Showing 52 results for Tales
Volume 0, Issue 0 (2-2024)
Abstract
This analysis explores the two discourse systems of Shushi and action in the story "Ali Misha-Za," one of the most renowned epic tales of Bakhtiari. Each of these systems possesses its own distinctive characteristics and structures, significantly influencing the creation of meaning and the experiences of the characters. The Shushi discourse system particularly focuses on the impact of emotions and the emotional states of Shushis. This system employs a nonlinear and indirect approach to examine how meaning is formed through the interaction of Shushis with their environment and surrounding elements. In this context, two major subcategories—sensory-perceptual and tension-emotional—are introduced as key components of this system.This research aims to examine and analyze the transition from the action system to the Shushi system in the epic story "Ali Misha-Za." This study is conducted using a descriptive-analytical approach and relies on library resources. Within this semiotic framework, utilizing Shushi, action, and tension patterns, the research elucidates relevant topics for the reader. By examining various sections of the story, it analyzes the sensory-perceptual and emotional underpinnings that lead to diverse actions within the narrative. The findings of this study indicate that the discourse system of this story is not solely dependent on the actions of the characters, and the meaning of the text is interpreted through the various dimensions of the interaction between Shushis and actors with the environmental elements of the story.
Volume 1, Issue 1 (1-2013)
Abstract
Abstract:
Women in the prose folk tales have various roles. In contrast to the position of women in official and lyric literature, the living, dynamic, influential and basic role of them in folk tales is noteworthy. Active women with positive character are the initiator of love, heroe’s helper, protector of their freedom and dignity, warrior, heroe’s physician and nurse, against the mandatory marriages, consistent in love, sly, devoted, kind, intelligent and advisor. Women with negative character are sly, witches, malicious, wicked, evil, treacherous, envious and corrupt. Passive women are as a reward for the hero, unsophisticated, beloved or spouse, agree with polygamy and oppressed. This descriptive-analytical paper cheks twenty-two long famouse folk stories and analyzes the popular types of active and passive women's role in them.
Volume 1, Issue 1 (1-2013)
Abstract
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.
Volume 2, Issue 6 (12-2004)
Abstract
Khorasani,M.
Vladimir Propp, the Russian folklore expert, suggested that natural sciences study styles should be used in ordinary stories. He believed that classification of stories is the result of many researches at the end of studies but, most of the scholars traditionally classify the subjects and include the working materials in the form of such imposed classification.
Propp himself studied the morphology of one hundred of the Russian tales collected by Afanasyof. He discovered that all the available works in tales are limited to 31 functions. He thought that type of the tale, which should be discovered, is covered under the disordered appearance of the standards ruling on the tales. It is regarded as the first founding of narratives. He determined a symbol for each of these functions and by putting them together, finalized them and reached the wonder tales.
Use of modern methodology criticism in classic literature always faces difficulties. This research is an attempt to examine this model in comparative literature. The material used for this study includes a tales of the ” Arabian Nights ” covering the main story and also three other ones. In analyzing this anecdote not only the Propp’s methodological symbols are used but, other symbols have been used as required and finally morphology model of the story are presented. Applying this method which is regarded as a test for morphology, can separate the annexed tales from the main ones based on the reached structural model.
Volume 3, Issue 6 (11-2015)
Abstract
In modern psychology, “colors” are considered among the standards for evaluating personalities. They could be regarded a great and significant source for subjective readings and the analysis of mental characteristics, both national and ethnical. From the psychology of the applied colors in different literary works in every ethnicity, delicate and spectacular points could be gained and in this way, a bridge, about the characteristics of the same people between psychology knowledge and folklore literature could be created. In this article, along with studying the aesthetical and artistic characteristics of the love songs of Talesh ethnicity, we try to analyze its colors with the eight functional colors of Max Lüscher’s color tests in order to realize some of the psychic-mental characteristics of the people of this region (Talesh) from the words of the unknown composers of their songs. The research method is descriptive-analytic, and the information gathering method is both field- and library- based. In this study around 50 Taleshian love songs in which different kinds of colors are used, from the most frequent colors to the least used ones, were analyzed. The results indicated the psychic-mental characteristics of the people of the region in exposing beliefs and emotions, pressures, sensibilities, disappointments, joys, etc
Volume 3, Issue 7 (12-2015)
Abstract
Work songs are readable version of emotions and passions of simple living rural people which indicate wishes, hopes, happiness, sorrows, love and loneliness. Work songs are called “Karnava” which are sang for different purposes and usually formed for describing the type of work, harmony among individuals, creating happy atmosphere in working area, and reducing the difficulties of work. These songs are divided into different subgroups: agriculture, milking, sheepherding, etc. With reviewing, analysis and meaning finding of work songs in each society, the social and cultural atmosphere of that society would easily be understood. In this article, along with reviewing aesthetic and artistic features of types of Karnavas in Talesh tribe, we analyze them in anthropological format in order to find related meaning in cultural, customs and morale of Talesh tribe society and analyze them. Research method is descriptive-analytic and data collection has been carried out in field of study and library. In this review around 20 Taleshian work songs were analyzed. Results of this study show that many of cultural, and social features, customs, beliefs, values, romances, sorrows, role of women in work and economic affairs, and importance of cooperation for Taleshi tribe have been reflected in these Karnavas .In addition, most of work songs in this region of Talesh are agricultural and pastoral ones which have romantic style.
Hosein Bayat,
Volume 3, Issue 11 (12-2010)
Abstract
In many of the Iranian and the world stories, both force and guile are operating events comprise the story. Investigate and psychological and symbolic compare of those popular legends which good and evil forces in their beloved reaching over, shows that in these works, however, appear to benefit the beloved hero acts in subtle and cagey narrative infrastructure And before taking functions based on deception, this battle will be in Median dose and involvement of the opposing forces will conduct their own profit. In such stories, the central character is not the brave prince nor vicious Dave, but the beautiful girl that wishes marriage with the hero and have her own child. In this way, despite the apparent physical disability, using various scheming like secrecy, feminine and magical elements, and even sometimes to hire antiheroes, the real initiative and is available on the course of events towards their desired ending. The joint adventure stories generally setup for this peak point and the common ending: they are well and happy years together they live. " This paper uses views of Northrop Frye, Joseph Campbell, and Bruno Bettelheim. regarding the fundamental structure, number forty Farsi folk tales and that compared with a drop of evidence shows that such a common infrastructure indicative of mental concerns of women in patriarchal times and the women place the narrator or audience of this tales, dreams sweet Dream that are impossible in real life were often deprived of it, the story of a woman in the story of the hero in imaginary world have stories appear. Considering the existence of this feature in ancient stories and romances, these tales may have roots in old narrative structures that can lead them to myths about Matriarchy period.
Masoume Ebrahimi ,
Volume 3, Issue 11 (12-2010)
Abstract
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
Pegah Khadish,
Volume 3, Issue 12 (12-2010)
Abstract
Abstract Structural researches and considering the fundamental patterns of different narrative forms, is one of the common methods to categorize them. In this manner the oral tales have a great chance to pay attention to. This article is written according to a new version of Propp’s theory about the morphology of fairy tales, and also with a glance to “The Narrative World of Finnish Fairy Tales” by Satu Apo. So the structural patterns of Persian fairy tales can be summarize as below: 1. Hero is looking forward something 2. Something dangerous is threatened hero
Volume 4, Issue 2 (12-2016)
Abstract
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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Volume 4, Issue 10 (12-2016)
Abstract
It is in Meydani's Majma Al Amsal that 1000 Arabic proverbs of Al Movaledun have been defined:"Amsal hasn't Arabic identity, they have been borrowed from other cultures to Arabic language". Meydani has no idea about the identity of Amsal , but whereas commentators believed that Iranian culture has been excessively influenced by revolving Arabic literature, it is lost to approve Iranian origin of Amsal to show Iranian cultural face before Islam through different events. Since there are multiple studies have been conducted to show Iranian identity of Amsal by examining concepts, and vocabularies of Iranian works. This study has tried to compare the concepts of Amsal Movaled and Iranian Tales of Amsal, in order to show the veins of Iranian identity in Amsal, because, Iranian culture and literature show the tales which conclude to those of Movaled proverbs, therefore, there is no doubt on their origins. While Meydani believes that all of the tales of Amsal were quoted, there is no tale to support the documentation of the study, it shows that the tales were not famous in Arabic literature in Meydani career. Such tales of Persian literature and culture are examples of Arabic Amsal in Iranian culture.
Hossein Pirloojeh,
Volume 5, Issue 19 (11-2012)
Abstract
The ‘diachronic approach to narrative studies’ may take different directions, one of them being a typological research on narrative texts, and the other, a genealogical enquiry into the modern ways of storytelling as to see how they have historically originated from a certain group of folktales. Assuming, in the same vein, that some relics of Persian formulaic oral narration should have survived—through functional modification, or even obliteration— into the Iranian literary fiction, this article introduces just one instance of these Persian-folktale-specific formulae, drawn out from a bulk of more than 270 texts whose inscription dates back at least to 70 years ago. Then the question is whether the formula has completely vanished away, or simply alternated between a number of functions.
Volume 6, Issue 20 (6-2018)
Abstract
This paper examines the Iranian humorous folktales through two patterns: the role defining function, and the function generating role, taken mostly from some structural-based approaches and models to narrative, Bremond’s (1970) model, among others. The criticism raised against the traditional model such as AT (1928/1961) is that, being mostly based on the Type-Index and Motif-Index, they cannot reflect the different aspects of the humorous folktales in general, and Iranian folktales, in particular, and it is necessary to call for the other more structurally-based models such as those proposed by narrative grammarians like Bremond, who, following Propp’s (1928) Morphology of Russian Folktales, has placed more emphasis on such concepts as the role defining function as well as the function generating role. Having taken the conceptual-empirical framework as its methodology, this paper tries, through redefining such concepts as an anecdote, joke, and tale as well as reviewing AT classification, to apply the role defining function as well as the function generating role on the Iranian humorous folktales with a narrowed focus on the Iranian numskull folktales. In this sense, a humorous folktale will be defined as an independent narrative unit in which a person or a group of people takes the role of a numskull through the functions they perform. In fact, their role defines their function, and their function generates their role.
Volume 6, Issue 21 (9-2018)
Abstract
Colors, in addition to their artificial meanings, express human emotions, thoughts and characteristics, for this reason, color in the general and modern sense and with respect to its functions and inherent elements shows the better understanding of the emotions and thoughts of the layers of the tales. Thus the authors by adopting a descriptive-analytical research methodology and by referring to the “Iranian Tales “compiled by Anjavi Shirazi try to classify the colors and their usage in these tales. The findings showed that the colors come into new usages in the narrative texture of tales which can further be divided into several categories: the expression of value and class beliefs, colors with the function of public interpretations and beliefs, symbolic beliefs, colors to serve the expression of details, expressing the aspirations of the public and mythological beliefs. With reference to such usage, colors can be divided into two categories: colors such as black, white, green, and yellow are used to express intentions, public interpretations, symbolic and value beliefs. Sometimes the colors are used with other colors to describe the details or specific functions. Golden and golden attributes of yellow are allocated to rich classes of people, and its various ranges or shads are attributed to the wishes and demands of the lower class of society.
Volume 6, Issue 22 (10-2018)
Abstract
The tales reflect the thinking, lifestyle and beliefs of people over time. Despite the obvious differences of stories with each other in different cultures and clans, there are also common features. . Stories have been used as a part of folk art and literature from myths. A group of thinkers like Freud believe that myths have influenced folk oral stories. But another group, including Andrew Lang, disagrees with this category the story is not a myth left and, in fact, these are myths formed on the basis of folk oral stories. In each society, there are some ancient behavioral patterns which may not necessarily be taught only indirectly to people in the community. or, vice versa, may be attributed to some of those patterns in the formal education system. All those ancient practices today are part of a culture that has been inherited from one generation to another. This article will be followed by a review of the category of "hair" in folk oral stories it is even possible to try to find their mythological expressions. The result of this research, which collects data in a library-based way based on descriptive-analytic research methodology, shows that hair is a sign of femininity and female sexual power. The female personality of stories has mostly fertility, water-relatedness and vegetative fertility women. There are also many ways of life, and especially marriage, in these stories, rituals, and rituals of the maternal age
Volume 6, Issue 22 (10-2018)
Abstract
Among the various types of folklore literature, due to the legends of Azerbaijan are part of the oldest of these stories and from the perspective of the theme is one of the best and most content-rich stories, in the world, they have a special place. The breadth of information, the diversity of subjects and the historical background presented in these stories, has identified Azerbaijan as one of the most important centers for the creation and influence of folk tales in the world. The study of the cognitive layout of the myths of Azerbaijan is a significant contribution to understanding the beliefs, customs the people of Azerbaijan. Beliefs and opinions that are full of amazing magical happenings, occurring with the involvement of creatures like ogre and fairy tale, and so on. Therefore, it is worth noting that folk tales in the folklore literature of the Azerbaijani people share the same aspects with all the diversity and appearance variation. The authors of this article will study the plot story of the thirty myths of Azerbaijan and study and analyze the early, middle and final plot sections of these folk tales in Azerbaijan. By studying the cognitive layout of the myths of Azerbaijan, it was concluded that in the folk tales of Azerbaijan the foundation of creation was based on the presentation of moral messages. Within these myths, it's more about teaching ethics and love in life, and what makes plot stories stronger is their amazing attraction to their audience.
Volume 6, Issue 24 (12-2018)
Abstract
In this paper, the authors have tried to describe the rituals, customs, and rituals of mourning mentioned in two books of Galin-Khanum and Jawami ul-Hikayat tales, which contain the stories on the theme of death in folk tales, and how the ancient people are dealing with their grieves when disappearing one of their close relatives. Galin Khanum tales book contains 110 Persian tales and the book Jawami ul-Hikayat consists of 46 narrations, both of which are written in the folk tales. The result of this research which is based on bibliographic and descriptive-analytic resources, suggests that our ancestors, based on what has been mentioned in the works, have reacted to this inevitable event. The latter has been associated with ritualistic and cultural concepts of the community. These traditions are totally relevant and deserve to analysis. Behaviors like taking a black handkerchief in hand, tying a narrow black armpit to arm, blacken the royal palace etc. are among the rituals which are In some way, the expression of the continuation of life after death, the demand for forgiveness , mercy for decease and the creation of hope and motivation for the survivors.
Volume 6, Issue 24 (12-2018)
Abstract
The reasons for the appearance of death and the reaction to it are different for the various characters of the story. This question becomes obvious when his hero or his beloved is dead in the middle of the story. The end being favorable to the requirements of folk tales, the narrator finds a way to tackle this problem and it is the return of the dead to the death. In this paper, the author has tried to look at the story of the return of death and its relationship with folklore in stories. The statistical population of this research includes a variety of stories whose content is the return of death. First, by studying Ulrich Marzolf's book entitled “typology of Persian folk tales”, 12 stories have been identified. Various stories of these stories have also been found in popular sampling books and analyzed through content analysis. While studying these stories, the author of the present study discovered that the narrator has used the idea of a return to death either to make the story more suspicious and beautiful, or to convey a particular message to the public in its history. The passage of time, new discoveries of humanity and historical events have undoubtedly contributed to the development of these stories. Finally, through content analysis of the stories, it is possible to conclude that although the problem of the return of death has taken many forms over the years and that its evolution goes from myth to magic and from magic to religion, the major theme which is return from death has been the fix element in different narratives.
Volume 7, Issue 26 (6-2019)
Abstract
Among the various types of oral literature and due to their richness, tales and myths have the ability to examine the origin and effects of anthropology, sociology, psychology, etc. Some sociologists believe that their knowledge of the institution of the family in Iran's past is negligible. Therefore, history, especially folktales, can illuminate parts of social life that are far from the eyes of sociologists. The question of power is one of the subjects of interest in sociological studies in family institution. Understanding the distribution of power within the family in past periods represents a lot of social change. In this article and in order to examine the power structure within folklore tales; the structure of power, its methods of action and the type of resistance in front of power, as well as the sources of power production in family relationships, were examined in 93 kinds of folk narrative using content analysis approach. The results showed that the power structure in family is highly dominant and is represented in terms of paternity in relation to the child. In relations between men and women, in addition to domination, there is an intimate and legitimate relationship that women accept based on traditional ideologies, the power of men even in intimate relationships. The methods for exercising more power are forced, but the type of resistance, especially girls 'resistance to domination, and boys' active resistance to the father for passive reasons are evident. Gender-related beliefs, socio-economic resources and tips, such as the child's tone and hints, are among the sources of energy production in the family.
Volume 7, Issue 26 (6-2019)
Abstract
Folk tales are among the fascinating and dynamic forms of folk culture and literature reported in oral and ancient tales. Farahvar is one of the most prominent concepts in mythological and epic beliefs revealed by folk stories. However, obvious examples of the kings of Farahmand in mythology and the epic types have inherited their form, but this form is not the only way to acquire the character of Farahvar. By adopting a descriptive-analytical research methodology, this article attempts to reveal the nature of Farvahar in a collection of four volumes of Iranian stories. The study of Iranian stories and the extraction of many examples from the stories showed that the nature, the manifestations, the forms and the characteristics of Farvahar retain their mythological functions in the Persian narratives. Farvahar is often inherited from stories, and there are examples of this gift taken temporarily or permanently from the king. However, the promising ideas of folklore in the context of narratives allow the lower strata of society to reach the level of monarchy. It should be noted that the spirituality that exists in the stories of Farvahar and the tales, and the luck of the individuals is also a platform for the emergence of archetypes of the model