دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 The Individuation of Heroine in Iranian Fairy Tales based on Murdoch's Psychological Cycle الگوی تفرد قهرمان زن در افسانه‌های پریان ایرانی (بر اساس چرخۀ روان‌شناختی مورداک) 1 30 22028 FA معصومه بذرافشان کارشناسی ارشد زبان و ادبیات فارسی مرضیه صادق زاده استادیار بخش روانشناسی دانشگاه سلمان فارسی کازرون سیدمهدی خیراندیش دانشیار بخش زبان و ادبیات فارسی دانشگاه پیام نور Journal Article Abstract Individuation is a term used in analytical psychology to characterize the integration of human psyche. Relying on clinical experiments as well as evidence from world-renowned legends and myths, Murdoch has identified a circular psychological travel pattern for women's individuation. The present study examined the fitness of the heroine’s individuation journey in Persian fairy tales considering the stages of the psychological cycle. The results of the study, while confirming the general conformity of the tales with Murdoch’s psychological cycle, have identified three different subsets for the Iranian fairy tales centered on a heroine. The first subset, including more than fifty percent of the studied stories, are the fairy tales which fully coordinates with Murdoch's psychological cycle for the heroine individuation; the second subset corresponds only to the first part of the intended cycle; finally, the third subset corresponds only to the second half of the Murdoch's psychological cycle. The psychological implications of these three subsets and the overall conclusion are also discussed in the article. Introduction Research background So far, little attention has been paid to the solo journey of the female heroine in the Persian fairy tales. Although some studies (Heidari, 2017; Yahaghi et al., 2017), based on the morphological theory of Prapia Estés model of literary criticism, have examined the journey in one or more myths, the rest of the studies seem to have focused on the position of women next to the men's heroic journey. Mahmoudi Bakhtiari et al. (2014) analyzed the psychological cycle of Murdoch in three films, namely, Dog Killing, Occupation, and Facts About Leila Idris' Daughter, and Ismeilipour (2015) did the same on the novel We Get Used Do. Although these studies have investigated Murdoch's pattern in relation to the contemporary Iranian women, they have not considered the examination of older cultural evidence for this cycle, as Murdoch himself has noted. Aims, questions, and assumptions Influenced by Murdoch's psychological stages, this study examines those Persian fairy tales that reflect the individual hero's journey. The question that this study seeks to answer is whether the events described in these myths correspond to the particular psychological cycle that Murdoch posed for women's psychological individuality. The answer to this question can lead to a better understanding of Iranian culture towards women as independent and separate personalities from men. Discussion The hero's movement through a journey in fairy tales is to reach a goal which is, according to Jung, successfully achieved in the process of individuality (2011, p. 135). In The Depth of Being Woman (2015), Murdoch describes the stages of a woman's heroic journey to achieve individuality in 11 categories: separation from femininity, identification with masculinity, gathering allies, the path of difficult trials, success, awakening, feeling the dryness of the soul: death, descent into the realm of femininity, a strong desire to be reunited with femininity, healing of the mother-daughter gap, healing of masculinity, wounded inside and holy marriage: the bond of femininity and masculinity. These steps can be identified based on the events of the story and the actions of the female protagonist. Accordingly, the Iranian fairy tales that have considered the individuality of the female heroine (Darvishian, 2009) have been studied, and examples for each step have been identified accordingly. Based on this, different forms of each step have been categorized. Conclusion Many of the fairy tales analyzed in this study are consistent with the pattern of Murdoch's mental cycle. The Murdoch's psychological cycle has two main parts: the first part begins from the first stage (separation from femininity) to the fifth stage (achieving success), and the second part begins from the sixth stage (feeling of dryness of soul) to the eleventh stage (holy marriage). In the first part of this cycle, the journey of the female protagonist focuses on the growth of the "I" or ego; the second part, which is a meeting with the Goddess, is dedicated to the restoration of female energy at the mental level. These two sections are symbolically presented thoroughly in 75 of the 146 myths analyzed in the present study (i.e. more than fifty percent). This shows the cultural context of these myths, acknowledging and accepting the independence and individual identity of the female heroine that is achieved in the first part of the cycle, and femininity in the form of respect for the goddess as a positive source of power, wisdom, and deep strength. The legends included in this group are usually myths that are far better known than other myths. After this group, there are 55 myths that have the first part of the cycle of individuality, i.e. the first to the fifth steps and also the tenth to the eleventh steps. The first part of the cycle of individuality is concerned with cultivating the independence and strength of the female protagonist and the competence of women in the outside world. Thirteen myths have been identified as examples for adapting the second half of Murdoch's cycle, which are the seventh step onwards. In the second half of her journey, the female protagonist revives the feminine traits she has lost through the struggle for victory and success in the male world. The first, tenth, and eleventh steps of Murdoch's psychological cycle, namely, "separation from femininity," "healing wounded masculinity," and "holy marriage or the bond of femininity and masculinity" can be observed in all the myths under consideration - whether they fully cover the cycle, or remain to be matched with only one of the two. References Darvishian, A. (2009). The legendary culture of the Iranian people (in Farsi). Tehran: Books and Culture Publication. Heydari, M. (2017). Explanation and analysis of mythological themes in the structure of Moon Brow story. Literary Techniques,18, 141-158. Ismailipour, M. (2016). The female heroic journey in the novel ‘We get used to’ by ZoyaPirzad based on Maureen Murdoch's theory. Mystical and Mythological Literature, 51, 13-48. Jung, C. (2011). My biography: memories, dreams and thoughts (translated into Farsi by Behrooz Zaka). Tehran: Parseh Book Translation and Publishing Company. Mahmoudi Bakhtiari, A., KordMafi, F. & FarshiJalali, N. (2014). The journey of a female hero in three screenplays by Bahram Beizai: A comparative study of three screenplays of dog killing, occupation, and facts about Leila Idris' Daughter in the Framework of Maureen Murdoch theory. Woman in Culture and Art, 6(2),149-166. Murdoch, M. (2015). The depth of being a woman (translated into Farsi by Simin Movahed). Tehran: Culture of Life Foundation Publication. Yahaghi, M. J., Ghaemi, F. & Esmaaelipour, M. (2017). The study of some Iranian myths based on the Estés model of self-awareness in the forests of the underworld. Popular Culture and Literature, 16, 161-192. تفرد اصطلاحی است که در روان‌شناسی تحلیلی برای یکپارچه شدن روان آدمی استفاده می‌شود. مورداک با تکیه بر تجربه‌های بالینی و نیز شواهدی از افسانه‌ها و اسطوره‌های شناختهشدۀ جهان، یک الگوی سفر روانی دایره‌وار برای تفرد زنان شناسایی کرده است. پژوهش حاضر، گامهای چرخۀ روانی وی را با رویدادهای سفر تفرد قهرمان زن در افسانههای پریان ایرانی مقایسه و میزان مطابقت آن را بررسی کرده است. نتایج پژوهش، ضمن تأیید تطابق کلی افسانه‌ها با چرخۀ روانی مورداک، به شناسایی سه زیرمجموعۀ مختلف از افسانه‌های پریان ایرانی با محوریت یک قهرمان زن نائل آمده است. زیرمجموعۀ نخست با بیش از پنجاه درصد افسانه‌های مورد مطالعه، داستان‌هایی هستند که چرخۀ روانی مورداک را بهطور کامل برای قهرمان زن رعایت کردهاند، زیرمجموعۀ دوم فقط با بخش نخست چرخۀ مورد بحث مطابقت کرده است و درنهایت، زیرمجموعۀ سوم، صرفاً با نیمۀ دوم چرخۀ روانی مورداک تطابق می‌یابند. تلویحات روان‌شناختی مربوط به این سه زیرمجموعه و نتیجۀ کلی پژوهش نیز در مقالۀ مورد بحث قرار گرفته است.

https://cfl.modares.ac.ir/article_22028_63aeb41b7837b24999c7766adda70a24.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 Ashab Al-Samajeh in old Arabic texts امیران و سیماچه داران نوروزی در متون کهن عربی 31 63 22029 FA حسین ایمانیان دانشگاه کاشان Journal Article Abstract Nowruz has been the most prestigious and celebrated custom of the Iranian holiday since the ancient times, for which Iranians have always done preparation before the beginning of the New Year, and have spent days holding rituals as a sign indicating their eagerness and enthusiasm. The advent of Islam, which entailed the conversion of many Iranians to Islam and their adherence to its rituals, never diminished the prosperity of this holiday, but added a touch of Islamic glamour to the event, encouraging a more glorious celebration. Arabic texts of the first centuries (AH) highlight the name of an itinerant group called “As’hab al-Samajah”, who staged comic and entertaining performances in Baghdad, Syria, and Egypt. We believe that these are the very Mirs of Nowruz. Many of the rituals performed during the Mir Nowruzi ceremonies in Baghdad and Cairo may have been forgotten, and therefore, we would have a clearer picture of this Iranian celebration if we investigate these rituals. In this article, we went through a brief background of the Mir Nowruzi, and then dealt with the etymology of the word “Samajah”, which we think has its roots in the Persian word “Simache”, meaning ‘a mask’, which has also been used in the Arabic texts in this sense. Then, we have mentioned the reports of the Arabic texts about this category and have studied the rituals that had taken place in this carnival atmosphere. It is ascertained from these reports that the masked people had their public performance on stage in the first three days of Nowruz, where the caliphs and the other key figures had occasionally supported them and at times imposed sanctions on them. Research background There are more or less scattered pieces of writing about the Mir Nowruz ritual in Persian among which are Hashem Razi’s books, Mohammad Ghazvini’s article entitled “The another example for Mir Nowruzi”, and Hassan Zolfaghari’s article entitled “Mir Nowruzi”, which attest to this ritual in contemporary Iran. Almost none of these pieces of writing has referred to the “As’hab al-Samajah”. Adam Mez has also cited only one of several Al-Maqrizi reports in his “The Renaissance of Islam”. It can be said that neither the etymology of the word “Samajah” nor the similarity between “As’hab al-Samajah” and “Mir Nowruzi” have been extensively studied so far. Aims, questions, and assumptions The present study, first, aims to etymologize the word “Samajah” and to see whether it is a Persian or Arabic word. Second, it aims to check whether the itinerant group of “As’hab al-Samajah”, whose name has been mentioned in the Arabic texts and have performed in Muslim countries, particularly in Iraq and Egypt, is the same as Mir Nowruzi in the Iranian culture. Finally, we refer to the common Nowruz rituals and customs in this group, according to what has been taken from Arabic texts. Discussion Nowruz is one of the ancient Iranian celebrations which is still celebrated with some of its past rituals and at times some new customs. It is said that during the Abbasid period and after it, the Iranian culture, politics, and thought prevailed those customs. Not only were Iranians, who lived in the Arab and Islamic lands, committed to holding these ancient Iranian rituals, but also Arabs and Muslims showed tremendous enthusiasm towards them. During the Abbasid period, particularly in Baghdad during the 2nd to 4th centuries (AH) and the Buyid dynasty, the establishment of the Persian rituals flourished again and these traditions were held even in strictly Islamic lands such as Baghdad, Syria, and Egypt. Arabic texts of the first centuries (AH) attest to the existence of a group, namely “As’hab al-Samajah”, who staged comic and entertaining performances in the streets and bazaars during Nowruz, from its very first day, in particular. The authors of this paper believe that these people are the very Mirs of Nowruz in the Iranian culture. Although most researchers believe that the Mirs of Nowruz were regarded to be the forerunners who heralded the beginning of the New Year, our reports make it clear that these performances were held exactly from the very first day of Nowruz and apparently in the three following days. All in all, this ritual has been one of the carnival and theatrical celebrations. During the Abbasid and the Fatimid eras, As’hab al-Samaja wore masks, painted their faces, and held street and market performances to entertain people and make them happy. From a mythological perspective, this ritual has nothing to do with this paper; however, according to the historical reports, we will refer to the ways this ritual was held and to the details of the performances. We will also deal with the etymology of the words “Samajah” and “Simache” in the Arabic texts of the first centuries (AH). “Samajah” literally means “ugliness”; yet, it has been used in most Arabic poems and texts with the meaning of “the masked”. Thus, it can be said that this word has been Arabized. “Simache”, on the other hand, is a Persian word which means ‘a mask’. Conclusion Although the Arabic and Persian lexicographers have considered “Samajah” as an Arabic word meaning ugliness, there is evidence which proves that the term is of Persian origin and seems to be derived from “Simache”. The celebration of Mir of Nowruz in Iraq and Egypt, particularly in the two cities of Baghdad and Cairo, corroborates the attractiveness and the spread of Iranian culture among Muslims in other parts of the Islamic world until the Middle Centuries. Although the As’hab al-Samajah group, who have been repeatedly mentioned by Arabic poets and writers, have similarities with the Kuse-Bar-Neshin band, they are, in effect, the very Mirs of Nowruz in the Iranian culture. It is axiomatic that the Masked of Nowruz were among the masses; however, the monopoly of their performances to the higher echelons caused such performing arts to survive in the face of religious opposition. References Al-Maqrizi. (n.d.). Sermons and advices mentioning past events. Beirut: Dar Sadir. Biruni, A. R. (1983). About understanding astronomy (edited by Jalal Al-din Homai). Tehran: Babak. Beizai, B. (2017). A study on Iranian theatre (in Farsi). Tehran: Rowshangaran. Frazer, J. G. (2007). The golden bough: A study in magic and religion. (translated into Farsi by Kazem Firoozmand). Tehran: Agah. Ghazvini, M. (1945). The another example for Mir Nowruzi. Yadegar, 10, 57-66. Mez, A. (n.d.). The renaissance of Islam (translated into Arabic by M. A. A. Abu Raydah). Beirut: Dar-Al-Ketab. نوروز باارزشترین و نامآورترین جشن ایرانی از روزگاران نخستین تاکنون بوده است و از این رو، ایرانیان پیش از آغاز سال نو، خود را آماده و همین روزهای آمادگی را نیز همراه با برگزاری آیینهایی، به انتظار نوروز سپری میکردهاند. پیدایی دین اسلام و مسلمان شدن بسیاری از ایرانیها و پایبندیشان به آیینهای اسلامی، هرگز نتوانست از رونق این جشن بکاهد و چهبسا به همین نوروز نیز رنگ و لعاب اسلامی زدند و به برگزاری باشکوهترش همت گماشتند. در متون عربی سدههای نخستین هجری از گروهی دورهگرد بهنام «أصحابالسماجه» یاد شده است که در بغداد، شام و مصر به انجام نمایشهای خندهآور و سرگرمکننده میپرداختهاند. هدف از پژوهش حاضر در گام نخست، ریشهشناسی واژه «سماجه» و بررسی فارسیبودن یا عربیبودن آن است و در گام دوم، همسنجی کارکرد این گروه با دسته میر نوروزی ایرانی است؛ همانندی آیینهای این دو گروه و فرم ظاهری آنها، نشان میدهد که این هر دو دسته، یکی هستند، ولی در عراق به این نام (سیماچهداران) شناخته میشدهاند. در این جستار، پس از نگاهی کوتاه به پیشینه میر نوروزی، نخست به ریشهشناسی واژه «سماجه» پرداخته و باور داشتهایم این واژه، در ترکیبِ فارسی «سیماچه» به معنی روبند یا نقاب ریشه دارد و در متون عربی نیز گاه بدین معنا بهکار رفته است؛ سپس گزارشهای متون عربی درباره این دسته را ذکر کرده و آیینهایی را که در نمایش کارناوالی آنها جریان داشته است، بررسی کردهایم. از این گزارشها برداشت میشود که نمایشهای سیماچهداران در سه روزِ نخست نوروز و بیشتر میان توده مردم گسترش داشته است، گاه خلیفگان و بزرگان از آن پشتیبانی و گاه برگزاریاش را ممنوع کردهاند.

https://cfl.modares.ac.ir/article_22029_69930733ad15478fdd5332faf5a3a662.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 Investigating the dimensions of lovemaking in "Balal" poems in Bakhtiari culture Based on Sternberg's theory of love بررسی ابعاد عشق‌ورزی در اشعار «بَلال» در فرهنگ بختیاری بر اساس نظریۀ عشق استرنبرگ 65 91 22030 FA ابراهیم ظاهری استادیار دانشگاه شهرکرد روح الله کریمی نورالدین وند دانشجوی دانشگاه پیام نور Journal Article Love is one of the most important topics reflected in Bilal's folk poems in Bakhtiari culture. This study aims to see which story, dimensions of love, and the type of romantic relationship are highlighted in Bilal's poems. The theoretical basis of the research is Sternberg's love theory and the method of analysis is qualitative. In Bilal's poems, at the ideal level, all three dimensions of love: intimacy, passion, and commitment, are represented, and love is perfect; but on the level of reality, due to the difficulty of achieving all three dimensions, love is formed by a type of romantic or stupid love, which causes the lover and the beloved to be attracted to each other only emotionally, i.e. their romantic relationship is superficial. In terms of the type of love story, the story of art is more prominent in these poems, based on which the lover is seen as a statue whose beauties the lover enjoys watching. The limited reflection of the story of self-sacrifice and the story of addiction in these poems make the lover feel satisfied with his relationship. On the other hand, the woman feels important in the position of the lover, and consequently her life gains meaning. Research Background Research on Bilal's poems have been mostly conducted through collecting the poems, and analyzed at a very limited level. In books such as Bakhtiari folklore, Bakhtiari music and songs, Bakhtiari culture, the recognition and study of Bakhtiari music, and the history of literature in the Bakhtiari people, there are some indications of a few romantic verses related to the type of Bilal, and some features of the lover and the beloved in Bakhtiari folk poems and Bilal. The Bakhtiari Encyclopedia discusses the difference between Bilal (describing the beauties of the beloved) with Di Bilal (burnt and fascinated with the beloved), and Bilal Bilal (the end of lyric poetry). There are also some verses of each noted. In the book, entitled Newly Sprouted Celery in the Snow, the author considers Deyblal to be one of the oldest songs of Bakhtiari folklore literature and mentions that in the dialect of this song, according to the daily dialogues, some changes have taken place and the lyrics of this song are praised in celebrations, joys, and solitudes. In the book of Iranian popular language and literature, Bilal or Diblal is defined as a love poem. Therefore, it can be said that no independent research has been done on Bilal in general and the subject of love in particular. Aims, questions and Hypotheses of Study Bilal's popular poetry plays an effective role in institutionalizing a particular attitude towards love in Bakhtiari culture; because the listeners imitate the emotional experiences in them through empathy, assimilation, and sympathy. In this way, these poems find an important role in creating emotions, encouraging and ultimately institutionalizing them. Accordingly, it is necessary to study these poems based on scientific theories to identify their strengths and weaknesses. The aim of the current research is to study Bilal's poems, based on Sternberg's theory of love, so as to understand the dimensions of lovemaking in these poems as well as their strengths and weaknesses. Research questions are: According to Sternberg's theory of love, what dimensions of love and what types of romantic relationship are highlighted in Bilal's poems? The love theme of these poems corresponds to which love story in Sternberg's theory? And finally, what are the strengths and weaknesses of the theme of love in these poems? Discussion According to Sternberg, passion, intimacy, and commitment are the three dimensions of love. The dimension of passion refers to the attractiveness and lust of the lover-beloved relationship. The dimension of intimacy indicates the warm and emotional relationship between the lover and the beloved, and the aspect of commitment shows the commitment to the love relationship (Baron et al., 2009, p. 469). Sternberg believes that love is a story and in order to know the behavior of two people, it is necessary to see the narration of each, or what the story of love is about (Sternberg, 2017, p. 64-65). In Bilal's poems, attention has been paid to all three dimensions of love; but in terms of prominence and frequency, the most attention has been paid to the dimension of desire. The lover speaks of his passion and mania, and depicts the charms and beauties of the beloved. Also, analyzing the examples shows that the lover has paid more attention to the dimension of intimacy than commitment, and this indicates that creating a feeling of warmth, love, and closeness in the relationship was more important for him than the issue of building trust. Therefore, lack of attention to the dimension of commitment can be one of the weaknesses of the content of these poems. In Bilal's poems, love is perfect on the ideal level, and romantic and stupid on the level of reality. Conclusion An examination of the Bilal's poems based on Sternberg's theory of love shows that in this type of poetry, prevalent in Bakhtiari popular literature, all three aspects of love, namely intimacy, passion, and commitment, are highly manifested. Of course, in these poems, the lover is more at the ideal level of perfect love. However, on the level of reality, when the lover and the beloved talk about their real relationship, in some cases, they point to the lack of commitment or intimacy in their relationship, according to which, the type of love they have should be romantic and stupid love. In terms of the story of love, the story of art is more prominent in these poems, which shows that the lover enjoys the physical beauties of the beloved more, and looks at her like a work of art. The disadvantage of this kind of attitude is that the woman in the position of the beloved must always think of her own beauty, so that the man does not leave her as the lover. In these poems, the love stories of self-sacrifice and the love of addiction are rarely noted. The story of self-sacrifice causes satisfaction in the life of the lover, and in the story of addiction, the woman feels important to someone. Therefore, it gives meaning to her life. References Baron, R., Byrne, D. & Burnscomb, N. (2009). Social psychology (translated into Farsi by Yousef Karimi). Tehran: Ravan. Sternberg, R. J. (1986). A triangular theory of love. Psychological Review, 93(2), 119-135. عشق از مهمترین موضوعهای بازتابیافته در اشعار عامۀ «بلال» در فرهنگ بختیاری است. در این پژوهش، این موضوع بررسی و به این پرسش پاسخ داده میشود کدام قصه، ابعاد عشق و نوع رابطۀ عاشقانه در اشعار بلال برجسته شده است. مبنای نظری پژوهش، نظریۀ عشق استرنبرگ و روش تحلیل نیز از نوع کیفی است. در اشعار بلال، در سطح آرمانی، هر سه بُعد عشق: صمیمیت، اشتیاق و تعهد، بازنمایی شده و عشق از نوع کامل است؛ اما در سطح واقعیت، بهسبب دشواری دستیابی به هر سه بُعد، عشق شکلگرفته از نوع عشق رمانتیک یا ابلهانه است که این امر، سبب میشود عاشق و معشوق، فقط از نظر عاطفی، جذب یکدیگر شوند یا رابطۀ عاشقانهشان سطحی باشد. از نظر نوع قصۀ عشق نیز بیشتر، قصۀ هنر در این اشعار برجسته شده است که بر اساس این قصه، معشوق مجسمهای دیده میشود که عاشق، از دیدن زیباییهایش لذت میبرد. بازتاب هرچند محدود قصۀ ایثار و قصۀ اعتیاد در این اشعار، سبب میشود عاشق از رابطۀ خود احساس رضایت داشته باشد و زن نیز در جایگاه معشوق، احساس مهم بودن بکند و به زندگیاش معنا بخشیده شود.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 The Analysis of the Story Silent City Through Joseph Campbell's Model of the Hero's Journey تحلیل قصۀ «شهر خاموشان» با تأکید بر کهن‌الگوی «سفر قهرمان» جوزف کمپبل 93 123 22031 FA معصومه یاسمی فر دانشگاه آزاد واحد خرم آباد محمد خسروی شکیب دانشیار دانشگاه لرستان مسعود سپه وندی دانشگاه آزاد واحد خرم آباد Journal Article Abstract Mythology has always been associated with new capabilities from a different perspective, which highlights the explanation, understanding, and spiritual energy of the literary works for the reader. Through the archetype of the hero's journey, Campbell tries to show that most of the heroes in folk tales need to go through certain stages in order to gain self-knowledge, spiritual perfection, and spiritual and material gifts. Silent City is one of the folk tales of Lorestan province, which embeds the flawless archetype of Campbell's "Heroic Journey", and represents three main stages of "departure", "arrival" and "return". The protagonist, going through the physical and spiritual stages, finds a harmonious and godly existence by which he can have a useful possession of the physical world. In this story, traces of myths, religions, and insights, related to the creation of man and the world of creation, are much prevalent. Research background In this article, the story of Silent City from the book of folk tales of Lorestan is analyzed (Farahvashi, 2018). So far, no research has been done on the analysis of the symbols and elements of this story. Considering that the subject of the present study is the study of this story based on the theories of Joseph Campbell, two studies related to this subject are referred to: an applied studied following the theory; 2. a study entitled "The hero's journey in the story of Hamam Badgard based on Campbell and Jung's analyses which tries to connect the necessity of the hero's journey with the human needs for psychological development. Objectives, questions, and hypotheses The current study analyzes the story of Silent City based on Campbell's mythical theory of "Heroic Journey" and aims to see to what extent the story of Silent City, with different stages of "Heroic Journey", matches with Campbell's theory? The premise of the article is that the journey pattern of Campbell's hero and its various stages have a specific overlap with the rawness, experience, and maturity of the hero in the story of Silent City. The protagonist of this story travels along the sea with the colt following the call of a wise, who seeks special land from an unknown land to heal the eyes of the king. At the beginning of the journey, the hero picks up a feather from a spring, and then, when he reaches a dark and silent city, he lights it. The city lights up. He is taken to the palace. At the request of his daughter, the king asks the hero for three things: 1. Chicken, 2. Cage, and 3. Forty horses. During the next forty days, the hero travels to a distant land to accompany the sea to meet the king's wishes. In one of the journeys, the fairy king's daughter accompanies the hero. The king asks the hero to stay silent in the city forever; but the hero does not accept it because he has to take special soil with him to heal his father's eyes. At the end of the story, after healing his father's eyes and encountering his brothers' jealousy, he returns to the silent city and marries the king's daughter. According to the archetypal stages of the hero's journey, the stages of the hero's journey in this story are analyzed based on Campbell's theory. Departure (invitation to start the journey, rejection of the invitation, occult help, crossing the first threshold, and whale belly) In this story, the blindness of the king and the coming of the wise are signs of invitation to travel and movement, and making the younger boy aware. The little boy's disregard for Hakim's call at first, as well as his father's dissatisfaction, can be equated with "rejecting the invitation." In the story of the silent city, we see that the sea is with the hero as an unseen aid and inhuman helper from the beginning to the end of the journey. As the guardian of the threshold, the sea urchin forbids him to remove the springs to protect them; but the hero crosses the threshold and reaches the silent city. This city is actually the stage of the whale's abdomen considering the stages of Joseph Campbell's departure. The rite of atonement (test road, meeting with Goddess, Gods, and lord of two worlds) Upon entering the king's palace, the hero must pass three important tests: 1. bringing a chicken, which is a symbol of the human soul and spirit, 2. Bringing a cage, which is a symbol of the human body and spirits, and 3. Bringing a horse of forty ponies, which is a symbol of the devil. Accomplishing these missions, he becomes a worthy hero, a carpenter of a princess or a goddess, and finds a godly existence. He becomes like a lord who wanders with ease without hesitation in both the material and transcendental worlds. Return (refusal to return, crossing the threshold of return, extraterrestrial savior, ultimate achievement, reconciliation and harmony with the father, and liberation and freedom) The protagonist of this story does not accept the king's request to stay in the silent city and remembers that he was looking for soil to heal his father's eyes, so he must return. He steps into darkness from the material and earthly world, and then goes to the transcendental land and paradise. After that, he returns to the material world with the solution of life and the final blessing. The "fairy" who came from a transcendental land with the hero is like a savior who saves him from the clutches of the earthly wicked. The ultimate achievement of the hero is the light of life and the spirit of life for the silent city, and the solution of light for the king's eyes. The hero of the story, successfully completing the cycle of departure, arrival, and return, is now ready to take on the difficult responsibilities of life like a father. But since the protagonist of this story is not dependent on his father's successor, he leaves the city silently and without any dependence, and because of this trust, he finally achieves everything. The journey pattern in the story of Silent City, like the journey of most mythical heroes in a circular round trip, completes the process of individuality and self-awareness of the hero. The main character of the story, in the course of telling the story, becomes a hero who achieves inner freedom and liberation with the help of his helper - the sea and the fairy. The story of Silent City, addresses the inner levels of the human psyche, and subconscious - the little son of the family - and the use of psychoanalytic symbols and codes showed a complete form of paying homage to the hero's journey. In this story, while showing the overlap and application of the archetype of Campbell's "Hero's Journey", the hero's journey in the context of numerous and complex social and psychological obstacles and tests, achieves ontological knowledge and ultimately discovers love. اسطورهشناسی همواره با امکانات و قابلیتهای جدیدی همراه بوده است که تبیین، درک و انرژی معنوی آثار ادبی را نزد خواننده، دوچندان میکند. جوزف کمپبل از شاگردان مکتب یونگ، با گردآوری و بررسی اسطورهها و قصههای عامۀ جهان، تلاش کرده است تا با طرح «خویشکاری» به الگویی ساختاری و مشترک، برای زیباییشناسی و درک درست و منطقی از آنها دست یابد. یکی از این خویشکاریها «سفر قهرمان» است که کمپبل تلاش میکند تا نشان دهد بیشتر قهرمانان موجود در داستانهای عامه، برای خودشناسی، کمال معنوی و کسب مواهب روحی و مادی، نیازمند به گذراندن مراحل آن هستند. پرسش مقاله این است که آیا «شهر خاموشان» ـ از قصههای عامۀ استان لرستان ـ ظرفیت پذیرش الگوی «سفر قهرمانِ» جوزف کمپبل را دارد؟ با استفاده از روش تحلیلی ـ توصیفی میتوان گفت که قصۀ «شهر خاموشان» قابلیت بازنمایی مراحل سهگانه «عزیمت»، «تشرف» و «بازگشت» الگوی کمپبل را دارد. با توجه به الگو «سفر قهرمان» میتوان نتیجه گرفت که روایت این قصه، خودآگاهی، اصالت، فردیت و دستیابی به کمال حقیقی قهرمان را به نمایش میگذارد. قهرمان قصه با پشت سرگذاشتن مراحل مادی و معنوی، وجودی هماهنگ و خدایگون مییابد که با آن میتواند در جهان مادی تصرفی مفید داشته باشد. در این قصه، رد پای اساطیر، ادیان و بینشهای مربوط به خلقت آدم و جهان آفرینش را میتوان مشاهده کرد.

https://cfl.modares.ac.ir/article_22031_eb4ccb5a339da7a1f01b8f9688896b65.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 Interpreting the Romantic Gouranis of Hourami تحلیل مضمون گورانی‌های عاشقانه‌ی هورامی 125 155 22032 FA کورش امینی پژوهشگر ارشد زبان، فرهنگ و ادبیات هورامی Journal Article Falling in love is one of the main concepts which is central in almost all ethnicities and folklore literature. In this study, Gourani is defined as the native poems of Hourami, not in the sense of lyrics. Gourani is mostly in the form of single-verse poem. Each verse embeds all the meaning independently. Falling in love, besides praising the nature and to some extent the national epics, is the main theme of Hourami’s anthology. The study borrows a descriptive-analytic research method based on the survey data and the analysis of the individual folklore verses of Hourami. The aim of the study is to investigate the themes of romantic Gouranis of Hourami. To this end, 50 verses were selected from Noudsheh city and analyzed accordingly. The findings suggest that women of Hourami have such a significant place in a large number of romantic Gouranis that they are sometimes on the same ground to that of the verses about men. One of the main aspects of Gouranis is the sadness evoked because of the distance from the beloved. In these poems, women cry out their bitter and sad love songs in the chaotic conditions of their native land. In these single-verse poems, love has a material and worldly meaning. The poet praises the beloved so much that the creator is praised instead, but this is merely for praising the worldly beloved. This shows the underlying issues in the social relation and the general cultural paradigm of the society. Introduction The culture of each nation can be consider its biography and the nature of its people. It reflects the features, customs, and habits of the people as well as the intellectual changes and social development they have gone through (Anjavi-Shirazi, 1992, p. 10). Folklore poems have been common among Houramis for a long time. Most of the folklore Gouranis of Hourami are in the form of romantic single-verse poems. Women of Hourami have such a significant place in a large number of romantic Gouranis that are sometimes on the same ground to that of the verses about men. Some people believe that lyrics is a means of expressing pure poem. However, this study does not take lyrics in that particular meaning and focuses instead on the single-verse folklore poems of Hourami. This study will content-analyze 50 verses in order to figure out the themes in the romantic Gouranis of Hourami and investigate the social manners of Houramis in such poems. Background Many researchers from Iran such as Bahar, Hedayat, Shamlou, Tabari, among others, as well as European researchers such as Zhukovsky, Henry Masse, Alexander Chodzko, de Gobineau have investigated ethnic lyrics and literature. Some such as Ayoub Rostam (2007), Jamal Habib-Allah (2008), Shiri, Faryad, and Rauf Saidian (2008), Fatahi and Vali (2017) have conducted studies on the same topic. Aims and research questions The aim of this study is to analyze the major themes of romantic Gouranis of Hourami. Fifty verses from thousands of verses are content-analyzed to figure out the themes of romantic Gouranis of Hourami considering the geographical situation of Houraman and the effect of the customs, male-female relations, and their general culture. Hypotheses The geographical situation of Houraman has a significant effect on the themes of Gouranis of Hourami. The culture of Houramis, particularly the female customs, has a significant role in the poems. Data analysis This study employs a library-based approach. Fifty verses from the single-verse poems of Hourami are selected and investigated descriptively and analytically. To gather the poems, old men and women were interviewed, and the researcher was also considered as a source of data. The poems were selected from Noudsheh city. Discussion Generally, the verses could be classified into two parts: women’s verses describing men, and men’s verses describing women. Among Houramis, Gourani poems are those songs and lyrics which express the feelings of Hourami people, of which men, and to some extent women, sing in celebrations such as wedding ceremonies, in gardens, mountains, deserts, landscapes, mourning ceremonies, plays, works, among others. Women have a significant role in the folklore literature of Hourami. Love, either explicit or implicit, has always been a part of their poems. Its expression is a reminiscent of young people’s happiness and excitement. The idea of love is mostly material and worldly in these single-verse poems. It seems that the ancestors of Hourami people experienced love sooner than their contemporary counterparts in terms of inter-personal relations and expression of love. Conclusion Most of the Gouranis of Hourami are single-verse. The themes of these songs are mostly related to love, feelings of falling in love, distance, complaint, lovers’ dialogue, and sadness of distance, among others. They are mostly used in ceremonies or solitude. Rarely is there any religious words or themes included in them. The descriptions in the poems concern the appearance of the beloved in an ethnic manner. There are many similes such as comparing the breast of the bride to a red apple, her height to cedar, eyelashes to arrows, etc. Some other themes are: the lost love, distance and sadness, attracting the beloved, describing the beloved, and an imaginary dialogue with the beloved. References Anjavi-Shirazi, A. (1992). A survey of people’s culture (in Farsi). Tehran: Asparak. Ayoub, R. (2007). Religious and social songs of Houraman people (in Farsi). Soleymanieh: Cultural Centre of Houraman. Jamal, H. (2008). Oral literature of Houraman: Collection of single-verse folklore of Houraman (in Farsi). Soleymanieh: Author. Shiri, F. and Rauf, S. (2008). 100 Sia-o-Chamaneh: The original and the Farsi translation text of 100 single-verse Hourami (in Farsi). Tehran: Meshki. Fatahi, V. (2017). Ahura song (in Farsi). Marivan: Zayaleh. دلدادگی از مفاهیمی است که در تمام اعصار و نزد تمام اقوام جایگاهی ویژه و در ادبیات فولکلور آنها نقشی محوری داشته است. در این پژوهش، منظور از گورانی، بومسرودههای هورامی است و تعریف خاصِ ترانه مدنظر نیست. قالب و فرم گورانیها بیشتر تکبیتی است. هر بیت بهتنهایی دارای تمام مفهوم خود است. دلدادگی در کنار احساس ناب طبیعتستایی و تا حدودی حماسههای وطنی، موضوع تاریخ ادبیات هورامی است. روش مطالعۀ حاضر توصیفی ـ تحلیلی و بر اساس پیمایش دادههای بومی و تحلیل تکبیتهای فولکلور هورامی است. هدف این تحقیق، بررسی مضمون غالب در گورانیهای عاشقانۀ هورامی است. در این روش 50 تکبیت برای نمونه از شهر نودشه انتخاب و بر اساس موضوع پژوهش تحلیل شدند. یافتهها نشان میدهد که سهم زنانِ هورامی در سرایش تعداد زیادی از گورانیهای عاشقانه، چنان برجسته است و نمودی عینی دارد که برخی اوقات با اشعار همتراز مردان در این خصوص پهلو میزند. غم هجران و دوری از یار گوشهای جدانشدنی از محتوای ابیات گورانیهای موردبحث است. زنان در این بومیسرودهها، با سر دادن عاشقانه‌های تلخ و سوزناک در آشفتگی فضایی بومی، فرهنگ خاصِ هورامان را بهتصویر کشیدهاند. در این تکبیتها عشق و مفهوم آن بیشتر جنبۀ مادی و زمینی دارد. شاعر با توصیف محبوب، اگرچه گاهی به درجه‌ای میرسد که خالق محبوب را می‌ستاید؛ اما این ستایش تنها برای محبوب زمینی است. این مسئله بیانگر نکتههای ریزِ پنهان در روابط اجتماعی و جلوهای از فرهنگ حاکم در بافت جامعه است.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 The Anthropological Perspective on a Selection of Works Written in the Field of Popular Literature of the Balochi People چشم‌اندازی مردم‌شناختی به گزیدۀ آثار نگاشته‌شده در حوزۀ ادبیات عامۀ قوم بلوچ 157 185 22033 FA عطیه آذرشب دانشجوی دکتری مردم شناسی دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. اصغر عسگری خانقاه ؛ استاد گروه مردم شناسی دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. فریبا میراسکندری استادیار گروه مردم شناسی دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. علی باصری استادیار گروه مردم شناسی دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. 0009-0004-8911-9768 Journal Article Abstract This article, with a descriptive-analytical method and with the aim of conducting a thematic-qualitative ethnographic analysis, seeks to study the features that are in the folklore of the Balochi people. Therefore, by describing, classifying, and extracting the features of these works, their research capacities have been evaluated in terms of theoretical and methodological aspects. Based on the findings, two categories of works can be identified in this area; first, works in which only Balochi folklore texts are collected; second, the works that scholars have attempted to provide interpretations of. These features have enriched the research capacity of these works. These capacities are grouped in four main categories as: accurate descriptions and interpretive analysis; attention to the factors and contexts of the formation of the subjects under study; looking at issues as a part of an overall mechanism in culture; the classification and presentation of categories and semantic patterns. Therefore, based on the anthropological insight, a kind of perspective was drawn that can be used to gain a deeper understanding of the mental and intellectual structures of the creators of Balochi folklore. Research background Various authors with different scientific specialties have studied and written about the field of folklore of the Balochi people. Some of them, for example, Jahandideh (1390), Bausani (1971), Iftikharzadeh (1388), and Baloch researchers have a literary approach and mainly focus on some important linguistic aspects such as grammar, syntax, or pronouns. Some other foreign scholars such as Leech (1838), Burton (1990) or Dames (1905), who have been sent as missionaries to the Balochistan region, have a more orientalist approach. In general, all of these works have been used as the literary background of the research in order to open a way to a kind of anthropological perspective for a better study of this field. Research aims and questions This study aims to answer the following questions: what are the characteristics of the existing works in the field of popular literature in Balochistan? And how can one move towards an anthropological perspective by studying the popular literature of the Balochi people? Accordingly, in this study, first, the characteristics of the works were examined, which are more accessible in libraries than other works in the field of Balochi folk. Then, it was considered how to use these works to move towards a kind of anthropological perspective in the field of folklore studies in Balochistan. Discussion In the first part of the research, the main features of Balochistan folklore texts were categorized; in the second part, an attempt was made to draw a kind of anthropological perspective by using the characteristics of these works, which will help to better understand the works. The main categories obtained from the data are: having accurate descriptions and performing interpretive analysis; attention to the factors and contexts of formation of the subjects under study; attention to issues as part of a general mechanism in culture; classification and presentation of semantic categories and patterns. These categories show that by adopting and applying anthropological interpretive-qualitative approaches in the field of folklore of Balochi people, it is possible to better identify the original views and indigenous logic of the Baloch community. Folklore originates from the traditions of the people of each region and it is passed on to future generations through these traditions. In the meantime, what is produced and reproduced are many concepts and ideas that have found no other way for expression. Conclusion In general, if the territory of Balochistan folklore is approached from an interpretive-qualitative point of view, the indigenous rationality of Baloch popular literature will be properly understood. The studies that have been done so far, due to their methodological and theoretical capacities, will be able to answer the questions that are necessary for the folklore of Balochistan. Employing a kind of interpretive and indigenous methodology that is able to create dialectical relations and understand the diversity of mental world of the Baloch people is the most appropriate way to understand the folklore works of this region. Therefore, in a world where diverse ideas and thoughts do not always have a chance to be understood, grasping these concepts through such a strategy will contribute to Baluchi culture and its holders in a better and more effective way. References - Badalkhan, S. (1992). A glance at Balochi oral poetry. Newsletter of Balochistan Studies, 8, 3-45. - Bausani, A. (1971). Baluchi language and literature. Mahfil, 7 (1-2), 43-54. - Burton, J. (1990). Conflict: Resolution and Prevention. New York: St. Martin’s Press. - Dames, M. L. W. (1905). A text book of the Balochi language. Lahore: Punjab Government Press. - Iftikharzadeh, A. (2009). Balochi Tales (in Farsi). Tehran: Cheshmeh Press. - Jahandideh. A. (2011). Epic in Balochistan (in Farsi). Tehran: Moien Press. - Leech, R. (1838). Grammar of the Balochky Language. Journal of the Royal Asiatic Society, 7(2) 38-56. Sureniants, V. B. (2003). A story of Mir Hamza, the forefather of the Baluches. Iran and Caucasus, 7(1-2) 133-146. مقاله حاضر با روشی توصیفی ـ تحلیلی و با هدف انجام تحلیل مضمونی ـ کیفیِ قومنگارانه، درپی بازخوانی و برشمردن مختصات مطالعاتی است که در حوزه فرهنگ و ادبیات عامه قوم بلوچ در دست است. بر این اساس، با ارائه شمایی کلی و توصیفی وبا دستهبندی و استخراج شاخصههای این آثار، ظرفیتهای پژوهشی آنها از نظر مؤلفههای نظری و روشی ارزیابی شده است. بر اساس یافتهها، میتوان دو دسته از آثار را در این حوزه شناسایی کرد؛ نخست، آثاری که در آنها صرفاً به جمعآوری دادهها و یا انتظامبخشی به متون فولکلوریک بلوچی بسنده شده است و دوم، آثاری که پژوهشگرانِ سعی کردهاند شرحهایی دربارۀ متون جمعآوریشده از سوی خود یا دیگران، ارائه کنند. وجود و حضور چنین مختصات ارزشمندی سبب غنای ظرفیتهای تحقیقی این آثار شده است. این ظرفیتها در چهار محور اصلی جای میگیرد که عبارتاند از: داشتن توصیفات دقیق و انجام تحلیل تفسیری؛ توجه به عوامل و بسترهای شکلگیری موضوعات مورد مطالعه؛ پرداختن به موضوعات بهمنزلۀ جزئی از یک سازوکار کلی در فرهنگ؛ صورت دادن طبقهبندی و ارائۀ مقولات و الگوهای معنایی. بر همین مبنا، درنهایت و بر پایه بینشی مردمشناختی، نوعی چشمانداز ترسیم شد که با تکیه بر آن میتوان به شناخت عمیقتری از ساختارهای ذهنی و اندیشگانی خالقان فرهنگ و ادبیات عامه بلوچی دست یافت..

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 Mythological Themes in the Tale of Girl and Gazelle مضامین اساطیری در قصه «دختر و آهو» 187 216 22034 FA عظیم جباره ناصرو استادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات. جهرم. ایران. Journal Article Tales are important parts of folk literature and culture. This part of folk culture is a manifestation of the beliefs, ideas, and the life styles of the people of each nation. The tales of each region, especially the oral ones, provide an appropriate context for exploring the mythological and totemic beliefs of the natives. Accordingly, the tale of Girl and Gazelle, which is one of the most common tales of the Kumereh Sorkhi region in the Fars province of Iran, is analyzed in this study. The author tried to record this tale first via field method, which has not been recorded in any sources, and then study the mythological themes of the tale through the descriptive-analytical method. The results of the study show that the mythological beliefs are seen vividly, or symbolically and mysteriously in all pivots of the tale. The study tried to analyze these themes in different parts: the oak tree of ‘Martyr’, a holly tree in the region of Kuhmereh Sorkhi, the call on the tree to become pregnant, the birth of the girl from the trunk of a special tree, the growth of a plant from the blood of the innocent character of the tale, the role of fairies in the tale, hair as a fertility tool, burying the bones, the tree of life, the journey to the world of the dead in dream, and passing through seven or several labors. Introduction Research background No particular study could be found on this tale and its mythological themes, but other researchers have tried to study similar tales with this approach. For example, Mozaffaryan (2012) studies the mythological hints in the folk tales; Ansari and her colleagues (2014) tried to study this approach in four parts; Heidari (2017) investigated the structure of the tale according to Prop's theory; Vatanpour and Namyrian (2012) tried to show the mythological themes of the narration besides presenting a model for studying the folk tales. Aims, questions, and assumptions The study tried to investigate the mythological themes in the folk and oral tale of Girl and Gazelle; the narratives of five villagers were recorded, then the most complete one was chosen as the basis for the study by comparing different narrations. These recorded narrations have different characteristics, although they are the same in the main pivots of the story. The most ancient and complete narration was given by Ali Hossein Alynejad who was the eldest narrator in the region. The researcher wrote the narration completely when the orator was alive. Abdol Ali Jabbari has narrated this narration with a few changes so far as the descriptions in the stories are concerned. The narration which is investigated in this article is conducted based on the aforementioned person. The significance of these studies is to keep some parts of the Persian literature which are on the threshold of being forgotten or even extinction. Although the serious studies of folk literature have begun since two centuries ago, these kind of studies have not gained enough attention in Iran. This rich part of literature is also disappearing since the advent of modernism and its manifestations in society, the growth of urbanization, the death of elderlies, and the unwillingness of young generation to the ancestors’ tales and beliefs, among others. The author tries to answer the following questions: What are the mythological beliefs of this tale? What are the native elements in this tale? Conclusion The findings indicate that: The holly oak tree, ‘Martyr’ oak, has a special role in the story; at the command of a divine voice in her dream, the mother calls on this tree to become pregnant and her wish is fulfilled; the girl, the protagonist of the tale, is born from the trunk of this tree; the hero's mother's corpse and the gazelle / fairy's bones are also buried beneath this tree. Some parts of this tale are the mythical reconstruction of the martyred God; such examples are abundant in the myths of the nations. One of the mythological themes of this tale is the plant's rise from the blood of the protagonist who was innocently murdered. Fairy has a special place in this tale; in other words, the fairy as the supporter of the hero constantly accompanies the main character of the tale until its death. The fairy has a positive personality in this tale, with three essential characteristics: it has an extensive relation with water; its hair causes fertility; it has a power of changing its face. Burying the bones is another mythological theme of this tale. The hero of the tale eats the fruit of the tree of life on the way to the king’s palace and becomes safe during her journey. The guard of this tree, who often prevents the hero from reaching the fruit of life in similar stories, appears as a guide in this tale. The main character of the tale has a symbolic dream, that is the repetition of the myth of journey to the world of dead or underworld. The last barrier for the girl, the hero of the tale, to reach her goal is passing through five difficult labors. References Ansari, Z., Jamali, A. & Zareyi, B. (2014). A survey and classification of mythical idea of Tree-Man in folk tales of Hormozgan province. Journal of Mytho-Mystic Literature, 10(3), 35-65. Heidari,M. (2017). Explanation and analysis of mythical themes in the structure of the tale of MahPishani. Journal of Literary Art, 1, 143-160. Mozaffaryan, F. (2012). Folk tales and myths. Journal of Mytho-Mystic Literature, 22, 213-247. Vatanpour, A. & Namyrian, K. (2012). The mythical morphology and analysis of folk tales of the girl and the lotus. Iranian Journal of Anthropological Research, 1, 167-187. قصهها بخش مهمی از فرهنگ و ادبیات عامه را شکل میدهند. این بخش از فرهنگ عامه، جلوهگاه باورها، اندیشهها و شیوههای زندگی مردم هر ملت است. قصههای هر منطقه، بهویژه قصههای شفاهی، بستری مناسب برای واکاوی باورهای اساطیری و توتمی آن قوم است. در این پژوهش یکی از رایجترین قصههای منطقه کوهمره سرخی استان فارس با عنوان قصه «دختر و آهو» واکاوی شده است. هدف این پژوهش در گام نخست، ثبت قصهای است که تاکنون در هیچ منبعی نیامده و در گام دوم، بررسی بنمایههای اساطیری قصه، به روش توصیفی ـ تحلیلی است. روش پژوهش در این جستار، میدانی و کتابخانهای است؛ نگارنده نخست بهروش میدانی، این روایت را از 5 نفر از روستاییان شنیده و ضبط کرده و سپس با سنجش روایتهای مختلف با یکدیگر، کاملترین روایت را مبنا قرار داده است. در گام بعد، با استفاده از منابع کتابخانهای، بنمایههای اساطیری قصه استخراج و بررسی شده است. یافته‌های پژوهش نشان میدهد باورهای اساطیری در همه محورهای داستان، گاه آشکارا و گاه نمادین و رمزآلود دیده میشود. نگارنده کوشیده است این بنمایهها را در بخشهای زیر بررسی کند: 1. خلاصه روایت شفاهی؛ 2. بلوط شهیدو، درختی مقدس در منطقۀ کوهمره سرخی؛ 3. دخیل بستن بر درخت به امید بارداری؛ 4. تولد دختر شگفتانگیز درخت و زاده شدن او از تنه درخت؛ 5. روییدن گیاه از خون شخصیت بیگناه قصه؛ 6. نقش پریان در قصه؛ 7. مو بهعنوان ابزار باروری؛ 8. دفن کردن استخوان؛ 9. درخت زندگی؛ 10. سفر به جهان زیرین/ مردگان در خواب؛ 11. گذر از هفتخان.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 A Study on the Cultuling of âPositive Thinkingâ in Persian Proverbs1 واکاوی زباهنگ مثبت نگری در ضرب المثل های زبان فارسی 217 252 22035 FA رضا پیش قدم استاد آموزش زبان انگلیسی و روان‌شناسی تربیتی، دانشگاه فردوسی مشهد علی درخشان دانشیار آموزش زبان انگلیسی، گروه زبان و ادبیات انگلیسی، دانشکدۀ علوم انسانی و اجتماعی، دانشگاه گلستان ، ایران شیما ابراهیمی استادیار آموزش زبان و ادبیات فارسی، دانشگاه فردوسی مشهد، مشهد، ایران شیما ابراهیمی استادیار آموزش زبان و ادبیات فارسی، دانشگاه فردوسی مشهد، مشهد، ایران اعظم جنتی عطایی کارشناس ارشد زبان‌شناسی همگانی، دانشگاه علامه طباطبائی، تهران، ایران Journal Article Abstract Proverbs are short utterances in verse or prose, showing parts of the culture of people using them. They will be transmitted to the next generations and their origins can be traced. They can be considered a case of cultuling, that is (culture in language), and demonstrate the culture, worldview and the attitude of the speakers. The present study, a qualitative one, aimed to investigate the “positive thinking” cultuling in Persian proverbs from the viewpoint of the SPEAKING model of Hymes (1967). To this end, of the total 99621 Persian proverbs, 777 proverbs were delineated to include the “Positive Thinking” cultuling. The researchers were seeking to find different ends of using the proverbs by Persian speakers. The data were investigated by two Applied linguists professors and an M.A graduate in Linguistics. The most recurrent ends of using proverbs encompass giving advice 101 cases (30%), good wish 7 cases (2%), religious beliefs 92 cases (27%), encouraging to be patient 27 cases (8%), being grateful 7 cases (2%), being happy 9 cases (3%), showing exaggeration 16 cases (5%) and solidarity and cooperation 13 cases (4%). The keys include admonitory 83 cases (45%), praising 14 cases (8%), hopeful 67 cases (36%), humorous 14 cases (8%) and good wish 7 cases (4%). The findings show that among all, the most occurring end, of using the “positive thinking” cultuling in Persian proverbs accrues giving advice (30%) and the most recurrent key, accrues admonitory (45%). The multiplicity of the cases of advice and admonitory displays the indirectness of Iranians. The paper concludes with some implications. Introduction Research Background The issue of positive thinking can be considered a case of “cultuling” in Persian proverbs. Culture is, in fact, an instrument delineating relationships among the members and the speakers’ attitude and worldview (Wardhaugh, 2010). Zolfaghaari (2013) believes that culture and its subcategories constitute parts of the national identity that encompass personal and social identity. The issue that anguage, culture, and thought are interrelated, has been proposed by prominent scholars, including Agar (1994) and Risager (2011, 2012). In the meantime, Pishghadam (2013) proposed the inseparability of language and culture. He introduced the term “cultuling” by merging the two terms of “language” and “culture. Accordingly, several studies have been carried out on various types of cultulings, namely, the study of the cultuling of “Patriarchy” by Pishghadam, Derakhshan, and Jannati Ataei (in press), in which the researchers investigated the “patriarchy” cultuling in Persian movies from the viewpoint of the SPEAKING model of Hymes (1967), aiming at demonstrating Iranian cultural patterns and trying to find the reasons for using the cultuling of “patriarchy” and the attitude toward women in Iranian culture. To this end, 100 Persian movies from 1981 and 2011, were investigated. The results showed that the decade 1981 could demonstrate the dominance of the cultuling of patriarchy, and the decade 2011 illustrates the dominance of the cultuling of matriarchy. Other related studies include the analysis of “Cultuling” as an innovative method for the analysis of language in light of variational pragmatics, which is a step towards ‘euculturing’, by Pishghadam, Ebrahimi, Naji Meidani, and Derakhshan (in press). In a similar study, Pishghadam, Ebrahimi, and Derakhshan (in press) investigated cultuling analysis, which is a new methodology for discovering cultural memes. They conceptualize a cultuling analysis model that integrates the cultural, emotioncy, SPEAKING models, as well as the underlying environmental factors collectively to reflect the participants’ culture. Aims, question, and assumptions In the present study, the researchers investigated “Positive Thinking” cultuling in Persian proverbs using Hymes’s (1967) SPEAKING model and its eight subparts, including setting, participants, end, act sequence, key, norms, and genre. The data were collected from 99621 Persian proverbs. The utterances were being studied, and their ends and keys were identified. It aimed at showing Iranian cultural patterns and the attitudes of Iranian speakers using the cultuling of ‘Positive Thinking’. The investigators are interested in finding out the ends of the cultuling of “Positive Thinking” in Persian proverbs. Table 1. The most recurrent ends of using Persian proverbs giving advice encouraging to be patient good wish being grateful religious beliefs being happy showing exaggeration solidarity and cooperation Conclusion The most recurrent ends of using proverbs encompass giving advice (30%), good wish (2%), religious beliefs (27%), encouraging to be patient (8%), being grateful (2%), being happy (3%), showing exaggeration (5%) and solidarity and cooperation (4%) shown in Table 1. The keys include admonitory (45%), praising (8%), hopeful (36%), humorous (8%), and wishing good (4%). The findings showed that the most occurring end of using the “positive thinking” cultuling in Persian proverbs is giving advice (30%), and the most recurrent key is admonitory (45%), shown in Table 2. Table 2. The most recurrent keys of using Persian proverbs Admonitory hopeful Praising humorous wishing good The multiplicity of the case of advice and admonitory displays the indirectness of Iranians. One of the psycholinguistic factors which plays a major role in the study of people’s thought is the underlying covert emotion in their utterances, called “Emoling” (Pishghadam, Ebrahimi, & Derakhshan, in press). It is inevitable that if expressions like proverbs, poems, etc. have a high emotional load, they will be better, and they will be transmitted to the following generations. Considering the role of emotional center of the brain, emotional information will be better stored in memory for retention (Bigdeli, 2020). Given that the proverbs are important cultural resources and their high capacity in transmitting cultural issues and cultural norms, they can be studied from different aspects, including the study of the cultuling of “negative thinking” in Persian proverbs. References Agar, M. (1994). Language Shock. Understanding the Culture of Conversation. New York: NY: William Morrow. Bigdeli, I. (2020). The management of intrapersonal and interpersonal relationships based on "Ordering Model. Introducing the conceptual model of training. Mashhad: Ferdowsi University of Mashhad. Hymes, D. (1967). Models of the interaction of language and social setting. Journal of Social Issues. 23(2). pp. 8-28. Pishghadam, R. (2013). Introducing cultuling as a dynamic tool in culturology of language. Language and Translation Studies, 45, 47-62. Pishghadam, R., Derakhshan, A., & Jannati Ataei, A. (in press). An investigation of the cultulings of “Patriarchy” and “Matriarchy” in the Iranian culture: A comparative case study of Iranian movies across two decades of 1360s and 1390s. Women in Culture and Art. Pishghadam, R., Ebrahimi, S., & Derakhshan, A. (in press). Cultuling analysis: A new methodology for discovering cultural Memes. International Journal of Society, Culture & Language, 1-18. Pishghadam, R., Ebrahimi, S, & Derakhshan, A. (in press). Introducing "Emoling" as a missing link in ethnography of communication: A supplement to SPEAKING Model of Hymes. Language Related Research. Pishghadam, R., Ebrahimi, S., Naji Meidani, E., & Derakhshan, A. (in press). An introduction to “Cultuling” Analysis (CLA) in light of variational pragmatics: A step towards “Euculturing”. Research in Applied Linguistics. Risager, K. (2011). The cultural dimensions of language teaching and learning. Language Teaching, 44(4). pp. 485-499. Risager, K. (2012). Linguaculture and transnationality: the cultural dimensions of language. The Routledge Handbook of Language and Intercultural Communication. 117-131: Routledge. Wardhaugh, R. (2010). An introduction to sociolinguistics (6th ed.). Oxford, UK: Wiley-Blackwell. Zolfaghari, H. (2013).The major dictionary of Persian proverbs (in Farsi). Tehran. Alam. ضرب‌المثل‌ها عبارات زبانی کوتاه به نظم یا نثر هستند که با ساختاری روان نشان‌دهندۀ بخشی از فرهنگ و تفکرات مردم جامعه‌ایاند که آنان را به‌کار می‌برند. از این ‌رو، معمولاً نسل به نسل منتقل می‌شوند و با مداقه و موشکافی می‌توان به ریشه‌های تاریخی و فرهنگی مستتر در آنان دست یافت. با این توضیح ضربالمثلها را می‌توان زباهنگ (زبان + فرهنگ) درنظر گرفت که نشان‌دهندۀ نوع نگرش، فرهنگ و تفکرات ارزشی مردم هر جامعه هستند. یکی از مواردی که در ضرب‌المثل‌های زبان فارسی مشهود است، تفکر مثبت‌نگری است که می‌توان آن را نوعی زباهنگ درنظر گرفت. در پژوهش حاضر نگارندگان با استفاده از بخش‌های هشت‌گانۀ الگوی SPEAKING هایمز (1967) به واکاوی زباهنگ «مثبتنگری» در ضرب‌المثلهای زبان فارسی پرداخته‌اند. بدین‌منظور تعداد 99621 ضربالمثل زبان فارسی که نشان‌دهندۀ فرهنگ و تفکرات اقوام ایرانی و جامعۀ فارسی‌زباناند، موشکافی شدند. از این تعداد، به‌منظور بررسی تفکر مثبت‌نگری، 777 ضربالمثل که بار عاطفی مثبت داشتند، یادداشت و بهمنزلۀ داده‌های پژوهش درنظر گرفته شدند. این مثلها به‌صورت کیفی و توصیفی در پرتو الگوی هایمز تحلیل شدند تا مشخص شود که زباهنگ مذکور در ضرب‌المثل‌های زبان فارسی به‌ چه صورتی نمود پیدا کرده است و اهداف پربسامد آن، چه مواردی را دربر می‌گیرد. یافته‌های پژوهش نشان می‌دهد اهداف پربسامد استفاده از زباهنگ مثبتنگری به موارد پند و نصیحت (30 درصد)، دعوت به شادی و نشاط (3 درصد)، اغراق و بزرگ‌نمایی (5 درصد)، تشویق به اتحاد و همکاری (4 درصد)، دعا در حق مخاطب (2 درصد)، پایبندی به عقاید مذهبی (27 درصد)، ترغیب به صبر در کارها (8 درصد)، و شکرگزاری (2 درصد) اختصاص یافته است که در بافت‌های رسمی و غیررسمی با لحن‌های متفاوتی مانند لحن نصیحت‌آمیز (45 درصد)، تعریفی (8 درصد)، امیدوارانه (36 درصد)، طنزآمیز (8 درصد) و دعایی (4 درصد) به‎کار رفته‌اند. از آن‌ جایی ‌که بالاترین بسامد از نظر هدف در زباهنگ «مثبت‌نگری» متعلق به پند و نصیحت دادن به طرف مقابل است و لحن نصیحت‌آمیز نیز بیشترین مورد کاربرد لحن را به خود اختصاص داده است، بهنظر می‌رسد با توجه به فرهنگ قوی و غیرمستقیم‌گویی ایرانیان، آنان به‌صورت ضمنی نظرات خود را در قالب پند و نصیحت به دیگران منتقل می‌سازند.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 Characteristics of Shah Abbas Stories and their Origin ویژگی‌های قصه‌های شاه‌عباس و خاستگاه آن‌ها 253 281 22036 FA محمود عینی فعلی دانشگاه لرستان قاسم صحرائی دانشیار دانشگاه لرستان علی حیدری دانشگاه لرستان Journal Article Abstract Among the kings of Iran, Shah Abbas I, in Safavid period, is a prominent figure who is mentioned in popular tales. In the stories attributed to him, there are outstanding features that have attracted the attention of researchers due to their high frequency. The purpose of this study is to analyze the salient features contained in the stories of Shah Abbas I and to explain the origin of these features. The method of the present study was analytical-descriptive in terms of purpose and based on library studies in terms of data collection. Visiting the library and searching through reliable sources, the authors have collected all the available stories about Shah Abbas I and then analyzed their salient features and origins. Research findings show that these characteristics are either of historical origin or originated from the imagination of the creators of the stories. Some of these characteristics are specific to Shah Abbas and others are general characteristics of kings. Feelings of the unseen voice, professional dervishes, nightlife, simplicity, wisdom and shrewdness, interest in art, gossip, fulfilling desires, solving problems, marrying the poor and accepting humiliation are some of the characteristics of this king. On the other hand, power, justice and fairness, acceptance of judgment and justice, compassion and mercy, punishment of the oppressors and forgiveness (bestowal and forgiveness, and forgiving taxes) are common features for Shah Abbas and other kings. In this article, an attempt has been made to collect the salient features contained in the stories of Shah Abbas and to analyze them based on their origin. Accordingly, the reader realizes the hidden goals of these features and becomes acquainted with their creators. Introduction Research background There are many studies and articles in the field of storytelling; however, no research or article was found on the stories of Shah Abbas except one written by Mohammad Hanif: An analysis of oral tales related to Shah Abbas Safavid. In this article, Mohammad Hanif focuses on the themes of Shah Abbas' stories and examines the common customs and interests of the Iranian people. Most of the stories about Shah Abbas have been collected in the book of stories of Shah Abbas (Motadayyen, 2008), the book of national identity in the folk tales of the Safavid period (Hanif, 2015), and the culture of the legends of the Iranian people (Darvishian and Khandan, 2008). In other books, however, letters and stories about Shah Abbas can be found. These include: The Life of Shah Abbas I (Falsafi, 2012, Vol. 1 & 2), Legends of Lori (Rahmanian, 2000), Legends of Iran (Azar Afshar, 2005), Legends of Eshkor Bala (Eshkevari, 1973), Crystal Gardens of Khayal (Salehi, 1998), Legends and Beliefs Western Iran (Askari Alam, 2018), Local Stories of Isfahan (Farooqi, 1973), Stories of the Persian People (Faghiri, 2003), Legends of the Land of the Evergreen (Mirkazemi, 1995), Stories of the People (Vakilian, 2003). However, no focused study was found that examined the salient features of Shah Abbas's stories and the origins of these features. Aims, questions, and assumptions Among the stories about Shah Abbas, there are salient points and features that have been mentioned for various reasons. The purpose and necessity of analyzing these stories is to find the origin of these features and their reasons. This article seeks to answer the following questions: What is the origin of the attribution of Shah Abbas story? What are the most important features of Shah Abbas stories? Where do these features come from? Who are the creators of these characteristics and what was the purpose of noting these characteristics in the stories of Shah Abbas? Discussion Shah Abbas is considered as a great hero in popular literature. Because of the effects of his valuable works, he has been quite significant in the lives of ordinary people for his bravery, politics, innate talent, and special ingenuity in managing the affairs of the country, providing valuable services to the people of Iran. He has a place in the heart of people. Accordingly, scholars consider him "a counterpart of organizing princes such as Dariush and Anoushirvan" (Safa, 1990, Vol. 5, p. 23). In addition, he was lucky, because his age coincided with the rise of storytelling. Thus, in his period, "an official dynasty of Sufists, called the Ajam dynasty, was formed with principled organizations and ceremonies for monitoring the work of storytellers" (Mahjoub, 2008, p. 134). The creator of Shah Abbas's stories has used two elements of reality and imagination. He used Shah Abbas's actions and behaviors in the stories and sometimes portrayed him beyond what he was. In the stories attributed to him, subtle points, words, and terms are found that play a pivotal role, and hide the lofty concepts behind them. In the hidden aspects of these features, the origin of Shah Abbas's stories can be examined from two perspectives: First, it seems that a number of these features have been introduced into the stories by the governmental apparatus. In these tales, the courtiers seek to convey the virtues of the kings of their time and compensate for their inability. Second, other categories of these features are embedded in stories by ordinary people. Since "folklore basically reflects the situation, thoughts, and aspirations of the deprived lower classes of the society" (Behrangi, 2010, p. 7), it seems that the share of ordinary and lower people in the emergence of popular stories is higher than the upper classes. Conclusion In the stories of Shah Abbas, he is very shrewd and wise; he solves problems and fulfills people's aspirations; by punishing the oppressors, he shows his support for the poor; he wears simple dervish clothes; he is a night owl; with an unseen voice, he becomes aware of its observance; he is just and forgiving; he marries the poor and allows ordinary people to speak easily in front of him; he is an artist and learns a certain profession like ordinary people. The stories attributed to Shah Abbas have two main sources: some of these stories were issued by the court. The creator of these stories targets the intelligence, power, politics, fairness, and justice of Shah Abbas and seeks to convey these goals. Another part of these stories was created by ordinary people during the time of Shah Abbas's successors to remind them of the peace and security of the past. In these stories, people indirectly advise the kings of the time and look for a savior to fulfill their vanished dreams. Mentioning the name of Shah Abbas, they obtained permission to publish the stories. In these tales, the oppressed people speak of a just king, the people who have never exceeded their class associate with the king and whose voices have never been heard, but the king realizes their financial weakness or problem with an unseen voice. References - Askari Alam, A. (2018). Myths and beliefs of western Iran (in Farsi)Tehran: Arvan. - Azar Afshar, A. (2005). Legends of Iran (Azerbaijan) (in Farsi). Tehran: Milad. - Behrangi, S Behrooz, D. (2010). Legends of Azerbaijan (in Farsi). Tehran: Negah. - Darvishian, A. & Khandan, R. (2008). The culture of the legends of the Iranian people (in Farsi). Tehran: Books and Culture. - Eshkevari, K. (1973). The legends of Eshkor above (in Farsi). Tehran: Ministry of Culture and Arts. - Faghiri, A. (2003). Stories of the Persian people (in Farsi). Shiraz: Navid Shiraz. - Falsafi, N. (1347). Life of Shah Abbas I, Volume 1-2 (in Farsi). Tehran: University of Tehran. - Farooqi, A. (1973). Local stories of Isfahan (in Farsi). Tehran: Foroughi. - Mahjoub, M. (2008). Iranian folk literature (edited by Hassan Zolfaghari). Tehran: Cheshmeh. - Mirkazemi, S. (1995). Legends of the land of Marigold (in Farsi). Tehran: Soroush. - Motadayyen, M. (2008). Tales of Shah Abbas (Shah Abbas night tours) (in Farsi). Tehran: Rajabi. - Rahmanian, D. (2000). Legends of Larry (in Farsi). Tehran: Markaz. - Safa, Z (1990). History of Iranian literature (in Farsi). Tehran: Ferdows. - Salehi, Kh. (1998). Imaginary crystal gardens (in Farsi). Tehran: Markaz. - Vakilian, S. (2003). People's stories (in Farsi). Tehran: Markaz.. در بین پادشاهان ایرانزمین، شاهعباس اول صفوی چهرهای شاخص است که در قصههای عامه راه یافته است. در قصههای منسوب به او، ویژگیهای برجستهای یافت میشود که بهدلیل بسامد بیشتر، نظر محققان را به خود جلب کرده است. هدف نگارندگان این مقاله، تحلیل ویژگیهای برجستۀ مندرج در قصههای شاهعباس اول و تبیین خاستگاه این ویژگیهاست. روش پژوهش حاضر، از نظر هدف، تحلیلی ـ توصیفی و از نظر گردآوری اطلاعات بر پایۀ مطالعات کتابخانهای بوده است. نگارندگان با مراجعه به کتابخانه و جستوجو در میان منابع معتبر، تمامی قصههای موجود درمورد شاهعباسِ اول را گردآوری کرده و سپس ویژگیهای برجسته و خاستگاه آنها را یافته و مورد تجزیه و تحلیل قرار دادهاند. یافتههای تحقیق نشان میدهد که این ویژگیها یا منشأ تاریخی دارند و یا از اندیشۀ پدیدآورندگان قصهها، سرچشمه گرفتهاند. برخی از این ویژگیها، مختص شاهعباس و برخی دیگر خصلتهای عمومی پادشاهان هستند. احساس ندای غیبی، درویشمسلکی، شبگردی، سادهپوشی، دانایی و زیرکی، علاقه به هنر، نغزگویی، برآوردن آرزوها، حل کردن مشکلات، ازدواج با فقرا و پذیرش خواری، از ویژگیهای مختص به این پادشاه هستند و قدرتمندی، عدالت و انصاف، پذیرفتن قضا و قدر، دلسوزی و ترحم، مجازات ظالمان و بخشش (عطا و بخشش، و بخشیدن مالیات)، از ویژگیهای مشترک بین این پادشاه و دیگر پادشاهان است. در این مقاله تلاش شده است که ویژگیهای برجستۀ مندرج در قصههای شاهعباس، جمعآوری شود و بر پایۀ خاستگاه آنها، مورد تجزیه و تحلیل قرار گیرد. بر این اساس، خواننده به اهداف و زوایای پنهان این ویژگیها پی میبرد و با پدیدآورندگان آنها آشنا میشود.

https://cfl.modares.ac.ir/article_22036_15cf5f505ec38de721bfc1036ae585aa.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 34 2020 09 22 The Characteristics of Camel in the Folk Literature of Semnan Province ویژگی‌های شتر در ادبیات عامۀ مردم استان سمنان 285 320 22037 FA علیرضا شاه حسینی دانشجوی دکتری حسن افراخته دانشگاه خوارزمی Journal Article Camel breeding has been one of the main occupation of desert dwellers since the ancient times. The climatic, economic, and cultural conditions have fascinated tribes and desert dwellers with camel breeding. Camel is an important source of their economy; therefore, they have a longstanding emotional relationship with the animal. Camels are widely reflected in the culture and literature of the people in Semnan. The purpose of this study is to collect and analyze the characteristics of camels in two dimensions of formal and transverse attributes in Semnan folk literature, particularly among camel owners. The data were collected through field study and interview. Moreover, the expert’s knowledge has been used in the data analysis. The results show that camels play an important role in the folk literature such as songs, proverbs, myths, sounds and beliefs, in the desert territory of Semnan province, the review of which is presented in the study. Introduction Understanding the cultural significance of camel breeding requires an investigation of the traditional animal husbandry, not only because of the tremendous variety of camel names, but also because of the plethora of songs, proverbs, stories, beliefs, Sarbani’s knowledge and techniques, indigenous veterinary knowledge, botany, and the behavior of the camels (Farhadi, 1998, p. 206). Besides the economic value, camel breeding shows a deep emotional love and affection between human and animals. This is why a person is convinced and interested to choose such a difficult job. The special and exceptional capability of camels throughout history has made human beings think that they can employ the various capabilities of this animal, including meat, milk, wool, and bearing. On this basis, and especially in desert areas where the talent and capacity of camel breeding is higher, the camel breeding profession has a long history. According to some field studies, in the past, camel breeding was very prosperous and common in more than 130 villages of the Semnan province, but now it has decreased to 35 villages. The purpose of this article is to analyze the role of camels in the folk literature of the people in Semnan province. Methodology The data collection was conducted through field study and interview. The expert’s knowledge has also been used through the interpretive method in the process of data analysis. Results The traits and characteristics of camels in the folk literature are reflected in five sections as follows. Formal attributes The formal characteristics of this animal such as ears, eyes, neck, hump, tail, skin, masculinity, head, lips, knees and its height have been reflected in the oral literature. The height of the hump indicates the fatness of the animal. This is why camel hump shrinks in dry seasons. In the following riddle, camel herders ask the animal hump: The camel died of thinness, because it had a lot of tallow (hump), near dawn, neither on the ground nor in the air. Answer: A thin camel with a load of hump (a saddle of tallow on its back) was moving over the bridge in Sham (Syria). One of the beautiful songs of the Chudari tribe is the description of camel's body parts. In this song, the eyes, ears, head, hump, lips, feet, tail, nose, forehead, neck, horseshoe, knees, tongue, chest, abdomen, and eyebrows of the animal are interestingly focused in the song. This song is composed through poetry. Different species of camels Different species of camels such as Louk (male camel), Arvaneh (female camel) and Hashi (baby camel) also are significant in the folk literature. Of the various species of camels, "Louk" has a special place in the oral literature and has the highest frequency in proverbs, songs, etc. "Louk must be proud of himself," says a Torud proverb. It means that "Louk must roar himself." It is said to people who must be self-sufficient. Camel equipment Camel equipment such as harness, bridle, and golafsar are reflected in the oral literature. In the nomadic culture, the child is the ornament of the parents. This is also the case in the proverbs. Like this proverb in the Elikaei tribe: "Eshter Bijahaz Bumenin.", which is translated as follows: You came with a camel without equipment. This is called a parable if a parent goes to a party or to see an adult without children. Transverse characteristics of the camels There are many anecdotes, legends, proverbs and songs about the transcendental traits of camels such as being emotional, resentful, intelligent, zealous, etc., which is also indicated as "Oshtor Khajow", the coldness of the old woman, the helpless young man, and the story of the camel the owner of which had entrusted to his neighbor. Products and uses of the camels Like meat, milk, and wool, bearing and riding are also reflected in the oral literature of the people. An example is the following song about loading camels: Unload camels, Unload camels at every alley of pomegranate At the end of each alley, make a sweet pomegranate for sick syrup. Conclusion Oral literature, as an important part of the literary production of any nation, deserves to be preserved and scientifically studied. Collecting, documenting, and presenting local literature, especially in the modern world, are so essential tasks, because the indigenous folk phenomena of Iran constitute the ancient structures of the culture of the Iranian tribes. On the other hand, the national culture is in great need of these isolated parts, and basically, the validity, value, and the depth of the national culture are realized within these subcultures. None of the efforts made to narrate the true history and culture of any nation will be complete without considering the phenomena and creations of folklore. Some unique rituals, such as mourning for the death of a camel, are very important and worthy of anthropological study. There is a great deal of oral literature on the rich themes of camels that requires further study as well. References - Amanollahi Baharvand, E. (1988). Nomadism in Iran: research on nomads and tribes (in Farsi). Tehran: Agah. - Ameri, J. & Tabatabaei, S. H. (2017). A study of the local sounds and melodies of Toroud and Satveh (in Farsi). Semnan: Hablerood.Azami Sangsari, Cheraghali (1968). Sangsar national celebrations. Historical Studies, 17, 55-37. - Farhadi, M. (1998). Recycled museums (in Farsi). Kerman: Kerman Studies Center. - Farhadi, M. (2003). Cultivation and culture, traditional methods of welfare and health and land rehabilitation in Iran (in Farsi). Tehran: Ministry of Agriculture-Jahad, Deputy for Planning and Economy, Research Institute for Planning and Agricultural Economics. - Goli Zavareh, Gh. (1990). Camel, the old friend of the desert nomads. Reserves of the Revolution, 13, 67-80. - Honary, M. (1975). Camel breeding in the desert: Anthropology and public culture of Iran 2 (in Farsi). Tehran: Anthropology Center of Iran Publications. - Shah Hosseini, A. (2017). The Choodaries, a desert dweller tribe (in Farsi). Semnan: Hablerood. از گذشته‌های دور، یکی از پیشه‌های اصلی ساکنان مناطق بیابانی، شترداری بوده است. شرایط اقتصادی و اقلیمی و پیشینۀ فرهنگی، ایلات و کویرنشینان را شیفتۀ شتر کرده بود، نهفقط بهدلیل اینکه شتر شاهرگ اقتصادی آنان بوده است، بلکه بدین سبب که روابط عاطفی و دوستانۀ دیرینه‌ای با این حیوان برقرار کرده بودند. شتر در فرهنگ و ادبیات مردم استان سمنان بازتاب گسترده‌ای یافته است. هدف از این تحقیق، گردآوری و تحلیل ویژگیهای شتر در دو بخش صفات صوری و عرضی در ادبیات عامۀ مردم استان سمنان بهویژه شترداران و ساربانان است. شیوۀ دستیابی به دادهها، گردآوری میدانی با ابزار جستوجوی شنیداری اعم از پرسش و پاسخ (مصاحبه) بوده و در تحلیل و استدراک دادهها از دانشهای اهل فن بهره گرفته شده است. بازتاب شتر را می‌توان در ترانه‌ها، مثل‌ها، آواها، چیستان‌ها و باورها ملاحظه کرد. این ترانه‌ها، داستان‌ها، ضرب‌المثل‌ها و غیره در کل بیانگر اندیشه‌ها، آرزوها، بیم و امیدها، غم‌ها و خوشی‌های این مردم و گذشتۀ تاریخی آن و به عبارت دیگر بیانگر روانشناسی اجتماعی و نانوشتۀ آنان است. این مقاله حاصل پژوهشی است که با استناد به مطالعات میدانی و مصاحبه با ساربانان و شترداران و مطالعات کتابخانه فراهم آمده است. باورها، ضرب‌المثل‌ها، چیستان‌ها، ترانه‌ها، حکایت‌ها و افسانه‌های مردم استان سمنان بهویژه شترداران و ساربانان در این پژوهش بیان شده است. نتایج تحقیق بیانگر آن است که شتر بهویژه در بین شترداران حوزۀ کویری استان سمنان، نقش مهمی در ادبیات عامه (ترانهها، ضربالمثلها، افسانهها، آواها و باورها و ...) دارد. این مقاله نخستین بررسی تحلیلی در این زمینه است.

https://cfl.modares.ac.ir/article_22037_2a519dc383bbb4f07ad74720bb1a5fbf.pdf