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Showing 46 results for Epic

Seyedeh Maryam Ameli Rezaei,
Volume 15, Issue 57 (7-2022)
Abstract

Archetypic criticism is an approach which has had considerable development in writing the scientific papers in recent decades. It is mostly used in literary studies and is interconnected to the literature. Designed by a research plan, this paper studies the archetypic criticism in Iran discussed in literary criticism in the academic papers related to the epic genre, and analyzes the discourse of archetypic criticism, its repetitive elements and also the development of such elements in papers. It starts by reviewing the works of effective individuals on introducing archetypic criticism, its discourse, its historical and thematic developments in epic genre, employing a descriptive- analytical method. Interdisciplinary studies have focused on archetypic approach since the 1960s. In the 1980s and 1990s, many authors especially those who are now well-known in this field, opened a new way in studies of archetypic criticism. The dominance of content analyses, comparative reading and discovering the meaning, are some considerable specifications of papers of this period. During the 2010s many academic papers were published on this matter and the current paper has investigated their structure and method.
Extended Abstract
Archetypic criticism is an approach which has been considerably developed in recent decades. This type of criticism is mostly used in literary studies. Derived from the research plan, this paper studies and analyzes the archetypic criticism in Iran in academic papers related to the epic genre, and analyzes the discourse of archetypic criticism, its repetitive elements and also the development of such elements in papers. As already mentioned, Studies on Shahnameh [The Book of Kings] were mostly shaped by orientalism at the beginning of the century. Following nationalism and the establishment of new concepts such as government- people, epic studies and especially works focusing on Shahnameh, expanded in an extensive form. Before the 1950s, they were mostly related to the content analyses, vocabulary and linguistic studies, and so they could be considered as historical and sociological introductions to Shahnameh. From the 1950s/1960s, psychological and mythological studies in literary studies were introduced to the field.  At first, papers and books on Shahnameh, written at the beginning of the century, were reviewed and then papers on archetypic criticism of epic genre from the 1990s were studied. The style of writing has seemingly changed during the 2000s and 2010s. Scientific research journals provide an academic requirement for essay writing with the predetermined methodologies. Many academic papers were produced within these two decades. Their main structure was studying the details, choosing two or more elements and trying to employ the theory in the context. As observed in many papers, this approach has both advantages and disadvantages. In the 2000s, attention has been given to visual specifications and natural elements in myths but in the 2010s, the characters were related to more complicated definitions of archetypic criticism such as shadow, persona and perfection of hero. Travel, rebirth and decorum patterns are apparently the most significant ones in this period.
 

میلاد جعفرپور, Abbas Mohammadian,
Volume 16, Issue 61 (7-2023)
Abstract

Knowledge of literary genres is one of the oldest and most influential intertextual approaches that has been used to classify texts since the past and has been subject to change. But the background of the theory of genres in Iran is less than a century, and its justified application in a comprehensive way in many fields and literary trends is still facing ambiguities and challenges. For example, in classifying ancient narratives, the question arises: on what basis and with what considerations can the dominant literary genres in these texts be proved? The lack of serious research and criticism in response to this question has led researchers over the decades to classify ancient Persian stories by resorting to self-invented, unscientific literary terms without methodological explanation, while the common terms not only fail to give a comprehensive indication of the content and linguistic characteristics of such narratives, but even keep them in a genre indecision or lead them to several similar genres. Since one of the functions of motif study is to determine the literary genre of the texts, the present study has attempted to draw on the Aristotelian theory of genres to utilize this potential talent and prove for the first time through the method of inductive reasoning and relying on the statistical community based on the study various motifs of three stories of Abu Tahir Tarsusi that their literary genres belong to the epic.
Extended Abstract
1. Introduction
Prose stories, as one of the oldest currents of Persian literature, are voluminous and generally sequential texts (with supplementary appendices) and report on the actions of kings, generals, and warriors who are often in the shadow of history or in a few cases are basically imaginary and are considered to be created by the minds of storytellers.
1-1. Significance of the Study
Despite their ancient background, the Persian prose epics have not yet found a certain place in the history of Persian literature from the point of view of literary genres, and in research they are generally presented under vague terms such as story, legend, romance, folktale, fantasy, or romance. The above terms, in the absence of comprehensive information on the content and linguistic characteristics, are unable to determine the parent literary genre or subgenre for the above narratives, and often focus unilaterally on the type of narrative or some elements of the story, and sometimes overlap with other non-homogeneous texts. And they leave the literary genre of the text in limbo. Most importantly, researchers have not yet found a methodological and theoretical approach or a logical explanation to justify the use of these terms for the texts in question.
1-2. Problem
The main problem is how to get beyond the stage of asserting the genre and unrelated literary terms and reach the stage of hypothesizing the definition of literary genre and proving it through in-text investigations. So far, the researchers who have written in the field of criticism of fictional narratives have referred to the literary genre of fictional narratives only with short phrases and self-made titles, but the present research attempts to rely on the frequency of the statistical approach and the representation of the statistical community, the hypothesis of a coherent flow of narratives. Prove a story in the literary genre of the epic.
1-3. The Purpose and Method
The main purpose of the study is on the function of the thematic approach in determining the literary genre of the narrative, using a statistical method. Therefore, based on the theory of Aristotelian genres and using the thematic approach, the themes mentioned in the three narratives of Dārāb-Nāmeh, Qirān Habaši, Musayyab-Nāmeh were first analyzed in an inductive manner and divided into four sections: Epic and Ayyāri, Lyrical, Amazing and Dignity. Based on the obtained frequency results, the premise of determining their literary type is then proved.
1-4. Literature Review
Although studies have been done in the last decade on the subject of literary genre in the form of authorship and translation, the field of research focusing on Persian literature has been completely neglected due to the importance of motif in determining the literary genre of the text, and there is no research to support this.
1-5. Theoretical Basis
1-5-1. Motif
Motif is one of the terms defined by Russian formalists to understand the cause-effect relationships of the components of a narrative. "Motif" refers to structural and semantic elements such as actions, events, concepts, and objects that have become exemplary elements through repetition. Although it is not considered a fixed part of the narrative, it is a temporary feature that gains importance in a particular narrative situation and usually due to its repetition. Besides the central role of subtexts in knowing the cause-effect relationships of the components of the narrative, the most important function of subtexts is to help in the classification and typology of narratives, which has not received much attention so far.
1-5-2. Literary Genres
If we are to have a scientific view of literature, we should be able to classify literary works as far as possible, and to place similar kinds of literary works in special classes relatively rather than absolutely. After all, the most important characteristic of science is that it can classify; this task is accomplished in literary studies by the approach of "literary genres." Motif is considered one of the main characteristics of literary genres, and its role in this field has not received much attention so far. A literary genre is characterized by a set of features and formal structures that occur in an orderly, cohesive, and simultaneous manner, and motif is one of the most important features mentioned.

1-6. The Case
Since Abu Taher Tarsusi is considered the most prominent narrator in the field of ancient Persian prose narratives and a considerable number of authentic fictional texts are also attributed to him, motif analysis was given preference in determining the literary text type on the basis of the three selected narratives by Tarsusi, which are briefly presented below.
1-6-1. Abu Taher Tarsusi
Abu Taher Tarsusi was born at the beginning of the second half of the fifth century of the Hijri (450 AH) and the last period of his life coincided with the end of the first decade of the second half of the sixth century of the Hijri (560 AH). His works include Dārāb-Nāmeh, Qirān Habaši, Musayyab-Nāmeh, Abu Muslim-Nāmeh, Qahramān-Nāmeh, Farāmarz-Nāmeh, Houšang-Nāmeh, Ayyār-Nāmeh, Tavārikh-Nāmeh.
2. Discussion
2-1. Epic and Ayyāri Motifs
According to the results, 1534 instances of common epic and Ayyāri motifs were observed in all three narratives, and among them, Abu Taher Tarsusi provided the highest number of epic and Ayyāri motifs in Qirān Habaši with 549 instances. This is followed by Musayyab-Nāmeh with 538 cases and Dārāb-Nāmeh with 447 cases in second and third place.
2-2. Lyrical motifs
Based on the results, 270 instances of common lyrical motifs were observed in all three narratives, of which Abu Taher Tarsusi in Qirān Habaši provided the most space for lyrical motifs in Qirān Habaši with 125 instances. This is followed by Dārāb-Nāmeh with 117 instances and Musayyab-Nāmeh with 28 instances in second and third place.
2-3. Amazing motifs
Based on the results, 433 instances of surprising common motifs were observed in the three narratives, of which Abu Taher Tarsusi provided the most space for the occurrence of surprising motifs in Dārāb-Nāmeh with 303 instances. This is followed by Qirān Habaši with 77 cases and the Musayyab-Nāmeh with 53 cases in second and third place.
2-4. Dignity motifs
Based on the results, 275 common motifs of dignity were observed in the three narratives, of which Abu Taher Tarsusi in Dārāb-Nāmeh provided the most space for the expression of dignity motifs with 190 instances. This is followed by Qirān Habaši with 63 instances and Musayyab-Nāmeh with 22 instances in second and third place, respectively.
3. Conclusion
After examining the three narratives of Dārāb-Nāmeh, Qirān Habaši and Musayyab-Nāmeh using the motif analysis approach and evaluating the set of their motifs in four parts, according to the report, a total of 2512 common motifs have been identified from these narratives. With 1534 cases, amazing motifs with 433 cases, dignity motifs with 275 cases, and lyrical motifs with 270 cases have the highest frequency in the narratives. Based on this content approach, the three mentioned narratives show their obvious belonging to the epic genre among the long traditional narratives of Iran due to the predominance of epic motifs in them.
 

Volume 16, Issue 96 (1-2020)
Abstract

Pistachio is one of the most important strategic agricultural products of Iran which is extremely important from different economic and social aspects. Paying more attention to maintaining the quality of the crop after harvest is also important to other crops for higher yields. In this study, in order to evaluate the quality, physicochemical and organoleptic properties, pistachio cultivar Ohadi was prepared and dried with epicarp (outer skin) and conventional method (without epicarp). In the usual method, with water floatation, Sinkers (underwater) and floaters pistachios were isolated and treated as two separate treatments. At the end of the first, second and third month after pistachio drying, samples were taken from each treatment and randomized complete block design of physical properties (total weight, kernel weight, shell skin weight, moisture content and shell skin color). Chemical properties (fat percentage, carbohydrate, protein, fiber, ash, dry matter, percentage of phenolic compounds and oil peroxide number), organoleptic properties (taste, odor, appearance and texture) it placed. The results showed that processed with epicarp method and conventional method had no significant difference in physical and organoleptic properties at the 5% level of Duncan Multiple Range Test. There were no differences in chemical properties between percentages of carbohydrate, protein, fiber, ash and dry matter. But the percentage of fat was lower than the treated samples sinkers (under water). The presence of higher phenol content and lower peroxide content showed an increase in the quality of processed pistachios with epicarp. While this method saves water and energy consumption and reduces environmental hazards caused by waste and wastewater from conventional processing, it can improve the antimicrobial, antifungal and antioxidant properties of phenolic compounds present in our skin for producing healthy pistachios.
 


Volume 17, Issue 70 (5-2020)
Abstract

Translation and publication of the Persian novel in the epic genre after the revolution and war; especially in the West, despite the rapid, growth of quantity, major changes and new forms of content, has been very slow. It seems, Regardless of the political aspects and disagreement of the sacred and ideological content of these works with a Western audience, at least, Failure to discover and selecting suitable examples of existing novels – which have most harmony with Western taste - is something that by Attention and correction, can be Reinforcement for Publication and promotion these works outside Iran's borders. In this article, a random selection of war novels based on rhetorical (audience-based) criticism, Based on the national psychology of the English people as exemplified, in the manner of Kenneth Burke, is criticized and analyzed. The critique and analysis of the three novels "Clash" "Under the Cherry Tree" and "In Search of me", which are almost at the top, below and in the middle of this adaptive spectrum, are fully embodied. The result is a wide and varied range of maximum to minimum conformations, as the capacity for acceptance and persuasion by the English audience. So it seems, on the possibility of promoting and propagation a Persian novel in England, we should have to go into detail: some of these works are well-suited to be present in the UK's cultural space, and some are not. A group may also, with some form of editing, find the context needed to better communicate and attract Western audiences for persuasion and influence. The results can also serve as a mirror for Iranian writers to expand their global audience. 
 

Volume 19, Issue 77 (12-2022)
Abstract

A newfound manuscript which is known as Kolliat-e Garshaspname , is one of the scrolls which Its final form  has been written in Qajar era.The author of this manuscript, Morshed Gholi, has prepared this mentioned manuscript  based on a manuscript by Sef Aldin which had been related to the Safavid era (Shah  Tahmasp ) . The review of this manuscript shows that the writer has been familiar with the multiplicity of narations and has not been a mere copywriter. One of noticeble interesting narration is the death of Nariman and Garshasb in the Sepandkooh. In spite of Garshaspname naration, in this naraition, Garshasb doesn't die of natural death and is killed by the force of magnetism. The authors of this article not only introduce this manuscript but also show its linguistic and stylistic features. Based on this study, the manuscript has a simple language and using ellipsis and participle are the obvious Syntactic features of the manuscript. In terms of rhetorical aspects mainly, contains, exaggeration, irony and similes, which are mostly sensational, banal and streotype. In addition Rhyme and pun rarely exist in this manuscripton.



Volume 21, Issue 1 (1-2014)
Abstract

This paper aims to explore the relationship between epic poetry and national self-consciousness and in particular study how Shahnameh may be analyzed from this angle. What is the relationship between the Shahnameh and the Iranian national self-consciousness? What can one say about the Iranian national self-consciousness on the basis of this text? What does the text reveal about the Iranian identity? A related question should also be answered, is the Shahnameh an epic? This is not a pedantic question concerned merely with definitions and labels. As will become clear, an epic reveals a great deal about the national consciousness of the people to whom it belongs (or who belong to it); to identify a poem as an epic, is to be making an important statement about the national consciousness of a people. The question of whether the Shahnameh is an epic or not is hence far from a pedantic one. It takes us right into the heart of Iranian national consciousness

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