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By using the opinions of Claude Levi-Strauss in the study of mythology, the following article tries to answer this question which despite the presence of incest in Ancient Iran and Egypt, why the legends associated with T411 type refuse it in these two lands? According to Levi-Strauss, there is the same structure behind the different appearance of related myths. Decoding of this hidden structure is possible with the help of its similarity with the language structure. Because myth, like language, has structural units called myth-phonemes. By discovering these units and understanding the relationship between them, it becomes clear what messages the interrelated myths convey and how? After checking the legends found based on the mentioned method, it became clear that these legends represent the dualism of the minds of their narrators. Because the opposition of Incest / prohibition of Incest, is the foundation of these legends. This confrontation is itself a result of a conflict that is rooted in the depths of human souls: Duality of Nature and Culture. Since the prohibition of Incest is the point of human disconnection from nature and the beginning of culture, Iranian and Egyptian legends are trying to institutionalize this should / Not should in the audience and so they have a different end from the old religious beliefs.
 

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در نشانه – معناشناختی ، نشانه ، گونه­ای منعطف ، سیال ، پویا ، تغییر پذیر ، متکثر و چند بعدی است . همه­ی اینها معنا را تعاملی ، فرایندی ، تحول­پذیر ، پویا و چند وجهی می­سازند . از این دیدگاه ، نشانه – معناشناختی نویدی است برای شناخت چگونگی کارکرد ، تولید و دریافت معنا در نظامهای گفتمانی ، زیرا فرایند معناسازی خود تحت نظارت و کنترل نظامی گفتمانی قراردارد . و دارای سطوح مختلفی است تا بتوان با توجه به وسعت حضور نشانه – معناها ، کارکردهای متفاوت معنایی آنها را ارائه داد . کارکرد­های مختلفی با توجه به  حضور نشانه - معناها  در  گفتمان  وجود دارد که مهمترین آنها عبارت است از : کارکرد  مقاومتی ، ممارستی و  مماشاتی که مبنای شکل گیری بسیاری از گفتمانها به شمار می­روند . از این دیدگاه ،  نظام اسطوره­ای ، نظام نشانه - معنایی است که چارچوبی کیهان شناسانه و ادراکی برای تبیین پدیده­های پیرامون انسان ارائه می­دهد که دقیقا در کارکرد ادراک معنایابی و تفسیر آن نوعی نگاه به جهان مطرح است که منجر به ایجاد نوعی التفات به جهان می­انجامد که متاثر از زیست جهان انُسانها  شکل گرفته است . در این پژوهش مساله مهم این است که نظامی جهت تبین جهان بینی و ایدئولوژی اسطورها­ی خود از چه شگردها و راهکار­هایی  بهره برده است ؟ همچنین کارکرد­های ویژه اسطوره در گفتمان هفت پیکر چیست ؟  این پژوهش نشان

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Abstract The fertility goddesses are the female deities to watch over and promote productivity, pregnancy and birth in many polytheistic cultures. Although it’s not easy to find exact usage of prehistoric objects, but using historical myths and folkloric tales, we can mention following functions for fertility statues: 1. Native goddess incarnation; that usually is an earth mother or water deity and in relation with love, fertility and productivity. 2. To apply in earth, human and animal fertility ceremonies; puberty rites, sterile women improvement and to ease parturition. 3. Mother symbol; for set in children tombs that a company them in after - death journey. This article tries to survey fertility goddesses in Mesopotamia and Middle East, Anatolia, Mediterranean, prehistoric Europe, Aegean Sea and Greece, Rome, Scandinavia, Ireland, Africa, Egypt, India, China, Japan, continent America and Northern regions.

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Abstract: The motifs are elemental in keeping the structural, semantic and aesthetic consistency of Persian tales. Multiple and often uncertain origins have been counted for fictional motifs, such as mythical and religious narratives, folklores, history and so on. Over the centuries, the motifs have undergone shifts and variations, and transferred from one domain to another. Having been considered as a multi-dimensional bird for possessing various and often contrasting features and functions, "The Raven" also acts as a multi-functional motif in Iranian culture. The function of the raven in texts and narratives has two main origins: mythical and religious. In the first, the raven is linked with the Sun and light, acting as the messenger of the Sun God, brings good omen, and embodies wisdom and foresight; and the second one makes the raven to penetrate the beliefs and mentalitys of men through the story of fratricide of Cain, and thus symbolize death and darkness. The study of how the function and motif of raven have undergone shifts and variations through myth to religion and folklore is the purpose of this paper. The investigation of the function of raven in texts, tales and proverbs, and the analysis of its stability or alteration would bring to light chief and critical points about the (dis)similarity of myth and religion, and the role of raven in Iranian people's attitudes and folklore.

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 In many of mythical, folklore and fairy stories, the birth of the hero has many mythical and fictional characteristics. The grounding of the birth of the hero traces on the hero’s future life. In many stories, which have the birth function, there are many barriers in the birth process. Among these obstacles, we can name aging parents and their disability to have a child.
The remarkable point in this story is that the child, despite many barriers, is born, and after a dangerous and wonderful life, becomes a hero. The main goal of this article is the psychological analysis and classification of the type of tales.
This research investigates the birth of the hero as a current theme in mythical, folklore and fairy stories, and its conclusion shows that we can classify the different types of birth function in the following groups as: the birth without parent origin, the birth process with one origin (father or mother), the marriage of the king with particular girl (sometimes a fairy), and the birth of the hero in the aging parent time and eating apple condition for mother.
 
 

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Comparative mythology partly is a one of the modern courses, which have been used broadly from the second mid-nineteenth century. On the one hand, the relation of this approach has become firm in the comparative literature, and fixed in the mythical critic, on the other. Though at first, the necessity recognition of world's nations myths was introduced widely and comparatively by the European’s and broad researches were done by them, especially in the field of European nations (Rome and Greek's) myths, but the extent of this approach in the Islamic nation's myths did not progress, except of some small and separated surveys on myth motives. In 2000 AD, Hossein Mojib Al-Mesri, by understanding this poverty research, in “Comparative research in Arab, Iran and Turk's myths”, took the first step in comparison of Iranian, Arabic and Turkish's myths. It is wonderful that, even after a decade, researches did not refer to this. Mojib Al-Mesri, in this comparative research, has studied every Iranian, Arabic and Turkish's myths in three separate parts. However, this book does not operate according to the twentieth century mythical critic approach, but in Iran's myths study, it exhibits modern conclusions and achievements in comparative mythology and in this way, compares unfamiliar Arabic and Turkish's myths with similar Iranian samples that have not been studied in any research so far. This paper has tried firstly to clarify the myth relation and functioning of mythology in comparative literature and  then  introduce  Hossein Mojib Al-Mesri's achievements. Then in a more limited scope, it reviews his theories that he received from Iran's myths. In the end, it shows the existing common points between Persian myths with Arabic and Turkish samples in two sections of religious and historical myths. The purpose of this essay is revealing the potential capabilities of Islamic nations' myths. It also recommend the necessary changes, which must occur in one-sided and unilateral views of Iranian or Non Iranian mythologists.

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Rostam and Koraoglo as two nationl and epic champions that their fate are linked with the fate of their nations, are symbols of  the wrangle of forces; Good and Evil, Light and Darkness, and Honesty and Dishonesty. The spirit of impassion, mythological aspects, courage, dedication, love, revenge and splendor are conjoint specifications of the two champions. This article answers the following questions:
1- What are the conjoint specifications of the two champions that affect on the authorship of the story?
2- What are the mythical elements that changed these champions into myth?
3- What are the conjoint specifications of women in these stories?
4- What are the important amorous elements in these stories?

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The influence of one literature on the other is the   consequence of cultural interaction in different nations. No literary dynamics can keep itself away from the influence of other literature. When both sides of the equation interact through the cultural and literary language of the two nations, the issue will be more serious.  Since the Literature and language of Iran and Tajikistan have the same origin, then this can be a subject for a comparative study. So in this article, we will investigate similarities and differences in how to apply mythology, poetic language, its functions and its application in both quantity and quality in the poetry language of two contemporary poet from Iran and Tajikestan ( Forough Farrokhzad, Golrokhsar Safi-Ava). The main question is that how is each of these poet`s  attitude to myth, mythological themes and  their origins, and to what extent do they have used from these mythological motifs in their poems. These motifs are: God, goddesses, gods, prophets and entrepreneurs, mythological figures, historical and epic creatures, plants and animals and mythological mythology as well as certain areas.

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Occupation of Palestine and Iraq’s invasion to Iran, as two enormous events of the twentieth century, overshadowed the lives of two lands. Meanwhile, literature- especially poetry-as one of the thinking areas of the Palestinians and Iranians, had witnessed a fundamental transformation. The poets of the two lands parallel to the enemy’s attack, showed resistance together with the combatants against the invasion of the enemy. “Smyh Alqasm” and “Hassan Hussein were two poems who left various worthwhile resistance poems. One indicator of this type of literature is the use of dramatic, symbolic and lyric contents. The present paper intends to investigate the reflection of changes caused by the onslaught of foreign enemies on the deployment of concepts and symbolic myths as well as the homology, differences, semantic developments and concept changes of these themes in the lyrics of Samyh Alqasem and Hassan Hosseini. The results indicated that both Samyh Alqasem and Hassan Hosseini have used symbolic and natural, human being, animal and place lyrics but symbolic and lyric meanings in the poets of Samyh enjoy more initiative, variety and extension.

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Part of what we know as the heritage of Iran and India has originated from the Indo-Iranian culture, and this heritage belongs to the East and the common life of Indo –Iranians in the past. We can consider the similarities between Arash-e Kamangir in Iranian mythology and Vishnu in Indian mythology as an original example in this case. In this research, we try to show the characters of Arash-e Kamangir, in the ancient, middle and Islamic periods, according to the comparative method in the French School and the method of content analysis. The results of the research show that Arash and Vishnu are two myths that have a common origin, and consequently, they have vast and widespread common aspects; and in making of mythological character, the subject of the attack between Good and Evil has a special place in the two cultures. Being warrior god of rain in creating the myths like Arash and Vishnu; being bodily and their connection with natural elements and heavenly realms are the other results obtained in this study.    

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Since the earlier times, stories on prophets, miracles and their adventurous and instructive life have received special attention as effective elements in the literature domain, embellished literary works and attracted attention of huge number of readers. One of the most enticing, influential and noteworthy of these stories is on Jesus Christ. In the literature of the past, most of the poetical interpretations of him are more under the influence of Islamic point of view and less on Christian one, which in most part is in conflict with Islamic trend of thought on some significant issues. In the modern literature and specially the contemporary Arabic and Persian poetry, the Islamic interpretation of Jesus is encountered by a considerable Christian turn and some concepts like Jesus' sufferings, his crucification, his sacrifice for redeeming the human’s sins and his resurrection after death derived from Gospel find their way into poetical works. These concepts have been converted into mythical and symbolic ones in the Christian art and considerably aid poets in expression of internal anxieties, victimized nations’ suffering, cruelty of governors, cruel governments and so on. Adonis and Ahmad Shamloo are two modernist and experimentalist poets that some parts of their poetry are devoted to symbolic and mythological depiction of Jesus Christ. Relying on American school in comparative study, this comparative study attempts to investigate the motif of Jesus in Adonis and Shamloo’s poetry in a comparative manner and analyze some considerable issues in their poetry including Jesus’ Christian or Islamic aspects, the styles of these two in depicting him, their points of commonality and difference in Jesus' symbolic interpretations and success or failure of each in applying these symbols.

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Myth and archetype represent the universal aspirations and ideas of human. On the other hand, they represent religious experience and exposure to Holy Existence. On this basis, the mystical narratives are the basic vehicle for development and exposure of archetypes and myths. As for symbolism, and the significance of mystical narratives, necessary to interpret for understanding their texts and to obtain narrative functions, we have surveyed three authentic and effective texts of Attar`s Tazkarat-ol-Olya, Hojviri`s Kashf-ol-Mahjoob and Goshairieh’s Resaleh with mythology approach. Because the mystical narratives benefit from all components of the thought and culture sphere of human, especially archetype, we have reviewed, classified and decoded, according to the their texture, have archetypes such as tree, mountains, caves, animals, colors, cycle and center, the names and numbers in the mentioned three texts. This review illustrates that mystical narratives like other areas of human thought, benefit from myth and archetype to achieve its objectives and functions as one of the dominant elements. Based on these features, many mystical narratives use narrative folk or close to their structure. Archetype and myths explain religious experiences in mystical narratives, which are covered in symbolic forms. Although mythological elements have a bond with Holy Existence, they take distinctive color and odor to the mystical narratives, and describe and three stages of birth, death, and rebirth, and encounter with Holy Existence.

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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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Azad,R.
 
Abstract
 
The influence of philosophy on literature is undeniable. We just need to think of how Heidegger’s philosophy left its imprint on the whole postmodernist literary movement.The Emphasis on interconnections between man and the universe,the endeavor to understand   those interconnections and the attempt to return to their origins and sources are three fundamental principles of Heidegger’s philosophy, which have penetrated and shaped postmodernist literature. These three fundamental principles are also found in mythology and in this article we will highlight their similarities. Apart from sharing these three elements, minor parallels can also be found such as the “Unconscious” aspect of mythology, being a direct result of oral tradition while in postmodernist literature the same aspect becomes “Consciousness” since a priori agreed conditions are intentionally applied. In this article, while focusing on the philosophy of Heidegger, we discussed the characteristics common between mythology and postmodernist literature.
 
               

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Literature of different nations have always influenced each other mutually from the ancient time until now, and fewer people can be found that have remained unaffected of these influences. For example, we can consider two ancient countries, Iran and Greece that their relations and cultural exchanges have reflected at their literature in various forms. Research demonstrating the influence of the poets and their works on each other can be very useful to understanding the ambiguities of their works. In this paper, by analysis of Nezami's works,  it was made clear that Nezami, through the translation of Greek works into Arabic or Persian, was familiar with Greek mythology, and directly or indirectly has inspired many of his stories from Greek mythology, as some stories such as "Alexander and the Barber", "Jamshid and His Confidant Friend", "Alexander and  Noushabeh", "Senseless City", "Pastor and the Ring" and "Fetneh" have been adapted from  the Greek mythologies such as "Mydas King" "Amazons" "Maylo", and "Gyges or Zhyres".        

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Archetype is the common experience of mankind that has remained of distant past in collective unconscious. Because human experiences are abundant, we can not be identify the number of archetypes, but the most significant archetypes are: anima, animus, self, persona, shadow, wise old man and mother. Sacrifice is one of the major archetypes that have been institutionalized in the collective unconscious of most humans. In psychoanalyst viewpoint, sacrifice is one of the defensive mechanisms of humans against the demands of the id that leads to social interest. Archetypes are shown in dreams, imagination and illusions. Art (especially literature), is one of the main manifestations of archetypes. Sacrifice and its features can be found in the large number of artworks. In this paper, we investigated the archetype of the "Sacrifice" in Hallaj, in "Hallaj's poetry" of Mohammadreza Shafiei Kadkani, and "Hallaj's requiem" of Adonis, and presented a mythical criticism of them. 

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Hamidi,S.J ,Ph.D.
Shamian, A.
 
Abstract:
 
This essay studies Dream Allegory in Persian contemporary poetry. In this research, Dream allegory has been defined as one type of the vision literature and then comments on its antecedent usage in myths and literary works are explained. Dream allegory expressed spiritual progress in structure of vision journey in the past. But, in recent centuries, except that traditional theme, some new contents have been expressed in its form. Studying this form in Persian contemporary poetry maybe distinguishes quantity and quality of the new themes. The notable examples of dream allegory in contemporary poetry have been seen in Eshghi, Nima, Shahriar, Sepehri, and Shafyi Cadcani’s poets.
 
 

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Khalili JahanTigh.M.,Ph.D
 
Abstract:
 
The book, Kashmir History or “Rajtarangini” is a versified tale of legend, epic and history of a part of India, namely Kashmir. Kashmir is called “Iran Minor” because of its beautiful nature, fine weather and even the color of its citizens. This work was composed to Sanskrit language by kalhan for the first time and then translated into Persian twice. The first translation was artifact, formal and hard to be understood and the second one done by Mollahshah Mohammad Shah Abadi during the time of Akbarshah Goorgani was simple, fluent and permanent. This article is aimed at adjustment of some of tits stories and historical figures to some tales and religious and historical figures of Iranian and Semitics works.
 
 

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Abstract The essential aim of this study is mythologic review of supernatural creatures in one of the well –known Persian tales as named Salim Javaheri tale. In this article at first is tried to present main theories about myths and legends, then analyzed each of them based on mythological as well as folkloric aspects and to discover mutual relationships, because some theoretician believe mythologic review of folk tales is inappropriate and has no any credibility. On the other hand, literature review, specially mythologic review in texts of oral literature is not common in our country, so in some parts of the article extended capacities of oral literature, as an appropriate ground to use mythologic review, have been described. At last, a well-known Persian tale, Salim Javaheri, as an example has been used for a sample of mythologic review for first time. The elements of such review have derived from this text of oral literature. The new idea of this study, can be a beginning of later long studies for interdisciplinary recognition of oral literature texts. Keywords: mythologic review, folk tales, Salim Javaheri tale, hamzad, ghoul, pari, davalpa, nasnaas, gav-e daryaee

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Decoding Bibis` Narration Abstract Myths and mythical narration have several meaning and several values. This means that myths and mythical narration in meaning horizon of every tex and course , can be changed in term of surface structure and deep structure .Bibis`s narrations have two structures .one concerned custom of marriage and other depends on religious experience. Bibis` myth and narration such as " Bibi Shahr e Banoo " in Rey and " Bibi Shah Zeinab " in Yazdel e Kashan even if they have victimizing deep structure of fairies but in Islamic periods considering the recreation of stories again and also the form and appearance of restructured buildings are the indicator of religious matter and its joint to the holy time atleast tendency to it , " mysterious " , " awe " , and " splendor " which is at extreme the reason of revelation of descriptions of holly time. these signs and revelations in details and structure of narrator stories and related buildings is appeared . Key word : Bibi, sign,narration, religious experience ,myth .