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Showing 9 results for Metamorphosis
Qadratolah Taheri , Majid Hoshangi ,
Volume 1, Issue 4 (12-2008)
Volume 1, Issue 4 (12-2008)
Abstract
In the history of world's literature, there have always been authors who see literary works as a place to express human’s position in the society and try to describe man in relation to the nature and the world surrounding him and warn him of the perils this world may bring to him.Today's world is a world of unrest, tension and identity loss due to rapid technological changes and ideological instabilities. With machines overwhelming human life and his conformity to the cold tune of today's world, a distance has emerged between man on one hand and morality and spirituality on the other, and this has led him gradually to a severe critical atmosphere. Some creators of literary works have tried to show this reality in their works.They have employed creative literary techniques to show an intensified view of human position in relation to the current world in order to refer man to his inner nature and notify him of the peril and distress governing the society. Kafka, Ionesco and Saramago are among those writers who are mindful of the crisis man is experiencing in his modern and postmodern life and have reflected the situation in their works, the Metamorphosis, Rhinoceros, and Blindness, respectively. In this article we have used the intertextual approach to analyse these three works based on their structure and theme and have remarked their semiological relationship.
Volume 4, Issue 8 (6-2016)
Abstract
Metamorphosis means the alteration of shape, essence, nature, and substance of real or imaginary beings; in other words transubstantiation, transmogrification and transmutation, the other meaning of which is transformation and alteration of structure, foundation of existence and lawful identity of a person or a thing by utilizing supernatural powers. Imad Bin Muhammad Al-Sughri is one of the writers of eighth century and of Sultan Aladdin Khalaji’s amanuenses. His book, “Javaher Al-Asmar”, is a lyric legend which is written in allegorical language and a simple prose and contains novelty and bon mots of its own. The main content of this book is “women’s slyness”. Narrator of the story, “Tooti” (means Parrot), relates one hundred stories in fifty and two nights. Javaher Al-Asmar and its numerous and exuberant legends has of structure and subject, attributes, and the purpose of composition of this study, in research theoretical frame, is to strive to explore and illustrate the most important types of metamorphosis, with descriptive-analytical and unfailing approach, in the relation of Javaher Al-Asmar’s legends. In a glance we can say that most metamorphoses were in transubstantiation of inanimates to animate beings.
Volume 8, Issue 33 (6-2020)
Abstract
Abstract:
Metamorphosis is one of the key issues in myth and mythological stories in which a creature physically changes and temporally or permanently losses its formal shape, as well as its recognized and natural formation to reach perfection or suffer a deficiency; thus, gaining a new shape. Metamorphosis sometimes constructs a part of the creature, becomes eternal, young or vulnerable, or finds a synthetic structure comprised of the human and animal features, and lives contrary to its basic nature. In this study, with regards to the significance of the issue under consideration and the status of culture and folk literature, different types of metamorphosis in the popular culture and literature of the Bakhtiary and Kohkiloye-and-Boyer-Ahmad people are investigated. Going through various kinds of human metamorphosis to an animal, a tree, a bird, heavenly bodies, and vice versa, we shall be concerned with analyzing their literary representations and mythological aspects of different types of metamorphosis among the Bakhtiaries and Kohkiloye-and-Boyer-Ahmad people. This study is conducted fundamentally based on the library and field study using qualitative content analysis. Upon investigating various sources and analyzing literary and mythological representations of different kinds of metamorphosis, it may be indicated that the most important types of metamorphosis in the cultural and belief system of these people subsume the metamorphosis of human to animals such as bear, wolf, tiger, and turtle. As a result of committing sinful actions, humans are metamorphosized into a tree.
Keywords: The popular culture; the Bakhtiari tribe; Kohkiloye-and-Boyer-Ahmad; mythological themes; metamorphosis.Research Background
Reviewing authenticated academic journals and websites as well as library resources, we found no reliable scholarly work on metamorphosis in the folk culture of Bakhtiari and Kohgiluyeh and Boyer-Ahmad people. On this basis, the present study is one of the first, if not the first, attempt that takes into account this critical issue.
Aims, questions, assumptions
In this study, we shall examine the manifestations of different types of metamorphosis in folk culture and anecdotes of Bakhtiari and Kohgiluyeh and Boyer-Ahmad people. On this account, the major objectives of this research includes investigating and analyzing various types of metamorphosis from human being to animal, plant, bird and vice versa. Moreover, their representation in culture, belief, and folk literature such as local poems, proverbs, and the anecdotes of Bakhtiari and Kohgiluyeh and Boyer-Ahmad people are investigated. The significance of this study lies in the fact that examining the representation of metamorphosis may throw light on the rituals, beliefs, values, and regulations of those who have devised such myths and stories.
Results and discussion
According to the library-based findings, the most important types of metamorphosis in the culture and beliefs of the Bakhtiari and Kohgiluyeh and Boyer-Ahmad people can be categorized as follows:
One of the salient stories represent the metamorphosis of a human being to a turtle in the culture and beliefs of the Bakhtiari and Kohgiluyeh and Boyer-Ahmad people. In this narrative, God metamorphosed a woman into a turtle because she disobeyed Him. Putting a pan one her back and a baking pan beneath her stomach, God metamorphosed her into a turtle.
A pork is also a metamorphosed human being. The story is that "he refuses to pay attention to the guest and the man asks God to change him into a ferocious animal. Then, God metamorphosed him to a pork". The story of the bear is also the same. Moreover, tiger and rabbit were also of those human beings who were metamorphosed for their committing sinful actions.
Of the most important instances of human to animal changes is the metamorphosis of a fairy into a human who defrauds other humans at the gardens, streams, and ponds at night.
Besides animals, birds are also metamorphosed in the culture and beliefs of the Bakhtiari and Kohgiluyeh and Boyer-Ahmad people. Cuckoo amongst the Bakhtiaris, or Gapi-Gapu amongst the Kohgiluyeh and Boyer-Ahmad people are two examples of birds that were firstly human and then were metamorphosed into birds because they beg God in order to have relief in the life. Also, birds such as Jaze, Titek, and Gow-Gow are some other metamorphosed animals.
So far as the metamorphosis of the celestial bodies is concerned, there are stories about the moon and the sun amongst the Bakhtiaris and the Kohgiluyeh and Boyer-Ahmad people. The moon was a boy and the sun was a girl who were metamorphosed for their sinful deeds.
The most important instances of the metamorphosis of a human into a tree amongst the Bakhtiari and the Kohgiluyeh and Boyer-Ahmad people are a plant called Chevil and Kardah (growing from human's bloodshed), human's brain to an oak tree for committing robbery, Gesha Khashkha for drinking wine. The most important instance of metamorphosis of a tree into a human or an angle can be seen in the story about the metamorphosis of the Hawthorn tree to a pretty woman.
Conclusion
In relation to the folk culture and stories of the Bahtiari the Kohgiluyeh and Boyer-Ahmad people, this study aim to investigate the metamorphosis of human to animal, tree, celestial bodies, birds and vice versa. These stories help us figure out the values, beliefs and obligations embedded in these anecdotes. Most of these anecdotes are related to the metamorphosis of a human to an animal, a bird, and celestial bodies. This happens as a consequence of committing a sinful action that masks a man with the heinous features of an animal, some examples of which are: behaving badly with others (pork and bear), cannibalism (tiger), being ungrateful to God (turtle), betrayal (rabbit), drinking wine (Khashkhash), fratricide (Gogu), naughtiness (Jaze and Titek), helping someone for robbery (Kaji-pati) and robbery (oak tree). Through metamorphosis, many of human beings are changed into animal, bird, tree and celestial bodies. In these stories, the people are indirectly given heinous characteristics so as to emphasize the educational and ethical aspects of the narrative.
Volume 9, Issue 37 (3-2021)
Abstract
Understanding "myth" is very important in understanding society, people's behaviors, and beliefs. We know that myth usually changes throughout history, but it disappears gradually. "The Story of Fereydoun" is considered as one of the most important stories of Iranian myths and researchers have traced its mythological roots to the Avestan period, Vedic texts, and the myths of birth and battle of the demon of land. The god of rain is mentioned in this story as well. On the other hand, there are myths and stories among people that contain mythical themes, symbols and signs in various forms, and the study and analysis of these myths in tracing the origins of the mythical elements of society plays an important role. One of these popular stories is "The Story of Shahzid", one of the Imamzadehs of Amol city of Mazandaran, which has many similarities with the story of Fereydoun in its narrative structure, semiotic elements, and mythical symbols. In this article, these two stories are examined and analyzed together, and their mythological elements are identified. It was concluded that the two stories, there are some similarities in some events and symbols of the myths such as: cow, tree, forest, snake, healing drink, witchcraft and geographical location. Both stories originate from a source which is the "myth of birth" and the war between the god of rain and the demon of land.
Introduction
Some studies have been done on the mythical story of Fereydoun and its comparison with mythology, but they are not comparative with regards to a story from the post-Islamic period and Islamic myths.
The main question of the research is whether a connection can be found between the story of the myth of Fereydoun and the story of Imamzadeh Shahzid. Could this connection be based on a myth?
In addition to Shahnameh's narration of Fereydoun's story, the summary narration of the people of Mazandaran is that: Fereydoun's mother hides him in the forest in a crack of an old tree when he is born. Every day, the cow goes near the tree and Fereydoun, the child, drinks milk from the cow. The owner of the cow notices and takes the child with him. "The cow loved Fereydoun and allowed Fereydoun to ride him."
Zayd ibn Musa ibn Ja'far is one of the Imamzadehs of Amol. Imamzadeh, fleeing from the enemies to the south of Amol, takes refuge in an old tree in a mountainous and forested area. The cow is commanded by God to go to the tree every day so that the gentleman can milk it. Galesh notices and strikes him with an ax and runs away. The prince curses Galesh and the ranch is stoned with all the cows. The Galesh family is also displaced. According to the story, the prince was a four-year-old child.
It is said that the servant of Astana Shahzid seeks water on the way during prayers to perform ablutions. At the same time, a pitcher and rosary descends on him from the sky. Saif performs ablution from the water of the pitcher and prays next to the rosary. The pitcher disappears, but the rosary is removed safely, and whenever the disease comes, the rosary is put in some water and the rosary water is drunk by the patient. According to the villagers, there are two green snakes with a cockatiel on the guard of Shahzid threshold, its spring, atmosphere, and water reservoir.
Mythical elements
Cow: Cow has been one of the ritual animals in ancient Iran. In the story of Fereydoun and Shahid, the main point is milking a cow, which goes back to the "mother goddess" of cows and raising humans. Since the prince emerges from the crack of the tree, it can be a symbol of the womb that is associated with the tree as the mother goddess. Cow is also closely related to rain and water in mythology. The myth of the god of clouds and rain can be deduced from it according to the myth of Indra and Trita Aptie.
In Dinkard, Fereydoun turns the Mazandaranis into stones. At the command of Ormazd, he firmly binds Zahak like a stone in a cave and achieves happiness and kingship, and the Imamzadeh of Shahzid stones the cattle ranch and cows.
The village of Shahzid is located on the border between the forest and the mountains without trees. In other words, the rainy clouds of the north remain behind the Alborz mountains in this region and collide with each other.
Forest and tree: "In mythology, the forest is a psychological realm having a feminine origin, the place of examination and knowing the unknown dangers and darkness, and the entry to the dark or symbolic haunted area" (Cooper, 2013, p. 110). The relation of forest with fertility, rain, and water could be another confirmation of the main roots of the myths in these two stories.
Snake: "Snakes guard the thresholds and temples, and all the gods depend on them. The two snakes represent the contradictions in the duality that eventually lead to unity" (ibid., p. 349). In the story of Fereydoun, a snake has grown on Zahak and makes him a demonic creature. "According to a version, Fereydoun was a three-headed snake that overcame another three-headed snake, namely Zahak" (Shamisa, 2015, p. 261).
Some scholars consider the word Fereydoun to mean having three spiritual, physical, and medical powers. These three attributes can be found to some extent in Imamzadeh Shahzid: having the spirit of a fighter and purity, being a master and fighting enemies, the symbolic tool of iron with changes in the Galesh's ax, the rosary's medical potentiality and the healing power of the water, and the magical ability in stoning cattle.
The title of Shah, which is used in the Iranian culture for Imams, their sons, and the Sufi followers is remarkable so far as the mythological semiotics is concerned, and it can be analyzed with regards to the story of Fereydoun.
References
Introduction
Some studies have been done on the mythical story of Fereydoun and its comparison with mythology, but they are not comparative with regards to a story from the post-Islamic period and Islamic myths.
The main question of the research is whether a connection can be found between the story of the myth of Fereydoun and the story of Imamzadeh Shahzid. Could this connection be based on a myth?
In addition to Shahnameh's narration of Fereydoun's story, the summary narration of the people of Mazandaran is that: Fereydoun's mother hides him in the forest in a crack of an old tree when he is born. Every day, the cow goes near the tree and Fereydoun, the child, drinks milk from the cow. The owner of the cow notices and takes the child with him. "The cow loved Fereydoun and allowed Fereydoun to ride him."
Zayd ibn Musa ibn Ja'far is one of the Imamzadehs of Amol. Imamzadeh, fleeing from the enemies to the south of Amol, takes refuge in an old tree in a mountainous and forested area. The cow is commanded by God to go to the tree every day so that the gentleman can milk it. Galesh notices and strikes him with an ax and runs away. The prince curses Galesh and the ranch is stoned with all the cows. The Galesh family is also displaced. According to the story, the prince was a four-year-old child.
It is said that the servant of Astana Shahzid seeks water on the way during prayers to perform ablutions. At the same time, a pitcher and rosary descends on him from the sky. Saif performs ablution from the water of the pitcher and prays next to the rosary. The pitcher disappears, but the rosary is removed safely, and whenever the disease comes, the rosary is put in some water and the rosary water is drunk by the patient. According to the villagers, there are two green snakes with a cockatiel on the guard of Shahzid threshold, its spring, atmosphere, and water reservoir.
Mythical elements
Cow: Cow has been one of the ritual animals in ancient Iran. In the story of Fereydoun and Shahid, the main point is milking a cow, which goes back to the "mother goddess" of cows and raising humans. Since the prince emerges from the crack of the tree, it can be a symbol of the womb that is associated with the tree as the mother goddess. Cow is also closely related to rain and water in mythology. The myth of the god of clouds and rain can be deduced from it according to the myth of Indra and Trita Aptie.
In Dinkard, Fereydoun turns the Mazandaranis into stones. At the command of Ormazd, he firmly binds Zahak like a stone in a cave and achieves happiness and kingship, and the Imamzadeh of Shahzid stones the cattle ranch and cows.
The village of Shahzid is located on the border between the forest and the mountains without trees. In other words, the rainy clouds of the north remain behind the Alborz mountains in this region and collide with each other.
Forest and tree: "In mythology, the forest is a psychological realm having a feminine origin, the place of examination and knowing the unknown dangers and darkness, and the entry to the dark or symbolic haunted area" (Cooper, 2013, p. 110). The relation of forest with fertility, rain, and water could be another confirmation of the main roots of the myths in these two stories.
Snake: "Snakes guard the thresholds and temples, and all the gods depend on them. The two snakes represent the contradictions in the duality that eventually lead to unity" (ibid., p. 349). In the story of Fereydoun, a snake has grown on Zahak and makes him a demonic creature. "According to a version, Fereydoun was a three-headed snake that overcame another three-headed snake, namely Zahak" (Shamisa, 2015, p. 261).
Some scholars consider the word Fereydoun to mean having three spiritual, physical, and medical powers. These three attributes can be found to some extent in Imamzadeh Shahzid: having the spirit of a fighter and purity, being a master and fighting enemies, the symbolic tool of iron with changes in the Galesh's ax, the rosary's medical potentiality and the healing power of the water, and the magical ability in stoning cattle.
The title of Shah, which is used in the Iranian culture for Imams, their sons, and the Sufi followers is remarkable so far as the mythological semiotics is concerned, and it can be analyzed with regards to the story of Fereydoun.
References
Cooper, J. S. (2013). Culture of ritual symbols (translated into Farsi by Roghaye Behzadi). Scientific.
Kazazi, M. J. (2011). Dream, epic, myth (in Farsi). Markaz Publishing.
Shamisa, S. (2015). Expression (in Farsi). Mitra.
Shamisa, S. (2015). Expression (in Farsi). Mitra.
Volume 9, Issue 40 (9-2021)
Abstract
Transformation of the characters in the story is a feature that can be observed in literary texts and generally studied under the heading of “metamorphosis”. Metamorphosis increases the mythical and imaginary aspects of the text and it is a reflection of human being dreams and an image of the bound between imagination and the real world. It could be defined as a creation of the people’s need for dominance over other people, creatures, and phenomena. Analyzing this subject can be useful to figure out the common culture among nations and can be a proper background for studying literal and cultural bounds for it is seen in the literature of several nations. This article studies different types of metamorphosis in Nart-Nameh and One Thousand and One Nights based on a comparative-analytic approach. Nart-Nameh is a collection of myths about bravery of the Nart nation and the heroes of the North Caucasus and the shores of the black sea. These myths go back to two thousand years B.C. that were verbally transferred from one generation to the other. These myths are about the life’s important aspects such as loving motherland, fighting against evil, helping the week, etc. One Thousand and One Nights is one of the brightest eastern myths which is a mixture of Indian, Arabic, and Persian literatures. This article analyses the differences and commonalities in these books considering metamorphosis.
Volume 11, Issue 4 (10-2020)
Abstract
Introduction: "Physical Metamorphosis" is the change in the identity of the acting element or the actress of the story, from a physical representation to another physical expression. In the present study, the word "physical" in addition to the metamorphosis of the body, as a body, also refers to the metamorphosis of the body as an object. "Physical Metamorphosis" either as a knot method, is the creator of a tensive space, or like a resolver method, derived from a tensive space. To examine the aforementioned method, however the choice of the "tensive regime of discourse, is a proportional choice.
Purpose: The purpose of this study is to classify the stories in the range of children that have been developed around the "Physical Metamorphosis".
Questions: In this regard, the present study seeks to answer three questions: 1. how the style of the elements involved in metamorphosis take the advantage of tensive regime of discourse to produce meaning in the child story? 2. What is the relationship between the level of consciousness of its transformation element and the amount of its transformation process?
3. Based on the model proposed by Zilberberg, how is it possible to define and illustrate these styles?
Methodology: The two-component stylistics of this study uses two coordinates systems perpendicular to each other: one in terms of time-metamorphosis, which shows the qualitative changes of metamorphic action, in a quantitative period of time, and the other in terms of time-consciousness, which represents the qualitative changes in the consciousness of the actor submissive subject towards his metamorphosis. In this study, "metamorphosis", as well as "the subject's mental awareness of its own metamorphosis", are both considered a qualitative component, alongside linguistic content, and "time" as a quantitative and extrinsic component. The present study uses a descriptive analysis approach.
Conclusions: 1) Zilberberg believes in five styles or modes of presence: style of modality, style of efficiency, style of existence, inclusive and exclusive style. According to the present study, this stylistics can be divided into two groups. The first group includes style of modality, style of efficiency, and style of existence. These three styles are relative to each other being in complementary distribution; that is, although all three are stressful, and have relatively similar functions; but none of both items come together. The second group includes, inclusive and exclusive style. Both components are in complementary distribution relative to each other; but none of the three styles of the first group, with any of the two styles of the second group, are in complementary distribution; For example, the stress space can be both style of modality (from the first group) and inclusive style (from the second group).
2) The first group, which includes three styles of modality, efficiency and existence, divides both the metamorphic process and the pattern of awareness of the metamorphic element towards its own metamorphosis. Based on these two components, we can identify the cognitive style pattern of physical metamorphosis in children's stories based on two components: The first is metamorphosis at the biological level, and the other is metamorphosis at the phenomenological level.
3) Children's stories, which are based on bodily metamorphosis, follow six two-component models: I) The efficiency, with the phenomenon of modality, II)The double efficiency, III)The double modality, IV)The modality with the phenomenon of efficiency, V)The existence, VI) Without the phenomenon.
This study, for the first time, generalizes Zilberberg's one-component stylistic model to two-component stylistic paradigm. In two-component stylistics, the first component represents the objective process of the biological changes of the transformed personality, and the second component represents the phenomenological changes that occur in mind of the transformed personality. That is, the coordinate system based on "time-metamorphosis" corresponds to the first component, and shows how the objective the process of metamorphosis is. The coordinate system based on "time-awareness" corresponds to the second component, and shows how the personality is aware and mentally informed of its metamorphosis. In this article, the representation of stress axes (extent and intensity axes) are completely consistent with mathematical paradigms.
Significance of the study: Regarding the frequency of the application of the "Physical Metamorphosis" in children story, and the lack of theoretical research on this field, the necessity of conducting a research in this field sounds beneficial.
Volume 11, Issue 6 (3-2020)
Abstract
Linguistic variation is one of the challengeable themes in sociolinguistics. The researcher discusses linguistic variation in Persian translations The Metamorphosis by Franz Kafka Translated into Persian by Sadegh Hedayat and Farzaneh Taheri. The main questions in the present research are: 1) How is the role of gender in producing lexical variation in these two translations of The Metamorphosis? 2) In which parts of speech does it take place lexical variation more than others? 3) How is the role of gender in producing syntactic variation in two translation of The Metamorphosis? 4) Are there any relationships between gender and syntactic processes concerning the syntactic variations? The results of research indicate that gender has crucial role in producing linguistic variation including lexical, morphological and syntactic variations in Persian language. The results indicate that there are 505 lexical variations in two translations in which the number of verbal, nominal, adjective, and adverbial variations is 398, 51, 39, 17, respectively. The investigation of data indicates that the rate of morphological variation is less than lexical and syntactic variations. Also, the results indicate that there are relationships between gender and syntactic variables such as scrambling, adjuncts application, question particle application, grammatical metaphor of nominalization, grammatical metaphor of modality, causation, relativization, extraposition, grammatical metaphor of transitivity, and subordination shifting. One of the main implications of present research is that there is close interface between sociolinguistics and generative grammar and therefore, the results of present research confirm the opinions of sociolinguists such as Sells et al. (1996) and Barbiers(2002) about interface between sociolinguistics and generative grammar
1. Introduction
Linguistic variation is one of the challengeable themes in sociolinguistics. In the contemporary literature of sociolinguistics, one of important paradigm resulting amalgam of sociolinguistic paradigm and generative paradigm emerged. The supporters of this paradigm believe that only integrative theory of syntactic variation including generative and sociolinguistic paradigm can explain the syntactic variations. Variation theory needs formal theory for description and explanation of grammatical characterization of syntactic variations and determination of location of variation in speakers’ grammars. Generative theory and sociolinguistics are complementary in the integrative theory of syntactic variations. The task of sociolinguistics is to explain patterns of variation based on social variables such as gender, social class, age, education in the speech community and the task of generative theory is to discover the constraints of syntactic variations. The present research is one of the newest one in discussing about syntactic variations based on integrated theory in Persian texts. The researcher discusses linguistic variation in Persian translations of the book entitled as The Metamorphosis compiled by Franz Kafka that is translated by Sadegh Hedayat and Farzaneh Taheri. The main questions in the present research are: 1) How is the role of gender in producing lexical variation in these two translations of The Metamorphosis? 2) In which parts of speech does it take place lexical variation more than others? 3) How is the role of gender in producing syntactic variation in two translation of The Metamorphosis? 4) Are there any relationships between gender and syntactic processes concerning the syntactic variations? The results of research indicate that gender has vital role in producing linguistic variation including lexical, morphological and syntactic variations in Persian language. The results indicate that there are 505 lexical variations in two translations in which the number of verbal, nominal, adjective, and adverbial variations is 398, 51, 39, 17, respectively. The investigation of data indicates that the rate of morphological variation is less than lexical and syntactic variations. Also, the results indicate that there are relationships between gender and syntactic variables such as scrambling, adjuncts application, question particle application, grammatical metaphor of nominalization, grammatical metaphor of modality, causation, relativization, extraposition, grammatical metaphor of transitivity, and subordination shifting. One of the main implications of present research is that there is close interface between sociolinguistics and generative grammar and therefore, the results of present research confirm the opinions of sociolinguists such as Sells et al. (1996) and Barbiers (2002) about interface between sociolinguistics and generative grammar
Volume 13, Issue 52 (9-2016)
Abstract
In this study and based on mental and affective axis the interrogative propositions have been investigated. According to results of this research, these propositions signify her quest and are crystalized in the form of love, the quest of self or searching identity, and the concern for humanity. Through this process of searching identification and in the poetic universe of Forough Farrokhzad, she asks always numerous question on the nature of love, life and herself. From affective view point, the analysis of interrogative propositions shows that the priority of love in her both early works gradually get pale and her questions have been quantitatively and qualitatively transformed. It is worthy to note that the addressee of these propositions is an example of her mental and affective metamorphosis and this study tries to show that her addressee from personal “I” or default and presupposed addressee changes into an interpretable and generalizable pronoun to all readers and addressees. With no doubt, adopting this approach shows the great extent of Forough Farrokhzad mental and affective universe.
Volume 19, Issue 78 (12-2022)
Abstract
On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.
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