---

 
Saeed Bozorg Bigdeli, Ph.D.
Hossein Ali Qobadi, , Ph.D.
Seyyed Ali Qasemzadeh
 
Abstract
Myths are among those mass narratives which are constantly reconstructed, recreated, or reprocessed in a variety of forms due to their interconnection with archetypes and symbols. One of the best grounds for the emergence of myths’ manifestations in the contemporary era is in the form of novel. Surely, the tight link and mutual requisiteness of fiction with the world’s new events, added to the narrative features of novel and the potential of this contemporary fictional form in the reflection of diverse subjects and tastes, methods, manners, styles, that is in addition to the display of the common and popular thoughts, beliefs and discourses in the society, all together made the structure and narrative elements of novel become the most vast ground for the emergence and manifestation of myths or even hinting to them. The aforementioned approach in novelists who base their work on myths, paves the way for the inter-textual analysis of mythological novels as they use and reflect myths; which is due to the attention they pay to conceptual indications and the intended symbolical myths in the mind.     
The recreation of myths in the form of narratives in the new era should be considered one of the prominent elements in the deep influence of postmodernism literature. In this relation, the present article intends to analyze “Salmargi”, with an inter-textual approach joined with narrative analysis. “Salmargi” is an Iranian post-modern fiction which has been shaped with two major and key mythological themes; one is the opposition of “life and death” in the form of mythological narratives of killing-the-son and the other “sacrifice”; with emphasize on the innocence and meekness of the heroes. While the major narration of the story is devoted to the Imposed War or rather influenced by it, “Salmargi” counts as one of the first post-modern experiences of the Iranian novelists about war.
 

---

 
Esmail shafaq,Ph.D.
Alireza Niyazi Vahdat
 
Abstract
The background leading to the significance of numbers in the phenomenon known as sacredness has roots in the thoughts of people from the primitive communities. From quite a very long time ago, mankind has believed in the magical characteristic of numbers and as a result throughout the past centuries, it has in certain cases paid attention to some of the numbers as if they are truly sacred. Not only has this phenomenon appeared and been expressed in the folkloric culture of human communities, but it has also emerged and been expressed in different fields of their literature too. Different world nations have underlined specific numbers regarding the primitive myths of their civilization and even blessed it as a sacred thing. As a result, different schools have been established; while each one has regulated its own particular ideology based on introducing a particular number as sacred. This issue has paved the way for the penetration of some of the most prominent and somehow sacred numbers into literature. In this respect, we can witness the vast reflection of certain numbers in the scope of Persian literature; while its frequency varies depending on the time and also the geographical position. This article intends to survey the historical background of the significance of number “three” and its function in Khaqani’s book of poetry.
 
 

---

Nature and its elements play a critical role in the intellectual system of the first man. The plant is one of these natural elements that has appeared in parallel and with similar functions in the mythology of different nations. Hence, it has been transmitted to the next generations as an ideological heritage, and due to its symmetry with human nature, they have found a same and sometimes identical form in the of nations. The comparative review of mythological plants and their functions among the myths of various nations can illustrate the role of nature, especially the familiarity with its common source in human mythology making. The results of the research show that the range of plant function, from the myth of creation and its manifestations in the mythology of the plant goddesses, the process of birth and rebirth of mythical heroes and even their function in the transformation or giving a divine nature to human beings; like the attachment of invulnerability and immortality to human beings up to the myths of death and plant resurrection of the holy super humans belong to the perception of human-plant relationships in the mythology of nations and their relation to the worldview of the triple social systems of the mythical age. Based on this pattern, most of the mythical traditions of the plant world are based on the insight of the clerical class that has been created for the subconscious to preserve their birth, life, and ritual continuity in the form of sacred philosophy of life.

---

 Claude Levi-Strauss (1908-2009) French ethnologist and anthropologist and theorist of Anthropology, is known in the world as the "father of modern anthropology". He has gained a reputation in the field of anthropology among anthropologists and scholars, because of his structuralist theory as well as their own method of proving this theory. He is considered as the greatest theoretician of structuralism. His studies include a review of the "basic structure of kinship" and "the structure of myths". In this article, we will see how Claude Levi-Strauss split the constituent units of "myths" and "kinship ties" to show a new aspect of them. This article intends to give his definition of structuralism, mythic structure, elementary structures of family, work and pay their relationship with linguistics and point her separation with other theorists, linguiststs and anthropologist like Saussure, Jakobson, Freud, etc. In this article we see how his studies in the field of "structure" help us understand new insights on human being.

---

The idea of the ritualism of mythpoints out that the existence of myth depends on rituals. The recent developments of this theory underline a common paradigm between myth and ritual. This paperexplores the emergence of the “Siāvashān” ritual in relation to the Siāvash myth in Ferdowsi’sShahnameh.Siāvash is one of the pre-Zoroastrian Persian gods who is associated with fertility myth and the agricultural culture. The ritual of his invocation is an inseparable part of the Siāvashān ritual. At the core of this ritual is “holy death,” which can be analyzedalongside the rite of the sacred king’s sacrifice and the dramatization of mourning for him during the New Year’s festivals. According to the anthropologists’ analyses of Dionysian ritual, the poetry associated with the holy death of Dionysus played an important role in the birth of tragedy. A similar relation existsbetween the Siāvash myth and the Siāvashān ritual.

---

Bahram Bayzai’s cinema can be considered as a visual interpretation of the Persian myth. Bayzaihas tried to modernize the myths and present new versions of them by breaking the old versions and making new ones. In this way, he makes the narrative structure of his works closer to the myth. Discovering and elaborating different aspects of form and structure of Bayzai’s works will not be possible without considering the theories of structuralists such as Claude Lévi-Strauss.  In this article, drawing on structuralism and narratology in the works of theorists such as Prop, Barthes, and Strauss, the form and structure of the time in four of Bayzai’s works have been compared to their counterpart,mythical narratives. I have concluded that in his cinematic narration time becomes closer to its mythical structure; in other words, time becomes endless, fixed, and sacred.

---

Blood and bleeding and their related themes have long been rooted in human spirit and have had a decisive influence on Iranian and world culture. Themes and beliefs such as the sacrifice of human beings and animals, the rituals and beliefs that involve it, the killing of the holy people and its effect on human destiny, the bloodlust of the bleeding woman, blood spilling on the stone for the suppression of magic, the death of a sacred animal and those reflected in the history of Siavash, Iraj, Sohrab and Esfandiar in Shahnameh and finally the narrative petitions and oral narratives about the national epics are reflected and rooted in myths and branches in popular beliefs. In this research, using stories and other sources, first of all, popular beliefs about blood and its contents are examined at narrative plan, then the method of content analysis has been used and the desired samples have been compared.
 
 

---

Sacrifice has been always one of the most current ritual practices in Iran. Nowadays, in Iran, the concept of victim is limited to blood sacrifice, but in some areas of Iran, such as the south, southwest and desert margins such as Khor, Biyabanak and Tabas, this ritual is totally current during the return of the pilgrimage from God’s house, at the wedding ceremony and more importantly everyone sacrifices the palm tree before the first day of new Year and the Farvardin 13^th. In this article,  By relying on historical, mythological and symbolic studies, the author showed that the principle of the palm tree’s sacrifice  is rooted in the fertility rituals of the mythology of the changing season (spring equinox), especially the Tammuz, because the palm tree is the symbol of  Tammuz which is the god of Mesopotamian martyrdom. The rituals of Tammuz are also similar to the sacrifice of palm in several respects: the main character in both ceremonies is Tammuz. In ancient ritual of Tammuz, the palm is crystalized as a victim god (martyr-resurrector) and in today tradition is represented as the symbol of fertility (the cycle of death – nature’s tradition). Both ceremonies are held at 1^st Farvardin and ordibehesht. Tammuz has been based on fertility. In popular beliefs, it is also emphasized that cottage cheese, palm cheese, palm fruit and other components are effective in improving men's sex and fertility. Another important point is that the ritual is collectively organized on the ground (Nakhlestan). The baking of bread is also a common tradition of both religions.
 

---

The metaphorical and symbolic structure of the myth and its ancient foundations always provide the basis for the return of mythology in peoples' minds and languages. Ritual beliefs and ceremonies in different regions reveal the powerful presence of human thoughts and aspirations. The symbolic presence of mythical plants and animals in contemporary era is one of the characteristics of the mysterious nature of the past and of life, which refers to the hierarchy of life, that is to say, the passage of time from immortality to the universe of incarnation. Stone engraving is one of the neglected dimensions to trace this stage. The engravings of animals or plants on the tombs of different tribes may be proof of the presence of these mysterious phenomena of the human mind. They are mysterious attitude to life and death and always suggests the survival of mythological views and beliefs. In this research, the authors have tried to explain and study the cemeteries of the village of Souran using the method of mythical criticism and field observation. The results of the research showed that most mythic beliefs persist in the form of the symbolic presence of animals and plants along the signs of the foundation of myth, which testify to the resurrection and survival of early doctrines in general beliefs of the region; By moving through history and reaching the present age, it continues to affect the image and belief of people in the region.
 

---

Marxism is one of the most influential and yet controversial intellectual and philosophical movements in the twentieth century. Some critics have viewed Marx’s theory of history as unscientific and rather religious, mythic, and literary. Following that, we can understand his philosophy of history as a narrative text and therefore analyze it with the tools of literary criticism. In Iran, socialist realism style was introduced in the mid-1320 sand arose to extend the teachings of Marx and socialism. Drawing on the structuralism of Tzvetan Todorov and Marxist historicism, this paper studies the structural similarities of some of the most famous novels of Persian socialist realism, namely, Dokhtar-e Ra’yat,[1] Chashmhayash,[2] and Hamsayeha.[3] According to Todorov’sGrammar of Narrative, all the actions in these Iranian socialist-realist novels and their Marxist narrative of history can be reduced to three fundamental and recurring propositions: (1) establishing of a new authoritarian order or capitalism (equilibrium); (2) the emergence of class consciousness (lack of equilibrium); (3) repression of the opponents in the Persian novels, or realization of a classless society in Marx’s approach (equilibrium).   [1]. The Daughter of the Common  Man [2]. Her Eyes [3]. The Neighbors

---

---

Analyzing mythical content analysis of myths is one of the most important issues in the field of folk tales research. Birds are so important to humans in the distant past that they have been present even in the myths of different nations. In this research and by adopting the content –analysis research methodology, the authors have tried to investigate mythical content of birds among Luri’s myths gathered around Chahārmahal and Bakhtiāri, Kohgiluye and Boyer Ahmad and Lorestan provinces. The objective of the current study is to analyze the functions of birds on the one hand and the manner the mythical beliefs can influence the birds’ place on the other hand.  In this research and in comparison with mythological beliefs, the authors have studied the reasons for the transformation of the roles of certain birds in Luri’s myths. The results showed that out of a total of 140 Luri’s myths in 48 myths, birds such as eagle, Simorgh, crow, owl, swan, pigeon and asparagus are present with positive functions among Luri’s myths which may indicate their popularity among the people. It is worthwhile to mention that mythological and religious beliefs alongside the eco system exert the great influence on the place and function of the birds.
 

---

The combination of ancient Iranian cultural elements and Islamic beliefs has had different effects on the history of Iranian civilization. The convergence between Iranian themes and Islamic concepts and the efflorescence of the Islamic worldview have created a new style of Islamic- Iranian products that convey both an ancient culture and meet the goals of Islam. One of these productions is the history of “Shast –Bastan-e Div” which has been predominant in religious rituals, especially in the Ta'zīya ceremony. In this story, the eclecticism of the ancient evil concept "Demon" is clearly seen in conjunction with the history of Islamic hero; Imam Ali (AS).To this end, the writers of these narratives aim either to highlight the virtue and superiority of Imam –Ali in comparison with other ṣaḥābah or present the notion of evil in Iranian and Islamic culture as crystalized in texts. The texts of this story are related to less than 500 years and the earliest known source goes back to the 9^th century. In this research and by comparing six narratives of these collections, the authors have tried to describe the points of divergence and convergence of these texts at content and structural levels.
 

---

• The folk tales (Matals) are part of the Bakhtiāri oral literature, which include many beliefs, customs, lifestyles, history and ethnic and national myths. These stories are actively present in the unconsciousness of people and belong to the language of rural population and their narrators. They have an active presence and have meaning in their educational life and entertainment. Throughout history of Iran, the recording and analysis of each of these folk tales contribute not only to protect them from the danger of destruction, but also to enhance the country's cultural and literary capacities. In this research, the authors have selected “Sar Arreh- Pā Tishei” folk tale
  (Matal) from the Bakhtiāri’s people myths written by Katāyoun Limouchi. They have then analyzed and validated its narration from the viewpoint of mythical deep structure by adopting field study research methodology. In this folk tale, a sister swallows all living creature either livestock or humans in Ahriman way. This folk tale finds its root in Persian myths especially in Div (demon) , būšâsp and Soroush.
   

---

 
Farzad Ghaemi, Ph.D.
 
Abstract
"Mythological criticism" bears an anthropological base which interprets and paraphrases a literary work or some of its themes through to the in-depth structure of its archetype. In this study the story of Keikhosrow in Shahnameh is surveyed within the qualitative research method based on mythological criticism (with tendency and emphasize on archetype). The researcher has tried to interpret the alteration sequence of his myth regarding this approach.
According to this approach, Keikhosrow, king and the glorious Kiani priest, is a lofty and ideal symptom of the "hero" archetype. The building blocks of  his myths are: the symbolic being of water as an element and the myth of baptism, the power of granting blessing and remand of rain and greenery to nature, being in possession of the prediction cup, passing through the honorary trials to God's salvation, battle with Afrasiab, which is a repetition of the eternal sample of the battle between good and evil and its symbolic disappearance implying his eternal return and is one of the symbols of the archetype of "death and rebirth". The in-depth structure related to the archetype of this story seems to be; Keikhsrow is the "perfect human" of the Iranian epic at the end of " a great cosmic day"- which started from the "first human" ( Kiomarss); turning the mythological history of Iran to a repetitive  and systematic truth about the cosmological circle of creation.
 
 

---

 

 
Kh.Gholizadeh, PH.D.
Abstract:
Phoenix can perhaps be considered as one of the most important animals of Persian literature. From ancient times, a large number of experts have focused on this bird of Iranian mythology and compared it with other birds like Cyena, Indian Geruda,  Vargun, Kersheft, Amruvak, Marvi Ostayee, Chamroosh and Kamak in Pehlavi literature; Anqa-e-Arabi, Homa and Ghaghnoosh in Persian literature as well as Greek Phoenix, Anzavi Okadi and Sirang in vernacular literature. Later, phoenix entered into others domains from the Aristotelian domain such as epic/heroic and mystical literature or one dealing with artistic, painting, enameling and metal works. Root of Zoroastrian (Saēna) and Sanskrit (Çyena) for phoenix were actually meant for “eagle, hunting bird” and Merәgh in Indian and European dictums was related to duck. Apart from linguistic similarities, there are enough resemblance in anecdotes and fables related to this mythological bird. Characteristics like magical wings, fostering and nursing of heroes, connection with heavenly world, crucial and remedial, connection with immortal vegetation, enmity of eagle with snakes etc (all these are ancient and Indo-European). Features of Phoenix were such that in the emergence or meting of mythological birds whose names are absent influenced excellently.
After studying above cases, this article points about the relationship of phoenix with topics like astronomy, its comparison with the abovementioned mythological birds and variables of forms and shape of phoenix. Against common viewpoints that consider phoenix as a beautiful and heart-stealing bird, its appearance is composed of several aspects i.e. head of bat, body (and often head) of dog, wings of eagle and tail of peacock. These aspects have been identified since the time Sassanians and phoenix with this composition designed on clothes, utensils, decorative stones and coins. This aspect later caused phoenix to appear as a compositional existence named baškuj in the contemporary Iranian traditions like Armenians and especially Caucasian and Zoroastrian ones. In this new application, baškuj more in phoenix shape is adversary of Esfandyar.
 

---

The various representations of the sanctity of tree and plant have long been recorded in mythology, literature and culture. In the culture of the Kohgiluyvu-Bouir-Ahmad tribe, certain representations of the mythology of tree and plant enjoy from evident exemplifications. These include swearing, the ritual of the freshening up the houses, the alighnment of the human race with the plant, the symbol of the death and livelihood of the local poems, and the rituals of these people. The aim of this study is towards an analysis of mythological indices of plant and tree in the Kohgiluyvu-Bouir-Ahmad people with respect to the literary facets of these indices in their folk/local poem. Being fundamental in type, using content analysis, this study has been conducted based upon library-local resources and studies. Many of the indices such as hair cutting, freshening up the house using the plant smoke, believing in the healing power of plants and vegetal pedigree of human have got mythological representation, which can also be found in the culture of ancient Iran. Swearing to the tree is done mostly by farmers, intended to put an emphasis upon the greanness of the tree and proving the truthness of his words. They use mountain plants to freshen up their home environment and to treat illnesses. This is believed to remove the evils.
 

---

Our accessibility to myths has been limited for us throughout the history for some reasons. Today, most people has the concept of snake as pest and insidious simply for fear of bite and death. For this reason, human beings have come to reflect the continuation of an old tradition belonging to myths whose phenomena are the experiences and truths of people's lives, hidden in a myriad of stories and fantasies over time. This is certainly a combination of self and animals which has the domesticated role and is considered the symbol of power against animals. In relation to Shāmārān’s myth, the relationship between man and the snake has taken over time a new form to the extent that the snake becomes a part of human existence and forms a hybrid being. Shāmarān (half human - half snake), the myth of Kurdish culture, is one of the motives associated with this culture throughout history. In the motives of Kurdish people of Mokriyān, Shāmārān is the goddess of snakes which is the symbol of treasure and wealth attributed to it- an old metaphor of the knowledge it possesses. The myth, the repetition of animal motifs and their frequency of use, reflect the beliefs of the peoples in this culture. The snake is the most sacred symbol of the Kurds and the shāmār represents the material and immaterial knowledge and the conservation of the secrets for the Kurds. The method used in this study is descriptive-analytical and historical in nature, and it has been attempted to describe and compare the role of this animal in different parts of Mokariyān in Mahābād.
The results showed that Shāmārān is the symbol of power, wisdom, blessing, friendship and protection, and its image woven on the crafts of local residents such as the curtain, the handkerchief and the cradle indicates a strong presence.
 

---

In Iranian mythology and since the beginning of creation war has been a current theme. Some Iranian gods, such as Bahrām, Mitrā, Bād, Hoom and Soroush, are fighting for peace, security and purity on behalf of Ahuramazdā against Angra Mainyu (Ahriman). Myths play an important role in the collective and subconscious memory. As such, they have a profound impact on religions, arts, literature and general culture of all times. Therefore, this article examines the gods of war in the legends of Chahārmahāl and Bakhtiāri, Lorestān and Kohgiluyeh and Boyerahmad province. The research context consists of legends written in Persian in Chaharmahāl and Bakhtiāri, Lorestān and Kohgiluyeh and Boyerahmad province. The purpose of this research is to explain and analyze the presence of mythological war gods in the legends of the above-mentioned provinces. Through a careful reading of this article, the reader will understand that the gods of war such as Bahrām, Soroush, Wind and Mehr are present in the legends of these provinces, sometimes superhuman and sometimes terrestrial with metamorphoses in their appearance and function.
 

---

Rituals and arts, Iranian beliefs and traditions, and therefore the role and status of the ancient and innocent heroes of this land bring about diverse events in the rituals, myths and symbols of the Iranian Shiites, especially in Ashurā culture. The traces of these contents and thoughts can be found in many religious traditions. In this sense, the Ta'zieh manuscript is even more widespread because of its reputation among the general public. This article has attempted to show the impact of Siāvash's story on Ta'zieh version of Imam Hussein. Therefore the purpose of this research is through summarizing the two stories and their characteristics, to examine their similarities and their links with the mysterious birth of a celestial mother, their eternal aspect, their actions and reactions of nature to these heroes, their prediction and awareness of their destiny, their presence of supernatural, equipment, martyrdom, repetition of history, worship and protection, as well as common symbols and references. This research attempts to answer the question of how, in addition to tell a historical fact, it would be possible to combine the myths of mythical heroes with religious leaders in order to make the character more credible and even more praiseworthy.