دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 The Study of Material Folklore (Type of Clothing) in Characterization: The Illustrated Case of Khavaran-Namehïª بازشناسی فولکلور مادی (پوشاک) در ترسیم سیمای اشخاص داستانی در نسخۀ مصور خاوران‌نامه 1 38 22059 FA مهین اللهی پور شری دانشجوی کارشناسی ارشد پژوهش هنر ، دانشگاه نیشابور فرزانه فرخ فر دانشگاه هنر نیشابور Journal Article Abstract The epic of Khavaran-Nameh, composed by Ibn Hessam Khosfi, is a unique work in the field of literature and painting in the Turkmen era in the 15th century. It is one of the best-known Shi'at books composed in Masnavi style and has been a novelty in Iran’s history of literature and art bearing both epic and religious genres. The first illustrated manuscript of Khavaran-Nameh belongs to the painting school of Shiraz-Turkmen. Along with its literary texts, unique paintings with epic and religious themes were also created and the painter tried to convey the good and evil in different social classes, from the highest attributed to prophets and imams, to the royals, courtiers, ordinary people, and at last, underlings and sinners. The goal of this research, firstly, is studying and identifying the characters existing in the text and illustrations of Khavaran-Nameh, and secondly, it aims to compare their pattern of clothing according to the literary text of the narratives. The research questions are: what is the relationship between the text and the illustration in describing and representing different characters in the paintings and stories of Khavaran-Nameh? What similarities and differences can be observed in diverse clothing of these characters? The results of this study show that the characterizations in the text and the illustrations of Khavaran-Nameh are largely consistent. However, there are certain differences owing to various religious beliefs and artistic tastes. The difference between the text and the illustration is more distinct when the clothing pattern of characters are compared. There are several studies in the literature concerning Khavaran-Nameh. Tazian-Nameh Parsi is the abstract of the literary text of Khavaran-Nameh (Khusfi, 2003). Butiqayeh Ghesse-haye Boland A’amiane Farsi: Romance-e A’am provides illuminating information on folk literature and supernatural creatures (2019). There are several studies on Khavaran-Nameh that analyze the illustrations, too. Two prominent instances are “Interpretation of Khavaran-Nameh's Paintings: an Iconology Approach” (Akhavani and Mahmoudi, 2018) and “Khavaran-Nameh from the Perspective of Miniature with an Emphasis on the Influential Factors on the Formation of Artwork and the Analysis of its Symbols” (Memarzadeh, 2011). Aims, research questions, and hypotheses This study aims to analyze different characters in the text and the illustrations of Khavaran-Nameh as well as the characters’ clothes based on their social status and rank. The questions were posed as follows: What social classes and characterizations have been used in the text and illustrations of the manuscript Khavaran-Nameh? What is the relation between the characters of the narrative and their clothes in the illustrations? It appears that the miniaturist of this manuscript has been under the influence of religious beliefs and has exaggerated some of the epic or religious aspects while disregarding some others. Data collection This quantitative and qualitative study was a basic-applied research with an inductive method, and the data were collected through library-based research. The population of the study included the oldest and the most exquisite manuscript of Khavaran-Nameh preserved at the Golestan Palace library in Iran (no. 7570 at the Museum of Decorative Arts). Given the limited number of illustrations in this manuscript, all of them were studied to reinforce the results of the study. Analysis and discussion The characters of Khavaran-Nameh were categorized into five groups in the text: social class, gender, age range, literary aspect, and supernatural creatures. In the social class category, the characters were uniform to a large extent in both literary and pictorial content, and thus, common people had not been illustrated. The male characters were uniform both in the text and the illustrations, and as a result, women were illustrated limitedly. The age ranges of characters were not clear in the text and pictures. In the illustrations of characters, the epic-religious aspects are emphasized more than the romantic. Imam Ali is the most important epic-religious character who is the main subject of miniatures. The illustrations of supernatural creatures were more detailed than the text. The type of clothes that have been illustrated in this manuscript were congruent with the customary clothes at the Turkmen period. This type was similar to the Timurids’ who ruled the eastern part of Iran contemporary to the Turkmen; all pieces including headwear, garments, and footwear were completely alike. Except for the headwear, the illustration of the clothes of religious leaders were similar to that of the kings. The recognition of different clothes was based on the characters categories. In the social class category, religious characters, courtiers, and Pahlevans shared similar type of clothes except for the headwear. The garments of Imam Ali were the most various compared with that of the other characters from all social classes. A noteworthy point in this manuscript was that common people were not illustrated and could not be analyzed. There was no difference between the clothing of women and men; however, the number of women characters was limited. The distinction between the characters' clothes based on the age range was not clear, but the youth's clothes were different. In epic miniatures subcategory, the troops had helmets and battle equipment; however, Imam Ali was in his common clothes. In the religious subcategory, contrary to the common belief, the clothes of religious leaders were not simple and had many decorations. In the two romantic miniatures, women's clothes were simpler than men. In the category of supernatural creatures, the angels' clothes had many decorations similar to the religious characters and the only difference was having a crown and wings and no footwear. The demons had no other clothing than skirts which symbolizes their lowly existence. References Abbasi, S. (2019). The Rhetorics of long folk stories in Farsi: popular romance. Ruzegar. Akhavani, S., & Mahmoudi, F. (2018). Interpretation of Khavaran-Nameh's paintings: an iconology approach. Visual Arts, 23(2), 23-34. Khusfi, M. (2003). Persian Tazian-Nameh (translated into Farsi by Hamid Allah Moradi). Markaz-e Nashr Daneshgahi. Memarzadeh, M. (2011). Khavaran-Nameh from the perspective of miniature with an emphasis on the influential factors on the formation of artwork and the analysis of its symbols. Khorasan Socio-Cultural Studies, 19, 162-177. . منظومۀ‌ خاوران‌نامه اثری بی‌بدیل در حوزۀ ادبیات و نگارگری است که از هم‌آمیزی دو وجه‌ حماسی و مذهبی شکل ‌گرفته و بدعتی در تاریخ ‌ادب و هنر ایران نهاده است. روایتهای این منظومه، جدال بین خوبی و بدی است و نگارگر نیز، سعی کرده همپای با مضمون، به بازنمایی خیر و شر و طبقات ‌اجتماعی مختلف، از والاترین ‌طبقه که خاص پیامبران ‌الهی و امامان است، تا طبقات ‌درباری، مردمان ‌عادی و انسان‌های دون‌مرتبه و گناهکاران بپردازد. از این‌ روی، این اثر ضمن مصورسازیِ متن ادبی این روایت بی‌همتا، منبعی ارزشمند در خوانش فرهنگ و ادبیات‌ عامه در عصر ترکمانان است که تلاقی دیدگاه ‌شاعر و نگارگر را در دو وجه ‌حماسی و مذهبی و حساسیت‌های آنها را در نمایش طبقات ‌اجتماعی مختلف نشان ‌می‌دهد. هدف این پژوهش، ضمن خوانش طبقات ‌اجتماعی و انواع شخصیت‌پردازی‌ها در متن و تصویرِ نسخۀ مصور خاوران‌نامۀ موجود در کاخ‌ گلستان، شناسایی و تطبیق نوع ‌پوشاک آنها در تصاویر است تا لایه‌های پنهان فرهنگ آن روزگار را شناسایی کند. پرسش این است که چه شخصیت‌هایی در متن و تصویر نسخۀ خاوران‌نامه نقش بسته ‌است؟ و چه ارتباطی بین انواع پوشاک در توصیف و بازنمایی شخصیت‌ها در نگاره‌های نسخۀ خاوران‌نامه وجود دارد؟ نتایج تحقیق نشان ‌می‌دهند که شخصیت‌های نسخۀ خاوران‌نامه برحسب وجوه ‌ادبی و طبقات ‌اجتماعی ، در دو حوزۀ متن و تصویر دارای گونه‌های متنوع و مشابهی هستند؛ لیکن در ترسیم ‌پوشاک، به‌دلیل فقدان اطلاعات لازم در متن ‌ادبی، نگارگر از رسم ‌زمانه و فرهنگ ‌عامۀ آن روزگار بهره برده ‌است. این تحقیق از حیث هدف بنیادین ـ کاربردی و از نظر روش، استقرایی با رویکرد تطبیقی است.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 A Comparative Study of Repetitive Symbolic Elements of the Myth of Hero in Siavash's Mourning and Imam Husseinâs Tazieh: Genette's Hypertextual Approach تطبیق عناصر تکرارشوندۀ نمادینِ اسطورۀ قهرمان در سوگ سیاوش و تعزیۀ امام‌ حسین(ع) با رویکرد بیش‌متنیِ ژنتی 39 71 22060 FA نینا بهزادی عضو هیات علمی گروه هنر و معماری دانشگاه آزاداسلامی واحد یادگارامام خمینی ره(شهرری) ،تهران ،ایران مصطفی مختاباد امرئی استاد گروه هنر و معماری، دانشکده هنر، دانشگاه تربیت مدرس (نویسنده مسئول)، تهران،ایران. 0000-0001-9259-873x محمدرضا شریف زاده دانشیارگروه پژوهش هنر، دانشکده هنر و معماری ، واحد تهران مرکزی ،دانشگاه آزاد اسلامی، تهران،ایران. Journal Article Religious beliefs are shaped by myth. Mythical heroes and innocent Imams are always considered to be among the recurring themes as the sacred and identifying elements of the Iranian culture. They are in the subconscious, beliefs, and traditions of the people. With common goals and similar destiny, they have been influential in the formation of various literary and artistic works, including Ferdowsi's Shahnameh and Taziehs. This study focuses on the semantic decoding of repetitive mythical elements, in two texts from the pre - and post- Islamic eras. Employing the Genette's hypertextual approach, the study analyzes the story of Siavash in Shahnameh (pre-Islamic) and the Tazieh of Imam Hussein) post-Islamic(. The purpose of the research is to find out how the textual narrative was adapted by the theatrical narrative. After explaining the theoretical issues, the summary of the texts, and the characteristics of the heroes, the results are given in a table. The common or unique elements and symbols of thought and actions of the Iranian hero are sometimes manifested in an earthly-mythical and sometimes religious-historical and celestial personalities. Every year, similar rituals are repeated and reproduced in the mourning. The research method is descriptive-comparative and the analysis is done through content analysis and the use of library documents. The findings showed the following symbolic similarities: the halo of light, intelligent horse, white clothes, the presence of extraterrestrials, among others. The difference between the rituals were: the symbol of the plant god, the passage of fire, the Siavashun feather, Zulfiqar, the magical armor, among others. Introduction Research Background There are several research projects conducted on the hero's myth, behavioral pattern, rituals left in their honor, spiritual journey and comparative relations on the texts about Siavash's mourning. Some examples are Dalir (2008) in an article entitled "The Intertextual Relations of Siavash's Story from Shahnameh and the Condolences of the Martyrdom of Imam Hussein’s Tazieh" in which it has examined the intertextual relationship through the similarities of the two stories and the structural comparison, space, and characters of the play. Alizadeh Moghadam (2010) has compared the epic and tragic world of the imitations of Imam (AS) from the perspective of the hero. In the book of mourning for Siavash, by Meskoob (1975), issues about the myth, epic, and mourning of Siavash are given. In the Iranian plays by Ashourpour (1994), and Housouri (2002), some commonalities of general mourning and the mourning of Siavash, which are mostly in the field of mythological beliefs, the genealogy of Siavash and Imam Hussein are investigated. It also has a historical connection with the ritual of Tazieh. Goals, questions, and assumptions The goal and the research problem are the adaptation and decipherment of symbolic elements, common intertextual relations, and the mythical and recurring role of the "hero" between the two works. This article seeks to answer the following questions: What are the most important recurring similarities in the mythical symbols of the hero between the two texts? What is the difference between the fields of fiction, narration, the concept of time, place, behavior in Tazieh and Ferdowsi's Shahnameh? What is the effect of the heroes' behavior in tragic and epic literature in Iran on the formation of two types of dramatic literature (in Tazieh) and epic literature (in Shahnameh)? As a research hypothesis, it is suggested that historians have consciously established an intertextual relationship with Shahnameh in line with their goals and motives. Also, the mourning of Siavash of Shahnameh and Majlis Tazieh of Imam Hussein (AS) within intertextual reading has had many connections during the history. Discussion The myth of the "hero" in the historical memory (national and religious) of our nation, his role in wars, and the constant confrontation between light and darkness, is one of the most stable and influential common themes in popular culture, literature, and art of different ethnic groups. The repeated presence of the hero in the context of history is considered as one of the influential and pivotal elements in the creation of artistic texts. It is with the connection of myth and history that the heroic character can be given an eternal aspect. In every field, time, and place, his presence can be considered as a believable model. The history of Iran as a whole is, on the one hand, a mixture of ideas (myths), facts (history), popular opinions and beliefs (myths), and documents that exist in various forms, while shaping the existence and identity of the Iranian nation. Recognizing and adapting the role of mythical and historical heroes, their worldview regarding existence and creation, the superhuman and mystical content of their actions and their role modeling in later periods, can meet human needs. In this regard, the reason for the symbolic features of the "hero" as the driving and shaping element of the story of Siavash (in the epic literature of Shahnameh) and Imam Hussein (in the tragic play of Tazieh) need to be compared. Conclusion The myth of the hero speaks of the common themes of "human existence and spirituality", aiming to fight demons and oppression. It goes through similar steps to achieve their human and lofty goals, and because of their human nature, they consciously embark on a difficult journey. In the end, with their oppressed and bitter martyrdom, they leave a stable and living model in the minds and executive customs of the people, sometimes in the form of a mythical and sometimes infallible face of religion. They join in the context of history. Similarities and implications in mythological components, the variety of common or unique forms, dense semantic layers in belief, literature and popular art, common and unique symbolic aspects that have high interpretability, all in all show that the two texts are influenced by each other. The findings indicate that the repetitive elements that have become the reason for the ritual and similar repetition every year are to appreciate the sacrifices of the heroes. References Alizadeh Moghadam, A. & Vamiri, M. (2019). A comparative study of the characters and heroes of Shahnameh and Tazieh with an approach to dramatic literature. Research in Art and Humanities, 3(17), 19-26. Ashourpour, S. (1994). Iranian performances. Surah Mehr. Dalir, A. (2009). Intertextual relations between Siavash's story from Ferdowsi's Shahnameh and the condolence of the martyrdom of Imam Hussein. Honar, 77(4), 176-187. Ghadernejad, M., Khalandi, A., & Shafei, K. (2019). Re-reading the ritual of mourning for Siavash and mourning for Imam Hussein (Based on the analysis of paintings related to Siavash mourning in Central Asia and a work by "Hossein Zande Rudi". Persian Language and Literature Research, 49(4), 71-94. Hosuri, A. (2001). Siavoshan. Cheshmeh. Meskoob, Sh. (1975). The mourning of Siavash (in death and resurrection). Kharazmi. باورهای دینی با اسطوره شکل میگیرند و قهرمانان و امامان معصوم همواره از اسطورهها و بنمایههای تکرارشوندۀ مقدس و هویتبخشِ فرهنگ ایرانی بهشمار میآیند که در ناخودآگاه، باور و سنن عامۀ مردم جای دارند. آنها با آرمان مشترک، سرنوشت و رسالت مشابه بر شکلگیری متون مختلف ادبی و هنری ازجمله شاهنامۀ فردوسی و نمایش تعزیه اثرگذار بودهاند. رمزگشایی معنایی از نمادهای اسطورهای و تکرارشونده و میزان تأثیرپذیری قهرمانان از یکدیگر، در دو متن قبل و بعد از اسلام، درخوانشی بینانشانهای، با رویکرد بیشمتنیت ژنتی، یکی در داستان «سیاوشِ» شاهنامه (پیشمتن) و دیگری تعزیۀ امام حسین(ع)، بهمنزلۀ بیشمتن و نیز چگونگی برگرفتگی یا گشتار روایت متنی به روایت نمایشی، هدف تحقیق است. بعد از بیان مبانی نظری، تطبیق نمادهای اسطورهای مربوط به قهرمانان دو متن و درنتیجه، اشتراکات و افتراقات در جدولهایی ارائه شده است. این پژوهش درپی پاسخ به این پرسش است که وجود چه عناصر و نمادهای مشترک یا منحصربهفردی در تفکر و اعمال قهرمان ایرانی، گاه در شخصیتی زمینی ـ اسطورهای و گاه مذهبی ـ تاریخی و آسـمانی تجلی مییابد که سبب احیا، تکرار و بازتولید هرسالۀ بزرگداشت سوگشان، با نمادهای آئینی مشابه میشود؟ روش پژوهش توصیفی ـ تطبیقی و تحلیل محتوای متن از نوع کیفی و استفاده از اسناد کتابخانهای است. درنتیجه، در همانگونهگیها میتوان به نمادهای هالۀ نور، اسب همهچیزفهم، عدد سه مقدس، سپیدی جامه، حضور فرازمینیها و... و در تراگونهگیها به نماد ایزد نباتی، گذر از آتش، عنصر پَرسیاوشان، ذوالفقار و زره سحرانگیز و... اشاره کرد.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 The Transformation of Fereydoun's Mythical Story in Shahzid's Folk Tale based on the Semiotics of Mythical Symbols دگردیسی داستان اسطوره‌ای فریدون در داستان عامۀ شاهزید برپایۀ نشانه‌شناسی نمادهای اسطوره‌ای 73 99 22061 FA علی خالقی دانشجوی دکتری دانشگاه علامه طباطبایی 0000-0003-0325-202X میر جلال الدین کزازی استاد دانشگاه علامه طباطبایی محمود بشیری استاد دانشگاه علامه طباطبایی 0000-0002-5076-6982 Journal Article Understanding "myth" is very important in understanding society, people's behaviors, and beliefs. We know that myth usually changes throughout history, but it disappears gradually. "The Story of Fereydoun" is considered as one of the most important stories of Iranian myths and researchers have traced its mythological roots to the Avestan period, Vedic texts, and the myths of birth and battle of the demon of land. The god of rain is mentioned in this story as well. On the other hand, there are myths and stories among people that contain mythical themes, symbols and signs in various forms, and the study and analysis of these myths in tracing the origins of the mythical elements of society plays an important role. One of these popular stories is "The Story of Shahzid", one of the Imamzadehs of Amol city of Mazandaran, which has many similarities with the story of Fereydoun in its narrative structure, semiotic elements, and mythical symbols. In this article, these two stories are examined and analyzed together, and their mythological elements are identified. It was concluded that the two stories, there are some similarities in some events and symbols of the myths such as: cow, tree, forest, snake, healing drink, witchcraft and geographical location. Both stories originate from a source which is the "myth of birth" and the war between the god of rain and the demon of land. Introduction Some studies have been done on the mythical story of Fereydoun and its comparison with mythology, but they are not comparative with regards to a story from the post-Islamic period and Islamic myths. The main question of the research is whether a connection can be found between the story of the myth of Fereydoun and the story of Imamzadeh Shahzid. Could this connection be based on a myth? In addition to Shahnameh's narration of Fereydoun's story, the summary narration of the people of Mazandaran is that: Fereydoun's mother hides him in the forest in a crack of an old tree when he is born. Every day, the cow goes near the tree and Fereydoun, the child, drinks milk from the cow. The owner of the cow notices and takes the child with him. "The cow loved Fereydoun and allowed Fereydoun to ride him." Zayd ibn Musa ibn Ja'far is one of the Imamzadehs of Amol. Imamzadeh, fleeing from the enemies to the south of Amol, takes refuge in an old tree in a mountainous and forested area. The cow is commanded by God to go to the tree every day so that the gentleman can milk it. Galesh notices and strikes him with an ax and runs away. The prince curses Galesh and the ranch is stoned with all the cows. The Galesh family is also displaced. According to the story, the prince was a four-year-old child. It is said that the servant of Astana Shahzid seeks water on the way during prayers to perform ablutions. At the same time, a pitcher and rosary descends on him from the sky. Saif performs ablution from the water of the pitcher and prays next to the rosary. The pitcher disappears, but the rosary is removed safely, and whenever the disease comes, the rosary is put in some water and the rosary water is drunk by the patient. According to the villagers, there are two green snakes with a cockatiel on the guard of Shahzid threshold, its spring, atmosphere, and water reservoir. Mythical elements Cow: Cow has been one of the ritual animals in ancient Iran. In the story of Fereydoun and Shahid, the main point is milking a cow, which goes back to the "mother goddess" of cows and raising humans. Since the prince emerges from the crack of the tree, it can be a symbol of the womb that is associated with the tree as the mother goddess. Cow is also closely related to rain and water in mythology. The myth of the god of clouds and rain can be deduced from it according to the myth of Indra and Trita Aptie. In Dinkard, Fereydoun turns the Mazandaranis into stones. At the command of Ormazd, he firmly binds Zahak like a stone in a cave and achieves happiness and kingship, and the Imamzadeh of Shahzid stones the cattle ranch and cows. The village of Shahzid is located on the border between the forest and the mountains without trees. In other words, the rainy clouds of the north remain behind the Alborz mountains in this region and collide with each other. Forest and tree: "In mythology, the forest is a psychological realm having a feminine origin, the place of examination and knowing the unknown dangers and darkness, and the entry to the dark or symbolic haunted area" (Cooper, 2013, p. 110). The relation of forest with fertility, rain, and water could be another confirmation of the main roots of the myths in these two stories. Snake: "Snakes guard the thresholds and temples, and all the gods depend on them. The two snakes represent the contradictions in the duality that eventually lead to unity" (ibid., p. 349). In the story of Fereydoun, a snake has grown on Zahak and makes him a demonic creature. "According to a version, Fereydoun was a three-headed snake that overcame another three-headed snake, namely Zahak" (Shamisa, 2015, p. 261). Some scholars consider the word Fereydoun to mean having three spiritual, physical, and medical powers. These three attributes can be found to some extent in Imamzadeh Shahzid: having the spirit of a fighter and purity, being a master and fighting enemies, the symbolic tool of iron with changes in the Galesh's ax, the rosary's medical potentiality and the healing power of the water, and the magical ability in stoning cattle. The title of Shah, which is used in the Iranian culture for Imams, their sons, and the Sufi followers is remarkable so far as the mythological semiotics is concerned, and it can be analyzed with regards to the story of Fereydoun. References Cooper, J. S. (2013). Culture of ritual symbols (translated into Farsi by Roghaye Behzadi). Scientific. Kazazi, M. J. (2011). Dream, epic, myth (in Farsi). Markaz Publishing. Shamisa, S. (2015). Expression (in Farsi). Mitra. شناخت «اسطوره» در شناخت جامعه، رفتارها و باورهای مردم بسیار اهمیت دارد. میدانیم که اسطوره در طول تاریخ معمولاً دچار دگرگونیهایی میشود، اما کمتر از بین میرود. «داستان فریدون» بهمنزلۀ یکی از داستانهای مهم اسطورهای ایران بهشمار می‌آید که پژوهشگران ریشههای اسطورهای آن را تا دوران اوستا و متون ودایی پی گرفته و بن‌مایه‌های اسطورهای زایش و نبرد دیو خشکی و خدای باران را در آن گزارش کردهاند. از سوی دیگر، در میان مردم افسانهها و داستانهایی وجود دارد که بن‌مایه‌ها، نمادها و نشانههای اسطورهای را به شکلهای گوناگون خود در خود جای داده است و بررسی و تحلیل این افسانهها در ردیابی و ریشهیابی عناصر اسطورهای جامعه نقشی مهم دارد. از جملۀ این داستانهای عامه «داستان شاهزید» از امامزادگان شهرستان آمل مازندران است که در ساختار داستانی و عناصر نشانهشناختی و نمادهای اسطورهای مشابهت‌های بسیاری با داستان فریدون دارد. در این مقاله این دو داستان با هم بررسی و تحلیل شدند و عناصر اسطورهای آن مشخص شد و این نتیجه بهدست آمد که دو داستان، علاوه بر شباهت در برخی رخدادها، در عناصر و نمادهای اسطوره‌ای مانند: گاو، درخت، جنگل، مار، نوشیدنی شفابخش، جادوگری و موقعیت جغرافیایی با هم سنجیدنی هستند و به احتمال بسیار، عناصر شکلدهندۀ هر دو داستان از یک منشأ که همان «اسطورۀ زایش» و جنگ بین خدای باران با دیو خشکی است، سرچشمه گرفته‌ است.

https://cfl.modares.ac.ir/article_22061_946d0a5d15b2453834ed5400b57c89c9.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 The Writing of Dreams on Lustre Tiles in Two QadamgÄhs in Kashan from the Ilkhanid and Safavid Periods رؤیانگاری بر کاشی زرین‌فام در دو بنای قدمگاهی کاشان از دوران ایلخانی و صفوی 101 131 22062 FA محمد مشهدی نوش آبادی استادیار گروه ادیان و فلسفه، دانشکده ادبیات دانشگاه کاشان محمدرضا غیاثیان استادیار گروه مطالعات عالی هنر، دانشکده معماری و هنر، دانشگاه کاشان 0000-0002-1765-3556 Journal Article One of the main reasons of building Qadamgāhs (literally meaning the place of foot or the place of stepping) was the dreams a believer had of a saint. There are a large number of such buildings in Iran. In some cases, the dreams are inscribed on tablets in order to preserve the dream for future generations. This paper introduces five lustre ceramic tablets, which contain records of such dreams. The texts of two of them have been preserved completely, and significantly show astonishing similarities. The first is dated back to 1312 AD and belongs to Qadamgāh of Mehrīqābād. Its text mentions that Fakhr al-Din Hasan Tabari saw Imam Ali in a dream ordering him to build a shrine. According to the text of the second tile in Qadamgāh-i Khezr in the village of Yazdelan in 1607, someone saw Khezr in a dream who orders to reconstruct a ruined domed building. This article examines the differences and similarities between these two tablets from the Ilkhanid and Safavid periods, and analyzes them in detail. It can be said that these two tablets have a common content that have been written with the aim of documenting the reconstruction of a religious building borrowing the Iranian and Shi'at themes. These two examples show that the tradition of recording dreams on lustre tiles was not only prevalent at the glorious era of lustre production, but also extended to three centuries later. Introduction “Qadamgāh” refers to some places of pilgrimage in the Islamic world where a Prophet, Imam or saint has passed or has been seen in a dream. Dreaming has been one of the main reasons for building Qadamgāhs, in that, it was built when someone saw one of the saints in a dream and based on the saint’s order or his own decision, he called that place a Qadamgāh. This phenomenon, which sometimes led to the establishment of a building, has been common among Shi'ats. In some cases, commemorative tablets made of stones or tiles were used to record the dreams. Five lustre tiles, which belong to the Qadamgāhi buildings, have been identified in the region of Kashan, that contain a record of a dream. Three of them, which bear the name of a Qadamgāh, called Darb-e Mehriqābād, were produced in the fourteenth century. Although the tradition of writing on lustre tiles has continued until the Safavid period, no example containing a dream is known except for an unpublished tile from Qadamgāh-e Khezr in Yazdelan village. This tile, which dates back to 1015 AH/1607 AD, is full of symbolic and mythical signs. Interestingly, the Mehriqābād tiles dates back to 711 AH/1312 AD, and the Yazdelan tile have significant similarities with them in terms of form and content. Research Background The major research on lustre tiles has been done by Oliver Watson (1975, 1985). However, no research has been done on the Qadamgāhi lustre tiles, except for two papers written by Chahryar Adle about the tiles of Mehriqābād (Adle, 1972, 1982). Nonetheless, he has made some mistakes in reading the text and also did not notice the fifty-year difference in the date of these tiles. In addition, he was unable to identify the exact building of this Qadamgāh. Discussion There is a pair of circular lustre tiles in the Musée national de céramique de Sèvres, the text of which mentions the construction of a Qadamgāh in Kashan. The text of the tiles tells us that a person named Sayyed Fakhr al-Din Hassan Tabari finds himself in a dream in the middle of a crowd in the garden of Amir in Kashan. There, he sees Imam ‘Ali who tells him to construct a building in that place so that whoever wants to visit him can come to that position. Three centuries later, a lustre tile was installed in the Khezr Qadamgāh of Yazdelan, which narrates a dream that led to the construction of the building. According to its text, a person saw Khezr in a dream, who asked him to repair a domed building. One of the similar and important elements in both dreams is their connection to the garden. In fact, the holy sites in question are located in the garden that was famous at that time. The timing of both dreams is interesting in its own way. The dream of Mehriqābād coincides with Eid al-Fitr and the dream of Yazdelan coincides with Nowruz. In fact, the dreamers have been influenced by the religious festivals at both times, which belong to a mythical and ritual time. Another common feature of both texts is the effort to document the dream, which mentions the exact characteristics of the place and time of the dream. Conclusion During the Ilkhanid period, as there was more religious freedom for Shi'ats, the opportunity to express and document such Shi'at dreams became more prominent. On the other hand, with the rise of the Safavids and the prevalent freedom for the Shi'ats, the emergence of Shi'at beliefs developed unprecedentedly. Although the two lustre tiles examined in this paper were made over a period of three centuries, they are certain significant similarities in their content. The main theme, the type of time and place, the sacred personality, the attention to documentation and the influence of Iranian culture in both examples are comparable. In fact, they both express an identical concern: the reconstruction of a religious building the location of which has sacred memories. Interestingly, in the inscriptions of both buildings discussed in this article, there are signs of pre-Islamic beliefs of the people of the region. However, this is far from the common traditions of Islam and is based mostly on popular beliefs. References Adle, Ch. (1972). Un disque de fondation en céramique (Kâšân, 711/1312), Journal Asiatique, CCLX (3‒4), 277‒297. Adle, Ch. (1982). Un diptique de foundation en ceramique lustrée, Kašan 711/1312, In: idem, ed., Art et société dans le monde iranien, (pp. 199-218). Paris: Institut Français d’Iranologie. Watson, O. (1975b). Persian lusterware, from the 14th to the 19th centuries. Le Monde Iranien et l'Islam: Sociétés et Cultures, 3, 63-80. Watson, O. (1985). Persian lusterware. Faber and Faber. آمدن شخصی مقدس در رؤیای باورمندان و دستور وی به ساخت بنایی یادمانی، یکی از علت‌های اصلی ساخت قدمگاهها بوده و نمونههای متعددی از این قبیل بناها در ایران قابل شناسایی است. در برخی موارد، برای بیان رؤیا و استمرار این باور برای نسلهای آینده از الواح یادمانی استفاده شده است. در این مقاله به پنج کاشی زرینفام در منطقۀ کاشان اشاره میشود که در آنها گزارش یک رؤیا ثبت شده است. دو نمونه از آنها که متنشان بهطور کامل حفظ شده است، شباهتهای معناداری با هم دارند: اولی متعلق به قدمگاه درب مهریقآباد کاشان است که شخصی در سال 711ق/1312م امام علی(ع) را در خواب میبیند و به فرمان او تربتخانهای میسازد. طبق متن کاشی دوم در قدمگاه خضر روستای یزدلان، شخصی در سال 1015ق/1607م خضر را در خواب دیده که به او سفارش تعمیر یک بنای گنبددار مخروبه را داده است. این نوشتار به دنبال واکاوی محتوا و بررسی وجوه تمایز و تشابه این دو لوح است. یافتههای مقاله نشان میدهد که آن دو در بازتاب باورهای عامۀ ایرانی ـ شیعی، زمان و مکان مقدس و کرامت‌های شخصمحوری مقدس، بنمایه‌ای مشترک دارند و جهت اصلی آنها مستندسازی عمارتِ بنایی مذهبی با بنمایههای ایرانی و شیعی است. طرفه آنکه گذشت قرون و اعصار نتوانسته است این بنمایه‌های اعتقادی را از میان بردارد.

https://cfl.modares.ac.ir/article_22062_cc5e82c68af96ec8554ac4ae9cea008d.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 Persian and Arabic Origins of Elements in Folk Bakhtiari Poetry سرچشمه های فارسی و تازیِ پاره ای مضامین در اشعار عامیانۀ بختیاری 133 163 22063 FA سیدمهدی دادرس عضو هیأت علمی دانشگاه ارومیه، استادیار زبان و ادبیات فارسی دانشگاه ارومیه 0000-0002-2124-558X Journal Article The present article is a comparative study between folk Bakhtiari poetry and classical Persian literature which attempts to trace a number of Bakhtiari poetical items to classical Persian poetry by adopting a historical approach. These common items can be divided as follows: images and depictions, literary collocations, historio-literary allusions, and customs used to create imagery. Although in some cases these are mere accidental similarities, they seem to originate in the shared past of these people, especially due to the isolation of the Lurs from the written tradition of Persian literature that questions the possibility of direct borrowing. However, a number of elements of Luri poetry are undoubtedly taken from Persian literature. The influence of Persian literature is seen more clearly in Bakhtiari allusions to Iranian legends, particularly those of the Shahnameh of Ferdowsi. Finally, considering the deep and old relationship of Persian and Arabic literature, a comparison has been carried out between Bakhtiari poetry and the Muʻallaqāt - as an example of the earliest Arabic poems. Introduction Research Background V. A. Zhukovsky (1922, translated into Farsi by Shafaghi and Dadras, 2017) was the first scholar to prepare the collection of Bakhtiari folk poems. At the same time, Zhukovsky has refrained from deliberation on the literary value of these materials. Lorimer (1954) marked the major literary devices of Bakhtiari poetry in an article and criticized its literariness, but did not address the relevance between the Bakhtiari and Persian poetic contents. Among Iranian scholars, the late Hossein Pejman Bakhtiari has referred to the meter of Bakhtiari poetry (see Davari, 1965, p. 28). Dadras and Shafaghi (see Zhukovsky, 1922, translated into Farsi by Shafaghi and Dadras, 2017, pp. 179-213) have provided the Persian origins for the poetic expressions and contents seen in the Bakhtiari poems within the “Elaboration on Verses” section. “The Images and Description of Beloved in Bakhtiariʼs Folk Poems” (Zaheri Abdeh Vand & Karimi Nouraldin Vand, 2019) is a remarkable paper among the recent studies, as it renders a comparative study of Persian poetry and Bakhtiari in a distinct subject of interest. Goals, questions, and assumptions Conversance with Bakhtiari literature may serve in the study of Persian literature by the virtue of two features. First, the Bakhtiari dialect is deemed one of the closest relatives of the Persian language. Given its geographical proximity to southwestern Iran as the lands of origins for Middle Persian, the historical study of the Bakhtiari dialect is crucial in unearthing the roots of New Persian (Dari) and its literature. Secondly, the nomadic life of these natives, their isolation from the urban societies, and the prevailing illiteracy among the earlier generations all have highlighted the relevance of conversance with the dialect. In essence, if a common literary element, for instance, is simultaneously observed in Lori and Persian literature in that case, the element could both serve as a testament to its long history, denoting the element's inheritance from a sole origin in these two languages. Conversely, the presence of element in both languages could be regarded as evidence of the Dari literature's hold on the remotest and most formidable lands of the nation. Discussion The common elements between the Bakhtiari and Persian poetries could be classified into the following categories. 1. Images and Depictions The images and depictions imply imagery techniques that include similes, metaphors, metonymies, allusions, among others. For example, “likening a horse's ear to a dagger”, “bloody beard”, “partridge and hawk”, “caravan of sorrow”, “spear of sun”, “likening snow to a warrior”, “leopard's coloration”, “green dagger”, and so forth. 2. Collocations The term “collocation” is regarded beyond its linguistic and literary meanings (see Shafiei Kadkani, 1998, "The Magic of Proximity"), within this study’s context. Accordingly, the term is used to signify the mere affiliation or synchronicity of particular words that have gained idiomatic status, the recurrences of which deemed striking in both Persian and Bakhtiari literature. One could argue that the following cases, except for one case (Baghdad and Tabriz), have been introduced into the Persian and Bakhtiari poetries from common origins, and Persian poetry acting as the origin of its Bakhtiari counterpart is far-fetched: čārpāy-i kōsa “thin-bearded beast of burden,” rastigārī az dard “salvation from pain,” gōr-i tang u tār “narrow and dark grave,” “Baghdad and Tabriz,” and tīr u taqdīr “arrow and destiny.” 3. Historical and literary references and allusions These few cases designate that Iranian myths, particularly Ferdowsiʼs Shahnameh, have gained the most widespread recognition among the Iranian nationals and ethnic groups. In contrast, official and court literature were not much favored or familiar to this class. Among these allusions are “Rostam”, “Shirin and Farhad”, “Khosrow and Shirin”, “Bijan and Manijeh”, and “the Qizilbash.” 4. Customs Inherently, cultural and indigenous customs and traditions cannot be contained within poetic contents, but here three ancient customs are referred to by anonymous Bakhtiari poets in the conception, listed as “hauling provisions for an army with a buffalo”, “beaver pelts”, and “lock of hair as a token”. There is an extensive historical association between Persian and Arab literature and some Arabic elements pervade in Bakhtiari literature through Persian. The final part of the paper is devoted to themes common in Arabic and Bakhtiari literature. The Arabic evidence of this section is all taken from the Muʽallaqat (2011), the oldest selection of Arabic poetry. Conclusion These similarities between Persian literature and Bakhtiari poetry, despite mere coincidence at times, appear to be often rooted in the shared past of these nations. Given the isolation and remoteness of the Lur tribes, borrowing and adapting from Persian written literature are not much common in Bakhtiari literature. Nevertheless, some themes in Lori poetry are indeed taken from Persian literature. The impact of Persian literature is more evident in the allusions of Bakhtiari poems to Iranian myths, particularly Ferdowsi's Shahnameh, all of which presumably arising from oral origins. References Ayati, A. (trans) (2011). Muʽallaqat (The Suspended Poems). Soroush. Davari, B. (1965). Bakhtyari proverbs (in Farsi). Tahoori Bookshop. Lorimer, D. L. R. (1954). The popular verse of the Bakhtiāri of S. W. Persia – І. BSOAS, 16(3), 542-555. Shafiei Kadkani, M. (1998). The magic of proximity (in Farsi). Bukhara, 2, 16-26. Zaheri Abdeh Vand, I., & Karimi Nouraldin Vand, R. (2019). The images and description of beloved in Bakhtiariʼs folk poems (in Farsi). Culture and Folk Literature, 7(26), 101-128. Zhukovsky, V. A. (2017). Materials for the study of Bakhtiari dialect (translated into Farsi and edited by Mehdi Dadras and Maryam Shafaghi). Allameh Tabatabaʼi University Press. مقالۀ حاضر مطالعهای تطبیقی میان شعر عامۀ بختیاری و ادبیات کلاسیک فارسی است که با رویکردی تاریخی میکوشد سرچشمهها و ریشههای پارهای از مضامین شعریِ بختیاری را در شعر کهنِ فارسی شناسایی کند. این مضامین در چند دستۀ اصلی قرار میگیرند: تصاویر (صور خیال) و توصیفات، باهماییها، تلمیحات تاریخی ـ ادبی، و رسومی که دستمایۀ مضمونآفرینی قرار گرفتهاند. وجود این مضامین مشترک، گرچه گاه چیزی جز تصادف و توارُد نیست، اما بهنظر میرسد اغلب در گذشتۀ مشترک این اقوام ریشه داشته باشد، زیرا بهدلیل انزوا و دورافتادگیِ اقوام لُر از جریان ادبیات مکتوبِ فارسی، اقتباس و اخذ مستقیم از این ادبیات چندان گسترده نیست؛ هرچند بیشک برخی مضامین شعر لُری برگرفته از ادب فارسی است. تأثیر ادبیات فارسی را بهوضوح میتوان در تلمیحاتِ اشعار بختیاری به افسانههای ایرانی، خاصه شاهنامۀ فردوسی، دید. در پایان، با نظر به پیوند عمیق و دیرینۀ ادب پارسی و تازی، مقایسهای نیز میان مضامین مشترک در اشعار بختیاری و معلّقات سبع ــ بهمنزلۀ نمونهای از شعر کهن تازی ــ صورت گرفته است.

https://cfl.modares.ac.ir/article_22063_e7c26e48b7ee853cbf5e49de5d800745.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 Wrestling and the Hero Archetype کُشتی و کهن‌الگوی قهرمان 165 194 22064 FA زینب خسروی دانشگاه محقق اردبیلی 0000-0002-3340-0794 بهروز افخمی دانشگاه محقق اردبیلی کریم حاجی زاده دانشگاه محقق اردبیلی 0000-0001-5240-0477 محسن برغمدی دانشیار گروه تربیت بدنی دانشگاه محقق اردبیلی 0000-0002-1794-9410 Journal Article Wrestling has been popular since ancient times and it has been associated with many aspects of Iranian culture. In this regard, wrestling has been a physical ritual, and today it is performed at the national, indigenous, and local levels. This study focuses on the myths behind this ritual movement. It is aimed to explain the myths that have been the reason for the meaning, continuity, and the value of this movement as a ritual in Iranian folk culture throughout history via the analytical method. In ancient culture, a person who fought with the destructive forces of nature became the heroic archetype who created livelihood and security in a society and was respected by the people. This challenge with the antagonist also entered the arena of the enemies of Iran, and wrestling was a symbol of the action of the heroes who fought a duel to protect his land and its values; but what was suggested in Iranian culture was that these heroes, whose actions establish the security and order of the society, first, must clear their background as an antagonist, and voluntarily go into the battle with shadows. In Iranian society, this became a value and moral foundation for the heroic archetype and remained in the collective subconscious of the Iranian society, and in the festivals of folk culture where wrestling is held, all these values are projected on the wrestler character. This forms the kind of social identity and cohesion through which viewers receive love and self-fulfillment. Introduction Research background A few research projects been done on wrestling in folk culture. However, in these studies, types of wrestling in folk culture have been studied on a case. In the culture of every city and village, a type of native and local wrestling is common, and most studies have focused on one of these types such as Chokheh wrestling or Gilehmardi wrestling. Qasem Mehrabi et al. (2014) have dealt with the interaction of spectators and wrestlers of Chokheh, and Rahmati and Abbaszadeh (2016) have paid attention to the ability of Gilehmardi wrestling in the development of social participation. Since wrestling has a long history in Iranian culture, it is necessary to conduct research on the values and social beliefs that have led to the continuation of this national, indigenous, and local sport. Aims, questions, and assumptions The aim of the present research is to describe the mythology that has caused the continuity, meaning, and value of wrestling in Iranian society throughout history. Therefore, three theories could be indicated in this regard: Jung's archetypal, Campbell's mono-myth, and Maslow's hierarchy of needs to describe these myths through a qualitative descriptive-analytical method. The main question of this study is: what myths are behind this ritual movement activity? Wrestling is probably a movement activity that was intertwined with rituals and represented many myths through ritual performances. Discussion Archaeological evidence with the motif of wrestling and Persian mythology in the cultural context of ancient Iranian society shows that wrestling is a physical activity in a ritual that represents the heroism of prehistoric times that killed monsters to provide security for human life (Campbell, 2005). The monster is a symbol of some destructive natural forces that destroys the security and livelihood of people. The protagonist's combat with natural destructive forces, such as wild animals, becomes a physical habitus in the Iranian culture and takes on a ritual aspect. This ritual physical activity combines with other aspects of Iranian culture so that it is a show for the legitimacy of the king as a provider of security for the people and the wrestling is performed in the celebration of nature revitalization in the spring (Kaptain, 2013). Thus, the wrestling is a symbol of the battle of two opposing forces, one good, and the other evil. It is the ideology of the culture of ancient Iran that the force of good always triumphs over evil by choosing the right manner for battle (Rezai Rad, 2010). Folk literature also tells the story of wrestlers who wrestle with fair behavior, avoiding any inappropriate behavior. Thus, the wrestler is a symbol of the heroic archetype who removes individual and collective needs and has moral principles. The moral foundation of the Iranian hero archetype is Mithraism, at the top of which is the struggle against the inner shadow. The religion of Mithraism is a form of mysticism that teaches its followers the moral and social principles to make the world a better place (Cumont, 1966). According to these teachings of mysticism, the wrestler is also the protector of the social values. Conclusion Wrestling is a physical activity that is intertwined with the dimensions of Iranian culture. Iranian myths and beliefs give meaning to this physical activity and its integration with other cultural aspects. The wrestling is not only reminiscent of the hero archetypal actions of the prehistoric time but with its functions, it satisfies the psychological needs of the wrestler and the people. Hence, people project the character and moral qualities of ancient heroes on the wrestler. The inner shadow is the most important opponent of the wrestling, and by overcoming it, he can show the right manner in his behavior through wrestling. References Rahmati, M. M., & Abbaszadeh, M. (2016). Capability of rural sport; local development & social participation: a case study of Gilehmardi wrestling. Journal of Community Development, 7(1), 59-78. Campbell, J. (2006). The hero of a thousand faces (translated into Farsi Shadi Khosrow Panah). Mashhad: GolAftab. Cumont, F. (1966). The Mysteries of Mithra. Routledge. Kaptan, D. (2014). Achaemenid history XII. The Daskyleion Bullae: seal images from the western Achaemenid empire (translated into Farsi Morteza. Saghebfar). Tehran: Toos. Rezaei Rad, M. (2011). Fundamentals of political thought in Mazdaean wisdom (in Farsi). Tehran: TarheNou. کشتی از گذشتههای دیرین رواج داشته و با ابعاد چندگانۀ فرهنگ ایرانی در پیوند بوده است. در این رابطه کشتی، آیین حرکتی و جسمانی بوده است و امروزه در سطح ملی، بومی و محلی انجام میشود. مسئلۀ پژوهش این است که چه اسطورههایی در پس این فعالیت حرکتی ـ آیینی مطرح بوده است؟ هدف پژوهش حاضر این است که با روش تحلیلی اساطیری را که سبب معنادهی، تدوام و ارزش این فعالیت حرکتی بهمنزلۀ آیین در فرهنگ عامۀ ایران طی تاریخ شده است، شرح داده شود. در فرهنگ باستانی، فردی که با نیرویهای مخرب طبیعت به نبرد تن به تن میرفت، به کهنالگوی قهرمان تبدیل میشد که معیشت و امنیت را در جامعه ایجاد میکرد و مردم به او احترام میگذاشتند. این چالش با آنتاگونیست به عرصۀ دشمنان ایران نیز وارد شد و کشتیگرفتن نماد عمل پهلوانانی بود که برای حفظ سرزمینشان و ارزشهای آن به نبرد تن به تن میرفتند، اما آنچه در فرهنگ ایرانی مطرح شد این بود که این پهلوانان که با اعمالشان امنیت و نظم جامعه را برپا میکردند، باید در ابتدا درون خود را از آنتاگونیست پاک کنند و به اختیار به نبرد با سایۀ درون بروند. این کار در جامعۀ ایران به یک ارزش و بنیان اخلاقی برای کهنالگوی قهرمان تبدیل شد و در ناخودآگاه جمعی جامعۀ ایرانی باقی ماند و در جشنواره‌های فرهنگ عامه که کشتی بخشی از آن مراسم است، همۀ این ارزشها به شخصیت کشتیگیر فرافکنی میشود و گونهای از هویت و انسجام اجتماعی را شکل میدهد که تماشاگران از خلال آن محبت و خودشکوفایی را دریافت میکنند.

https://cfl.modares.ac.ir/article_22064_9c8f9728c5c3be5ef64f32ed3d49f02e.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 Typology of Titles of Persian Quatrain گونه‌شناسی نام‌های دوبیتی‌ فارسی 195 228 22065 FA مرضیه عظیمی دانشگاه تربیت مدرس 0000-0001-8249-5729 حسن ذوالفقاری دانشگاه تربیت مدرس نجمه دری دانشگاه تربیت مدرس غلامحسین غلامحسین‌زاده دانشگاه تربیت مدرس 0000-0002-8826-016X Journal Article Quatrain is one of the most popular forms of Persian folk poetry. In the early literary works and in different regions in Iran, various names are used to refer to Quatrain: Fahlavi, Tarāne, Hājiyāni, Qaribi, Faryād, Šarve and so forth. The question is if these different names correspond to different genres with distinct characteristics, or they are merely different names that all belong to one autonomous genre, based on the generic and literary criteria. To answer this question, the structure and content of approximately five thousand three hundred Persian Quatrains were studied, including Čārbeiti, Seytak, Šarve, Ferāqi, Faryād, Falaki, Kallegi, Hazāragy, Hoseinā, Najmā, and Šarbe. The results show that, based on the generic and literary criteria, all of the above-mentioned have the same structural and content features and should be classified under the Quatrain genre. Introduction In different regions of Iran and in the neighboring Persian speaking countries, various names are used to refer to Quatrain. For example, ‘Čārbeiti’, ‘Ferāqi’, and ‘Faryād’ are used in Khorasan, ‘Kallegi’ in Sarkavir, ‘Seytak’ in Sistan, ‘Šarve’ in Bushehr, ‘Hazāragy’ in Afghanistan, ‘Falaki’ in Tajikistan, ‘Šarbe’ in Arak, and ‘Šarme’ in Fars. Moreover, in the early Persian literary works, Quatrain is referred to as ‘Fahlavi’, ‘Tarāne’, ‘Beit’, and ‘Robāi’. Even some musical terms such as ‘Jamšidi’, ‘Sarhaddi’, ‘Kuče Bāqi’, ‘Hājiyāni’, and ‘Dašti’ have been used to address Quatrain. Most of the above-mentioned names have been so popular over such a long period of time that they have persuaded some researchers to consider each of them as an autonomous genre. However, studying these terms, using scientific methods and literary classification criteria might revise this common opinion, as there are great similarities between these different names. This study aims to investigate if these different names correspond to different genres with distinct characteristics, or they are merely different names that all belong to one autonomous genre. To this aim, the structure and content of approximately one thousand five hundred Persian Quatrain is studied. The structural and content features of Persian quatrain in different regions have been extensively investigated in previous studies by other researchers like Nasiri Jami (2001), Naseh (2014), Bahrampur (2015), and Zolfaghari (2015b). However, different names used in different regions of Iran to refer to Quatrain have not been studied and analyzed thus far. Discussion In comparison to many other types of poetry in the early Persian literary works, a very limited number of Quatrains were recorded, where they are referred to as ‘Fahlavi’, ‘Tarāne’, ‘Beit’, and ‘Robāi’. In the following section, the reasons that these names are allocated to these Quatrains are explained. Dobeiti (in Persian): This name refers to the number of verses in a Quatrain, which means two verses. Quatrain is a short poetic form that expresses an autonomous content only within two verses, along with rhymes in the first, second and fourth hemistich. Most of the Quatrains have emotional content expressed by an intimate, simple, and casual language in the prosodic meter bahr-e hazaj, and they have been widely used as lyrics for many songs. Robāi: This name refers to the number of the verses as well. Robai is very similar to Dobeiti, in terms of having two verses and, most importantly, the same rhyme scheme. Consequently, sometimes by mistake, Robai has been used to refer to Dobeiti. However, Dobeiti and Robai are totally different in terms of meter, content, language, and applications. Fahlavi: Dobeiti and Fahlavi are considered the same mainly because of their historical background in the pre-Islamic period. Indeed, Fahlaviat refers to the poems which are composed in different dialects of the Pahlavi language. These poems have been used as lyrics for songs, mostly in the form of Quatrain. Considering that Fahlaviat have been popular before Dobeiti and the fact that the only difference between these two Quatrains is in the syllabic meter, the current hypotheses put forward by this study is that Dobeiti is an extension of Fahlavi (Bahar, 1976, p. 41). Tarāne: The melodized Dobeiti is called Tarāne (Shams Gheis, 2009, p. 142). In other words, whenever Dobeiti is presented along with musical instruments, it is called Tarāne. In the past, Robai and Dobeiti were often taken as synonymous with Tarāne by mistake. Beit: In the Persian literature, two hemistiches together form a Beit (verse). Beit also stands for all forms of Persian poem. Singing ‘Beit’ means singing Persian poem, and that is why sometime ‘Beit’ is used to refer to Dobeiti. Other terms like ‘Jamšidi’, ‘Sarhaddi’, ‘Kuče Bāqi’, ‘Hājiyāni’, ‘Bidagāni’, ‘Gharibi’, and ‘Dašti’ have been used to refer to Quatrain all of which have the characteristics of Quatrain studied in this article. In fact, these terms are musical expressions mainly used to refer to different musical Magham. Therefore, due to the correlation between Quatrain and music, the corresponding musical Magham has sometimes been used to refer to Quatrain. Conclusion In this paper, the structural and content features of the investigated samples are taken into account, and a comparative analysis is drawn between them. The results showed that Quatrain has been referred to by many different names due to its popularity in different eras and regions. For example, in early Persian literary works, Quatrain has been named as ‘Fahlavi’, ‘Tarāne’, ‘Beit’, and ‘Robāi’, while in oral literature, it has mostly been known as Čārbeiti, Seytak, Šarve, Ferāqi, Faryād, Falaki, Kallegi, Hazāragy, Hoseinā, Najmā, Šarbe, and Šarme. Indeed, all the above-mentioned terms are different names for referencing to a unique genre, which is Quatrain. References Bahar, M. T. (1976). Bahar and Persian literature (vol. 1). Ketabhaye Jibi. Bahrampur, Gh. (2015). Charbeiti: the continuation of the tradition of oral poetry in Iran. Culture and Folk Literature, 6, 75-112. Naseh, M. M. (2014). A review of the Quatrains from Birjand. Fekre Bekr. Nasiri Jami, H. (2001). A structural and content analysis of the oriental songs. Mohaghegh. Shams Gheis, M. (2009). Almo’jam fi Ma’ayir Ash’ar Ajam (edited by Mohammad Ghazvini, Mohammad Taghi Modarres Razavi and Sirus Shamisa). Rowzane. Zolfaghari, H. (2015b). Application and features poetic couplet in a variety of popular literature. Adab Pazhuhi, 32, 63-95. در میان انواع اشعار عامه، دوبیتی بیشترین رواج را دارد. در متون ادبی کهن و همچنین در نواحی مختلف ایران، در اشاره به دوبیتی نام‌های متفاوتی بهکار می‌رود؛ مانند فهلوی، ترانه، حاجیانی، غریبی، فریاد، شروه و بسیاری موارد دیگر. در رویارویی با این اسامی متنوع این پرسش پیش می‌آید که آیا این نام‌های متفاوت مصداق‌های متفاوتی هم دارند؟ و آیا وجوه تمایز احتمالی که بین آنها وجود دارد، بهگونه‌ای هست که بتوان به هر یک از آنها نام جداگانه‌ای داد و هر یک را نوع مستقلی بهشمار آورد؟ یا اینکه بر اساس معیارهای ادبی و ژانرشناسی، نمی‌توان آنها را نوع مستقلی بهشمار آورد، بلکه همۀ آنها زیرمجموعۀ دوبیتی محسوب می‌شوند؟ برای پاسخ به این پرسش، ویژگی‌های ساختاری و محتوایی حدود هزار و پانصد دوبیتی فارسی را از نقاط مختلف ایران که در ذیل نام‌‌های متفاوتی مانند چهاربیتی، سیتک، شروه، فراقی، فریاد، فلکی، کلّگی، هزارگی، حسینا، نجما، شرمه، شربه و... گردآوری شده بودند بررسی کردیم. درنهایت، مشخص شد که به لحاظ ژانرشناختی همۀ آنها را باید ذیل ژانر دوبیتی طبقه‌بندی کرد و تمام این موارد نام‌هایی متفاوت برای نوعی واحد هستند.

https://cfl.modares.ac.ir/article_22065_0bfda19bd8d869e39d1996f29b9c6133.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 Concept of Taboo in Sarkavir Folklore مفهوم تابو در فرهنگ عامۀ مردم سرکویر 229 258 22066 FA سیدحسین طباطبایی دانشگاه مازندران 0000-0003-2824-6793 الهام مومنی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه الزهرا Journal Article The oral culture of the Iranian people is a mysterious and untapped world, the study of the delicate content of which can open new perspectives to the world of anthropology and human sociology. The present study tries to analyze and use the cultural elements and popular beliefs common among the people of Sarkavir region in the south of Semnan province in the proximity of the desert plain, to explain the concept of taboo among the people of this land. To this aim, the themes of taboo in the folk literature are categorized into two parts: The first one concerns the taboo words and languages, and the second one concerns the behavioral and material taboos in the customs of the people. The study found that the behavioral taboos are related to marriage, the dead and the mourning customs, taboos of the people's names, occupations and other social taboos which are content-analyzed based on the local narratives. Background The oral culture of the Iranian people is a mysterious and untapped world. Sigmund Freud, in the second chapter of his book, Totem and Taboo (1984), has studied and analyzed this concept among the elders and heroes, and the dead. Borujeni (2010) has studied the concept of taboo in stories written by Hedayat, Ahmad Mahmoud, Chubak, and Simin Daneshvar. Rahimi Talab (2011), in his dissertation entitled Knowledge of Totem and Taboo in the Legends of Gilan, has explained the manifestations of taboo in the folktales of Gilan. But, so far, no research has been done specifically on the concept of Taboo in Sarkavir folklore. Aims The purpose of this study, in the first place, is collecting and introducing some common and living taboos among the residents of Sarkavir. It also analyzes its content and shows its ancient roots and connection with some long-standing rituals and mythical traditions. Analyzing the taboos, it was revealed how the taboo themes are used in the oral culture of behavioral and social traditions. Also, some cultural and climatic characteristics of the people of this land have been identified. Theoretical framework Popular beliefs are among the major and valuable resources of humanity. By studying them, some of the beauties of an ancient and growing culture can be recovered and represented. Linguistic and cultural taboos are one of the aspects of literary and social aesthetics in the folklore of people in any nation. The language of taboo has a direct and clear relationship with the popular culture, to the extent that forbidden behaviors or words and interpretations will not be comprehensible and tangible, unless the dominant cultural context and the intellectual system of society are analyzed. As one of the fundamental propositions, taboo has a significant application in recognizing religious beliefs. Taboo is a kind of sanctity for the tribal Totem and its ban stems from a threat to the tribal totem. The word taboo literally does not have a clear meaning. It is a term derived from the Polynesian language that semantically contains two opposing concepts: on the one hand, it means sacred, and on the other hand, it evokes dangerous, horrible, forbidden, impure, and mysterious meanings (Freud, 1984, p. 31). The trace of the concept of taboo is prominent in the oral culture of the inhabitants of Sarkovir. Despite forgetting much of the ancient customs, this part of beliefs continues to maintain its function and strength, and plays a significant role in people's social life. This is due to the cultural isolation of the region and the reduction of media and cultural relations with large human societies over the past decades. In this article, taboo propositions in Sarkovir folklore are divided into two general categories: The first one concerns the taboo words and languages, and the second one concerns the behavioral and material taboos in the customs of the people. In Sarkovir dialect, there are words, the use of which have been severely banned by society and not used except in emergencies. Instead, an equivalent word called euphemism (well-intended interpretation) is used, which is a word devoid of vulgarity and unpleasantness (Sabzian and Kazzazi, 2010, p. 202). Apart from avoiding the use of taboo words, the people of Sarkovir consider doing some things to be illegal for themselves, the most important of which are mentioned below. Marriage-related taboos generally include the following: marriage with a stranger, showing the happiness of the bride and the bride's relatives at the wedding ceremony, putting henna on the bride's palm or soaking it by the widow, and leaving home by the bride during the wedding days. Taboos related to the dead are among the most serious and prominent taboos in Sarkovir and include the following: relatives' celebrating of the dead, leaving the corpse alone at night, crying over the corpse at night, washing the corpse by a non-family member, burying the dead at night, attending the graves of the dead on Thursday evening, and using the corpse's accessories. Taboos related to people's names are: Saying the name of the wife, and choosing the name of the grandfather for the grandchildren. Taboos of occupations are: Blacksmith, wheat collector, and bath man. Special taboos on farming include: stepping on a green wheat field, and selling ancestral agricultural land. Taboos related to gender are: a boy sitting on the edge of the oven, and the women wearing white pants. Other taboos include: pouring boiling water on the ground, pissing in water, farting, and picking nails. By examining these cases, one can realize the behavior and some of the lifestyles of people in this region. Conclusion Based on the objective observations and face-to-face interviews with the people living in the Sarkovir region, the present study has studied the concept of taboo in oral culture. The study focused on a brief review of the concept of taboo, and then categorized it in the social life of inhabitants in the area. Accordingly, the types of taboos have been separated and discussed. The first general conclusion to be drawn is the discovery of cultural beauties and linguistic delicacies which is evident among one of the Iranian tribes. Due to their natural and inner taste, people in Sarkovir have realized that instead of words, phrases and themes of the taboo, they need to use some alternatives and euphemism. Moreover, through this research, the invisible but inseparable link between the Iranian subcultures and the ancient and deep-rooted rituals of the ancient humans can be explained and explored. References Afraz Borujeni, M. (2010). Investigating the content and linguistic structure of taboo words in some contemporary Persian stories. Master Thesis, Shahrekord University. Avesta: The oldest Iranian songs and lyrics. (2007). Morvarid. Freud, S. (1984). Totem and Taboo (translated into Farsi by Iraj Poorbaqer). Asia. Gignoux, P. (2004). ArdavirafName. Moin. Rahimitalab, F. (2011). Recognition of totems and taboos in the legends of Gilan. Master Thesis, University of Guilan. Sabzian, S., & Kazazi, J. (2010). Dictionary of literary theory and criticism. Morvarid Tabatabayi, S. (216). Selected of Sarkavir proverbs (in Farsi). Hablerood. Interviewees: MahPari Aghayan. 76 years old, illiterate, housewife. Fateme Akbari, 77 years old, illiterate, housewife. SeyedMirza Tabatabayi, 92 years old, illiterate, farmer. Leila Tabatabayi, 79 years old, illiterate, housewife. Kheir-Al-Nesa Mirzay. 69 years old, illiterate, housewife. فرهنگ شفاهی اقوام ایرانی دنیایی رمزآلود و دستناسوده است که بررسی محتوایی ظرایف آن میتواند چشماندازهای تازهای به دنیای مردم‌شناسی و جامعه‌شناسی انسانی بگشاید. پژوهش پیشرو میکوشد با بیان و بهره‌گیری از عناصر فرهنگی و اعتقادات عامۀ مرسوم در میان مردمان منطقۀ سرکویر جنوب استان سمنان و در مجاورت دشت کویر، به تبیین و تحلیل جایگاه مفهوم تابو در میان مردم این دیار بپردازد. این جستار با بهرهگیری از شیوۀ مشاهدۀ مستقیم و مبتنی بر مصاحبه، مشاهده و تحلیل دادهها به معرفی و شناسایی بخشی از فرهنگ عامۀ اقوام ایرانی و تحلیل ریشههای کهن افکار تابوآفرین پرداخته است. در این راستا، مضامین تابو در ادب شفاهی مردم منطقۀ مورد پژوهش در دو دستۀ کلی تحلیل شده است: پارۀ نخست در حوزۀ واژههای تابو و مفردات زبانی و پارۀ دوم شامل تابوهای ممنوعیت آداب و سنن رفتاری و مادی است. در نوشتار حاضر، تابوهای رفتاری درپیوسته با ازدواج، مردگان و آداب سوگواری، تابوهای نام افراد، پیشهها و دیگر تابوهای اجتماعی بر بنیاد روایت راویان بومی و محلی تحلیل محتوایی شده است.

https://cfl.modares.ac.ir/article_22066_6e99ed46f817de00fa66a0650286d735.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 A Comparative Study of Gender-Related Stereotypes Discourse in Turkish and Persian Proverbs: A Sociology of Language Perspective مقایسۀ تطبیقی گفتمان کلیشه‌های جنسیتی در ضرب‌المثل‌های فارسی و ترکی استانبولی از دیدگاه جامعه‌شناسی زبان 259 291 22067 FA آنیتا الداغی هیات علمی دانشگاه پیام‌نور Journal Article Proverbs reflect different aspects and angles of people’s lives including social-cultural concepts as if they were linguistic texts being focused by sociolinguistics. The present research is a descriptive-analytic study investigating the gender-related stereotypes in Turkish and Persian proverbs from the viewpoint of sociology of language. In this essay, 100 Turkish and Persian proverbs having gender-related stereotypes were selected and investigated through purposive sampling. This research intends to answer these questions: what type of gender-related stereotypes have been much more observed in Turkish and Persian proverbs? Which gender is more impressed by the gender-related stereotypes in Turkish and Persian proverbs? From the viewpoint of sociology of language, how does the utilization of the special gender-related stereotypes in Turkish and Persian proverbs represent the social status of each era? The results obtained from this study indicate that the gender-related stereotypes have been more frequently used in the proverbs related to the women than men. Furthermore, the ethical characteristics have been stated and used more than other characteristics in the Turkish and Persian proverbs. The concepts stated in the proverbs indicate the gender bias (gender discrimination), and ignorance of women and women's low social status in popular culture in the past. Besides, there are a lot of similarities between the cultures of Turks and Iranians regarding the utilization of gender-related stereotypes in the society due to the proximity of cultures and the borders of Iran and Turkey. Literature Review Branch (2005) in a research entitled “Teaching the Old Testament Book of Proverbs” has investigated the Christians’ Old Testament Book in terms of the existence of proverb-like gender-related stereotypes. Beck (2005) in a research entitled “Proverb Speaks Louder than Words” is to investigate the specific communication characteristic of the proverbs playing an important role in the creation of the ambiguity (lie). Heydari (2013), in a research entitled “Investigating the Position of Women in Kurdish Popular Culture”, has investigated the position of woman in Kurdish popular culture (emphasizing the Kurdish proverbs and sayings). Aminolroaya et al. (2015), in a research entitled “Investigating the Characteristics Attributed to Women in Persian Proverbs”, has investigated, separated, and segregated the proverbs being somehow related to women through using the qualitative content analysis; then, they investigated the women’s psychological and physical characteristics, the emotional and ethical categories as well as the women’s social and family relationships. Research Questions and Objectives In the present study, the researcher is to investigate and analyze gender-related stereotypes in Istanbul Turkish and Persian proverbs from the viewpoint of sociology of language; besides, the study is to investigate the lexicons in Istanbul Turkish and Persian proverbs based on the viewpoints being discussed in linguistic. In addition, it aims to investigate and analyze Istanbul Turkish and Persian proverbs from the viewpoint of gender linguistics and the social status discourse analysis considering the usage of special vocabularies in Istanbul Turkish and Persian proverbs; it is to specify the similarities and differences between the proverbs’ social and cultural context in these two cultures in terms of language and gender. Here, the study is to answer these questions: to what extent are the gender-related stereotypes utilized in Istanbul Turkish and Persian proverbs? What type of gender-related stereotypes have been much more observed in Istanbul Turkish and Persian proverbs? And, what gender has been impressed more by these proverbs? Results In the present research, we investigated 100 Persian proverbs as the research samples and the following results have been obtained regarding the utilization of gender-related stereotypes in the proverbs. Among the gender-related stereotypes investigated, the ethical characteristics with 52 usages have had the highest frequency to be utilized, and the economic characteristics with 13 usages have had the highest frequency; this indicates the greater importance of cultural and ethical issues among the Iranians and Persian culture. Besides, gender-related stereotypes were much more used for women than men with the frequency of 74. Therefore, gender-related stereotypes in Persian proverbs have much more focus on the women. However, among the 100 Istanbul Turkish proverbs investigated as the research samples, the ethical characteristics with 49 usages have had the highest frequency to be utilized, and the economic characteristics with 8 usages have had the highest frequency; this indicates the greater importance of cultural and ethical issues among the Turks. Besides, the gender-related stereotypes were much more used for women than men with the frequency of 68. Therefore, the gender-related stereotypes in Istanbul Turkish proverbs have much more focus on the women. Discussion and Conclusion Studies have shown that the physical characteristics were more described in the Istanbul Turkish and Persian proverbs with regards to women. In these proverbs, the physical characteristics have been considered very important for women so that these characteristics have been considered superior to other human characteristics. On the contrary, there have been fewer proverbs regarding men’s physical characteristics. Property and asset have been considered a positive feature in Istanbul Turkish and Persian proverbs and this property is just considered men’s rights; only men are authorized to utilize that property and only men must meet the women’s financial needs. Furthermore, in Persian culture, those women who have not financial potentiality, especially the ones not affording to buy dowry, are humiliated and considered worthless. Considering the studies performed by other researchers in the fields of gender linguistics, and the use and origins of proverbs, it has been specified that gender-related stereotypes state some exaggerated features for people with different gender, age, and occupation; besides, in Iranian and non-Iranian proverbs, the gender-related proverbs state the women’s low position in different societies. The present research has obtained some results similar to that of others being achieved in other studies. References Aminolroaya, P., Sharifi. Sh., & Elyasi, M. (2015). Investigating the characteristics attributed to women in Persian proverbs. Research in Persian Language & Literature, 34, 89-120 Beck, W. (2005). Proverb speaks louder than words: folk wisdom in art, culture, folklore, history, literature and mass media. Peter Lang Publications. Beck, W. (2005). Proverb speaks louder than words: folk wisdom in art, culture, folklore, history, literature and mass media. Peter Lang Publications. Heydari, S. (2013). Investigating the position of women in Kurdish popular culture. MA Thesis, Payam Noor University, West Tehran Center, Iran. ضربالمثلها انعکاسدهندۀ جنبهها و زاویههای مختلف زندگی مردم و دربردارندۀ مفاهیم اجتماعی و فرهنگی و بهمنزلۀ متنهای زبانی در کانون توجه زبانشناسی اجتماعی هستند. پژوهش حاضر مطالعهای توصیفی ـ تحلیلی است که به بررسی کلیشههای جنسیتی در ضربالمثلهای فارسی و ترکیهای از دیدگاه جامعهشناسی زبان پرداخته ‌است. در این مقاله تعداد 100 ضربالمثل دارای کلیشۀ جنسیتی در زبان فارسی و ترکیهای، به شیوۀ نمونهگیری هدفمند انتخاب و بررسی شدهاند. این پژوهش درپی دستیابی به ‌این پرسشهاست که کدام نوع از کلیشههای جنسیتی در ضربالمثلهای فارسی و ترکی بیشتر مشاهده میشود؟ کلیشههای جنسیتی موجود در ضربالمثلهای فارسی و ترکی بیشتر بر کدام جنسیت تأثیر میگذارد؟ از منظر جامعهشناسی زبان کاربرد کلیشههای جنسیتی خاص در ضربالمثلهای فارسی و ترکی، چگونه اوضاع اجتماعی هر دوره را بازنمایی میکند؟ نتایج این تحقیق بیانگر آن است که کلیشههای جنسیتی در ضربالمثلهای مربوط به زنان بیشتر از مردان است. همچنین، بیان ویژگیهای اخلاقی در ضربالمثلهای فارسی و ترکی بیشتر از سایر ویژگیها کاربرد داشته ‌است و مفاهیم مطرحشده در ضربالمثلها نشاندهندۀ سوگیری جنسیتی، بیتوجهی به زنان و سطح پایین اجتماعی زنان در فرهنگ عامۀ مردم در گذشته ‌است. همچنین، فرهنگ ترکزبانان و ایرانیان بهدلیل نزدیکی مرزها و فرهنگهای ایران و ترکیه، در کاربرد کلیشههای جنسیتی در جامعه، دارای شباهتهای زیادی با هم هستند.

https://cfl.modares.ac.ir/article_22067_c846afeb972dd0fcad60f3f6194ec0ae.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 9 37 2021 03 21 ویژگی‌های آواها و ترانه‌های کار کاسبان محلی در بازارهای سنتی رشت 293 320 22068 FA جواد نظری مقدم استادیار دانشگاه گیلان 0000-0001-8288-3115 Journal Article آواها و ترانه‌های کار، یکی از جلوه‌ها و عناصر فرهنگ عامه بهشمار می‌روند. بررسی و مطالعه در زمینۀ این عناصر هویتی و فرهنگی در جامعۀ ایرانی بهمنظور بازشناسی میراث فرهنگی و تاریخی ــ که در بستر اقتصادی و زندگی روزمرۀ مردمان ایرانزمین شکل گرفته ــ بهمنزلۀ یکی از موضوعات بکر و بااهمیت در حوزۀ مردمشناسی ضرورتی اجتنابناپذیر است. از این رو، بازارهای گیلان یکی از بازارهای مهم و بااهمیت بهشمار می‌آیند، زیرا کاسبان بازار با آواها و ترانه‌‌های کار شور خاصی به فضای بازار می‌بخشند. در این مطالعه تلاش شد تا با حضور در میادین و بازارهای سنتی در رشت و ثبت و ضبط و تحلیل محتوای آواهای کار بازاریان، ترانه‌های کار کاسبان از جنبه‌های زبانی و واژگانی، زیبایی‌شناسانه و ادبی و جنبه‌های محتوایی و مضمونی بررسی شود. زبان محلی، بیان ساده و عامه، استفاده از ریتم و قافیه، زبان طنز، جملههای ندا، توصیف کیفیت، تازگی، ارزانی و مضامین مذهبی و اجتماعی ازجمله مهمترین ویژگی‌های عمومی، زبانی، زیباییشناسانه و محتوایی ترانه‌ها و آواهای کار در بازارهای رشت بهشمار میرود. کاسبان بازار بهمثابۀ کنشگری اقتصادی با خواندن این ترانه‌ها، ضمن تبلیغ کالای خود نقش مهمی در بازتولید هویت و فرهنگ محلی و ملی دارند.

https://cfl.modares.ac.ir/article_22068_fb7850115a917d3ab720269da3e667de.pdf