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Since most of the stories narrated in Shahname relates to the period after the rise and development of Zoroastrianism, the natural effects of the new religion on these stories, has made some readers imagine that Ferdowsi has had a kind of inclination to this ancient religion of Iran.
This article, by criticizing the mentioned idea, through studying the very text of Shahname, clearly shows that Ferdowsi has not been, but a true moslem.
 

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Scapegoatig means the indirect transfer of evil and its disposal for a specific or indefinite period of time. Human had variety philosophies to fight against evil, and has employed common tools such as human, animal, objects, etc. Fore this purpose, the present work attempts to explore different ways of scapegoat by referring to the Sahname of Ferdowsi. To this end, after giving a brief introduction about scapegoating, the reasons of humans resort to scapegoating as well as types of scapegoating in Shahname have been studied. Accordingly, there are two forms of scapegoating (direct and in direct), one in Zahhak’s story, and the other in the story of Rostam and Esphandiyar. The present foundamental research is based on library research method, and has used descriptive analysis method.      

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Ferdowsi's Shahnameh has always been interest of readers, and many authors have tried to imitate it. Like other Iranian orators, the Kurd poets have recreated different stories of Shahnameh with innovations and sometimes translations. No doubt, the introduction and thinking of the epic verses after Shahnameh can expose some of the important issues of this valuable work and be effective on the morale of unity and patriotism among Iranian ethnic groups; therefore, in this study, we first introduced the verse of "Kordish Shahmghal and Rostam" and then compared it with the narration of " Shahnameh's Rostam and Shaghad", Salby's historical narratives, Toomar Naghali Shahnameh, Haft Lashkar, and Ferdowsinameh.

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Suhrawardi’s hermeneutical approach to the elements, components and narratives of the Shahnameh, as they are expressed in his mystical treatises, delineates the metamorphosis of the epico-mythic Weltanschauung into a mystico-gnostic worldview. We will best understand this metamorphosis by contrasting the hermeneutical principles of Suhrawardi with those of Ferdowsi in interpreting various myths and epic narratives. Ferdowsi’s hermeneutics can be described as “logocentric,” a term which highlights the role of λόγος in imposing a rational interpretation on the seemingly illogical and counterfactual aspects of myth and epic narrative. In contrast, Suhrawardi’s hermeneutics is dominated by different ontological and epistemological principles that turn it into what can be designated as “radical hermeneutics,” a theory of reading whose radicality consists in making the Erlebnis of the reader and his or her intentiō lectoris the focal point of interpretation. The paper will scrutinize the way in which Suhrawardi interprets the epico-mythic elements of the Shahnameh as mystical symbols in the context of his Gnostic and illuminationist worldview and thus metamorphoses the epic into the mystical.

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Oral and bardic narrations from some stories of Shâhnâme probably have existed in sixth and seventh century. On the basis this and attention to extent of Iranian bardic/ oral stories with heroic subject, I have proposed this hypothesis that perhaps source of some annexed verses and stories in manuscripts and editions of Shâhnâme is bardic/ oral literature and scribes, owners or readers of some manuscripts have heard them from storytellers and have versified and then added to manuscripts. In this paper after research in Shâhnâme (edited by Dr. Khaleghi Motlagh), manuscripts of San Žozef, Sádlu and margins of Zafarnâme, editions of Moskow, Borukhim, Dr. Dabir siyâghi and some lithographies of Shâhnâme, twenty and six annexed has been known as additions with oral/ bardic source. These stories probably have been created by storytellers after Ferdowsi and Shâhnâme.

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Hakim Ferdowsi's Shahnameh has been always the focus of  attention by Kurdish-speakers. This issue has encouraged Kurdish poets to compose epopees in Kurdish due to the style of Ferdowsi's Shahnameh. The epopees named Kurdish Shahnameh available in Kurdish Goorani dialect are not totally abstracted from Ferdowsi's Shahnameh, but they have some famous stories, characteristics and poetic formats and even epic and heroic nature in common with Ferdowsi original work. Studies have revealed that the narrated stories in Kurdish Shahnameh are in accordance with the stories narrated in narrative cliques and the content of narrators' scroll. Narrating epic stories in narrative and story-telling cliques have directly influenced on the Kurdish poets. It also has made Kurdish Shahnameh like narrators' narration, influenced by the oeuvre's contemporary needs, mixed with Islamic themes being careless about word superficial features.

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Women in the book of “One thousand and one nights” and “Ferdowsi’s Shahnameh”, various social roles, sometimes positive and sometimes negative, are responsible; the role and position of women in two somewhat different. More tales One thousand and one nights, unlike the shahnameh, the loathing of women begins. At the beginning of this story, it seems that she is defeated and surrendered, but it is not so, but at the end of her affair with a feminine subtlety to spend, will win. In this paper with the method of descriptive-analytical, social status and role of women in two great works have been reviewed and compared. Most of the stories have been studied in this paper, which are responsible for a good female role. The results of this study indicate that the legend of the One thousand and one nights unlike the shahnameh, role of women in negative and sometimes mixed with evil of satanic. .  

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As an epic Shahnameh in Iran, along Iliad and the Odyssey are the world''s most famous epic works. Today, in the modern world, especially after the birth of comparative literature and comparative approach to the works of world literature as it is faced with acceptance. Anand critical discourse analysis of the literary text like other texts, in the service of communication. Therefore, they can also be analyzed with a critical attitude and approach. Tuesday Asrmvrd review, centered around personalities, Hector, Odysseus and Rustam planned. This epic heroes in bed, sometimes for homeland  himself in the role of king with heroic.place. Ferdowsi''s epic Homer and the composition of dominant discourses, in the form of pre-existing genre, have now opened a new epic. Thus, the three epic, as a communication event, only a reflection of the thoughts of the The poet thought, but rather, criticized the cowardly actions look heroic and popular discourse reproduces special.



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Ebrahim Ranjbar. PH.D
Abstract:
Shah-Nameh, a work enjoying wisdom and epic, belongs to an era which observed the richest cross-cultural events of the Eastern and Western cultures. In this work, wisdom, mythology, epic and history are so deeply intermingled within each other that an admirable masterpiece is created. Ferdowsi’s wisdom and insight can be realized through the stories in Shah-Nameh; added to the clear and frank advices conveyed at the end of stories. Some of these stories are related to Afrasiab’s wars. In Shah-Nameh Afrasiab virtually represents two potentially inherited evil forces in the nature of mankind; anger and lust.
Afrasiab has a bad and evil image in mythological and historical works. Whether for this reason, or whether because Ferdowsi has exaggerated his evilness and badness in portraying his character, in Shah-Nameh he is the most evil character who starts out the greatest war against Iran. This research intends to show how he is the representative of anger and lust. For this purpose Afrasiab’s image, in historical and mythological texts and also in Shah-Nameh, are compared and his words and manners and behaviors, which is associated with evilness and corruption in relation to his hostility against Iran, is surveyed in Shah-Nameh.
 

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Statecraft, or what is called modern politics in the Shahnameh, has prosperity and authenticity combined with knowledge and insight. The foundation of Shahriari and governance is based on the two principles of truth and justice. Ferdowsi′s Shahnameh is one of the greatest and most influential epics works of Iran and the world. This great work can be studied and researched from different aspects. In many stories of Shahnameh, a manifestation of positive psychology can be explored.
One of the most outstanding literary works in the field of Persian literature is Ferdowsi's Shahnameh, which contains characterisations, depictions of lofty and ideal human goals, references to desirable solutions to improve the quality of life, and so on. In his literary masterpiece, Ferdowsi has mentioned the human being and its positive dimensions, and has provided extensive explanations in relation to idealistic figures such as Ky Khosrow - who go beyond the usual norms of society. In this regard, the present research, by applying Seligman's psychological opinions, will examine and analyse other aspects of Shah Kiani's personality and Shahriari's and Pahlavi's actions in order to answer the following questions: a) Which of the characteristics of positivist psychology emphasised by Seligman are prominent in the character of Khosrow? b) By approaching Seligman's intellectual foundations, can Shah Kiani be considered a positive and self-fulfilling person?

 

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Mahmood Rezaee Dasht Arzhane,Ph.D.
 
Abstract
Some of the well-known Iranian heroes have killed dragons; including Rostam for instance. The reason for this act is that within the wide scope of the Iranian myths, dragon is the symbol of drought; and actually killing dragons is meant to signify the triumph of plenitude over drought. Still, there is one case in Iran which paradoxes with the dragon being the symbol of drought; Rostam Dastan. In the Third Stage of the war, although Rostam succeeds in killing dragons, his banner is dragon-sized, and he boasts about killing dragons to his ancestor-Zahak (in other words Azhi Dahak Avesta)- yet this issue contrasts with his dragon-killing on one hand, and dragon being the symbol of drought in the Iranian mythology on the other hand. Throughout this survey the author of this article has come to finally believe that Rostam’s dragon-sized banner, added to the holiness of dragon in his perspective is most likely an influence of China’s myths which has penetrated into Iran. Therefore the dragon, which is actually Rostam’s totem, and he deeply cherishes, unlike the Iranian myths, is the symbol of rain, freshness and plenitude.
 
 

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Tragedy, in its original Greek format, was in the form of a play to be performed on the stage. Aristotle was among the first people to argue about tragedy in a precise and technical way in the book called “poetry technique” and considered it as a type of poetry so that it is an imitation of people’s conduct and represents them better than the way they are. Moreover, Aristotle gave an adequate explanation for tragedy performance style, scene features, and actors.

Some tragedies were created in Ancient Rome with a purpose rather than play on the stage. Therefore, in Medieval and the Renaissance, the element of being dramatic, was not considered as the main factor regarding the study of tragic artwork. Moreover, in contemporary era, the features of tragedy is searchable in novels and poetry.Shahname, written by Ferdowsi, an epic poetry, consists of some tales that can be taken into account as tragedy. A heroic story which ends in catastrophe, engages the human mind with philosophical subjects, brings leniency to the heart and purifies the soul. 

The authors intend to search for the key elements of Greek tragedy in two tragic stories, Shahname by Ferdowsi, Siyavash and Foroud.  The results of the study indicates that these two stories are not fine examples of Greek tragedy and the main factor for differentiation is the narrative style of Shahname which does not match Greek tragedy

 

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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.
 
 

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Ferdowsi and Shakespeare in their works deal with didactic teachings. Both poets mirror nature and consider human happiness depending on respect for the moral virtues, and strive to strengthen the teaching and ethos of moral points. Shakespeare has used every opportunity to express the teachings of education. In all its tragedies he has used elements of education. Shakespeare’s human outlook towards ethical issues is clear. Some of these teachings are expressed through the plots and characters on different occasions. This paper studies the result of moral values and its educational functions. The most important doctrine of education in the ّFerdowsy and Shakespeare is condemnation of avarice and ambitions. Macbeth is a Scottish captain who kills the king in order to usurp the throne. Shakespeare shows the result of greed is the destruction of soul and its good qualities. In the end, the victory is with the good in the duality of good and evil. Both deal with two commanders who rebel against kings and bring about their own fall. Both are told by supernatural forces that they are destined to rule. their difference is that Bahram is a good commander while Macbeth turns evil.

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Death" is the inevitable event of all humans. Some put it into oblivion, and some epistemologically accept it as reality and certainty. Investigating and analyzing the narratives of the two tyrannical, powerful and bloodthirsty characters in stories of Ferdowsi and Albert Camus and how they deal with their own and others' deaths is the main issue of this study. Caligula and Zahhak, who saw themselves as the absolute commander of the life and property of human, believed that they could also control death, trying to rid themselves of the fear of death by killing others, but nature faced with the phenomenon of death. How Ferdowsi (representing Islamic scholars) and Albert Camus (representing Existentialism) deal with the events of the story illuminates the philosophy of life and death from the standpoint of two thinkers in the East and the West. Both officials, after gaining power, commence unprecedented oppression and killing. Like all people in the world, they are scared to death and want to seize the power of nature to kill humans by killing them. Killing is the only way to combat the fear of death. The fate of both characters is similar, and eventually they are ousted from power due to murder and bloodshed against both rebels

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In some romantic stories and legends, the pair seeker initially appears as a beast and after marriage, will restore its human face. The stories of animal-groom in the West are influenced by Keivid and Psike by Apolis, and in Iran by Zahhak marriage to Jamshid’s sisters. In accordance with the principle of myth displacement, the base of animal-groom in the Islamic period of time has been adapted to the conditions and religious characteristics and has found a place to remind future generations in mind by expression in the Mystical stories. This story is included in the book of Hezar Hekayat-e Sufeyane and its central theme is the marriage of a wolf to a human girl.
In this paper, initially the the structures of the story is assessed by the story of Zahhak’s marriage to Jamshid’s sisters in Shahnameh Ferdowsi and some Iranian legends of animal-groom. Then, the symbolic aspect of the wolf is checked. In Iranian mythology, this animal is harmful and one of the manifestations of evil, but on the contrary, it is the totemic ancestor of some neighbors and enemies of old Iran. According to the findings of this study, marriage of the human daughter to a werewolf in the mystical tale is linked with exogamy tradition.

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The agency of literature is one of the keywords of New Historicism. New historicists believe that literature is not simply a product of history; it actively makes history. History, power discourses, marginalized parts of society, and the mutual relationship between literature and culture are central concerns in new historicism. Both Ferdowsi and Shakespeare, although from two diverse cultures and six centuries apart from each other, their works share similar characteristics seen from a historical and literary perspective. Ferdowsi was contemporary with the Sāmānids age of reviving the Persian language and culture after a long period of repression. Shakespeare also lived during the Renaissance age of change in beliefs, views, and worldviews. In addition, challenging the dominant discourses of power and cultural clichés, they created new outlooks towards women in their respective culture. Women who were so far voiceless and marginalized during the times, now get an active presence in their works. The passive, silent Persian woman, kept marginalized for centuries, has an active role and presence in the Shahnameh. Silent and obedient women considered sinful during Shakespeare’s era, have a voice and dynamic presence in his plays. This study tries to depict women’s dynamic personalities both in their contemporary societies and selected literary works. By examining the dominant discourses regarding women, reading their contemporary texts, and analyzing the role of women in their literary works, it is found that both writers in the selected works had different viewpoints towards women compared to the dominant discourses of their time.

 

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The ability to speak is an important part of every body’s language proficiency. This ability plays an important role in the academic life of students. But scoring and assessing speaking is not easy. In this research, we try to study the validity of Ferdowsi University’s Persian proficiency test. We know that every test has a certain amount of error; but in scoring speaking ability if the scoring rubric is designed in a scientific way, the score attributed to the speakers' speech ability is likely to be very similar to their actual language ability. In other words, the appropriate scoring rubric can have a significant effect on reducing the error rate of the test. In norm-reference tests, this can be achieved only when test designers can say what scoring constructs they intend to measure and how successful they are in achieving that goal. Also, it should be clear whether the scoring scale can distinguish weak, medium, and strong test takers. On the other hand, in applying the scoring rubric , the level of consensus of the scorers should be clear. In order to see how successful is the scoring rubric in Ferdowsi Persian proficiency test, in measuring the test taker’s speaking ability, the authors analyzed the result of one of the proficiency tests administered at Ferdowsi University with Rasch model and factor analysis. The result showed that scorer reliability is 0.97 which is so high. It showed that scorers have the same understanding of the scoring rubric. This means that the scorers have given the test takers a relatively stable score, which is a strong point for the test. Also, the scores have used the scoring rubric properly because the cut score goes up in an organized way as the ability of test-takers increase. Each of the four thresholds obtained by the Rash statistical model differs by approximately 5 degrees, respectively. A regular increase in thresholds is commensurate with the ability of the test takers. This indicates a correct understanding of the scorers of the 5 grades specified in the scoring rubric; in other words, scorers have a good understanding of the level of competence of test takers and its relationship with the grades in the scoring rubric. The Wright map shoes that the scoring rubric can differentiate basic, intermediate and advanced test-takers well. Although on the top of the map there are 8 test-takers which there is no score for them that means the needs some higher scores for them. On the other hand, factor load for three constructs, delivery, language use and topic development are 0.74, 0.78 and 0.76. This shows that dividing speaking ability into these three constructs is proper while language use has the highest factor load and topic development has the lowest factor load.

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Despite the harmony and consistency in  Ferdowsi's Shahnameh's with Hegel's belief  in his aesthetic lessons about  the features of “proper epic”, he calls Shahnameh incommensurate and lacking an independent functional center. He knows the proper epic, the manifestation of the totality of the world of a nation, which is the result of the human manifestation of incomprehensible myths. Therefore, the original epic poetry, as the first stage of the self-consciousness of the absolute soul, can be regarded as absolute art, which, by creating a kind of collective consciousness in the historical community, has the highest degree of consistency between the subject and the object. The aesthetics of Ferdowsi's Shahnameh also focuses on the actual fulfillment of mythological content, namely: "the controversy of the opposing forces. In this paper, first, using Hegel's views on proper epic, we have answered his criticism about Shahnameh, and then, relying on the categories of "Hegelian philosophy", including: the family, the system of needs, and the country or goverment, in the category of social ethics, in a comparative analysis method, we will prove that Ferdowsi's Shahnameh, like some of the world's greatest epic, unlike Hegel's views, has the most prominent features of an  proper epic with the power to convey the common religious and moral understanding of the world, is a global and lasting art.