نشریه فرهنگ و ادبیات عامه
پیاپی 2 (پاییز و زمستان 1392)

Scapegoatig means the indirect transfer of evil and its disposal for a specific or indefinite period of time. Human had variety philosophies to fight against evil، and has employed common tools such as human، animal، objects، etc. Fore this purpose، the present work attempts to explore different ways of scapegoat by referring to the Sahname of Ferdowsi. To this end، after giving a brief introduction about scapegoating، the reasons of humans resort to scapegoating as well as types of scapegoating in Shahname have been studied. Accordingly، there are two forms of scapegoating (direct and in direct)، one in Zahhak’s story، and the other in the story of Rostam and Esphandiyar. The present foundamental research is based on library research method، and has used descriptive analysis method.

Rostam and Koraoglo as two nationl and epic champions that their fate are linked with the fate of their nations، are symbols of the wrangle of forces; Good and Evil، Light and Darkness، and Honesty and Dishonesty. The spirit of impassion، mythological aspects، courage، dedication، love، revenge and splendor are conjoint specifications of the two champions. This article answers the following questions: 1- What are the conjoint specifications of the two champions that affect on the authorship of the story? 2- What are the mythical elements that changed these champions into myth? 3- What are the conjoint specifications of women in these stories? 4- What are the important amorous elements in these stories?

Div is a general name as well as a title for all supernatural creatures in Iran. On the other hand، Iranians know Div as an independent and solitary creature. Div has got also similar beings like Jins in Arabic culture، which in folkloric traditions، there is not any difference between them generally. During the history، Div’s character has passed a lot of evolutions regarding to what is today we know about his/her vast and extended concept. In ancient times، all evil and dirty aspects were attributed to Div، and in the middle Persian literature، Div and Devil (Ahriman) had been born in the mind beside each other as a unit. Iranian myths show that Divs have got humane qualities most of the time. Div’s adventure has made complex the meaning of the word “Div” in Persian culture and folklore. So sometimes، Div is a metaphor image of the Devil، Satan، Jin، Pari، Al، Davalpa، Nasnas and so on، and occasionally he/she just indicates to a monster with a definite shape and function (for instance: black skin، boar like teeth، blue eyes with thick dark lips، multi-head، tail، horn، great ears، hairy body، a couple of wings، and cannibalistic manners). In addition، the Divs’ character in folkloric narrations has been changed more and more from the first Islamic decades till now. The aim of this research is to study different concepts of Div and his/her character similarities with other supernatural creatures during the past eras in Iranian culture and folklore from different aspects.

Name is a socio-cultural phenomenon، which accompanies humans from before birth until death. This element has roots in the historical، intellectual، national and religious beliefs of the individuals. People are proud of their good names and choose proper names for their children. One of the most frequent and popular patterns of the Iranians since long time ago till now، has been the use of holy religious names، either in simple forms، combined or derivative. These words which are derived from the names of God، Prophets، and Holy Imams (Peace be upon them) have been frequently given to the individuals، places، tribes، clans، etc. The Shia People of Chaharmahal-o-Bakhtiari use these names in different combinations. In the present study، scores of single، or triple combinations of Persian (both Persian and Bakhtiari)، Arabic، and Turkish names have been collected، categorized and presented through field study and library method. Finally، a brief comparison has been made using official figures and statistics.

Proverb is one of the most known feature to investigate of eco-culture for every native. Kurdish people one of the most vast of iranian people which it''s culture so enrich to cultural studies. Ilam one of the kurdish city which has very important features to studing in this field. Kurdish language is of different dialects، however it is of some commonalities from the view point of proverbs. This study wants to investigate Kurdish proverbs rhetorically via a descriptive study to find that these proverbs are of imaginative power or not and which one of literary devices are of more frequency. By investigating ilami-kurdi proverbs the study found that proverbs are of high rhetoric power and this is because of imaginative power of speakers. The deep structure of most of proverbs are based on simile. The study also found that the prerequisite to the understanding of some literary devices like symbol is familiarity with cultural norms.

Relying on the dramatic effects and all cultural potentials of Iranian old and poular literature، this paper aims to deal with the possibilities to contemporarize them for new media productions. Literature is one of the most prominent icons of Iranian rich culture. A notable part of Iranian literature is composed of folklores and popular narratives، which are genuinely full of novel themes and authenticated knowledge to be adapted into film and TV series. The present research will show why exactly Iranian contemporary film-makers and play writers، despite the existing large culrual legacy، have failed so far to apply the potential capabilities. Using a pathological approach to the historical discontinuities happened during the evolution of dramatic functions of Persian old narratives، this study attempts to present a qualitative assessment of these literary art works. After reconsidering the most significant elements of Iranian popular narratives، the paper goes then to propund some common ignored challenges concerning the «adaptation» techniques for media productions. Finally، we would describe a typical narrative of Iranian folklore by which a practical method for new possible adaptation for Iranian TV drama might be provided.

Narration (Naqqali) is one of the oldest jobs، which is common in Iran. Some of the narrators (Naqqals) were engaged in Kings Court، known as the “Samar Khan”، “Qesse Khan” and”Naqqal”. “Naqalbashi” was a position title in the court of Qajar. Some of the Narrators (Naqqals) were “Naqibalmamalek”. One of the most famous Naqibalmamaleks was the narrator of Amir Arsalan. Years after the publication of Amirarsalan''s introduction by Mohammad-Jafar Mahjoub، Mohamed-Ali Nqibalmamalk was known as the narrator of the story. In recent years، a number of researchers in the field of folk literature know Mirza Ahmad as the narrator of Amir Arsalan. This article primarily explains Mirza Ahmad’s biography and then، according to one of the most important resources in Qajarid period، proposes that Mohammad Ali Naqibalmamalek was the narrator of Naseraldinshah’s court as well as Mirza Ahmad، and therefore، jodgement on which one was the true narrator of Amir Arsalan is too difficult.