Showing 7 results for Amir Arsalan
Volume 1, Issue 2 (7-2013)
Abstract
Narration (Naqqali) is one of the oldest jobs, which is common in Iran. Some of the narrators (Naqqals) were engaged in Kings Court, known as the “Samar Khan”, “Qesse Khan” and ”Naqqal”. “Naqalbashi” was a position title in the court of Qajar. Some of the Narrators (Naqqals) were “Naqibalmamalek”. One of the most famous Naqibalmamaleks was the narrator of Amir Arsalan. Years after the publication of Amirarsalan's introduction by Mohammad-Jafar Mahjoub, Mohamed-Ali Nqibalmamalk was known as the narrator of the story. In recent years, a number of researchers in the field of folk literature know Mirza Ahmad as the narrator of Amir Arsalan. This article primarily explains Mirza Ahmad’s biography and then, according to one of the most important resources in Qajarid period, proposes that Mohammad Ali Naqibalmamalek was the narrator of Naseraldinshah’s court as well as Mirza Ahmad, and therefore, jodgement on which one was the true narrator of Amir Arsalan is too difficult.
Hadi Yavari,
Volume 1, Issue 4 (12-2008)
Abstract
Formula is a structural element of popular romances. This essay analyzes the situation of this element in the romance of Amir Arsalan. First, the concept of formula in the field of oral composition is defined; then functional arrangement of formulas is presented (formulas construct linear process of the story, shape the space of the story and dialogical formulas); afterward, through analyzing the subset of this three major groups, qualitative and quantitative effects of the factors such as literary tradition, naqqali's (storytelling) tradition, naqqal (the storyteller), addressee, writer, social setting and other factors depending on this romance have been demonstrated. It should be pointed out that among the above factors the influence of epic and lyric text and artistic prose, domination of metaphorical pole of language and poetic quality of the text and sensible effect of the addressee and the writer of romance (Naser al-din shah and Fakhr al-dowleh) on the process of creating the romance have been also influential.
Volume 5, Issue 12 (3-2017)
Abstract
Archetypal criticism is one of the contemporary literary criticism main approaches which discovers the nature and characteristics of the myths and archetypes and their role in literature. This article tries to carry out archetypal criticism of “The story of Amir Arsalan” according to the Jung’s individuation theory. As the hero searching progress and perfection and finding his archetype, Amir Arsalan begins journey and awakes by seeing the image of Farrokhlega (his anima) and achieves new levels of awareness. By passing of the persona archetype he can eliminate the shadow and get married and unify with anima (Farrokhlega) by the help of the wise old man and ends his individuation process and finally, he achieves his archetype. However, he experiences death and rebirth archetypes as revival of life and inner revolution by entering to cave and well- indicating return to fetus period(ritual death)-leaving there as the secret of rebirth.
Volume 5, Issue 18 (12-2017)
Abstract
Folk tales reporter's stories and adventures of people from different social classes and generally low reputation who accidentally faced with incidents, exemplary events, wisdom and wonderful the stories portray the culture of each nation and stems from people's dreams and fantasies. Actually, beliefs and practices of early humans is the source of these stories the emergence of supernatural forces
such as palaces, mysterious, magical gardens, wells and dark spaces, demons, fairies, dragons, magic, lightning, Happiness and unlucky, various sleep, anesthesia and geomancy and astrolabe and etc are the most important elements of creating an Iranian story and all the stories which was written by the novelist in the East territories such as India. Amir Arsalaan e naamdaar story is familiar among folk tales which is the last Persian folk tale features an ancient story
The story mentioned the main features of Persian folk tale, especially magic the magic tricks that some people did in stories and can change the laws of nature through tricks and do extraordinary things. In these stories, wizards can they spell people neutralize other spells change the appearance of people and objects or predict future events. The authors plan to study magic and witchcraft in this book as a folk tale features
Volume 6, Issue 21 (9-2018)
Abstract
Amir Arsalan is one of the most important and popular Persian epics and one of the first works which manifests the signs of the transformation from story to novel in Persian prose. Although Amir Arsalan is regarded as a modern text and so many valuable studies are carried out on it, it still seems necessary to discuss the name of the story teller as well as the year this story emerged.Furthermore, many researchers believe that a few years earlier the emergence of Amir Arsalan, the first Persian novels were translated and published, and hence it is believed that these signs of transformation emerged under the influence of novel. The present study consists of two parts: the first part addresses the story teller and the time this story emerged and it is tried to shed light on the dark aspects of this attribution and date the emergence year of this work more precisely. After eliminating these ambiguities, the cultural space of the time Amir Arsalan emerged is addressed regarding the printing industry and it is attempted to introduce translated novels and plays along with travel memoirs which were written in Persian so as to investigate the likelihood of the familiarity of the story teller with these genres. Following this path, a more coherent and precise picture of the story teller and the cultural space of the emergence time of this story will be drawn.
Volume 7, Issue 29 (12-2019)
Abstract
This study is based on the descriptive-analytic library method. Three tales were selected for this study: Darab nama Tarsusi, Hamza nama, and Amir Arsalan Namdar. Three motifs were considered in this regard: Darab Nama has a mythical, epical, and historical motif; Hamza Nama has an epical-religious motif; and the motif of Amir Arsalan Namdar is romantic. The study, on the one hand, aims to investigate what categories of viziers' actions could be extracted from the Iranian folk stories and the factors which play role in this regard, and on the other, to pursue if these actions reveal any historical and social events or they are typical actions throughout the stories. The results of the study showed that there are two kinds of vizier; one kind is "Mobad-vizier" and another is "Sepahbad-vizier". From this point of view, the first one is cultural, social and juridical consultant and the second one is martial consultant. These two kinds of viziers are present in Darab Nama and Hamza Nama. Based on this dual division, the first vizier (Mobad-vizier) has roles such as fortune telling, wedding ceremony, ambassadorship, intercession, dream interpretation, political advisor and magic works. The other vizier, however, is a martial consultant and sometimes shows his treachery and skullduggery. Viziers in the story of Amir Arsalan Namdar are different from viziers in the other two stories. In this story, viziers are categorized as "vizier on the right hand" and "vizier on the left hand". Often the right-hand vizier is a well-mannered, kind-hearted, well-natured person and naturally the supporter of the main hero of the story. The other one, however, is an evil-minded, wicked conspirator and anti-hero. Lastly, it could be mentioned that Hamza nama and Darab nama are reflecting the social and historical events of the Sasanid era, while Amir Arsalan is related to the Qajar period.
Volume 10, Issue 44 (5-2022)
Abstract
The story of Amir-Arsalan is one of the most important folk tales of the Qajar period. This story, which was written and narrated directly for Nasser al-Din, can be a good example for analyzing the discourse of the Qajar era. In the Qajar period, despite the deposition of the discourse of tradition in Iranian society, gradually with the influence of the presuppositions of modernity, the discourse of modernity emerged. In this research, we have examined the story of Amir Arsalan from the perspective of the discourse of modernity as well as the discourse struggle between tradition and modernity. The research is based on one of the recurring propositions of the discourse of modernity in the political sphere, "consultation is decisive." Using the method of discourse analysis, we have examined the parts of the text that have been formed based on this proposition. We have also referred to cases in which the discourse of tradition has been meaningful while examining the discourse of modernity in the text.
