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The aims, questions, hypotheses and research methods
In this research, we try to emphasize the differences between the oral narration of the people of Kohgiluyeh and Boyer-Ahmad and the original story of Kaykhosrow in Shahnameh. While rereading the epic foundations and myths of this story, we investigated the holy image-myths of Kaykhosrow in the popular literature of Kohgiluyeh and Boyer-Ahmad.
In this article, we seek to answer the following questions: How is Kaykhosrow's image in popular culture and literature of Kohgiluyeh and Boyer-Ahmad? Which epic and mythical themes from the story of Kaykhosrow are reflected in the narrative of the people in Kohgiluyeh and Boyer-Ahmad?
The hypothesis of this research is that according to the heroic spirit of the people of Kohgiluyeh and Boyer-Ahmad and their familiarity with rough and war-torn mountains, the narrative of Kaykhosrow's story has changed among residents of Kohgiluyeh and Boyer-Ahmad in order to strengthen the epic themes.
The research method, in terms of basic aim and data collection, followed library-field studies, and the data analysis was done through qualitative content analysis and structured interviews.

The main discussion
Although Kaykhosrow is a multifaceted character and all the epic and heroic features, along with his spiritual functions, are evident in his character, the last parts of his life and his glorious journey are the reason for his pious personality, and such a journey is not very prone to the emergence of epic themes.
However, the people of Kohgiluyeh and Boyer-Ahmad, in their oral narrations of this story, have introduced the themes of war and militancy in different dimensions of the story, in such a way that we think the story has remained the same.
The changes that the people of Kohgiluyeh and Boyer-Ahmad have made in the original story of Kaykhosrow, besides linking this national- heroism story and its characters with the geography of the region, show that they are very interested in the national epics and heroic stories, revealing the region's special talent for attracting epic themes.
On the other hand, many ancient foundations related to the Zoroastrian religion have remained in this region and have represented themselves in the popular narrative of the story of Kaykhosrow; therefore, the image of Kaykhosrow in the culture of the people of Kohgiluyeh and Boyer-Ahmad has two epic and mythical aspects that have found a sacred position.
Conclusion
So far as epic is concerned, the changes in Kaykhosrow's story have taken place with the emphasis on the elements of heroism, heroic ritual, war and military campaign, and epic actions and beliefs. Evidence indicates that reading Shahnameh, the familiarity of the people of Kohgiluyeh and Boyer-Ahmad with Shahnameh, and the special epic feelings that these stories have created among the people of this region, have a direct relationship with their brave and stubborn nature.
On the other hand, in the beliefs of the people of Kohgiluyeh and Boyer-Ahmad about Kaykhosrow, the delivery of the Gitinems Cup to the king in the spring water, Hatef's inspiration to Kaykhosrow (Kaykhosrow's eternal life), his horse and dog in a cave where the source of life and plants were in a spell, the sanctity of the plants, among others, there are themes that are rooted in the ancient customs and myths. This shows that the culture of ancient Iran is still alive in this area and continues to live in other forms.
 

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Linkage with ancient heritage and especially mythical heritage is one of the main characteristics of contemporary Arabic poetry in general and Egyptian contemporary poetry in particular. Egyptian poets have tried to draw inspiration from myths in order to authenticate their works, as well as to speak more covered and literary and to represent their considered concepts with cryptic and symbolic expression. In this regard, the myth of Isis and Osiris with resurrection secret, again life, immortality and fertility is one of the most important myths of contemporary Egyptian poetry which has a significant and pivotal presence in the theme of their poetries and has helped them to illustrate their personal and non-personal concerns. In the active presence of these two mythical characters and their crucial role in representing concepts, the purpose of present study was to investigate how their presence and the ways of their recalling and using by three contemporary Egyptian poets, include "Amal Danghal", "Salah Abdol al-Sabour" and "Ahmad Abdol Al-Matta Hejazi" , using an analytical-descriptive method. It can be deduced that the mentioned poets have had a socio-political interpretation from the myth with their extensions and reflections and tried to provide approaches to overcome the various challenges the inclusion of these two characters in their lyrics. Therefore, the mentioned myth may testify the wishes and desires of its poets.

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The larvae of certain species in the Noctuidae family cause significant economic damage annually. Due to the importance of this group, specimens of the subfamily Noctuinae, specifically from the tribe Leucaniini, collected from the Fars, Ilam, Kerman and Khuzestan provinces were studied. As a result, among the nine identified and studied species from the genera Mythimna and Leucania, four species from Khuzestan province, three species from Ilam province and one species from Fars province were registered as new provincial records. Additionally, the distribution of Leucania (Leucania) herrichii Herrich-Schäffer, 1849 was confirmed for the first time in Iran. Further studies on this tribe in different parts of Iran are recommended.

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Return to myths and this symbolic presentation within the framework of novels, can, on one hand, be a reaction to an inappropriate political or social event, and, on the other hand, can be considered as an approach for the need to review the foundation of national thoughts. The mythical novel “Yeklia and His Privacy” is one of the Farsi mythical novels which have been penned after the 1953 coup, based on the above-stated motivations. What makes it necessary to reconsider this novel is the out of norm inclination of Taqi Modarresi in reconsideration of a non-indigenous myth. Given that reconsideration of the mythical narration of this novel can lead to a logical analysis of Modarresi’s inclination toward a non-indigenous myth; this descriptive and analytical study which is based on inter-textual consideration has made every effort to present an alternate interpretation of this novel. According to outcomes of this analysis, the writer of “Yeklia and His Privacy” has more than any other myth matched the deep structure of his work to the myth “Lilith” in the Old Testament, and its character “Tamar” and his actions. But what has drawn this writer to this Old Testament myth is the inter-textual bond of this novel to the short story “Leyla, the Iranian Girl” written by Anatole France. In this short story, Iran is considered as the home of “Lilith”, the angel of night, prior to the residence of Iranian tribes; a land which Lilith, via collaboration with Satan, intends to return to. The 1953 coup can be considered as one of the efforts made by Lilith to return to Iran, resulting in dominance of corruption, disconnection in social bonds; and the dominance of the sense of solitude.

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The idea of duality and the mythical pattern of the cosmic battle is one of the major religious themes of Iran, which can be seen both in the content and in the executive structure of the Iranian theatrical traditions. In this mythical plot, two characters with opposite natures or opposing goals duel with one another, and in result, a kind of creative consequence such as liberation of water, liberation from captivity, moving from chaos to order, or a fertility of the world might occur. In some theatrical traditions of Iran, we trace the similar reflections of cosmic battle, a battle that symbolically represents a mythical primordial event, and via this imitable pattern, people, objects, and places of performance transcend each part of which becomes a manifestation of the sacred act/object. In this article, an attempt was made to take advantage of the mythological roots to examine the manifestation of the sacred in traditional performances such as “Sukhan-vari”, "Daeeshmeh Ashiq", "Pahlavan Kachal" and "Mir-e Nowrusi” through the perspective of Mircea Eliade’s historiography. The researchers tried to explore how this pattern, particularly the concept of cosmic battle, is represented in a series of traditional performances that have been considered as a part of idiosyncratic and life necessity in popular culture.
 

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For many centuries, there has been a myth of a creature with a female head and snake body called Shamaran among the Iranian Kurdish people. Respect for this myth has always been associated with special rituals. In the book One Thousand and One Nights, which is one of the most important literary and cultural works of the Orient, there is a story called "Queen of Snakes and Haseb Karimuddin", which is very similar to the story of Shamaran. The traits of these two stories are also a recalling of the myths. Undoubtedly, many folk tales, beliefs and cultures are deeply connected with ancient myths. The main aims of this study is to investigate the role of Shamaran myth in the formation of the story of the "Queen of Snakes" and to find the common roots of the two. Therefore, the main theme of this story, which is human-snake, is examined. The findings of this research, which has been done in a descriptive-analytical way, showed that the story of the "Queen of Snakes" is based on the myth of Shamaran, and this myth is rooted in religion and myth of the most important Iranian civilizations, the ancient Elam.
 

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Girl in a Fur Coat is the name of a motif in which a girl escapes her father's harassment. She is looking for a way to escape and find the solution in a skin that covers her from head to toe. This motif, which is classified in the Arne-Thompson list under number 510B, is called "donkey skin". In the classification of Iranian tales, it is called "Cinderella" and in the classification of Arabic tales it is called "shirt like the sun, shirt like the moon and shirt like the stars". This article tries to introduce the mentioned type because it is not well-known among Iranian researchers of folk literature. In addition, by using the collection of works in which the folk tales of Iran as well as the lands of Egypt, Saudi Arabia, Morocco, Sudan, Palestine, Iraq and Jordan are gathered, the Iranian and Arabic narratives are analyzed. To this aim, these narrations can be divided into several categories. Studies show that based on the girl's solution to escape from her father's house, the narrations of this motif can be divided into three categories: 1-510B: The girl hidden in the object; 2-510B: Girl in a fur coat / wooden mannequin; 3-510B: The girl and her brother. Also, this research, based on Propp's hypertext model, seeks to find the beliefs and customs that make up the "fur-clad girl". Myths and customs found in Zurvanism and Zoroastrianism can be considered as the origin for this type in Iranian stories, because it mentions the intercourse of Ahura Mazda with his mother, sister and daughter, and considers "xᵛaētuuadaθa" a ritual and sacred act.
 

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Myths have a special place in preserving the ancient culture and customs of Iran. One of the most important myths common among the native residents of Boyer Ahmad and Dana cities is the myth of the journey of Khosrow, the King of Iran, to Mount Dana, located near the city of Siskhet. The current research is based on the historical-analytical and comparative method, which is based on library studies, documentation and archeology. Considering that the legend of Khosrow's journey can be clearly seen and heard not only in the stories and minds of the people of Boyer Ahmad and Dana, but also in the geographical areas and the names of its places, it is considered one of the major myths. It turns out that not only its substantive affinity can be found in the myths of other nations, but it can also be studied in historical books, especially Ferdowsi's Shahnameh; for this reason, it seems necessary to study the mentioned myth. Therefore, locating the geographical names of the myth of Khosrow was done to answer the following main questions: What are the most important reliable written sources that refer to the myth of the journey of Khosrow to Mount Dana? To what extent can we rely on archaeological evidence about the myth of Khosrow's trip to Mount Dana? In addition to Ferdowsi's Shahnameh, in the first-hand historical sources written by Islamic historians in the third and fourth centuries of Hijri, including Ibn Athir, Hamdallah Mostofi, Hamza Esfahani, and Gardizi, the myth of Khosrow is mentioned from the perspective of a historical event. One of the most important archaeological documents and evidences related to the legend of Khosrow is Tel Khosrow near Yasouj, which was explored by the Austrian archaeologist Hanis Gaube.

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The theorists of intertextuality observed a new meaning of the text that there is no text without a pretext, that the text is not closed, independent and self-sufficient, and that every text is a memory of other texts. In this research, we investigated the ritual and performance in the ceremony of "Tir-ma-size Sho" in Mazandaran. Considering this ritual as a text, and using Genette's transtextuality, the effect of this ritual from previous texts (hypertextuality) was investigated and the role of different texts in the performance of this ritual (intertextuality) was discussed. The purpose of this research is to study the relationship between ritual and drama in order to answer the following question: What is the co-presence of ritual and drama in "Tir-ma-size Sho" from the aspect of transtextuality? The article is done in a descriptive and analytical way borrowing Genette's transtextuality approach based on library research. The hypothesis indicated that in the transtextual relationships of "Tir-ma-size" ceremony, there is a co-presence of various systems such as the dramatic and ritual system with the pretext derived from the mythological sources. The action of "trifunctional" based on “Sovereignty”, “Military” and “Productivity” can be checked in this ritual. The practical battle of good and evil is a dramatization of Tishtar's fight with the demon of drought. It is also a manifestation of the battle with the demon, the enemy of the vegetable gods and plants. "Laal Shu" can be seen as the continuation of Arash's life in the form of a plant symbol that brings existence, birth, and life to people.
 

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Abstract

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Introduction
“Ferīdōn” is an Indo-Iranian myth whose story is narrated in the Avesta and Hindu Rigveda with little difference, and the meaning of his name is "third". From two hundred years ago up to now, researchers have been looking for the cause of this naming and have not yet responded. In this article, after the introduction and Research background, in which the linguists' opinions about the etymology of Ferīdōn's name are criticized, the mythical Theoretical framework is analyzed.
2. Discussion
In this part Ferīdōn Function is explained in three steps:
3 1. Transfer « Farreh-e Kiāni »  and Function of the Priest-King from  Jamshid to Ferīdōn:
In this step, we showed that the important role of the Priest-King has been transferred from  Jamshid to Ferīdōn. The force to which this transfer depended is the « Farreh-e Kiāni ».
3- 2. Possession of twin pairs that are a symbol of fertility (Jamshid Sisters: arənavak. and  saŋhavak):
These two sisters, like the goddesses of fertility, never grow old and ugly, and are symbols of fertility that, like the throne and Farreh-e Kiāni , are transferred from one kingdom to another.
3- 3. Transfer of the function of the totemic position to (in the body of the totem cow):
The cow is a sacred animal in Indian and Iranian culture and mythology which is the symbolic ancestor of and the common surname in her family who were generally farmers.
The next part was Data Analysis. In this section, the mythological function of the myth is analyzed on the basis of Diachronic semantics.   In the naming of mythology, the "name" makes abstract of the first function of a myth. When no written documentation exists, historical linguistics can extract this function of the myth from the name of that myth. This essay attempts to reveal the secret of the naming of Ferīdōn, by adopting diachronic etymology of the name of the myth with its function. In Vedas, the meaning of the name of his two older brothers is "first" and "second". This research proves that, at the earliest time, the cause of the name of Ferīdōn was the third and best producer of Haoma (= Vedic Soma), or that he was the son of the third producer. Diachronic Etymology has also proven that he was the son of the god of waters and inherited the throne of the father.
Conclusion
 In Iranian mythology, the Dissociation of characters has complicated the problem. Therefore, the results of this paper have shown that in the analysis of Ferīdōn 's mythical function, three dissociations have occurred. The first is the dissociation from āθwya to Trita. In this step, the synthesis of mythology has included the state of Transforming "Trita āθwya" into the second and third producer of Haoma
The second dissociation, was dissociation from Ferīdōn to Garshasp. In this step, the synthesis of mythology has included the state of Transforming third producer of Haoma two heroes with Farr-e Kiani and Farr-e Mehi
And finally the third dissociation, was dissociation from Ferīdōn to Iraj. In this step, the synthesis of mythology has included the state of Transforming the function of the third brother to his third son to belong to Farr-e Kiani to Iran.
This function recently has become the model of the victory of the third son and the myth of the three brothers, due to the sublimation and holiness of the Myth number of "three" in all religions.
 

 
 

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The definition and concept that every human has of the phenomena, while being specific and individual, is connected to the common spirit of the group and leaves a mark and memories of the group. Thinkers and critics of humanities have placed this common collective spirit and general thoughts in the category of implicit concepts. Implicit concepts that are the same as myths from a point of view.

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The transfiguration of a person into a corpse is one of the mythological and symbolic elements in Kurdish folktales. In transfiguration, the shape and nature of creatures are changed from one state to another by using supernatural power of person or creature. The current study was carried out in a descriptive-analytical method based on the library sources and field research. In this research, using mythic criticism, the roots of petrification were investigated. Then, the way people faced it, as well as the causes and tools necessary to get rid of this change, were discussed. The results showed that the reflection of mythical beliefs, passing through history and reaching the present age, in Kurdish folktales, shows the immortality and dynamism of these beliefs, by deciphering and analyzing of which, the common root of this mythological view can be discovered and interpreted.
 

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The clothes used in ritual ceremonies show the continuation of an ancient mythological rite. The type and color of the clothes, decorations and objects used in rituals have certainly a symbolic root; though not everyone who is wearing these clothes or using these objects is necessarily aware of their symbolic meanings. This research, in an analytical and descriptive method, is dealing with the relation between clothing and ritual-mythological ceremonies. In every ritual ceremony, we are witnessing special clothes and tools related to that special ritual. Different nations and tribes have different mythological narratives, usually with a common root, regarding the process from primitive life moving towards the modern life. The subjects related to the industry, producing fabric and the method of putting on the clothes are normally ascribed to gods, while in epics they are attributed to the characters and heroes. The color of the ritual clothes is in harmony with the universal symbols and their roots could be found in the mythological beliefs.
 

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Figure-transfiguration is one of the commonly used themes of folktales, which refers to changing the appearance and the basis of existence and legal identity of a person or something by using a supernatural force. Various forms of representation and its semantic implications are rooted in the mythological thinking of mankind. Therefore, in the present article, based on the descriptive-analytical method and mythological sources, the figure-transformation of four volumes from the ten-volume collection of Khorasan legends have been extracted and categorized. Then, the connection of each type of figure-transformations with mythological elements was analyzed. The result of this study showed that in the 79 investigated stories, there were 165 cases of personification, in which the mythological functions of animals such as snakes, lions, pigeons, roosters, deer, etc. were symbolically manifested in the personification of talking animals. Also, the transformation of objects into humans in Khorasan folktales can be a reflection of animism. The mythical essence of immortality and plant descent of man is reflected in the transformation of man into plants such as watermelon, reed, pomegranate, orange, etc. The metamorphosis of demons and fairies into humans and other creatures indicates the influence of Iranian mythological beliefs regarding their demonic nature.
 

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One of the basic fundamental factors of knowing mythological sources, and preserving and promoting them is to conduct scientific studies in the field of popular folk culture and literature. Swearing, in its various forms, is one of the rituals that has long been manifested in Iranian popular folk culture and literature in various ways. In this study, we analyzed the bite-taker ritual, as an instantiation of swearing (Var) in the Bakhtiari tribe. It was assumed that this ritual takes root from the traditions of ancient Iran. Emphasizing its importance among the Bakhtiari people, this ritual was known to recognize the right-doer from the wrong-doer. So far as the bite is concerned, right from the wrong and the correctness of the word is the importance of the bite from the perspective of the Bakhtiari people. In this study, firstly, the story of bite-taker was narrated and, secondly, their literary manifestations and mythological aspects were investigated. The data was qualitative, and the method of data collection was based on field-library sources. The method of data analysis was in the form of qualitative content. After examining various sources and analyzing the literary and mythological manifestations of motifs of the bite-taker test in the Bakhtiari people, it can be argued that this ritual is a remnant of the ritual of drinking sulfur water in ancient Iran, which, by preserving mythological elements among Bakhtiari people, is believed to be the last solution to prove the truth of the word and distinguish right from wrong. Besides, some certain elements of this test, such as the presence of fire, wearing perfume and white clothes before the test, and perfume, are considered as reminiscent of the story of Siavash in Ferdowsi's Shahnameh.
 

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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.
 

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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 3^rd 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).
 

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The literature of popular culture, based on beliefs, thoughts, and desires, has featured many adaptations and revisions of mythical epic narratives. It has been used as a model to create new stories that afford insight into the general perception and perspectives on these tales. This study aims to undertake a comparative analysis of the characters, actions, and mythical epic motifs of the story “Kor-e Asb-e Siah” in Bakhtiari culture and the story of "Siavash" in Shahnameh using document analysis. The comparative investigation encompasses an examination of their social backgrounds, physical attributes, and actions of stepmom characters, horse characteristics, and seeking asylum in another land. The results demonstrated significant similarities between these two stories; the main protagonists are princes with indeterminate maternal lineage, possessing corporeal beauty and horses that share similar qualities such as color, intelligence, and the ability to jump high. Additionally, their stepmothers are seeking for a sexual desire, both ultimately taking refuge in another land, getting married, and building a city and palace for themselves. Nevertheless, there are divergences between these stories; the story of Siavash features more politically motivated character behavior, whereas “Kor-e Asb-e Siah” emphasizes on familial matters. Hence, it could be concluded that “Kor-e Asb-e Siah” in Bakhtiari culture is a creative retelling or adaptation of the story of Siavash.