دانشگاه تربیت مدرسفرهنگ و ادبیات عامه2345-4466136320250723Manifestations of Azerbaijani Folklore in the Poetry of Nezami Ganjaviنمودهایی از فرهنگ عامۀ آذربایجان در شعر نظامی گنجوی1322396110.48311/cfl.2025.23961FAمحمد یاسرصفی لودانشجوی دکتری زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه زنجان، ایرانجمیلهاخیانیدانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه زنجان، ایرانمحرماسلامیدانشیار زبان شناسی، دانشکده علوم انسانی، دانشگاه زنجان، ایرانفریدهوجدانیدانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه زنجان، ایران.Journal ArticleAbstractFolklore reflects the thoughts and desires of various social classes, formed over time based on their experiences. Due to its persuasive power and, sometimes, its literary features, folklore and its various manifestations often transcend ordinary speech and enter the literary realm of poets, occasionally creating ambiguity in their poetry. Studying folklore in the works of poets can offer insight into one of their intellectual sources and contribute to a deeper understanding of their ideas and imagination. Like many other great Persian poets, Nezami makes extensive use of proverbs, which indicate his familiarity with various cultures and referring to them in his works. In addition to Persian proverbs, manifestations of Azerbaijani folk literature are also evident in his poetry. Familiarity with the proverbs and colloquial expressions of this region can aid in a better comprehension of Nezami’s poetry. In the present article, a number of proverbs and colloquial expressions found in Nezami’s works are analyzed, and an attempt is made to provide clearer interpretations of verses containing them. Furthermore, based on the findings of this study, it can be argued that some of the proverbs attributed to Nezami in various sources are not entirely his own inventions, but rather borrowed from his cultural environment.Keywords: Folklore; proverbs; colloquial expressions; Azerbaijani culture; Nezami Ganjavi’s poetry.Review of Literature Several studies have addressed the presence of Persian folk culture and literature in Nezami’s poetry. In addition to the lists of proverbs presented by Vahid Dastgerdi at the end of Nezami’s works, various dictionaries and proverb collections have discussed them in some of his verses. Independent research, including academic theses, have also been conducted in this area. Some scholars have examined Azerbaijani proverbs specifically, which are the focus of this research. Among these are the article “Words, Concepts, and Turkish Proverbs in the Works of Nezami” by Javad Hey’at, which identifies twenty Turkish proverbs in Nezami’s poetry. “Drawing Strength and Inspiration from Azerbaijani Folklore” by Sadegh Mohammadzadeh, which discusses twenty-four Turkish proverbs; and “Introducing a Forgotten Proverb in Haft Paykar and Examining Its Mythological and Folkloric Aspects” by Karimi Ghareh-Baba, which explores a specific Azerbaijani proverb from Haft Paykar through mythological and cultural aspects. However, no prior research has been conducted on the use of Azerbaijani colloquial expressions in Nezami Ganjavi’s poetry.Objectives, questions, and hypothesesA better understanding of the commonly used proverbs and idiomatic expressions in Azerbaijan can offer more accurate explanations for some of Nezami’s more difficult verses. Given that folklore sometimes forms the foundation of greatest masterpieces (cf. Hedayat, 1999, p. 234), recognizing it can illuminate obscure aspects of these works. Persian proverbs are markedly present in Nezami’s poetry; his attention to oral literature, the use of idioms, ironies, colloquial words, and popular proverbs is considered his stylistic hallmark (cf. Zolfaghari, 2012 p. 106). The hypothesis behind this study is that some of Nezami’s ambiguous verses are rooted in proverbs and expressions from Azerbaijan. Thus, the central question is: How can understanding the folklore of different regions of Iran contribute to a better interpretation of the masterpieces of classical Persian literature?Main DiscussionOne of the challenges faced by readers of classical poetry may stem from a lack of familiarity with the cultural context in which the poetry was created. Nezami is among the poets whose verses can sometimes be difficult for readers to comprehend. One reason for this difficulty may be an insufficient knowledge of the culture of Azerbaijan, which influenced his poetry. As a Muslim who lived at the crossroads of various cultures and ethnicities in the Caucasus, Nezami was familiar with Iranian, Islamic, Turkish, Christian, and other traditions. The city of Ganjah, being both a frontier city with peoples from diverse ethnicities—Turks, Daylamites, Arabs, Kurds (cf. Zarrinkoub, 1993, p. 8)—and a center for trade and merchants (ibid., p. 10), provided an ideal setting for the convergence of different cultures. It appears that Nezami had deep knowledge of these cultures and consciously or unconsciously drew upon them when needed. By understanding the cultural background and the use of certain proverbs and idioms in his poetry, a more precise interpretation of some of Nezami’s challenging verses can be achieved.ConclusionThis study examines Nezami’s poetry from the perspective of Azerbaijani folk literature. According to the findings, some of the proverbs in Nezami’s poems—often classified by commentators and compilers of proverb collections as his original creations—are not necessarily original or poetic proverbs. Rather, they are traditional, non-poetic sayings common in the cultural environment in which he lived, later he has incorporated them in his verse. Examples of such proverbs that appear verbatim, with slight modifications, or paraphrased in his poetry include: “So-and-so is like a lamb,” “Not even worth pouring water over her/his hands,” “What is done, is done,” “It is a soul, not a stone,” “Whoever led the donkey to the roof, must know how to bring it down,” “The tongue is a piece of flesh,” “Why take a donkey to a wedding? To carry water,” “The more wealth one has, the darker their fate,” “Eyes are ashamed before other eyes,” “Their face is harder than stone,” “To throw a stone at someone’s head”.Furthermore, some idioms used in Nezami’s poetry are colloquial expressions not recorded in standard dictionaries of Persian but still prevalent in Azerbaijani culture today, such as: “Who are these people?” “Good night or good morning,” and so on.فرهنگ عامه انعکاسی است از اندیشه و ذوق طبقات اجتماعی مختلف که به مرور زمان و براساس تجربه شکل گرفته است. این فرهنگ و نمودهای مختلف آن با توجه به قدرت اقناع‌کنندگی و گاه ویژگی های ادبی، به مرور از کلام مردم عادی فراتر می رود و با ورود به سپهر ادبی شاعران، گاه موجب ابهام در شعر آن‌ها می شود. بررسی فرهنگ عامیانه در شعر شاعران، می تواند دریچه ای برای شناخت یکی از آبشخورهای فکری آن ها و درک هرچه بهتر اندیشه ها و تخیلاتشان باشد. نظامی مانند بسیاری دیگر از شاعران بزرگ ادب فارسی در آثارش از ضرب‌المثل های فراوانی که حاصل آشنایی با فرهنگ های مختلف است، سود برده است. علاوه بر ضرب‌المثل های فارسی، نمودهای ادبیات عامۀ منطقۀ آذربایجان نیز در شعر وی قابل مشاهده است. آگاهی از ضرب‌المثل ها و اصطلاحات عامیانۀ رایج در منطقۀ مذکور، می تواند مخاطب را در درک بهتر شعر نظامی یاری کند. در مقاله حاضر تعدادی از ضرب‌المثل ها و اصطلاحات عامیانه در شعر نظامی را بازکاوی کرده و کوشیده‌ایم به کمک آن‌ها توضیح گویاتری از بیت هایی که مشتمل بر این ضرب‌المثل ها و اصطلاحات هستند، ارائه دهیم. نکته دیگر اینکه براساس یافته‌های نوشتۀ پیش رو، می‌توان گفت برخی از ضرب‌المثل هایی که در منابع مختلف به نام نظامی ثبت شده، صرفاً حاصل خلاقیت او نبوده و از محیط زندگی وی وام گرفته شده است.https://cfl.modares.ac.ir/article_23961_351b6724e9da25bca879759d192c0f25.pdfدانشگاه تربیت مدرسفرهنگ و ادبیات عامه2345-4466136320250723The Manifestation of the Concept of Initiation and Transition in Some Rituals of Birth to Pubertyنمودهای مفهوم تشرف و گذار در برخی آیین‌های تولد تا بلوغ33642396210.48311/cfl.2025.23962FAسیدمحمدآرتااستادیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایرانJournal ArticleAbstractInitiation and transition are concepts used in many cultures to describe fundamental changes in the lives of individuals. These initiations and transitions from one stage to another are often accompanied by ceremonies and rituals. Many of these rituals are unknown, and introducing and making them known gives us a deeper understanding of the culture of the society. Therefore, this study seeks to examine, using a descriptive-analytical method, the ancient origins of the three rituals of "throwing a newborn down from the roof", the "circumcision ceremony", and the "new pants celebration", which include the individual from birth to adolescence, and to reveal their connection with the mythical ritual of initiation. The research results show that all three rituals instill in the initiate the concept of transition from the previous stage of life and initiation to a new stage. In other words, the ritual of throwing a baby from the roof means transition from the womb of the original mother and initiation to the embrace/womb of the Great Mother (Earth) or transition from womb life and initiation to earthly life. The circumcision ceremony, with its mythological symbols - such as reaching wholeness and perfection and the emergence and dominance of the male principle with the symbolic use of the number three - is related to the rituals of initiation to Islam and joining the community of men. The new pants celebration also means the individual's transition from childhood and reaching adulthood and acquiring a new social and cultural identity. Keywords: Folk culture; ritual; passage; initiation; birth; puberty.Research backgroundRahimi and Shirdel (2013) have also related the story of Zal, Fereydoun, and Kaykhosro to the initiation ritual and the initiation ritual of magicians and healers. Ahmadi (2015) has also identified the role of numbers in Iranian rites of passage in his research. Barsam (2016) has analyzed the mythological death rituals in the Halilrud civilization and their relationship with initiation. Tavassoli (2016) has compared the rites of passage related to birth and death in the two great civilizations of Iran and India. Shahpar (2017) has examined the birth rituals in the popular culture of the Larestan region in the framework of the initiation-van-janub theory. Atash-e-Abparvar et al. (2019) have explored the place of some numbers, including three, seven, and forty, based on the rites of passage in the culture of the Bakhtiari people. Alizadeh and Ashayeri (2010) have studied the rituals of childbirth in the culture and folk literature of Bushehr. Parizadeh and others (2010) have studied and analyzed the symbols of familiarization in the Barzo Nameh. Seyyed Yazdi and others (2021) have studied the manifestations of initiation in the Darab Nameh of Tarsus. Vaezzadeh and Davoudi (2023) have made the symbols and rituals of initiation in Khosrow and Shirin Nezami the subject of their research.Goals, questions and assumptions: The present research aims to introduce and analyze some unknown rituals and answer the following questions:1. What role do initiation and transition rituals play in the formation of an individual's personal, social, and cultural identity?2. Are the three rituals discussed in this article held in all cultures and ethnicities or are they specific to certain ethnicities?3. What symbols are used in these rituals and are these symbols aligned with the concept of initiation?According to the research questions, the following hypotheses can be put forward for the subject under discussion:1. Ceremonies and rituals that are manifestations of initiation and transition play an important and fateful role in the individual's personal, cultural, and social identity and existence.2. Some of the symbolic rites of passage are widespread and universal, and are held in many parts of the world, while others are specific to specific geographical areas and are not found in other cultures.3. Some of the rituals in this study use symbols that reinforce the concept of initiation.Main discussionInitiation and transition have had an active and constant presence since the distant past and in different cultures around the world, but its manifestations are diverse and countless in accordance with different cultures; that is, although the concept of initiation is a single and universal concept, the forms and formats of its rituals are very diverse and have many types. Many manifestations and rituals of initiation have remained constant over time and have not undergone any changes or developments, but some ceremonies and rituals have also changed in recent times. Sometimes, initiation rituals have seen new manifestations that were unprecedented in the past. Although initiation and transition is an ancient and ancient concept, in recent times, new manifestations of it are emerging that have remained unknown. Therefore, the present study aims to introduce and analyze some unknown rituals, including "throwing a newborn down from the roof", the "circumcision ceremony", and the "new pants celebration" and to determine the ancient and mystical origins of each.ConclusionThe conclusion of the present study indicates that the three rituals of "throwing a newborn down from the roof", the "circumcision ceremony", and the "new pants celebration" are more than a simple ceremony and a symbol of passing from one stage to another. The ceremony of dropping a child from the roof is actually a form of initiation ritual, in which the baby, after passing from the womb of its original mother, enters the embrace/womb of the Mother Earth or the Great Mother to benefit from her blessings and support.The circumcision ceremony is also a form of joining the male community and religious initiation. The existence of the symbolic number three also strengthens and confirms the concepts of this symbolic initiation with its semantic auras such as its connection with the concept of the male gender, abundance of power and strength, perfection and integrity, etc. When three is the central core of this ritual and is its spiritual pillar, it means that the individual's powers have reached their highest level and he is a complete human being.The new pants celebration is also a symbolic transition of the individual from childhood to adulthood, a concept reinforced by the symbolic meaning of nudity (the period of initiation and innocence). By fully performing this ritual, which is a transition from the instinctive realm to the realm of intellectual and cultural maturity, the initiate attains a new social status and new duties and responsibilities are defined and specified for him.تشرف و گذار مفاهیمی هستند که در بسیاری از فرهنگ‌ها برای توصیف تغییرات اساسی زندگی افراد به‌کار می‌روند. این تغییرات و گذار از مرحله ای به مرحلۀ دیگر، اغلب با مراسم و آیین‌هایی همراه است. بسیاری از این آیین‌ها ناشناخته هستند و معرفی و شناساندن آن‌ها، موجب شناخت عمیق ما با فرهنگ جامعه می‌شود. ازاین رو، این مقاله در صدد است تا با روش توصیفی‌ـ تحلیلی، خاستگاه کهن سه آیین «انداختن نوزاد از پشت بام به پایین»، «ختنه‌سوران» و «جشن نُوشوالانه» را که از تولد تا بلوغ فرد را شامل می‌شود، بررسی کند و ارتباط آن‌ها را با مفهوم تشرّف و گذار مشخص نماید. نتیجۀ تحقیق بیانگر این نکته است که هر سه آیین، مفهوم گذار از مرحلۀ پیشین زندگی و تشرف به مرحلۀ جدید را به رازآموز تلقین می‌کنند. بدین‌معنی که آیین انداختن کودک از بلندی به پایین، به‌معنای گذار از زهدان مادر اصلی و تشرف به آغوش/ زهدان مادر کبیر (زمین) یا گذر از زندگی زهدانی و تشرف به زندگی خاکی است. مراسم ختنه‌سوران با نشانه‌های اسطوره‌ای که در خود دارد‌ـ مانند رسیدن به تمامیت و کمال و ظهور و تسلط اصل نرینه با کاربرد نمادین عدد سه‌ـ مرتبط با مناسک تشرف به آیین حنیف و پیوستن به جماعت مردان است. مراسم نوشوالانه نیز به‌معنای گذار فرد از دوران کودکی و رسیدن به بلوغ و کسب هویت جدید اجتماعی و فرهنگی است.https://cfl.modares.ac.ir/article_23962_93c442d40a4e0b6f829a28aabbf07fc1.pdfدانشگاه تربیت مدرسفرهنگ و ادبیات عامه2345-4466136320250723The Manifestation of the Concept of Initiation and Transition in Some Rituals of Birth to Pubertyبازگشت به ریشه‌ها: نقش بازی‌های محلی در توسعۀ گردشگری و حفظ فرهنگ بومی (مورد مطالعه: استان یزد)651042396310.48311/cfl.2025.23963FAفائزهادسدیان اردکانیدانشگاه یزدJournal ArticleAbstractTraditional local games, as an integral part of intangible cultural heritage, play a vital role in preserving indigenous identity and strengthening intergenerational connections to local customs. The revitalization of these games can serve as an effective instrument for cultural tourism development, creating sustainable economic opportunities while reinforcing social cohesion. Local games in Yazd, deeply rooted in the region’s history and folklore, are not merely recreational activities but also reflect the community’s values, lifestyle, and social solidarity. However, with technological advancements and shifts in modern lifestyles, the popularity of traditional games has significantly declined. This study aims to introduce and analyze several indigenous games of Yazd and examine their role in tourism development and cultural preservation. The research explores the educational and pedagogical dimensions, psychological and social impacts, and historical evolution of these traditional games. A comparative analysis with games from other cultures and regions is also conducted, highlighting their influence on cultural identity and spiritual heritage. Findings indicate that local games offer unique cultural attractions for tourists while facilitating the transmission of indigenous knowledge to future generations and strengthening social identity. Moreover, revitalizing these games through tourism events can generate economic benefits and enhance cultural exchanges. The study emphasizes the importance of strategic planning and policy-making to promote local games within festivals and folklore events.Keywords: Folklore; tradition revitalization; indigenous and local games; tourism development; Yazd province.Literature reviewResearch on the development of indigenous and traditional sports remains limited and sporadic. Studies have demonstrated that the implementation of traditional games—accompanied by symbolic costumes, tools, and tourist participation—in Urmia significantly boosts cultural tourism potential (Akhavan et al., 2023). Similarly, an assessment of sports tourism potential with a focus on local games was conducted in Esfarayen (Saberi et al., 2023). Furthermore, Ma and Liu (2024) found that educated middle-aged women with higher incomes exhibit greater interest in folklore sports events. Another study in Indonesia identified four key factors for developing tourism based on traditional games: the role of attraction managers, the need for effective promotion, support limitations, and stakeholder collaboration (Suprianto et al., 2024).Research objectivesTo introduce key indigenous and local games of Yazd Province;To investigate the educational and pedagogical aspects of traditional games;To examine the psychological and social impacts of these games;To explore their effects on cultural identity and spiritual heritage;To conduct a comparative analysis with traditional games in other cultures and geographies;To trace the historical evolution of these games over time;To evaluate the role of local games in tourism development in Yazd and propose strategies and policies for their revival and integration into tourism.Main discussionYazd Province, with its millennia-old heritage and rich folklore, has been the birthplace of diverse local games that historically held significant social importance. Despite their role in leisure and cultural transmission, these games are increasingly being forgotten due to the proliferation of digital gaming. Reviving and promoting them can contribute to greater awareness of Yazd’s folklore and foster cultural tourism development. Notable local games of Yazd include Gardu Bazi, Atokokali, Kalagh Parpar, Vasat Bazi, Moush-o Gorbeh Bazi, Go-Go-Gosaleh, Panir, Atalak Tut Tulak, Kheshtak, Poshtak, and Gham-Shi-Og (Tabatabaei-Ardakani, 2002; Ramazankhani, 2017).Educational analysis reveals these traditional pastimes contribute to social skill development, physical training, emotional and psychological growth, cognitive enhancement, problem-solving, strategic thinking, and communication skills. The psychological and social impacts are also significant. These games promote social development, self-confidence, emotional regulation, mental resilience, teamwork, anxiety reduction, joy, decision-making skills, and prevention of social isolation. Their influence on cultural identity and spiritual heritage is profound, preserving local identity and reinforcing a sense of place, transmitting values and beliefs, sustaining intangible heritage, reconnecting communities with their roots, and reflecting historical lifestyles. The study also traces the evolution of these games and examines their adaptation in comparison with other cultures and geographical contexts.ConclusionTo effectively promote Yazd’s local games as tourism attractions, recommended measures include organizing folklore and cultural events, designing specialized tourism packages, educational programs, establishing museums and learning centers, producing digital content, developing recreational facilities, integrating these games into international events, reviving them in schools, improving infrastructure, and fostering public-private partnerships. Future research should explore the impact of these games on tourist satisfaction and return rates, assess their socio-economic effects, identify tourism capacities, investigate the role of media, and examine cultural interaction outcomesReferenceAkhavan, A., Rashidvash, V., & Homayoun Sepehr, M. (2023). Anthropological study of native games (case of study: cultural tourism space; Anthropological Museum of Urmia city). Iranian. Journal of Anthropological Research, 13(1), 99-121.Ma, Y., & Lyu, C. (2024). Analysis of folklore sports tourism resources development and protection strategies under the management of rural revitalization strategy in the background of big data. Applied Mathematics and Nonlinear Sciences.Ramazankhani, P. (2017). Popular culture of the people of Yazd. Research Institute of Culture, Art and Communications.Sabri, H., Kamayistani, Z., & Shirin Cheshmeh, B. (2023). Investigating the potential of sports tourism development with a local game approach and based on the SWOT model in Esfarayen County. The 6th International Conference on Management, Tourism and Technology, Penang, Malaysia.Supriyanto, B., Djati, S. P., & Nurbaeti, M. R. (2004). Analysis of actor, needs, constraints, and action plans for the development of traditional game cultural tourism attraction in the tourism villages of Durensari, Trenggalek and Kampung Dolanan Borobudur, Magelang. International Journal of Research and Review, 11(2).Tabatabaei Ardakani, M. (2002). Popular culture of Ardakan. Printing and Publishing Organization of the Ministry of Culture and Islamic Guidance (Yazd Province Public Culture Council).بازی‌های محلی به‌عنوان بخشی از میراث ناملموس فرهنگی، نقش مهمی در حفظ هویت بومی و تقویت ارتباط نسل‌ها با سنت‌های محلی دارند. احیای بازی‌های محلی می‌تواند به‌عنوان ابزاری مؤثر در توسعۀ گردشگری فرهنگی عمل کند و به ایجاد فرصت‌های اقتصادی پایدار و تقویت پیوندهای اجتماعی منجر شود. بازی‌های محلی یزد، با ریشه داشتن در تاریخ و فرهنگ بومی این منطقه، نه‌تنها جنبه‌ای سرگرم‌کننده دارند، بلکه بازتاب‌دهندۀ ارزش‌ها، شیوۀ زندگی و هم‌بستگی اجتماعی مردم هستند. با پیشرفت تکنولوژی و تغییر در سبک زندگی مدرن، محبوبیت بازی‌های سنتی کاهش چشمگیری پیدا کرده است. بنابراین هدف از این پژوهش معرفی و تحلیل برخی از بازی‌های محلی و نقش آن‌ها در توسعۀ گردشگری و حفظ فرهنگ بومی استان یزد است. در این پژوهش ضمن بررسی ابعاد آموزشی و تربیتی، تأثیرات روان‌شناختی و اجتماعی و سیر تحول بازی‌های بومی و سنتی، به تحلیل تطبیقی بازی‌های بومی و سنتی با سایر فرهنگ‌ها و جغرافیاها و اثرات این بازی‌ها بر هویت فرهنگی و میراث معنوی پرداخته شده است. نتایج نشان می‌دهد که بازی‌های محلی نه‌تنها جذابیت‌های فرهنگی منحصربه‌فردی برای گردشگران فراهم می‌کنند، بلکه فرصتی برای انتقال دانش بومی به نسل‌های آینده و تقویت هویت اجتماعی هستند. همچنین، احیای این بازی‌ها در قالب رویدادهای گردشگری می‌تواند به ایجاد فرصت‌های اقتصادی و افزایش تعاملات فرهنگی منجر شود. این پژوهش بر اهمیت برنامه‌ریزی و سیاست‌گذاری مناسب برای ترویج بازی‌های محلی در قالب جشنواره‌ها و رویدادهای فرهنگی تأکید می‌کند.https://cfl.modares.ac.ir/article_23963_0958560bd45062d115debadb6bca3183.pdfدانشگاه تربیت مدرسفرهنگ و ادبیات عامه2345-4466136320250723Feasibility of Making Dolls from Iranian Folk Tales with a Sustainable Craft Approach: Based on the Story of Hasan Kachalامکان سنجی ساخت عروسک از قصه های عامیانۀ ایرانی با رویکرد صنایع دستی پایدار(بر اساس قصۀ حسن کچل)1051422396410.48311/cfl.2025.23964FAفلورااشرفیکارشناسی ارشد صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر اصفهان، ایرانغلامرضاهاشمیاستادیار گروه صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر اصفهان، ایرانحسینمسجدیدانشیار گروه ادبیات فارسی، دانشگاه پیام نور، تهران، ایرانJournal ArticleAbstractFolk tales introduce children to moral values and improve children's social skills. Many folk tales, in addition to creating entertainment, have educational aspects and introduce children to different customs and cultures. A doll is one of the best tools for conveying a message, and storytelling with this tool can have a great impact on a child's mind. Today, with the introduction of plastic dolls with western patterns and inappropriate themes, we are witnessing serious damage to the mental and physical health of children and the destruction of the environment. Doll making based on Iranian folk tales, with a sustainable handicraft approach, can introduce children to the literature and culture of this country in the form of making environmentally friendly dolls, which makes the stories more attractive. Considering the necessity of designing dolls that are in line with Iranian culture and compatible with the environment, the researcher is looking for an answer to the question of how to design dolls with a sustainable handicraft approach based on Iranian folk tales. For this purpose, taking into account the characteristics of the doll, based on the characters of Hassan Kachal's folk tale, it was designed and made with raw materials and sustainable techniques. The dolls were designed and made based on the characters of folktales, with needle felting and wet felting techniques. The results of the research indicate that some characters of folk tales such as Hassan Kachal have the ability to be updated to convey modern concepts. Also, needle felting and wet felting techniques are considered sustainable crafts due to the use of natural fibers, and due to the many capabilities of wool, it is suitable for making different volumes, including dolls.Keywords: Folk culture; folk tales; doll making; sustainable handicrafts; needle felting.BackgroundNikoei (2022), in his bachelor's thesis titled "Designing a story toy with an approach to interaction between adults and children in age group A (pre-school years) based on the stories of Kalileh and Demneh", considering the educational and interactive toys appropriate to Iranian culture in the Iranian market and the increase in toys lacking cultural identity, without educational function, designed a story toy for children with the participation of adults. Belen Predos-Pena et al. (2022) in an article titled "Sustainable Handicrafts: Describing the Evolution of a Concept through Bibliometric Analysis and Systematic Literature Review Analysis" have described the bibliometric analysis of 894 research articles from the Scopus database on sustainable handicrafts in the 21st century. Khalil Nejad (2021) in an article titled "Investigating the Concepts and Functions of Indigenous Dolls in South Khorasan with Emphasis on the Dutok Doll" has examined the environmentally friendly dolls of Tajmir village as a means of transmitting the customs and traditions of the region to future generations and introducing them to other regions.Objectives, questions, and hypothesesBy making dolls with a sustainable handicraft approach and based on folk tales, the future generation can be introduced to the valuable literature and culture of this land in the form of making environmentally friendly dolls.The techniques of embroidery and felting are considered clean methods that respect the environment and are considered sustainable handicrafts.This research seeks to answer the following question:How dolls can be designed with a sustainable handicraft approach based on Iranian folk tales?Main discussionFolktales are attractive to children because of their special features. These stories help children develop their skills, teach them moral values, and introduce them to the history and culture of Iran. Iranian folktales have the ability to adapt to the current conditions of society and incorporate new educational and training concepts. Therefore, Iranian folktales are suitable sources of inspiration for making dolls. Needle felting and wet felting techniques are sustainable techniques in which sheep wool is compressed using a special needle and moisture to create the desired volumes. Using these techniques, dolls of various shapes and colors can be made with sheep wool. Considering what has been said, by considering the characteristics of the doll and based on the characters and heroes of folk tales, it is possible to make dolls with a sustainable handicraft approach using needle felting and wet felting techniques that embody the rich culture of our beloved country.ConclusionSince storytelling with tools such as dolls makes stories more attractive to children, and considering the inappropriate messages and themes of imported dolls and the environmental problems of today's world, designing and making dolls with a sustainable handicraft approach and inspired by Persian folk tales became the subject of this research. Paying attention to the environment is one of the basic components of sustainable handicrafts; hence, the needle felting technique or needlepoint and wet felting or needle felting were chosen as arts in line with sustainable handicrafts for making dolls. These arts are suitable for making various volumes as clean production methods. Making dolls using needlepoint and needle felting techniques demonstrates the great capabilities of sheep wool for making dolls appropriate for different age groups within the framework of sustainable handicrafts. Sheep wool is a natural, durable and renewable material that does not harm nature. Dolls made with these techniques are not harmful to the child's health while being environmentally friendly, so the dolls made can be a good alternative to plastic dolls. Finally, the importance of each of the features of these dolls was measured by designing a questionnaire. The results showed that for parents, the effect of the doll on the child's physical and mental health and being in line with Iranian culture are very important, which shows that parents' view of dolls as a cultural commodity has become more serious. According to the results of the questionnaire, from the parents' point of view, compatibility with the environment, having educational and training aspects, and the suitability of the doll for storytelling are also influential factors in choosing a doll. Dolls made based on Iranian folk tales, with a sustainable handicraft approach and using felting and embroidery techniques, in addition to being in line with Iranian culture, do not pose a risk to the physical and mental health of the child and do not harm the environment; as a result, expanding the production of these dolls as sustainable handicrafts can be beneficial in preserving the culture and nature of this region.قصه‌های عامه بازتاب فرهنگ هر ملت است که از طریق آن می‌توان به اطلاعاتی ارزشمند دست یافت. این قصه‌‌ها، کودکان را با ارزش‌های اخلاقی آشنا می‌کند و باعث ارتقای مهارت‌های اجتماعی کودکان می‌شود. بسیاری از قصه‌های عامه، علاوه بر ایجاد سرگرمی، جنبه‌های آموزشی و تربیتی دارد و کودکان را با آداب و رسوم و فرهنگ‌های مختلف آشنا می‌کند. عروسک، یکی از ابزار‌های مناسب برای انتقال پیام است و قصه‌گویی با این ابزار می‌تواند تأثیر زیادی در ذهن کودک داشته باشد. امروزه با ورود عروسک‌های پلاستیکی با الگوها و مضامین نامناسب غربی، شاهد آسیب‌های جدی به سلامت روانی و جسمی کودکان و تخریب محیط زیست هستیم. با ساخت عروسک بر مبنای قصه‌های عامۀ ایرانی، با رویکرد صنایع دستی پایدار می‌توان کودکان را با ادبیات و فرهنگ این مرز و بوم در قالب ساخت عروسک‌های دوست‌دار محیط زیست آشنا کرد که موجب جذابیت بیشتر قصه‌‌ها می‌شود. با توجه به ضرورت پرداختن به طراحی عروسک‌هایی هم‌سو با فرهنگ ایرانی و سازگار با محیط زیست، محققان در پی پاسخ به این پرسش هستند که چگونه می‌توان بر مبنای قصه‌های عامۀ ایرانی عروسک‌هایی با رویکرد صنایع دستی پایدار، طراحی کرد؟ بدین منظور با درنظر گرفتن ویژگی‌های عروسک، براساس شخصیت‌های قصۀ عامۀ حسن کچل، با مواد اولیه و تکنیک‌های پایدار، طراحی و ساخت عروسک‌ها انجام شد. روش جمع‌آوری اطلاعات در این پژوهش به صورت ترکیبی بوده؛ این تحقیق از نظر هدف کاربردی و از نظر روش تجربی است. عروسک‌ها بر مبنای شخصیت‌های قصه‌های عامه، با تکنیک‌های کچه‌دوزی و نمدمالی، طراحی و ساخته شد. نتایج تحقیق حاکی از آن است که برخی شخصیت‌های قصه‌های عامه نظیر حسن کچل قابلیت به‌روزرسانی برای انتقال مفاهیم امروزی را دارد؛ همچنین تکنیک‌های کچه‌دوزی و نمدمالی به‌دلیل استفاده از الیاف طبیعی از صنایع دستی پایدار به‌شمار می‌رود و به‌دلیل قابلیت‌های فراوان پشم، برای ساخت حجم‌های مختلف ازجمله عروسک، مناسب است.https://cfl.modares.ac.ir/article_23964_3a8fcf2a8e88e290cf69a9b95726187a.pdfدانشگاه تربیت مدرسفرهنگ و ادبیات عامه2345-4466136320250723Analytical Rereading of Grotesque Components in a Selection of Iranian Legendsبازخوانی تحلیلی مؤلفه های گروتسک در گزیدۀ افسانه های ایرانی1431852396510.48311/cfl.2025.23965FAفریدهداودی مقدمدانشیار گروه زبان و ادبیات فارسی دانشگاه شاهدJournal ArticleAbstractGrotesque, which is referred to as mixed humor, is an artistic and literary style that challenges conventional norms and expectations and shifts many boundaries. Today, this style has gained importance because it tries to establish a connection between many fields such as art, literature, religion and social issues, and because it includes elements such as exaggeration, riddles, humor and combinations of human and animal forms, it can have obvious manifestations in Iranian folk tales and legends. Reflecting on grotesque interpretations can familiarize us with fundamental interpretations of legends that are naturally present in our minds, and analyzing the underlying layers of content and talking about them will lead to a more conscious understanding and a more attractive perspective of these original cultural sources. Therefore, this research uses qualitative thematic analysis to express and explain some of the actions, characters, and characteristics of Iranian legends that are similar to grotesque themes. The results of this research indicate that grotesque, especially in the context of Iranian folk literature, is present in various forms and can be an effective tool for social and cultural criticism. Some of these similarities arise from the common ideas of the human mind all over the world and the way they are processed is appropriate to the cultural characteristics of different lands. Emphasizing this important point that what is known as grotesque in the world today has had a colorful presence in Iranian popular literature for centuries.Keywords: Iranian legends, popular literature, grotesque, bitter humor, cultural and social criticism.IntroductionResearch backgroundIn recent years, Iranian researchers have paid attention to grotesque in various fields. But the research that is the intersection of grotesque and Haft Peykar is the article by Shirzad Taifi and Somayeh Ghorbanpour Delivand titled "Recognition and Analysis of Grotesque Manifestations in Haft Peykar Stories". Based on the findings of this research, in Haft Peykar stories, some physical and mental issues that are repressed from human life, along with its ugliness and filthiness, are depicted in a complex, surprising, contradictory, and unexpected way.Research method, questions, and objectivesThis research uses qualitative research and thematic analysis. The research questions are:1. How grotesque manifestations are reflected in Iranian legends?2. What functions do they have in conveying the deeper meanings of Iranian legends?3. How do grotesque elements contribute to the social and cultural criticism of Iranian society? The objectives of the research are to analyze and identify the manifestations of the grotesque in Iranian legends, to examine the social and cognitive functions of the grotesque in Iranian popular literature, and to discover and analyze the semantic and cultural layers present in grotesque stories and to create a space for reflection on their social and cultural impacts.Main discussionThe most frequent components of the grotesque in Iranian legends are:1. Unreasonable and extraordinary actions: Unreasonable actions are among the most frequent actions in Iranian legends that are abundantly seen in grotesque themes and works. The unconventional and extraordinary birth of many heroes in Iranian legends represents a common and meaningful concept in the grotesque, whose presence in legends is accompanied by mythological and ritual secrets. In the legend culture of the Iranian people, there are a large number of stories that narrate the birth of a hero with amazing characteristics. Including the stories of the smiling flower 1, 2 and 3 (Darvishian and Khandan, 2005, vol. 12, pp. 305 -346).2. Extraordinary and strange elements and narratives: Fairy tales are often characterized by their extraordinary and larger elements that allow for the inclusion of strange and unconventional actions. The talking goldfish, the magic tree, the talking fountain and many other strange elements and narratives, the first feature of which is the entertainment aspect and the stimulation of imagination and dreams, have always been attractive to humans. Fairy tales often use grotesque elements to convey moral teachings and understand ontological truths, explore fears, wishes, ideals and other cultural elements. In the collection of fairy tales of Azerbaijan (Behrangi & Tabrizi, 2008, p. 67), the newborn speaks to neutralize the conspiracy of the system of domination and the discourse of the ruling power.3. Grotesque places and legends: Grotesque places, such as cemeteries, wells, caves, ruins, deserts, and underground living spaces, have a significant presence in Iranian legends, which, on the one hand, represents the mythical aspect and the connection of legends with the basic concepts hidden in myth, and on the other hand, narrates the themes in question in grotesque narratives, which have sociological and psychological functions. “The word grotesque entered the language with the discovery of unusual images in the underground corridors of the Pool of Titus and the ruins of Nero’s Palace. The first word to adopt this common usage was grotesque. Geoffrey Harpham concludes that grotto means cave or crypt, which is derived from the word for underground. In this way, grotesque indicates the secrets hidden deep in the earth.” (Adams and Yates, 2015, pp. 25-26). In the three stories of the Laughing Flower, the presence of a ruin where a woman gives birth is a common place in grotesque stories (see Darvishian and Khandan, 2005, Vol. 12, pp. 305-346).4. Grotesque feminism and challenging social norms: In Iranian legends, many beautiful girls are captured in wells, caves, dark rooms without windows, and secret places by the court or even their parents. Many of these closed and dark places, which must eventually be opened by the activism of a prince in love, show the power structures of patriarchal discourse in society, which can be explained by the theme of grotesque and feminism. In some legends, most of the black and ugly girls are servants and maids or in jealous and evil activism, and ultimately, as a punishment for their misdeeds, they are mostly tied to the tail of a mule and released into the plain and desert.5. Morphology: Morphology, which is a frequent and prominent feature of Iranian legends, is present in the representation of grotesque forms in the form of composite or fantastic creatures with strange appearances, noting that with the explanation that in morphing, a change of shape occurs, but in grotesque, the appearance of a strange and unusual creature is not necessarily due to change or metamorphosis. It should be noted that the transformation and metamorphosis of humans into plants and animals in fairy tales can be interpreted with other actions of the story. Girls who are often transformed into fruits, flower bushes, deer or trees are among the most frequent examples of fairy tales, which, if each of them is studied and analyzed in the context of the story, will convey obvious and hidden messages. The relationship between grotesque and transformation into plants and animals, from the perspective of sociology and psychology, can be considered as a reflection of human anxieties and fears of the unknown and uncontrollable factors.6. Grotesque characters in Iranian fairy tales: Grotesque characters in literature and art often act as symbols of contradictions and exaggerations. These characters usually oscillate between reality and fantasy and can represent the ridiculous, dark and unusual aspects of human life. They are usually known for exaggerating their behaviors, emotions or physical characteristics. This exaggeration can be used for the purpose of social criticism or satire.ConclusionThe findings of this study show that grotesque as a literary and artistic style is clearly visible in Iranian legends and as a modern artistic technique it shows some of the complexities of human behavior and experiences in stories. Grotesque manifestations in Iranian legends often appear in the form of unreasonable actions, fantastic elements and playing with reality and behind the narrative and visual appeals, they help to analyze and criticize social norms and structures. Therefore, grotesque, as a means of cultural expression, can examine fears, desires, and social norms and invite the audience to reflect on human and existential issues. This study also showed that Iranian fairy tales, from the perspective of grotesque feminism, have the power to criticize and invert social and gender norms. Female characters, often as symbols of the discourse of power in patriarchal society, sometimes express the sufferings that women face with their unreasonable and abnormal actions. The presence of disgusting elements based on horror and humor, which are characteristics of grotesque and are abundant in stories, provides a deeper analysis of ignorance and superstition in the depths of the individual and society. Inconsistencies and unreasonable actions allow the audience to think about their cognitive and social undercurrents and sometimes to reconsider their individual and social beliefs and behaviors.گروتسک که از آن به‌عنوان طنز آمیخته یاد می‌شود، سبکی هنری و ادبی است که هنجارها و انتظارات مرسوم را به چالش می کشد و بسیاری از مرزها را جابه‌جا می‌کند. امروزه، این سبک از آن جهت اهمیت پیدا کرده است که سعی می‌کند میان بسیاری از حوزه ها چون هنر، ادبیات، مذهب و موضوعات اجتماعی ارتباط برقرار کند و از این جهت که مشتمل بر عناصری چون اغراق، معما، طنز و درهم‌آمیختگی های صورتهای انسانی و حیوانی است می تواند در قصه‌های عامیانه و افسانه های ایرانی نمودهای آشکاری داشته باشد. تأمل در تفاسیر گروتسکی می تواند ما را با تفسیرهایی بنیادین از افسانه ها آشنا کند که به‌طور طبیعی در ذهن ما حضور دارند و واکاوی لایههای زیرین محتوایی و سخن گفتن از آن‌ها به شناختی آگاهانهتر و منظر جذابتری از این منابع اصیل فرهنگی منجر خواهد شد. از این رو، این پژوهش به روش تحلیل کیفی ـ مضمونی به بیان و توضیح برخی از کنش ها، اشخاص و ویژگی های افسانه های ایرانی که با مضامین گروتسکی شباهت دارند، می پردازد. نتایج این پژوهش نشان‌دهندۀ این است که گروتسک، به‌ویژه در بستر ادبیات عامیانه ایران، به اشکال گوناگون حضور دارد و می‌تواند به‌عنوان ابزاری برای نقد اجتماعی و فرهنگی کارآیی مؤثری داشته باشد. برخی از این شباهت ها برخاسته از انگارههای مشترک ذهن انسان در همه دنیا و نحوۀ پردازش آن ها متناسب با خصایص فرهنگی سرزمین های مختلف است. با تأکید بر این نکتۀ مهم که آنچه امروزه به‌عنوان گروتسک در جهان شناخته شده است، از قرن ها پیش در ادب عامۀ ایران حضوری پررنگ داشته است.https://cfl.modares.ac.ir/article_23965_99c21323790ff1b0d80e980918d15f0b.pdfدانشگاه تربیت مدرسفرهنگ و ادبیات عامه2345-4466136320250723An Exploration of the Role of Light in Nowruz Rituals (Case Study: Cheraghbaran Ritual of Shahrekord)واکاوی جایگاه نور در آئین‌های نوروزی (نمونه موردی: آیین چراغ‌بران شهرکرد)1862322396610.48311/cfl.2025.23966FAفرانککبیریعضو هیات علمی گروه صنایع دستی، دانشکده هنر و علوم انسانی، دانشگاه شهرکردJournal ArticleAbstractOne of the issues revealing the deep-rooted nature of a people's ancient beliefs is conducting rituals and the fluidity of ideas that, through the link between nationality and religion, have been capable of navigating the rough paths of time and sustaining their way of life. Among these rituals is the Cheraghbaran ritual, which is held annually on the night before the eve of Nowruz in the courtyard around the shrine dedicated to Imamzadeh Halimeh and Hakimeh Khatun to serve as a source of light for the Haft-Seen table. In this ritual, one of the descendants of Prophet Muhammad lights the lamp, and people make every effort to safeguard the flame until the lamp's fuel is fully exhausted. This research aimed to study the role of light and its symbolic elements in Iranian-Islamic culture and to address this question: What is the role of light in the national-religious ritual of Cheraghbaran of Shahrekord? This study has a descriptive-analytical approach. The data were gathered using the library research and field study method. The Cheraghbaran ritual has a history of thousands of years, and it has brought to the forefront in an innovative manner the inseparable relation between nationality and religion with light at its core. Although the ritual of Nowruz and renewal of fire dates back to the pre-Islam period, Shahrekord's people, somehow, express their connection with the true deity and their devotion to the Ahl al-Bayt (AS) at the threshold of the New Year by performing this ritual that exhibits the sanctity of light pre-and post-Islam, and the respect for it. The flexibility of the religion of Islam and the intelligence of monotheist Iranians, interconnection of national religious traditions towards reaching the divine deity, and cultural cohesion in this tradition have been simultaneously manifested in this ritual. Keywords: Chahar Mahal and Bakhtiari province; Shahrekord's Imamzadeh Halimeh and Hakimeh Khatun; Nowruz eve; Cheraghbaran ritual; light.Literature reviewA large number of articles have been proposed on the topic of light, fire, and philosophy. There are also studies about different Iranian national-religious rituals related to fire and the role of light. However, so far, there has been no article or book that references the ritual of Cheraghbaran, except for the study titled "The victory of light over darkness, a review of the ritual of Cheraghbaran in Shahrekord" by Kabiri (2024) presented in the National Conference on Culture, Literature, and Ritual Art at Shahrekord University. Moreover, in the middle of page 134 of his book titled "Shahrekord over time" (2017), Mazhari Dehkordi has introduced this ritual in brief. Objectives, questions, and hypothesesThis study aimed to investigate the role of light and its symbolic elements in Iranian-Islamic culture and to address the following question: What is the role of light in the national-religious ritual of Cheraghbaran of Shahrekord? The significance of this research is to document, register, and record part of subcultures at the risk of being forgotten, and to make attempts to introduce rituals and old beliefs to the general public, especially the younger generation to create an identity and register the place and branding (reputation). Main discussionLight has been respected among Iranians since ancient times, and fire has been sanctified as the source of light. The light and fire have thus been regarded from various perspectives. The most important of them lies in existence, the other one in proving the innocence of a respectable person who has been subjected to injustice, such as Prophet Abraham (pbuh) and Siavash. This ritual is known as "Vargarm". The fire also plays a fundamental role in the world's religions. It became cool and like a garden for Prophet Abraham. God appeared to Moses in a flame of fire, and according to the Holy Quran, Jesus, or Isa, is referred to as the "Word" of God (Kalimatullah) and "light", or God and Light or the Father of Lights (Hekmat & Hajizadeh, 2012, p.11) In Zoroastrianism, fire is perceived as a manifestation of Hazrat Haqq/Allah (God). In Islam, Allah is the light of the heavens and the earth. The Iranian mystics and thinkers, such as Avicenna, Imam Mohammed Ghazali, Mulla Sadra, and Suhrawardi, have also addressed the concept of light.This cultural interconnection and cohesion is deep-rooted in Iran. One of the secrets behind the permanence of Iranian customs and traditions is the transformation into a new form through innovation built upon existing foundations towards evolution, and along its path, an example of which can be seen in the ritual of Cheraghbaran. This ritual is held in Shahrekord, the capital of Chahar Mahal and Bakhtiari province, in Imamzadeh Halimeh and Hakimeh Khatun(s) at the final twilight of the year.ConclusionOne of the subjects reflecting the authenticity and deep-rooted nature of a nation's beliefs is holding rituals. According to the previous studies, the cultural cohesion between the national-religious rituals in Iran has been proven. This can, for example, be seen in the ritual of Cheraghbaran. This ancient ritual has a history of thousands of years and has brought to the light, innovatively, the inseparable relation between nationality and religion with light at its core.The presence of fire in Iranian rituals has commonalities and differences with the ritual of Cheraghbaran. As Nowruz approaches in Iran, only one festival is held in which Fire exists. This ceremony is Chaharshanbe Suri, but another ritual called Cheraghbaran is also held in Shahrekord. The above-mentioned ritual has commonalities and differences with the ancient Âzargân Festival. Semantically, there are similarities concerning the role of Light in the beliefs of Shahrekord's people, which have remained this way from past to present. In Zoroastrianism, fire has been the symbol of divine light, and emphasis has been placed on its sanctity and the necessity to care for and safeguard it. This issue comes exactly true about taking care of the lamp flame until its fuel is fully exhausted in the ritual of Cheraghbaran. In this religion, God is the whole light. Every shine is a ray of divine light. In the Quran, in Surah Al-Nur, God describes Himself as the Light of the heavens and the earth. In the Cheraghbaran ritual, the Muslim people of Shahrekord make their way to the city's most blessed and illuminated area, i.e., the shrine of Imamzadeh Halimeh and Hakimeh Khatun, at the final twilight of the year, and pay in cash to purchase light. This signifies the ultimate triumph of meaning over materiality. Moreover, the people have honored the esteemed Sayyids with the duty of lighting the flames to sanctify this ritual. The flame is preserved until the fuel ends, and attempts are made for the forces of Ahura to overcome the forces of evil and the forces of light to defeat those of darkness so that the presence of Allah Almighty, as the most perfect realization of the light, guides the Faithfull's hearts.یکی از موضوعاتی که می‌تواند قدمت، اصالت و ریشه‌دار بودن باورهای کهن مردم هر سرزمین را به نمایش بگذارد، برگزاری آیین‌ها و سنت‌ها و سیالیت اندیشه‌های والایی است که در پیوند میان ملیت و مذهب، توانسته‌اند با گذر از کوره‌راه‌های سخت زمانه، به زیست خود ادامه دهند. یکی از آن‌ها، آیین چراغ‌بران است که همه‌ساله در شب عید نوروز در صحن امامزادگان دو خاتون (س) شهرکرد برگزار می شود؛ تا روشنایی‌بخش سفره هفت‌سین باشد. در این آیین، فردی که به اصطلاح «سید» است اقدام به روشن‌کردن چراغ می‌کند و مردم برای حفاظت از این شعله تا پایان یافتن سوخت چراغ، می‌کوشند. هدف از نگارش این مقاله، بررسی جایگاه و عناصر نمادین نور در فرهنگ ایرانی ـ اسلامی است و این پرسش مطرح می‌شود که: جایگاه نور در آیین ملی ـ مذهبی چراغ‌بران شهرکرد کجاست؟ روش ارائۀ مطالب، توصیفی ـ تحلیلی و شیوۀ گردآوری داده‌ها کتابخانه‌ای و میدانی بوده است. آیین چراغ‌بران پیشینه‌ای چند هزار ساله دارد و ارتباط ناگسستنی ملیت و مذهب را با محوریت نور در قالبی نوآورانه به‌منصۀ ظهور رسانده است. باوجود اینکه نوروز و نو کردن آتش، آیینی مربوط به پیش از اسلام است، اما مردمان شهرکرد با اجرای این مراسم که تقدس نور و روشنایی از پیش تا پس از اسلام و احترام به آن را به نمایش می‌گذارد، به‌نوعی ارتباط با معبود حقیقی و ارادت به اهل بیت(ع) را در آستانۀ سال نو اعلام می‌کنند. قابلیت انعطاف‌پذیری دین اسلام و هوشمندی ایرانیان یکتاپرست، درهم‌تنیدگی سنت‌های ملی ـ مذهبی در جهت رسیدن به معبود الهی و پیوستگی فرهنگی در این آیین، هم‌زمان متجلی شده است.https://cfl.modares.ac.ir/article_23966_9a22f904bc902481db6183d9e70e12d3.pdfدانشگاه تربیت مدرسفرهنگ و ادبیات عامه2345-4466136320250723Fishing Expeditions in Guilan Province: A Case Study of Anzali and Kiashahr Portsکارنواهای صیادی استان گیلان (مطالعه موردی: بندر انزلی و بندرکیاشهر)2332612396710.48311/cfl.2025.23967FAفیروزفاضلیدانشیار زبان و ادبیات فارسی، دانشگاه گیلان، رشت، ایرانفرشتهپیشقدمدانشجوی دکتری زبان و ادبیات فارسی دانشگاه ایلام، ایلام، ایرانJournal ArticleAbstractIn the cultural context of the Caspian Sea’s coastal communities, fishing plays a central role in both livelihoods and lifestyle. Consequently, fishermen occupy a significant position in this cultural landscape. The presence of the sea, rivers, and favorable climatic conditions has long fostered a sustainable environment for settlement and economic activity in these regions. Coastal cities such as Bandar Anzali and Bandar Kiashahr have historically served as major spawning grounds for both bony and boneless fish due to their wetlands and river estuaries. Recognized as hubs of sturgeon fishing, these cities have produced generations of skilled fishermen who, in addition to working with major fishing enterprises such as the Russian Lianazov company, also engaged independently in small- and large-scale fishing activities.BackgroundThe oral culture of Guilan is enriched by poems, songs, proverbs, work chants, and narrative traditions related to fishing and hunting, many of which have been preserved across generations. In this cultural context, a wide range of poetic expressions has emerged to commemorate the lives of fishermen—some written from the perspective of the fishermen themselves, others authored by community members in their honor. Unlike the southern fishing songs of Iran, which are often accompanied by instruments and vocal performance, northern fishing chants are typically performed without instrumentation, reflecting the distinct conditions and values surrounding high-value species such as sturgeon. In the limited corpus of surviving songs, references to fish species, birds, tools, and individuals are still discernible.Findings from this research indicate that fishing-related poetry along the Caspian coast can be categorized into two primary genres: work songs and fishermen’s laments. The scarcity of organized fishing cooperatives in northern Iran—due to geographic, political, and legal constraints—has resulted in limited data, complicating the efforts of researchers to conduct extensive fieldwork.Labor songs, though a recognized part of oral literature, have only recently begun to receive scholarly attention, and as such, many have been lost to time. Folk literature, existing parallel to formal written literature, is transmitted orally and includes a diverse array of genres such as myths, lullabies, proverbs, ritual songs, and work chants. As an essential component of intangible cultural heritage, these traditions reflect both material and spiritual dimensions of communal life. Within this framework, work chants represent an expressive and symbolic articulation of the spiritual labor culture of Guilan's coastal society.The folkloric songs of Guilan can be categorized into nine distinct types: (1) love songs, such as “Ra'na”; (2) historical songs, such as “Cheqad Jangale Khossi”; (3) shepherd songs, such as “Siah Abron”; (4) lullabies, including “Lala Bokon Lala, Lala Lalayi”; (5) rice field songs (bijar-sari), such as “Ohooy Mar, Ohooy Mar”; (6) fishing songs like “Kapoor-e lajan khoose mordab”; (7) occupational and market-related songs such as “Morghe siyahe bi ghafas, bademjon”; (8) tea-picking and gardening songs like “Chayi chinam Chayi baghoone Lajon”; and (9) sericulture songs such as “Tare nooghan be-em hizar omidvar.”Fishing songs themselves fall into two subgenres: (1) fishing work chants and (2) fishing laments. Despite their cultural value, fishing chants have not been preserved as systematically as other occupational songs. One contributing factor is the clandestine nature of much contemporary fishing, particularly among independent or unlicensed fishers, who must avoid detection by authorities. As a result, these individuals often work in silence, without the communal singing that once fostered unity and collective identity among fishing crews. Many of the older generation who sang these chants have since passed away or suffer from memory loss, leaving gaps in the oral record.Fishermen’s laments, by contrast, are emotional and mournful songs commemorating those who set out to sea and never returned. In some tragic cases, the bodies of drowned fishermen are never recovered, leaving families in perpetual mourning. These laments are often voiced from the perspective of grieving family members-fathers, mothers, spouses, or children—and serve as both expressions of sorrow and memorial tributes. Prior to the advent of modern navigation technologies such as GPS, coastal communities frequently experienced fatal fishing accidents during stormy seasons, particularly from early autumn to late spring. Technological advancements have since mitigated some of these risks by enabling better forecasting and communication.ConclusionAs with other occupational songs, fishing chants emerged organically from the interaction between humans, tools, and the natural environment. In these chants, the rhythmic sounds of oars, water, storms, nets, and even the last gasps of captured fish are reflected in the murmured melodies of the fishermen. These sounds not only accompanied labor but also shaped the aesthetic structure of the songs themselves.Today, however, fishing chants are seldom heard along the Caspian coast. The economic and legal pressures associated with sturgeon fishing—one of the region’s most lucrative but tightly controlled industries—have led to a culture of silence among fishermen. Consequently, only a limited number of fishing chants have been preserved. The division of these songs into work chants and fishermen’s laments underscores both the practical and emotional dimensions of maritime labor in northern Iran. In particular, laments have survived as poignant expressions of collective grief, bravery, and remembrance, often resembling last testaments. As repositories of both personal and communal memory, these songs constitute a vital, though endangered, facet of Iran’s intangible cultural heritage.در فرهنگ مردم حاشیۀ دریای خزر، صیادی جایگاه مهمی در معیشت و سبک زندگی آن‌ها دارد؛ بدین سبب، صیادان در این فرهنگ نقش چشمگیری در اقتصاد دارند. وجود دریا، رود و شرایط آب و هوا، فضای مناسبی برای زیست مردم ساحل نشین فراهم کرده است. برخی شهرهای ساحلی همچون بندرانزلی و بندرکیاشهر به‌دلیل داشتن مرداب و مصب رودخانه، از دیرباز محل تخم ریزی انواع ماهی های استخوانی و بدون استخوان بودند. این شهرها به‌عنوان پایتخت ماهیان خاویاری، صیادانی را در خود پرورش داد که نه‌تنها برای مجموعۀ شیلات لیانازوفِ روسی پرفایده بودند، بلکه در صیدهای انفرادی یا چند نفره نیز، بدون وابستگی به شیلات، صیاد باتجربهای شدند. وجود اشعار، ترانه ها، ضرب‌المثل ها، کارآواها و قصه های شکارسری و صیادی در بین ماهی گیران و مردم عادی بازتاب داشته، به گونهای که می‌توان آن ها را بخشی از فرهنگ شفاهی مردم گیلان دانست. در این فرهنگ، اشعار مختلفی به یاد صیادان سروده شد که از زبان خودشان یا دیگران جاری می گردد. اگرچه نواهای صیادی شمال ایران به‌دلیل وجود ماهیان باارزش خاویاری و شرایط ویژۀ صید، مانند نواهای صیادی جنوب ایران، با ساز و آواز خوانده نمیشود، اما در همین تعداد انگشتشماری که برجای مانده، نام برخی از ماهی ها، پرندگان، ابزار کار و اسامی افراد شنیده می‌شود. نتایج پژوهش نشان می‌دهد که شعر صیادی در حاشیۀ دریای خزر به دو شاخۀ «ترانه های کار و سوگواره های صیادی» تقسیم می شود. تعداد کارنواهای صیادی در شمال ایران به‌دلیل شرایط جغرافیایی و سیاسی اندک است و پژوهشهای دامنه دار نتوانست نتایج بیشتری در دست پژوهشگر قرار دهد.https://cfl.modares.ac.ir/article_23967_b31c224efdd8c42b02a6c95086af9694.pdfدانشگاه تربیت مدرسفرهنگ و ادبیات عامه2345-4466136320250723The Mythological Background of the Story of Solomon and Azraelâs Gaze upon a Manپیشینه اساطیری داستان سلیمان و نگریستن عزرائیل بر مردی2622932396810.48311/cfl.2025.23968FAوحیدرویانیدانشیار گروه زبان و ادبیات فارسی دانشگاه گلستان، گرگان، ایرانJournal ArticleAbstractreceived little attention from scholars until the modern era. However, such research not only helps resolve certain textual ambiguities but also reveals the intellectual and cultural currents prevalent at the time of the work’s composition. Rumi, in the Masnavi, recounts a story titled "Azrael’s Gaze upon a Man and His Flight to Solomon’s Court…" The aim of this study is to identify the primary source of this narrative. The oldest source mentioned by Foruzanfar is Hilyat al-Awliya, likely written in the late 4th century AH. Among the more recently discovered Arabic sources, the earliest is Al-Mosannaf by Ibn Abi Shaybah, compiled in the early 3rd century AH. On the other hand, researchers argue that apart from the Quranic accounts, there are no authentic and reliable narrations concerning Prophet Solomon. Thus, it can be concluded that this story is fabricated and lacks genuine origins. Additionally, there are two distinct versions of this tale: one known in Western literature as Appointment in Samarra, and another with three variations in Indian literature. A comparative analysis of the Islamic, Western, and Indian versions reveals that the mythological Indian narrative is the original source. The story traveled along an East-West trajectory, entering Arabic and Persian literature before being attributed to Prophet Solomon and eventually finding its way into Rumi’s Masnavi.Keywords: Masnavi; Prophet Solomon; Azrael; Garuda; Samarra.IntroductionThe issue of identifying the sources and origins of the anecdotes in the Masnavi has received little attention from researchers until the modern era. Therefore, this study focuses on tracing the source of the tale "Azrael’s Gaze upon a Man and His Flight to Solomon’s Court..." which Rumi narrates within the story of The Lion and the Beasts to defend the animals’ belief in the futility of resisting fate.Research BackgroundThe earliest source addressing this issue is Ahadith wa Qisas-e Masnavi by Foruzanfar. He argues that the original version of this tale appears in Hilyat al-Awliya, Ihya’ Ulum al-Din, Jawami‘al-Hikayat, and Yudhkaru Fihe Hamaqat Ahl al-Ibaha (2008, p. 46). The book Ma’akhiz-e Qisas wa Tamthilat-e Masnavi-ye Attar-e Nishaburi, while introducing additional sources beyond those mentioned by Foruzanfar, states that determining the original root of the story is difficult and remains speculative (San’atiniya,1990).Parsanasab and Nikanfar, in their article "A Narrative Analysis of Twelve Versions of Solomon and the Man Fleeing from Azrael", cite seven versions of this story from the following sources, in addition to those mentioned by Foruzanfar: Bustan al-‘Arefin, Nasihat al-Moluk, Kashf al-Asrar, Rawdh al-Jinan wa Ruh al-Jinan, ‘Aja’ib al-Makhluqat, Iskandarnama, and Tafsir-e Gazor—none of which predate the 6th century AH (2011, p. 41). Jafari Qanavati and Vakilian, in Masnavi wa Mardom, mention an oral version of this story recorded in Ahvaz (2014). Thus, although these authors have cited additional sources beyond Foruzanfar’s references, none have been able to trace the story’s primary origin.Goals, questions, and assumptionsThe story "Azrael’s Gaze upon a Man..." appears in Attar’s Ilahi-Nama before Rumi’s Masnavi, and even earlier in Tusi’s ‘Aja’ib al-Makhluqat (written between 551–562 AH). Prior to Tusi, Ghazali included this story in Ihya’ ‘Ulum al-Din (492 AH), quoting it from A‘emash and Khuythama in the chapter "Dhikr al-Mawt" (Remembrance of Death), and later repeated it in Kimiya-ye Sa‘adat. Among Arabic sources, the oldest is Al-Musannaf fi al-Ahadith wa al-Athar by Abu Bakr Abdullah ibn Abi Shayba, likely compiled in the early 3rd century AH. Thus, based on available sources, the story does not predate the 3rd century AH. Regarding the authenticity of this narrative, scholars of hadith maintain that apart from Quranic accounts, there are no reliable or authentic narrations about Prophet Solomon. Therefore, this story appears to be a fabricated tale attributed to him.Another version: appointment in SamarraAnother version of this story seems to have entered Western literature through Arabic oral or folk traditions, known as Appointment in Samarra. John O’Hara, a prominent 20th-century American writer, prefaced his 1934 novel Appointment in Samarra with a short story by W. Somerset Maugham titled Death Speaks. Though the setting and characters differ, the theme and message align with Rumi’s Masnavi.مسئلۀ یافتن مأخذ حکایات و تمثیلات آثار ادبی یکی از شیوه‌های پژوهش ادبی است که تا دورۀ معاصر کم‌تر مورد توجه پژوهشگران قرار گرفته است، اما این نوع پژوهش علاوه بر اینکه به حل برخی از مشکلات متون کمک می نماید، از جریان های فکری و فرهنگی جاری در زمان سرایش اثر نیز پرده برمیدارد. مولانا در مثنوی داستانی آورده است با عنوان «نگریستن عزرائیل بر مردی و گریختن آن مرد در سرای سلیمان ...» که هدف این پژوهش یافتن مأخذ اصلی این داستان است. قدیمترین منبعی که فروزانفر معرفی می نماید، حلیه الاولیا است که احتمالاً در اواخر قرن چهارم نگارش یافته است. از میان منابع نویافته تر عربی، قدیمترین منبع، المصنف از ابن أبی شیبه است که تاریخ تألیف آن اوایل قرن سوم است. از سوی دیگر پژوهشگران معتقدند دربارۀ حضرت سلیمان غیر از مطالبی که در قرآن آمده است، هیچ روایت صحیح و قابل اعتمادی وجود ندارد. پس می توان نتیجه گرفت که این داستان ساختگی است و اصیل نیست. همچنین دو روایت متفاوت از این داستان نیز وجود دارد که یکی با عنوان «ملاقات در سامرا» در ادبیات غرب وارد شده و دیگری با سه روایت متفاوت در ادبیات هندی شناخته می‌شود. مقایسۀ روایت های اسلامی، غربی و هندی این داستان نشان می‌دهد که صورت اساطیری هندی مأخذ اصلی است و این داستان در سفری شرقی ـ غربی به ادبیات عربی و فارسی و سپس ادبیات غربی وارد شده و به حضرت سلیمان منتسب شده و سپس به مثنوی مولانا راه یافته است.https://cfl.modares.ac.ir/article_23968_1c1f1beef683946794edf22079849283.pdf