or they have their roots in some references in ancient texts, other than the Shahnameh, that have changed, or they have imitated the stories of epic and mythical characters.

Folk tales, like any other phenomenon, originate from the psyche and thoughts of their creators. Consequently, various manifestations of the collective unconscious of different peoples and nations can be observed throughout these tales. In this manner, recurring patterns in folk tales become a foundation for analyzing and uncovering the hidden layers of the text. One such recurring pattern is the journey. Joseph Campbell, by presenting the Hero's Journey archetype, acknowledges that the story's hero embarks on a quest for self-actualization by first departing from their original place and subsequently passing through three stages named "Departure," "Initiation," and "Return." The folktale "The Clever Monkey" is one of the Arabic legends, and the aim of this study is to examine this story based on the Hero's Journey archetype. After applying the Hero's Journey theory to this folktale, it was determined that in the Departure stage, the story's hero encounters and overcomes sub-elements such as the call to begin the journey, supernatural aid, and crossing the first threshold. The next stage of this folktale encompasses sub-elements like the series of tests, meeting the goddess, and the ultimate boon. Finally, the third stage involves the sub-element of achieving freedom in life. Additionally, the narrative's requirements have led to the omission and exclusion of some sub-elements. In conclusion, it can be stated that in this story, the hero undergoes seven stages in their journey: thirst and questing, the appearance of a guide, danger (the eagle), entering a new world, gaining awareness, returning, and transformation and benefit.

The cultural and biological connection of men and women of Guilan with rice farming activities has made their rituals to represent the patterns of planting and harvesting. Ghasemabadi dance is one of those performance rituals that provide an opportunity to exchange content related to society, coordinate actions among group members, strengthen coalition and stabilize group structures. In other words, in addition to the role of people in the dance process, the result and impact of performances in society is important. Therefore, the purpose of the present research is to investigate the importance of performing Ghasemababdi dance and its function to create unity. On this basis, Alan Merriam's theory of functionalism has been used in the context of ethnic musicology, focusing on the function of solidarity. The current research is theoretical in terms of its purpose and descriptive and content analysis in terms of its nature and research method. The method of data collection is library and field using the method of ethnography in the region, observation, interview, registration and recording of information. The research findings show that by displaying movement skills and manual arts and using tools in harmony with traditional music, Ghasemabadi dance creates conditions for the unity of the community so that all people (dancers and spectators) experience various emotions, including the sense of unity of the community and the existence of the community. This is because Ghasemabadi dance provides an opportunity for the performance of individual people directly in a group, both in the formal form of events and in the informal and casual form

The history of pottery in Mazandaran dates back to the 8th millennium BC, and the extent and spread of this art can be seen in different parts of this province. A jar is one of the most important clay products that is produced and reproduced mostly with the aim of meeting the essential needs of daily life. One of the ways to study the culture of societies is to study folk literature, especially the oral literature of that society, especially the study of proverbs. The present essay, which was written with a descriptive-analytical method and using library facilities, tries to investigate the function of "jug" (Kelā) in proverbs. Mazandarani and the type of encounter of the people of this province with that pottery is formed by an artistic-literary point of view. The results of this research show that the existence of proverbs made from clay jars, with different accents (from the east to the west of Mazandaran province), illustrate the presence and abundance of this artistic and practical product throughout the province. Also, the examination of Mazandarani proverbs, which are mostly brief and ambiguous, shows that the creators of proverbs are interested in mentioning the type and type of soil, as well as in the construction and finishing techniques (designs, pictures, colors). patterns and glazes do not have jars and instead, the emphasis and focus is on the coexistence of the jar with other elements in order to produce concepts.

This article employs a descriptive-analytical method to examine the fairy tale "King Ibrahim and the Daughters of the King of Egypt," a folktale from Lorestan, based on Jungian archetypal analysis. The overall structure of the story initially points to the dominance of the masculine principle and the absence of the feminine element, and ultimately shows how the absent feminine emerges and reflects the four psychological functions of humans (thinking, feeling, sensation, and intuition) through the characters. The death of the king and the succession of the youngest son symbolize the need for psychological renewal, and the anima is considered a bridge to the deeper unconscious for achieving psychological wholeness. The results indicate that the roles and events of the story symbolically reveal the path to achieving the higher Self.

Archetype criticism is a combined and interdisciplinary approach that shows how the collective unconscious of Jung is present in literary works. Similarly, folk literature is considered one of the most appropriate manifestations of archetypes. In line with this principle, the Taleb and Zohreh system is one of the indigenous stories that emerged from the folk culture of Mazandaran, and among the common people of Mazandaran, some have considered this lyrical system to be the story of Taleb Amoli, a famous poet of the Indian style. Considering the similarities observed between this system and archetypes, this study examines it based on archetype criticism using quantitative and qualitative analysis methods and based on the views of Carl Gustav Jung, and the extent and manner in which the poet uses archetypes such as anima, mask, shadow, travel, and water are measured.

"Ye Xian" is the name of the protagonist of one of the most prominent Chinese stories based on hostility of the stepmother and her daughter with "Ye Xian". Receiving a blue dress with golden shoes to participate in the festival by a metaphysical force that leads to Ye Xian’s marriage to the king is the most important similarity to the story of "Cinderella". In addition to the previous commonalities, the protagonist’s ability to relate to clothes and the presence of metaphysical power in creature bones (fish or cow) is the similarity of "Ye Xian" with different versions of Iranian stories. The story " Zoroastrians’ BiBi Se-šanbeh" is a logical continuation of various examples of the same story with similar or dissimilar names such as "Māhpišāni" in different regions of Iran. The feminine dimension and the names of the protagonists of the stories, the importance of textiles and clothing, the presence of various symbols of water and the Nahid goddess, solving problems by magical power are common aspects in all stories. Matching historical periods and events with the geography of Iran’s holy shrines and tombs has led to the formation of similar stories in Sistan, Shahre Ray and Khorasan. In addition to the blue color, cows and fish can be considered as other symbols of water and Nahid goddess. "Pārs-bānū" is one of the series of stories of "Zoroastrian’s Pirān" and it is like the story of the tomb of "BiBi Šahr-bānū" in Shahre Ray, which led to the connection of Islamic and pre-Islamic stories and symbols. This is because it declares "Pārs-bānū" and the widow of Imam Hossein, "Šahr-bānū" as sisters. The names of the protagonists are "Šahr-bānū/Fateme/BiBi", which originally refers to a character. The motifs of the silk fabrics uncovered from the tomb of BiBi Šahr-bānū, Sassanid era bull busts in the Nahid Bishapur temple with a mosaic porch provide pictorial and symbolic information related to these stories.