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Popular beliefs in Kermanshah province, especially among the Kurds living in this province, are special, untouched and related to mythological thoughts. In this essay, the author has investigated and analyzed the marriage rituals in the Sanjabi, Kalhor and Goran. Among the many marriage rituals in the mentioned clans, courtship rituals, holding a wedding on a odd day, the presence of a woman named Pākahsūr, the bride's red dress and bread and salt with her, the magic of the knot, the presence of male elements in the symbolic affairs of the wedding, dance and music . According to the research, matchmaking in the mentioned clans is mostly in the form of the girl's family leading the way, which is reminiscent of marriage in matrilineal periods. The woman who is referred to as Pākahsūr has the key role of the goddess Ašī. Holding weddings on odd days of week is related to sacredness of one, three and seven in mythology. The red color of the wedding dress has mythological meaning and shows life, and bread and salt with her is related to the concept of Farrah. The magic of the knot, which is more commonly referred to as tying the groom, is a kind of imitative magic, and the strong role of male elements in the wedding is in connection with fire and the symbolic concept of the stove. The Kurdish music and dance (Halaparkī) is basically a repetition of the rituals of honoring the land and related to the agricultural era.
 

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Abstract
In the present study, we have set out to depict the relationship of mythical and modern Iranian stories from the perspective of the philosophy of Art. Hegel, in his idealistic formation of the history of philosophy of Art, showed that in the primary stages of civilization, Art was the outcome of the connection of “absolute” and “essence.” As a result, Art has failed to show absolute unity with “absolute.” Along the same line, Heidegger and Lukács considered the distance between Art and “essence” as a sign of decline. Meanwhile, the members of the Frankfurt School, put forward new ideas in the Hegelian context of the time; they demonstrated that modern Art and literature, are moving away from reality and attempted to approach “essence,” “universal,” and “unity.” In modernist stories, employing myth is one way to establish a relationship between “unity” and “universal” and so we experience deformation and disintegration of the contemporary world, we witness a flashback, a mythical unity in the shape of formal avant-gardism. From the same perspective, Hedayat and Golshiri are main representatives of two fundamental breaks in modern Iranian stories from 1300 to 1357. Along with modern deformation of the contemporaneous forms, they included flashbacks and Iranian myths, in the form of transformation and deconstruction, in their stories. The results indicated that these two authors, in a dialectical fashion, depicted both the spirit of modernity and the need for historical rereading and representation.
Extended Abstract
Hegel's dissatisfaction with the art of his time reflects, on the one hand, the idealistic aspect of his philosophy and, on the other hand, its opposition to modern optimism. Hegel predicted that modernity leads to ultimate rationalization and the absolute soul will come to terms with itself. Although Hegel himself did not address this contradiction, his art theories led some of the twentieth-century thinkers to adopt newer formulations of the relationship between contemporary art and philosophy. The members of the "Frankfurt School" known as the advocates of "critical theory" have the most complex relation to Hegel's philosophy of art. Their literary and artistic views are on the one hand in a Hegelian tradition, and they were completely sympathetic to Hegel in that the mission of art is to discover essence, existence, and truth. However, they did not accept the impasse of modern art, and in a multifaceted effort sought to show in the works of art of their time the relation of critical modern art to genuine essence and consciousness. The Frankfurt School found that writers such as Joyce in the process of shaping the modern form, progressed dialectically. At the same time, inventing new fictional structures that disintegrated the modern world and the ever-changing world of the twentieth century, showed that the united and mythical world of the past has also been summoned in various ways in their modernist work. In the works of these authors, from the heart of the opposition of the modern and the absolute, and their apparent contradiction, a general unity is achieved, and through this unity it can be seen that the duality of form and content - which is the dominant basis of literary analysis, does not exist in the essence of art. This rereading of Hegel by the Frankfurters is one of their richest lesser-known achievements. If we look at the Persian modernist fiction from the perspective of the Frankfurt school and its relation to myth (from 1300 to 1357), we can say that Sadegh Hedayat and Houshang Golshiri are the main representatives of the two main breaks in Persian story.
The analysis of Hedayat's "Blind Owl" and Golshiri's "Innocents" revealed to us that these texts possess many of the brilliant aspects that the Frankfurters considered for modern art: the incoherence and disintegration of the modern in the form of the disintegration of the fiction form, the meaninglessness of the duality of form and content. Formal avant-garde and mythical recurrence, which are two opposing aspects, have been used simultaneously in the text, and from their contradiction, a dialectic has been formed that guarantees the general unity of the work. The representation of the unifying and mythical matter - regardless of its function - has created a "aura" for these texts and this aura has linked the text to a historical and mythical tradition and has summoned the spaces of the past to the present. The mythical nature of these texts has made them difficult, misunderstood, and obscure, and has led to the rebellion of the text against the simplification of the contemporary cultural industry. Rereading the past has helped critics of the present, and both are used to understand future possibilities. In the close connection between the past and the present, and the continuous and simultaneous rotation between the two, the originality of these texts and their openness has been realized. These texts constantly revolve around essences and absolutes that are beyond the reach of everyday reality and instrumental rationality. Pure moments are depicted in the text through which the reader can reach genuine ontological experiences.These texts escape easy access and have found a place in the discourse of the specificity of modernist texts. The combination of the above-mentioned aesthetic features - all of which derive from the dialectic of the forward and avant-garde form of movement, and its mythical backward movement - has enabled the two authors to make a connection between Iranian society and modernity. In other words, Hedayat and Golshiri are turning points that have shown the transformation of mythical foundations in contemporary Iranian society and have outlined the way we Iranians deal with these foundations. Rereading, rethinking and deconstructing these mythical foundations are the main features of the avant-garde of these two authors.

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Influenced by the interpretive attitudes of the Middle Ages and committed to the teachings of New Criticism, Frye, drawing on structuralist methodology, developed innovative ideas for analyzing the structure of a literary work. In his literary poetics, he assumes that the meaning of a literary work consists of elements and components that can be determined by focusing on mode, symbol, archetype, and genre. In such a framework, he considers the components of ethos, mythos, and dianoia as the basic elements that make up meaning. Meanwhile, however, it seems that Ethos has not been adequately addressed. In this essay, we first attempt to answer why ethos seems to be neglected in his ethical critique, which is necessarily based on ethos, through an analysis of the theoretical implications and consequences of what Frye holds. In what follows, along with the methodological explanation of Frye's analysis, we attempt to show how the seemingly neglected ethos reappears in Frye's theoretical framework. In the end, it turns out that ethos is part of Frye's theoretical framework not because of methodological considerations, but because of teleological considerations.
Extended Abstract
Introduction
Northrop Frye (1912-1991) is one of the literary theorists of the 20th century.  He was familiar with the medieval interpretations of the Bible on the one hand and with the theories of the New Criticists on the other, and saw a significant symmetry between the Bible on the one hand and literature on the other. According to the medieval interpretations of the Bible, commentators considered the meaning of the text to be multi-layered, revealing itself at first in superficial levels, but the knowledgeable reader should go beyond these levels to the inner layers of the text where the true meaning rests. By distancing themselves from what appeared to be historical, psychoanalytical, biographical criticism and all questions outside the structure of the text, the New Critics sought systematic criticism based on the text, but "they treated the text as an inanimate object" (Algooneh, 2017: 197), which for Frye was meaningless "because critical objectivity basically blocks the way to pure literary experience." The proponents of the new criticism considered the work with the "close reading" as a single phenomenon, and for the literary criticism, they considered the analysis of several literary works, while in Frye's system, they invoke qualities and elements behind the literature (see Frye, 1957: 17), and only by recognizing these qualities and elements, the literature becomes meaningful. On this basis, Frye considers literary works not individually, but in a macro-level and in the form of "an order of words" (Ibid) which, despite their plurality, is manifested in a single perspective. From here, Frye distances himself from the proponents of the new criticism, whose main focus is on individual texts and stylistics, and concentrates on typology and literary genre. This is because stylistics focuses more on individuality, while genre focuses on the aesthetic side of literature and a macro-level view that "considers the art of literature not as a value phenomenon but as a technical phenomenon, as a collection of procedures" (Marie Schiffer, 2013: 65). As long as he "pays attention to the close and critical reading of the works," he is aligned with the New Criticists, but since the New Criticists evaluate the works and "are more aware of the framework of hermeneutics and literary criticism than the establishment of poetics" (Ibid, 66), he moves in a different direction from them. Thus, in his discussion with the members of the New Criticism, Frye takes the position that what they see in detail, he connects in the structure of literature as an autonomous whole. In line with this division on the question of type or genre, and in contrast to the question of style, and also to achieve the ideal of a poetic design that is comprehensive and includes all valid criticism, he divides four categories of mood, symbol, archetype, and genre in his book "Anatomy of Criticism," under the separate four articles of historical criticism, ethical criticism, archetypal criticism, and rhetorical criticism. He, who deals with "Ethical Criticism" in the second article of the book by promising that literature consists of interwoven stages and the work draws its totality from this interwovenness of stages, distinguishes between mythos, ethos, and dianoia (see Frye, 1998: 93). But despite the fact that he distinguishes these three elements at each stage and also the special role he assigns to each of them, he consciously or unconsciously neglects ethos in the last analysis.
Ethos, as a fundamental element and component that constitutes the meaning of the text, has no coherence according to Frye. In defining ethos, he says: "The text or the internal social context of a literary work, in fiction-oriented literature includes characterization and context, and in theme-oriented literature it includes the relationship between the author and the reader of the work." (Frye, 1998: 428) While he distinguishes two types of fiction literature and issue-oriented literature here, he considers ethos as both character in literature and the relationship between author and audience. Elsewhere (cf. Frye, 1998: 93), he considers ethos as one of the three fundamental pillars of the text that, together with mythos and dianoia, make the work meaningful. Even though Frye considers these three elements as internal features, he abandons ethos completely and implicitly in the further course of his analysis, leaving it aside, instead of treating it as a method, he notes ethos as an end. On this basis, Frye's ethical critique does not adhere to it, despite its promise of internal immanence, and this critique ultimately focuses on telos. This telos disappears, first, in the liberal purpose and, second, in the objectives influenced by reader-oriented ideas. Although critics in the world have made serious criticisms of Frye's theories, Culler, for example, in "Structuralist Poetics, considers him an interpreter who does not adhere to mere structure (cf. Culler, 2019: 169 and 192), while Lentricia in the book "After New Criticism" and René Wellek in "The History of New Criticism" (cf. Wellek, 2005: 238) argue that all literature is linked to myth. Although some of these criticisms are acceptable and some parts of Frye’s theorizing have gaps, he can be seen to have made an effort to complete them in his later works, but the way Frye uses to achieve meaning through different layers in a particular verbal context is worth reflecting on.
Nevertheless, because of the difficult and complex prose that Frye has used in his book Anatomy of Criticism and because of its theoretical complexity, Frye has received less attention than it should. With this in mind, in the following essay we will attempt to elucidate Frye's theory of classification of symbols and redefine their constituent parts. In doing so, we will rely on an analysis of the theoretical implications and consequences of what Frye follows and attempt to provide an adequate answer to these questions: First, why is ethos omitted from ethical criticism based on ethos? Second, having failed to adhere to what Frye promised at the beginning of the article, where does this discarded ethos now appear?
Review of Literature
Although Frye is considered one of the most influential thinkers in the field of criticism and literary theory of the 20th century, the gap in research that independently analyzes his theoretical framework is quite striking. There are few studies that have critiqued his theoretical foundations, and most of the research conducted has applied Frye's archetypal theory to mythological stories. Ahmadi and Kazempour (2022) examined the myth of Rostam and Sohrǎb in a study using a descriptive-analytical method based on Frye's archetype theory. Asadi and Maghouli (2021) also studied the symbols and archetypes in the paintings of "Shahnameh Shamlu" based on Frye's archetype theory and applied it to Frye's cycles of romance, comedy and tragedy. Maarifvand and Fuladi (2018) analyzed the story of Siavash based on Frye's theory of "tragedy myth." In one article, Algooneh (2016) analyzed the theoretical basis of Frye's classification of symbols and his influence, and in another article, he analyzed the internal mechanism of Dianoia considering Frye's theoretical origins. In this research he examined the connection of mythical dianoia with hieroglyphic, hieratic, and demotic aspects. Nǎmvarmotlaq (2013) has dealt with Frye's mythology. The first part of the book deals with Frye's life and his mythological criticism, and the second part deals with the practical application of Frye's view in reading myths. In addition, the same author (2012) published a work entitled Introduction to Mythology: Theories and Applications, in which he examined Frye's views on mythological criticism. Haj Nowrouzi (2012), in order to examine the semantic and archetypal images in the story of Siavash based on Frye's theories, first examined this imagery in the literary tradition and then examined the mythological patterns of this work. Anooše (2006) has explained the relationship between Cassirer's ideas and beliefs and Frye's views in the field of myth using the descriptive-analytical method. In another study (2003), this author examined Frye's literary approach in relation to early literary rituals and myths. Based on Jung and Frye's theory, Sam Khaniaini and Malekpaiin (2013) analyzed the myth of the story of the lion and the cow in Kalila and Demeneh. Despite the valid research that has been conducted so far on Frye's views, the theoretical analysis of his opinions, and the application of his theoretical models in reading literature, no research has been found that addresses the theoretical implications and consequences of neglecting ethos. For this reason, the present study sought to examine the position and role of ethos in Frye's theoretical framework, in addition to an analysis of Frye's symbol theory and his literary poetics terminology.
Methodology
The present study is an original research which is the outcome of our own personal reflections and, except in one or two cases where we have taken some terms from Frye’s research, we are not indebted to any research in terms of our theoretical framework.
Results
As can be seen from the explanation of Frye's theory, although he introduces Ethos as one of the three basic pillars of each stage, the distinction of Ethos alongside Mythos and Dianoia will not be fulfilled. In the formal stage, for example, he considers mythos as imitating a generic action and dianoia as imitating a generic thought. Right here, where we expect the distinction and the role of ethos, ethos does not appear at all as a component with a methodological index in Frye’s taxonomy. Thus, contrary to our expectations, the reader learns at the end of the book's second article that the promised ethos is not an essential component, but the ideal critic/reader who is to become the third pillar of each stage through the mythos and dianoia. On the other hand, as we approach the anagogic stage, it becomes increasingly clear that the ethos comprises that single word which in its various manifestations is both God, Christ, Wine, and Lamb (cf. K. Frye, 1377: 154). Although even this characterizing recognition of ethos was not explicitly distinguished in the later stages of the classification of symbols. Moreover, it is necessary to examine the question in what form and with what conceptual transformation Frye uses ethos as a fundamental component after he leaves it. It seems that Frye did not use its fundamental component as a method. But in terms of purpose, he has embedded ethos in "ethical" criticism, and in this way he casts it on the ideal reader on the one hand and on "ethical" criticism on the other. He believes that culture is one of the productive forces of man and "the ruling classes have exploited it in the past like other productive powers, and it is necessary to revalue it in a better society." But since this ideal society exists in the future, the value of culture is based on its revolutionary efficiency." (Frye, 1998: 407). Frye believes that when we move from a single work of art to the general concept of art, it is no longer a question of aesthetics, but a journey to the moral cause that contributes to the work of civilization. On the basis of this evidence, Frye sees himself as a liberal who opposes the prejudices and favoritism of the New Criticists. On the other hand, he considers literature an important component of education. But all of this is seen not as an internal component, which he promised us at the beginning, but as external and teleological references that are not evident in the text. Finally, Frye's ethical criticism is a "moral" matter in a civilized and cultural sense, but this "morality" is manifested not in method but in goal. This moral goal, thrown out of method, includes free and liberal education on the one hand, and focuses on reader-centered theories on the other. Accordingly, ethos is not evident in Frye's classification theory of symbols in the method, but as a factor in the transformation of the reader into a liberal person who accepts all valid criticisms without prioritizing one over the other.
References
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The main question of this article is whether myth can have an unconscious presence in the process of forming a literary form; to answer this question, first, with a descriptive-analytical approach, the two layers of mythological beliefs about the relationship between water and rain, fertility and blessing with the king's main function in a political-cultural system are explained. The findings of this article show that the belief in the relationship between the king and the set of beliefs related to water and rain has been an important and effective source in the subconscious formation of the most common and frequent system in Persian poetry. This article also examines the relationship between myth and literature and examines the corresponding relationship between the concept of the king and water and rain and fertility and analyzes the characteristics of the mythical king, examines the dimensions of the development of a recurring image stereotype.
 
 

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The main question of this article is whether myth can have an unconscious presence in the process of forming a literary form; to answer this question, first, with a descriptive-analytical approach, the two layers of mythological beliefs about the relationship between water and rain, fertility and blessing with the king's main function in a political-cultural system are explained. The findings of this article show that the belief in the relationship between the king and the set of beliefs related to water and rain has been an important and effective source in the subconscious formation of the most common and frequent system in Persian poetry. This article also examines the relationship between myth and literature and examines the corresponding relationship between the concept of the king and water and rain and fertility and analyzes the characteristics of the mythical king, examines the dimensions of the development of a recurring image stereotype.
 
 

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“Naive imagination is like a dark glass that prevent the shining lights entering the heart, but when is ripe enough become a clear glass that points those lights.” (Ghazali, the Niche of Lights, P.73) Iranian philosopher and educator, Abu Hamid Ghazali (1058-1111 A.D.) is the author of more than seventy books and essays on philosophy, education, mysticism, ethics, jurisprudence and dialectical theology. Throughout his works, one can easily observe that among the tools of acquiring knowledge (i.e., the senses, the imagination, and the intellect), imagination has become subject of special attention due to its capacity in recalling, analyzing, and synthesizing pre-acquired images, concepts and meanings and creating new and noble ones. Because of his unequivocal attention to imagination, instead of intellect, and the great impact imaginative thinking has had on Islamic philosophy of his times, some critics have maintained that “Islam has turned against science in twelfth century.” This article consists of two parts. The first part deals about Ghazali’s perspective the place of imaginative faculty among the other faculties; the external faculties (i.e. the senses), the internal faculties (i.e. common-sense, imagery, memory, estimation), and the intellect and hence; it is observed that the faculty of imagination itself is a part of the internal faculties and links the external faculties with the intellect as well as comprehensive and continuous interaction with other internal faculties. Upon defining imagination, tasks and types associated with it, its priority and superiority over the intellect, the relationship between (1) the internal senses and the imagination and (2) the imagination and the intellect are addressed. In the second part, the authors follow the practical implications of such imaginative thought in Ghazali’s teaching approach. To do so, and because of the comparative analysis pursued in the article (i.e., comparing Ghazali with contemporary western educational thinker Kieran Egan) about children’s education, we concentrated on the “mythic understanding” that Egan has proposed for these ages and then, contrasted it with Ghazali’s works. The results show that as Egan, but not in such a complete and detailed form, Ghazali considered the elements of play, story, binary opposites, rhyme, rhythm, images, gossip, mystery, and metaphor in his approach. But there are no clear and sufficient evidence for other elements (i.e., joke and humor) in Ghazali’s teaching approach.

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This article has been written in a descriptive and analytical methods based on library studies. In this research, with the discovery and classification of the materials in the Religious and Mythical Figures in the Reststance Poetry of Seyyed Abutaleb Mozaffari, its relation with the poet's idea of resistance was examined. The results of the research indicate that the poet has recreated religious and Mythical figures, and linked yesterday's patterns with today's realities of war, and in this regard, in order to enrich the literature with poetry and its linguistic implications, and to connect the idea of resistance with the suffocating atmosphere of Afghan society, it is trying to application of these characters to serve the literary subject and its identity.
 
 

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An amalgamation of ancient mythological and linguistic features from Ghabrestan Tepe, this article is disposed to introduce some of the oldest findings especially about the then prevailing myths. It can possibly be said that the oldest motifs carved by men, on bones, stones or on cave walls have been the depictions of myths related to Homo sapiens; however, even after the lapse of thousands of years, it is still impossible to find the main tenets they actually tried to narrate through those depictions. Unfortunately, we have to admit that, even the use of modern methods, doesn’t help us to reach to those stories that are much warped and deformed. This article, tries to carry, what has remained from some later version of the myths, backwards in time and, by focusing on a pottery design, uncover what once has been a mythological and significant narrative. Perhaps this had been a well-known mythological story narrated in religious and domestic circles.    

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On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.

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The horse was of special importance to the ancient Iranians.Victory and honour of Iranians is prove to be true by this noble and profitable animal. In turkish nations ,horse is rechoned holy also and he is always considered as friend of hero and a partner in his victories. "Giarat, horse of Korogli is a symbolic animal that is associated with myth. Having a marine origin and breeding in the terrestrial world has given a special place to  him  and sometimes the winged feature in some narrations attributes his to the worlds of water, earth and air. The victory of the hero over the enemy is not possible without his company .In addition to boldness and arrogance, Girat has human characteristics, feels responsible for Korogli, understands his words, and in general is brother of hero and disappears or die with  him  in various narrations. This article studies the characteristics of Girat, the most important mythical element in the narrations of different nations of Korogli's story. It,s characteristics can be seen in the mythical horses of Shahnameh, especially Rakhsh, but due to the oral nature of Korogli's story and being in the realm of popular stories, the myth of Girat is more prominent  than the mythical horses of Shahnameh.

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 On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.

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In Iranian culture, one of the recurring narrative patterns is the narrations in which the story of the birth of a hidden king is mentioned. In this article, three Iranian hidden narrations of the King are examined. In all these narrations, first a prediction announces the birth of the next king, and then the forces for or against it seek it, the child is born, raised in secret, and becomes the king when the opponents are defeated. The study of these narratives has been inspired by a combination of methods used by Propp and Roglan. The functions and characters of the king's hidden narratives are based on Propp's method in The Morphology of Folk Tales. The use of Roglan's models is also important because he examined the myths that have similarities with the subject of this study and gave a general model of them. The present study shows that the three narrations of Fereydoun and Kaykhosrow in Ferdowsi’s Shahname and Ardashir’s narration in Karname-ye Ardashir-e Babakan can all be placed in a single model with five main functions.
 

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The fear of death was the main concern of the residents and sailors of Bandar Kong, and it made them to resort to beliefs of calamity in order to ward off death and evil and bring natural disasters under their control.
This research aims to analyze this belief in the maritime tradition of the residents of this region with a descriptive-analytical method and then analyze them by relying on similar mythological examples. Therefore, in this research, the Belagandari beliefs related to the maritime tradition were first collected in the field and in the form of interviews with women and men, and further, they were analyzed by relying on library studies and books on the mythology of nations. The results of the research also indicated that the belief in wandering among the residents of Bandar Kong was observed in both direct and mediated ways (walking through animals and objects).Beliefs of Balagandari that were indirect include: throwing dates in the sea and saying the call to prayer and reciting the Qur'an during a storm. Intermediate beliefs also include: sacrificing cows, placing chickens with women in the boat, placing Kush shoes in the direction of the wind, and applying henna and animal excrement on the doors of houses.

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The palm tree in its mythical nature is one of the Mesopotamian and Elamite vegetable gods, whose traces of its alien nature in human incarnation and its transformation have been left in the beliefs and customs of the people of southern Iran in relation to the myths of creation and fertility. The mythical history of the date palm in terms of anthropology is similar to most of the traditions and popular beliefs of the people of the south, and has led to beliefs such as the creation of the palm from human palm and knowing the palm tree as a companion in the south. The sanctity of the palm and beliefs such as that the palm has organs and conditions like human beings and rituals such as marriage, the dramatic threat and sacrifice of the palm, etc. are rooted in the myths of birth and fertility. The process of characterization of the people of the South from the palm tree in terms of the cycle of death and life and resurrection to the goddess of fertility, complement each other and express the perception of the cosmic position of the female force in the universe. This article is a descriptive-analytical field and library study to analyze the myths related to creation and fertility in the folk beliefs of the people of the south about the date palm based on the people of Jahrom and its mythological elements in customs and beliefs such as: birth and sanctity of palms. It has shown fertility, love, madness, death and the coffin of the palm tree.
 

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Narratives that have been narrated orally and in different parts of Iran and have survived to this day have a valuable place in understanding the culture and identity of the people of this region. One of these narrations is the story of Aziz and Negar from Taleghan region and Alamut region, which in addition to the people of that land, is also narrated in Gilan province and parts of Mazandaran. This research intends to study this narrative in a descriptive method of content analysis and using a mythological approach. In the mythology method, in addition to the text, discourse, hypertext and hypertext conditions will also be addressed. Hence, with the mythology of narration, it is possible to study the pattern of love in the culture of the region under study and the subconscious mind of that society. In this research, an attempt has been made to investigate the function of the pattern of narrative myths and the quality of their presence as a model of love in contemporary society by using the six stages of love mythology including narrative description, thematic analysis, narrative metaphors, comparative mythology, contemporary situation and combined analysis. Findings show that despite the expansion of temporary and unstable emotional relationships influenced by the postmodern world of the West in the study community, the theme of eternal love as the main theme of the narrator is still alive in the subconscious of society. This society not only does not deny the necessity of the myths of eternal love, but also attempts to give birth to myths with this theme in society. As a result, the myth of Aziz and Negar is a good model for lovemaking in society.

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At first glance,  myths are considered as the old stories but, the truth is that they are the product of a way of man’s wise thinking which have survived in the form of narration and action.  Ad  the myths answer to the man’s needs of world-knowing , they continue living, in the modern world and by the help of science, through accordance with the mental frames of man.
One of the newest fields that benefiting from its capacities help in myth renovation is internet technology.  The spread of this wide web has changed it to a modern environment. The subject of digital body in this new environment and its capacities on achieving the collective goals set the ground for the formation of mythical meanings and concepts which challenge the scientific wisdom.
Therefore, this research analyzes the capacities of this media in developing the new mythical concepts based on the contemporary myth theory of Roland Barrett  and the mythical analysis of Louie Straus . The method is descriptive-analytic and based on the library resources. The results revel that in this modern environment, reality, idealism and fantasy are interwoven in the form of old archetypes and have changed the validity of many concepts. Thinking about Creation, escape from prohibition, simultaneous presence, excess of time and place, unified world, dominance over loneliness and the wishes that came true through the myths, now form a modern thinking horizon in a vital, interactive and experimental environment which renovates the myths inside this worldwide web.
 
 



 

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“Animal drawing in row” has been important and a widely-used style in Mesopotamia, as well as in Persia which is mainly depicted on pottery and metals. This style is also depicted on Greek pottery. The question is: How did “animal drawing in row” affect Greek pottery art. In terms of mythological stories and mythical creatures, this style is close to Greek traditions therefore it had been warmly welcomed and applied by Greek artists. These effects could have also occurred due to enormous trade between Greece and its colonies on the one hand and Syrian, Phoenician, Mesopotamian and Persian civilizations on the other. The purpose of this study is to compare this method in some of Iranian pottery discovered from Marlik, Hasanlu, Elamite and Achaemenid civilization, to Greek pottery. The research method is descriptive-comparative. On pottery and metal vessels, this technique starts with single drawing row, and ends with multi rows. The number of rows in most cases depended on the size and the surface of vessel or pot.