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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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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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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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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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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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M. Sarrafi.PH.D.
 
Abstract:
The present essay is written through a referential method for the analysis of bird symbols in Rumi’s work; Massnavi. Once the author derived all the functions of birds, he categorized, described, and also explained the symbolic concepts of each through context analysis as the major technique. On the basis of these findings, there are about 30 birds mentioned by their names, while about 100 birds are mentioned without referring to their actual names. These create merely a part of Rumi’s creativity in symbolism. One of the most significant findings of this paper is; regarding the final analysis of birds; they are actually a symbol and sign of fate of the human soul within the prison of body and the materialistic world.
The meanings and symbolic concepts of birds hold an inseparable connection with their natural characteristics. Furthermore, the religious, cultural, and mythological teachings, which have been created about each of them throughout time, all enjoy a stunning role in the particular concepts given to them by Rumi. In overall it can be said that some of Rumi’s interpretations and understandings on the birds are quite new and innovative; while some of the others are rooted within the cultural traditions. The construction of symbolic concepts regarding birds in Massnavi derives from Rumi’s unique and special approach on one hand, while it is the result of his personal findings and understandings added to his potentiality and talent on the other hand.
 
 

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Myths in throughout of world, have many similarity together, therefore we can clarify all myths in some sample. There are very festival which contains myth. KUSE, a celebration that carried out before NOOROZ in Persian, has a various form, that ARUS GULEY- one of the Fertilization Festivals of Guilan is one of them. This paper is an attempt to descript the story of ARUS GULEY, ISIS, (the Egypt myth), PERSEPHONE, (the Greek myth), and to say that the Guilanian celebration has very sings to verify similarity with them, thus it is appropriate to serious study. This article contain several segments: introduction of the Egypt and Greek myth, description of tow narrative of ARUS GULEY, semiology of these narratives, and the comparison SIYAVASH and RAPITHVIN with ARUS GULEY is another part of this article.

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Folk tales are an integral part of Iranian folklore and their examination, whatever be their literary aspect pave the way to the recognition of the mysterious world of human culture in the distant past. Hosn Ara’s tale is considered a unique version of a popular tale most likely written in the Safavid era by Mohammed Riyadh. This edition is being kept in the manuscript collections of Leipzig University. Hosn Arā’s tale narrates the history of a rich who ends up marrying four women. They are the symbol of female sex in four great prehistoric and historical Iranian periods. Among them, two women have a mythical function and two others have historical implications. This article attempts to analyze the text of the story by examining the quadruple image of women and by recognizing the mythological and historical symbols associated with Khwarazm using non-textual texts and signals. Thus the objective of this study is to demonstrate the cultural integrity of Iran and the lands of the distant past.

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Nature and its elements play a critical role in the intellectual system of the first man. The plant is one of these natural elements that has appeared in parallel and with similar functions in the mythology of different nations. Hence, it has been transmitted to the next generations as an ideological heritage, and due to its symmetry with human nature, they have found a same and sometimes identical form in the of nations. The comparative review of mythological plants and their functions among the myths of various nations can illustrate the role of nature, especially the familiarity with its common source in human mythology making. The results of the research show that the range of plant function, from the myth of creation and its manifestations in the mythology of the plant goddesses, the process of birth and rebirth of mythical heroes and even their function in the transformation or giving a divine nature to human beings; like the attachment of invulnerability and immortality to human beings up to the myths of death and plant resurrection of the holy super humans belong to the perception of human-plant relationships in the mythology of nations and their relation to the worldview of the triple social systems of the mythical age. Based on this pattern, most of the mythical traditions of the plant world are based on the insight of the clerical class that has been created for the subconscious to preserve their birth, life, and ritual continuity in the form of sacred philosophy of life.

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The metaphorical and symbolic structure of the myth and its ancient foundations always provide the basis for the return of mythology in peoples' minds and languages. Ritual beliefs and ceremonies in different regions reveal the powerful presence of human thoughts and aspirations. The symbolic presence of mythical plants and animals in contemporary era is one of the characteristics of the mysterious nature of the past and of life, which refers to the hierarchy of life, that is to say, the passage of time from immortality to the universe of incarnation. Stone engraving is one of the neglected dimensions to trace this stage. The engravings of animals or plants on the tombs of different tribes may be proof of the presence of these mysterious phenomena of the human mind. They are mysterious attitude to life and death and always suggests the survival of mythological views and beliefs. In this research, the authors have tried to explain and study the cemeteries of the village of Souran using the method of mythical criticism and field observation. The results of the research showed that most mythic beliefs persist in the form of the symbolic presence of animals and plants along the signs of the foundation of myth, which testify to the resurrection and survival of early doctrines in general beliefs of the region; By moving through history and reaching the present age, it continues to affect the image and belief of people in the region.
 

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Kh.Gholizadeh, PH.D.
Abstract:
Phoenix can perhaps be considered as one of the most important animals of Persian literature. From ancient times, a large number of experts have focused on this bird of Iranian mythology and compared it with other birds like Cyena, Indian Geruda,  Vargun, Kersheft, Amruvak, Marvi Ostayee, Chamroosh and Kamak in Pehlavi literature; Anqa-e-Arabi, Homa and Ghaghnoosh in Persian literature as well as Greek Phoenix, Anzavi Okadi and Sirang in vernacular literature. Later, phoenix entered into others domains from the Aristotelian domain such as epic/heroic and mystical literature or one dealing with artistic, painting, enameling and metal works. Root of Zoroastrian (Saēna) and Sanskrit (Çyena) for phoenix were actually meant for “eagle, hunting bird” and Merәgh in Indian and European dictums was related to duck. Apart from linguistic similarities, there are enough resemblance in anecdotes and fables related to this mythological bird. Characteristics like magical wings, fostering and nursing of heroes, connection with heavenly world, crucial and remedial, connection with immortal vegetation, enmity of eagle with snakes etc (all these are ancient and Indo-European). Features of Phoenix were such that in the emergence or meting of mythological birds whose names are absent influenced excellently.
After studying above cases, this article points about the relationship of phoenix with topics like astronomy, its comparison with the abovementioned mythological birds and variables of forms and shape of phoenix. Against common viewpoints that consider phoenix as a beautiful and heart-stealing bird, its appearance is composed of several aspects i.e. head of bat, body (and often head) of dog, wings of eagle and tail of peacock. These aspects have been identified since the time Sassanians and phoenix with this composition designed on clothes, utensils, decorative stones and coins. This aspect later caused phoenix to appear as a compositional existence named baškuj in the contemporary Iranian traditions like Armenians and especially Caucasian and Zoroastrian ones. In this new application, baškuj more in phoenix shape is adversary of Esfandyar.
 

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According to critics and experts in the field of myth, "Achilles" or "Achilles" is the most immense Greek mythological hero in the Trojan War. Humorous, the oldest and most famous Greek epic, in his book The Iliad, the most comprehensive epic version of the West and the Greeks, is the story of this myth and his adventures in the Trojan War. This book has had tremendous effects on the cultural and literary communities of the West and the East. In the same vein, some contemporary Arab poets, like Suleiman Al-Bustani (1856), Mahmoud Darwish (1941), and Abdul Aziz Al-Maqalah (1937), have often been influenced by Iliad Homer, calling this myth. The purpose of this article is to critique and evaluate the effects of the presence of the myth of "Achilles" in the poetry of the poets, based on Pierre Brunel's theory and how to apply it in their poetry. The research achievement, which has been written with a descriptive-analytical method, shows that the Achilles myth in the poetry of some named, such as Darwish, and the articles that are poets of the generation of screaming and catastrophic events and defeat in Arab lands, The mission of a war hero on the battlefield of Troj, as a sinner and political ambassador among Arab nations, is that the emancipation of contemporary human beings from pain and suffering is political-social.

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One of the characters seen in Iranian enchanted legends is Darvish. Darvish has certain abilities in the magical myth. He knows the treatment of some diseases and problems, and is aware of some hidden knowledge. In legends, in addition to Darvish Yarigar, who is particularly involved in the hero's birth and guidance, a kind of vicious dervish can also be seen. The vicious Darvish in the legends is a kind of witch who struggles to destroy the hero. At times, Darvish may not actually be a filthy creature, but in part, by creating a kind of ambiguity about his intentions, he seems to be a negative character who is in fact a hero's benevolent. The purpose of this study is to show that the dual face of the legendary Dervish appears to have a mythical infrastructure, and that Darvish's personality is linked to some ancient Iranian gods such as The Wyo, Anahita, and Mehr.

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The aims, questions, hypotheses and research methods
In this research, we try to emphasize the differences between the oral narration of the people of Kohgiluyeh and Boyer-Ahmad and the original story of Kaykhosrow in Shahnameh. While rereading the epic foundations and myths of this story, we investigated the holy image-myths of Kaykhosrow in the popular literature of Kohgiluyeh and Boyer-Ahmad.
In this article, we seek to answer the following questions: How is Kaykhosrow's image in popular culture and literature of Kohgiluyeh and Boyer-Ahmad? Which epic and mythical themes from the story of Kaykhosrow are reflected in the narrative of the people in Kohgiluyeh and Boyer-Ahmad?
The hypothesis of this research is that according to the heroic spirit of the people of Kohgiluyeh and Boyer-Ahmad and their familiarity with rough and war-torn mountains, the narrative of Kaykhosrow's story has changed among residents of Kohgiluyeh and Boyer-Ahmad in order to strengthen the epic themes.
The research method, in terms of basic aim and data collection, followed library-field studies, and the data analysis was done through qualitative content analysis and structured interviews.

The main discussion
Although Kaykhosrow is a multifaceted character and all the epic and heroic features, along with his spiritual functions, are evident in his character, the last parts of his life and his glorious journey are the reason for his pious personality, and such a journey is not very prone to the emergence of epic themes.
However, the people of Kohgiluyeh and Boyer-Ahmad, in their oral narrations of this story, have introduced the themes of war and militancy in different dimensions of the story, in such a way that we think the story has remained the same.
The changes that the people of Kohgiluyeh and Boyer-Ahmad have made in the original story of Kaykhosrow, besides linking this national- heroism story and its characters with the geography of the region, show that they are very interested in the national epics and heroic stories, revealing the region's special talent for attracting epic themes.
On the other hand, many ancient foundations related to the Zoroastrian religion have remained in this region and have represented themselves in the popular narrative of the story of Kaykhosrow; therefore, the image of Kaykhosrow in the culture of the people of Kohgiluyeh and Boyer-Ahmad has two epic and mythical aspects that have found a sacred position.
Conclusion
So far as epic is concerned, the changes in Kaykhosrow's story have taken place with the emphasis on the elements of heroism, heroic ritual, war and military campaign, and epic actions and beliefs. Evidence indicates that reading Shahnameh, the familiarity of the people of Kohgiluyeh and Boyer-Ahmad with Shahnameh, and the special epic feelings that these stories have created among the people of this region, have a direct relationship with their brave and stubborn nature.
On the other hand, in the beliefs of the people of Kohgiluyeh and Boyer-Ahmad about Kaykhosrow, the delivery of the Gitinems Cup to the king in the spring water, Hatef's inspiration to Kaykhosrow (Kaykhosrow's eternal life), his horse and dog in a cave where the source of life and plants were in a spell, the sanctity of the plants, among others, there are themes that are rooted in the ancient customs and myths. This shows that the culture of ancient Iran is still alive in this area and continues to live in other forms.
 

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The idea of duality and the mythical pattern of the cosmic battle is one of the major religious themes of Iran, which can be seen both in the content and in the executive structure of the Iranian theatrical traditions. In this mythical plot, two characters with opposite natures or opposing goals duel with one another, and in result, a kind of creative consequence such as liberation of water, liberation from captivity, moving from chaos to order, or a fertility of the world might occur. In some theatrical traditions of Iran, we trace the similar reflections of cosmic battle, a battle that symbolically represents a mythical primordial event, and via this imitable pattern, people, objects, and places of performance transcend each part of which becomes a manifestation of the sacred act/object. In this article, an attempt was made to take advantage of the mythological roots to examine the manifestation of the sacred in traditional performances such as “Sukhan-vari”, "Daeeshmeh Ashiq", "Pahlavan Kachal" and "Mir-e Nowrusi” through the perspective of Mircea Eliade’s historiography. The researchers tried to explore how this pattern, particularly the concept of cosmic battle, is represented in a series of traditional performances that have been considered as a part of idiosyncratic and life necessity in popular culture.
 

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The theorists of intertextuality observed a new meaning of the text that there is no text without a pretext, that the text is not closed, independent and self-sufficient, and that every text is a memory of other texts. In this research, we investigated the ritual and performance in the ceremony of "Tir-ma-size Sho" in Mazandaran. Considering this ritual as a text, and using Genette's transtextuality, the effect of this ritual from previous texts (hypertextuality) was investigated and the role of different texts in the performance of this ritual (intertextuality) was discussed. The purpose of this research is to study the relationship between ritual and drama in order to answer the following question: What is the co-presence of ritual and drama in "Tir-ma-size Sho" from the aspect of transtextuality? The article is done in a descriptive and analytical way borrowing Genette's transtextuality approach based on library research. The hypothesis indicated that in the transtextual relationships of "Tir-ma-size" ceremony, there is a co-presence of various systems such as the dramatic and ritual system with the pretext derived from the mythological sources. The action of "trifunctional" based on “Sovereignty”, “Military” and “Productivity” can be checked in this ritual. The practical battle of good and evil is a dramatization of Tishtar's fight with the demon of drought. It is also a manifestation of the battle with the demon, the enemy of the vegetable gods and plants. "Laal Shu" can be seen as the continuation of Arash's life in the form of a plant symbol that brings existence, birth, and life to people.
 

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The transfiguration of a person into a corpse is one of the mythological and symbolic elements in Kurdish folktales. In transfiguration, the shape and nature of creatures are changed from one state to another by using supernatural power of person or creature. The current study was carried out in a descriptive-analytical method based on the library sources and field research. In this research, using mythic criticism, the roots of petrification were investigated. Then, the way people faced it, as well as the causes and tools necessary to get rid of this change, were discussed. The results showed that the reflection of mythical beliefs, passing through history and reaching the present age, in Kurdish folktales, shows the immortality and dynamism of these beliefs, by deciphering and analyzing of which, the common root of this mythological view can be discovered and interpreted.
 

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The palm tree in its mythical nature is one of the Mesopotamian and Elamite vegetable gods, whose traces of its alien nature in human incarnation and its transformation have been left in the beliefs and customs of the people of southern Iran in relation to the myths of creation and fertility. The mythical history of the date palm in terms of anthropology is similar to most of the traditions and popular beliefs of the people of the south, and has led to beliefs such as the creation of the palm from human palm and knowing the palm tree as a companion in the south. The sanctity of the palm and beliefs such as that the palm has organs and conditions like human beings and rituals such as marriage, the dramatic threat and sacrifice of the palm, etc. are rooted in the myths of birth and fertility. The process of characterization of the people of the South from the palm tree in terms of the cycle of death and life and resurrection to the goddess of fertility, complement each other and express the perception of the cosmic position of the female force in the universe. This article is a descriptive-analytical field and library study to analyze the myths related to creation and fertility in the folk beliefs of the people of the south about the date palm based on the people of Jahrom and its mythological elements in customs and beliefs such as: birth and sanctity of palms. It has shown fertility, love, madness, death and the coffin of the palm tree.
 

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“Paradise” is one of the concepts common between myths and religions. This paper uses an analytical-descriptive method to study the concept of Paradise, the origin of which is different in religions, and there is existence of commonalities of this aspect. The existing similarities and shared view of the Paradise indicate the conceptual commonality of this word in rituals. The religion of Islam uses the Paradise in the form of the word “Ferdows” and considers it as a reward for the pious and righteous. In other religions, too, the high-frequency of Paradise in religious books suggests a broader concept of it. In other words, its purpose is to be close to God and the Creator of the universe to achieve immortality. Mythical man, by imitating the gods who are immortal, wants to join eternity and open the wings to the infinite world and immortality from destruction in the immortal universe. He has tried to build a utopia on Earth and his image of the Paradise that bears a complete resemblance to the worldly Paradise. The Paradise-like cities imitated from the heavenly ones and built on Earth were analyzed in this paper. Examples of the mythical heroes of Shahnameh who tried to build Paradise on the Earth were mentioned.