2024-03-29T12:26:20+04:30 http://cfl.modares.ac.ir/browse.php?mag_id=762&slc_lang=fa&sid=11
762-9956 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 singing of Ollāh; Expression of love and epic in wedding of the desert inhabitants Seyyed Hosein Tabatabaei Javad Ameri One of the most beautiful aspects of Iranian oral literature is traditional melodies and songs that speakers of different regions and ethnic groups intone at work or in ceremonies or special occasions. These songs up to mow now have been applied by human in manifestations and ceremonies. Some of these songs have risen from Iranian ancient culture and have retained their old origins. Despite the attractiveness of words and meaning, some of the melodies for various reasons, including the inaccessibility to the city has remained largely intact. These poems are related to rejoicing customs. Poems, based on ancient traditions, have maintained their strength and power in wedding ceremonies till now. Ollāh is one of these fantastic songs which residents of southern villages of Shahrud and Damghan (Torud and Sarkavir area) from the far past use in their wedding. This ancient tradition has retained its effervescence and reliability yet. In this article we have tried to firstly introduce Ollāh and review the features and specifications of its literary aspects. Furthermore, we have analyzed some features of the popular culture of its speakers. "Torud " "Sarkavir " "Folk songs " "Ollāh 2016 7 01 1 18 http://cfl.modares.ac.ir/article-11-9956-en.pdf
762-4134 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 Analytic Study of objects’ poems Asghar Esmaeili Examining folk culture and literature plays a major role in understanding a society. It can reveal some historical and social points and explain the philosophy of certain traditions and rituals. The engravings on objects, the writings at the entrance of buildings, and tombstones are considered as examples of folk literature whose study and analysis may shed some light on the literary and social issues. In the present study, the existing writings on different portable objects based on three available written sources have been scrutinized. Besides examining the rhyme and aesthetic features, the themes of the poems on the objects were classified into eleven categories including describing the object or its function, assigning ownership of the object to a specific person, citing the name of craftsman (maker) for the object, inviting people to happiness and joy, citing ethical themes, citing prayers, assigning a specific production location for the object, citing love relations and dialogues, conveying   eulogies, and citing chronograms. The significant point revealed in this study was the appropriateness of the poems or rhythmic language on the object with the object in use itself. This indicates the good taste and wit of the general public, the craftsmen, and audience for this genre of literature. At the same time, the researcher observed certain changes or distortions and rhyme imperfections.    Folk literature epigraphs content Aesthetics Rhythm 2016 7 01 21 42 http://cfl.modares.ac.ir/article-11-4134-en.pdf
762-6960 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 The effect of gender in the lyricsof folk Bakhtiari culture Hamid Rezaei Ebrahim Zaheri Abdevand Gender as a social identity, has an important role in the formation of folk poetry, especially poetry and folk Bakhtiari culture. The lyrics besides reflecting different values and beliefs about women and men are important in the internalization of these values. The aim of this study was to evaluate the effect of gender on popular poems (The chansons of caress, Lullabies, and mourning lyrics) of Bakhtiari culture that have been analyzed using content analysis and theoretical basis of gender inequality. Gender divides these poems into two parts; male and female poetry. Home prepares the way in which the women benefit from a private atmosphere that helps them to do several activities like baking, milking and conviviality. Instead social and public activities such as to be with others in assembly, eloquence, rationality, courage and to be belligerent are those of characteristics attributed to men.  Gender inequality in the tradition of Bakhtiari culture has a tender signification, in its turn, it means that women are in lower rank in comparison with men . Bakhtiari culture Poetry sex sexual inequality 2016 7 01 44 71 http://cfl.modares.ac.ir/article-11-6960-en.pdf
762-9670 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 Meaning quest analysis of “Karnavas” in Taleshi (Case Study of Southern Talesh) Firooz Fazeli Fereshteh Aliani 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. Song Talesh Tribe Karnava anthropology 2016 7 01 73 99 http://cfl.modares.ac.ir/article-11-9670-en.pdf
762-10667 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 Investigation of work songs and poems in Kohgiluyeh and Boyer-Ahmad Seyyed Borzoo Jamaliyanzadeh Mohammad Hossein Karami Jalil Nazari Work Songs during the work have a great extent .Several examples of these songs can be observed among the farmers, stockbreeders and weavers. These songs make the work space free from the monotony and strictness alleviating the tiredness and exhausting pain of work, and reinforce the men and women effort, resulting in  movement sensation and hope during the work. The composed poems in the field of work and business in Kohgiluyeh and Boyer-Ahmad, form at large scale the literature of this area. In the environment of work, men and women from Kohgiluyeh and Boyer-Ahmad have had the poem in tune with someone who was doing the work. This kind of poem has had an appropriate music and sensation. They are anonym composers who compose these songs to show their happiness, sorrows, loneliness, and pains. These songs have had an important role in transferring the cultures; rituals and manners between the generations. In the rural and tribal society of this area, there have been some works such as farming, rice milling, milking and dyeing where the workers composed songs to have the pleasure and fun. This article tries to consider and analyze the agricultural songs (rice milling, rice farming), livestock songs, breeding and knitting songs. : Folklore literature Lori poem work songs Kohgiluyeh and Boyer-Ahmad 2016 7 01 102 124 http://cfl.modares.ac.ir/article-11-10667-en.pdf
762-827 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 The literary aspects of MAZANDARANI narrative poem named SHAH BAJI Aref Kamarposhti Morteza Mohseni SHAH BAJI lyric poem (MANZUMEH SHAH BAJI) is one of the most beautiful lyric poems of native literature of Mazandaran dated back to the late Qajar period and the first Pahlavi. The poem was composed by Mullah Khan Jan Heydari, a cattle rancher of LAFOUR (located on SHIRGAH, SAVADKOOH County). In terms of prosodic rhythmic structure, the poem can be read both in Hazaj or Mutaqarab meters. It depends on the narrators to decide to read the poem in any rhythm. Using formalist analysis, this study aims to find out how the components of formalism have been reflected in this lyric poem? The research results indicate that, among different kinds of deviations, the semantic deviation and its subtypes and time deviation have been more frequent than the others. Among different meters, lexical rhythm and its outstanding component namely Parallel Rhyming Prose (SAJ’ MOTEVAZI) are more seen in poem. The frequent repetition of long vowel /a:/ and the consonants like "r" , "l" , "m" and "n" in the poem, can be due to the more frequent use of these vowels and consonants in Mazandarani dialect to make rhymes. SHAH BAJI narrative poem Formalism deviation from the norm rule augmentation SAVADKOOH 2016 7 01 126 152 http://cfl.modares.ac.ir/article-11-827-en.pdf
762-2660 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 Review of versified story of Haidar and Samanbar narrated by the Baluch people Abdolghafoor Jahandideh One of the stylistic featuers of contemporary poetry is usage of local a Haidar and Samanbar is an unknown Iranian folk tale which has been created at the time of Safavid dynasty. This story since its appearance in oral or written form was common among the Iranian people and the stories have been popular in many ethnic groups. Each of the poetic narrative of this story appears in Baluchi language with more than 200 hemistich (lines). One of them has been, written and narrated in Qajar era by Malek –Dinar Miravi and probably by another anonymous poet at the same time.  Besides holding the content and structure of the original Persian poems, Baluch poets have added different local elements to this tale. In addition to the attractiveness of this tale in general public, the manner of performing Baluch minstrels with musical instruments and songs is a key factor to maintain it among the Baluch natives.  2016 7 01 154 177 http://cfl.modares.ac.ir/article-11-2660-en.pdf
762-7901 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 Comparison of Kurdish Shahnameh with Ferdowsi\'s Shahnameh Somayeh Olfat Fasih Mohsen Mohamadi fesharaki Hakim Ferdowsi's Shahnameh has been always the focus of  attention by Kurdish-speakers. This issue has encouraged Kurdish poets to compose epopees in Kurdish due to the style of Ferdowsi's Shahnameh. The epopees named Kurdish Shahnameh available in Kurdish Goorani dialect are not totally abstracted from Ferdowsi's Shahnameh, but they have some famous stories, characteristics and poetic formats and even epic and heroic nature in common with Ferdowsi original work. Studies have revealed that the narrated stories in Kurdish Shahnameh are in accordance with the stories narrated in narrative cliques and the content of narrators' scroll. Narrating epic stories in narrative and story-telling cliques have directly influenced on the Kurdish poets. It also has made Kurdish Shahnameh like narrators' narration, influenced by the oeuvre's contemporary needs, mixed with Islamic themes being careless about word superficial features. Ferdowsi's Shahnameh Kurdish Shahnameh epic literature Iranian races 2016 7 01 180 203 http://cfl.modares.ac.ir/article-11-7901-en.pdf
762-256 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 Sharveh, Qahs and lullabies in Kohgiluyeh and Boyer-Ahmad Mohammadreza Najjarian kobra Zarifian Kriek One of the genres of folk literature is non-narrative literature including poems, tales, riddles, parables, and fables. In terms of form and diction, these are classified into songs, odes and lullabies. Folk songs may be considered on the basis of their subject matter, style and composer’s spirits. Iranian songs of this type are characterized with natural hilarity, emotional sincerity and poetic salubrity. The province of Kohgiluyeh and Boyer-Ahmad is located in the southwest of Iran, divided into hot and cold areas. The dialect spoken in this region is Boyerahmadi which is a little different across the province. As one of the closest versions of the Persian language, the dialect is believed to be an offspring of the Middle Persian. A comparison of syntactic and lexical structures of Lori dialect and the standard Persian dialect show that both derive from the Sassanid Middle Persian and further back from the Old Persian. This paper aims at Kohgiluyeh and Boyer-Ahmad folk poems in terms of themes, contents, and aesthetic features. It specifically focuses on Sherveh and its origin in southern Iran as well as amorous songs and lullabies. These issues are discussed through classification and illustration. Folklore Song Sherveh Kohgiluyeh and Boyer-Ahmad 2016 7 01 206 233 http://cfl.modares.ac.ir/article-11-256-en.pdf
762-2249 2024-03-29 10.1002
Culture and Folk Literature CFL 2345-4466 2423-7000 2016 3 7 Structural and Literary Characteristics of Sistani Couplets Fatima Elhami Sistani couplets are indubitably a part of the spiritual heritage and folklore of Sistan. They originate from Sistani people’s culture, civilization and interests. The residents of this territory express their feelings, emotions, enjoyments, deprivations, wishes and desires in the best possible manner with an emotional language and in the form of most tangible imagery. Having studied about400Sistani couplets, the author of the present paper has analysed and discussed the structural, literary and content characteristics of the so called couplets. The findings of the study show that the structures and forms of the couplets in question are very similar to those of Persian couplets in that they do enjoy rhythm, poetic form, rhyme and Radif, although there are some irregularities in terms of rhythm. Statistical investigations indicate that Sistani poets’ interest in using Radif is twice as much as their interest in using rhyme. In terms of rhyme, almost half of the couplets meet good rhymes, and the rest of them either have bad rhymes or lack in rhymes. These are all redolent of Sistani poets’ admirable flair and delicate taste for providing beautiful and agreeable couplets adorned with pleasant imagery.   Folklore Sistani Couplets Seytak imagery 2016 7 01 236 261 http://cfl.modares.ac.ir/article-11-2249-en.pdf