@article { author = {Rahman Zade, Saman and Modarresi, Fatimah}, title = {The Creation Myth in Yezidism}, journal = {New Literary Studies}, volume = {49}, number = {2}, pages = {1-20}, year = {2016}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v49i2.58640}, abstract = {. Introduction The Kurdish cultural sphere (zone), in the central part of the Middle East, has most diverse religions. The Kurds are joint ethnically and linguistically with Aryans. On the other hand, due to the geographical proximity with important centers of the Semitic religions, they have been affected with many religions. Yezidism is one of these religions that has a few followers in Iraqi Kurdistan. Yazidi religion, has two sacred books and a rich oral literature that have attracted the attention of researchers and orientalists. One of the most important parts of this literature, is Qawls that have been sung by Qawwals, a religious-social classes, in their celebrations and gatherings. Many of these Qawlls, are related to yezidi's mythology, especially a symbolic expression of the myth of creation. 2. Methodology This study is based on the descriptive analysis method by using library research and studying the mythical elements constituting the myth. Through these elements, the structure of the myth will be explained. This research attempts to answer the following questions: on what structures is the myth in Yezidism based? Which types of mythology are the mythical elements of Qawlls associated with? The examples in this study are from these books: the Yezidis sacred books by Isya Joseph; and the pages of the Yezidi religious literature collected by Khalil Jindi Rasho. 3. Discussion Yezidis have two sacred books named Al-Jilwah and Mushaf-Rash. Apart from these, they have a very rich oral literature that includes their beliefs, traditions, and legends. Jindi Rasho divided Yezidi religious literature into eight sections: myth and legend, prayers and amulets, Qawlls and Beyts, Misaahabat, religious music, Qasidah, Xizîmok and Parîzok, and Gharîbî. In Yezidis Qawlls and in their sacred books, there are some elements that recurred in most hymns, such as: the pearl (=Dorr), sea (=Bahr), Kherqah, Markab, the bull, and fish. These are the most important repeated elements in Yezidis religious Qawlls. These elements, have mythical motifs that recurred in Qawlls, hymns, and Yezidi religious literature. Dorr, is always known as a “sign of power and faith and beauty” (De Beaucorps, 2013, p. 132) while it is a sign of the moon, water, femininity, and possess properties of generation (lbd: 133). Thus, in Yezidi’s religious Qawlls, two elements (Dorr and Bahr) usually come together. These texts implicated how the world is created from the Dorr and how the world is established on the some elements such as Dorr and gradually expanded consequently. Mythical elements Dorr or pearls are highlighted in Yezidi's sacred texts, especially the Mushaf-Rash while these elements are the most important elements in the Yezidi's myth of creation. To state the case in brief, water symbolizes the whole of potentiality; it is fons et origo, the source of all possible existence. “Water, thou art the source of all things and of all existence! ... Principle of what is s formless and potential, basis of every cosmic manifestation, container of all seeds, water symbolizes the primal substance from which all forms come and to which they will return either by their own regression or in a cataclysm. It existed at the beginning and returns at the end of every cosmic or historic cycle; it will always exist, though never alone, for water is always germbative, containing the potentiality of all forms in their unbroken unity. In cosmogony, in myth, ritual and iconography, water fills the same function in whatever type of cultural pattern we find it; it precedes all forms and upholds all creation. Immersion in water symbolizes a return to the pre-formal, a total regeneration, a new birth, for immersion means a dissolution of forms, a reintegration into the formlessness of pre-existence ; and emerging from the water is a repetition of the act of creation in which form was first expressed.” (Eliade, 2011, p. 189) Clothing, represents "the economic and political attitudes, social and cultural functions, religious and philosophical beliefs and official commitments" of a nation or religious sect. (Cox and Turner, 1391, p. 6). The role of clothing is clearly shown in the Yezidi's sacred books and their religious poems in the form of sanctity of Kharqah. Almost certainly, this sanctity is indebted to the influence of the ideas of Sufi Sheikh Adi and the beliefs of the sect, respectively. In the Yezidi's Qawlls, Kharaqah is a sacred object and was created in eternity by Sheikh Adi. Sultan Yazid, has helped Sheikh Adi in the creation process. Based on Sabaqs, Sheikh Adi creates crown, Hilla, and Kharqah from Dorr. The element of Kharqah is repeatedly mentioned in Mushaf-Rash and a few Qawlls related to creation. It is one of the first creations of the Heptagon. In mythology, some of the gods ride on his Markab (=cart) to have a journey. In most cases, the sky is the location of their journey. Mushaf-Rash says that the Lord rides on Markab: "Then He created Gabriel in the form of a bird and sent him to the four corners. Also, creates a Markab and landed thirty thousand years on it. After this, he was stationed in the Lalesh Mountain. » (Isya, 1919, p. 37) The term of Markab in Yazidis’ Qawlls, as well as in the text of Mushaf-Rash, is repeatedly used for the accession of the Lord and his followers. “Dragons, snakes, shell-fish, dolphins, fish, and so on are the emblems of water hidden in the depths of the ocean, they are infused with the sacred power of the abyss ; lying quietly in lakes or swimming across rivers, they bring rain, moisture, and floods, thus governing the fertility of the world. (Eliade, 2011, p. 204-205). “In Indic mythology, fish was considered as a first manifestation of Vishnu who saves life from destruction” (Dadvar and Mansoori, 2012, p.195). “In Iranian mythology, in a battle between two forces, Jupiter and evil, toad, as a harmful being attacked on fish” (Bahar, 2008, p. 95). These two elements are repeatedly mentioned in many Qawlls, though the sacred books are mostly to be ignored. 3. Conclusion In the mythological elements that were recorded in Yezidi's hymns regarding the creation, it turns out that most of these elements pointed to the topic of the earth, woman, and fertility. Bull as a sacred element is not mentioned in Yezidi sacred books, which has been considered as the the symbol of the gods of the sky. Although "Kharqah", is stead as a numinous being in the Yezidi's texts, it has got no creative role. In addition, according to the content of the texts, it represents the effect of Sufism and Islamic mysticism. The term Markab is also related to the God of sky. In their mythology, Dorr is the key element of creation from which all the other sacred elements as well as the entire universe are created. Dorr, has the fertility property and is a sign of moon and water; hence, in religious texts, Bahr and Dorr are always coming together. In the mythology of origin, water is the first being while it is above all the other elements. Water, always in mystical rituals, is the key element being associated with beliefs such as baptism and regeneration. Therefore, a strong emphasis is placed on water in the Yezidi's myth of creation which is based on beliefs such as reincarnation, mysterious, and storm. The element of Bull in the main Yezidi ceremony, is related to a sacred marriage being associated with the issue of earth and woman. Fish, is a sign of water and holy power causing rain and fertility in the world. The hymns related to the myth of creation in the Yezidi religion, are singed in any phase of creation, including birth, celebration of the New Year, Al-Jmayiah ceremony. The hymns related to the myth of creation in the Yezidi religion, are singed in any phase of creation, including birth, celebration of the new year, Al-Jmayiah ceremony, and any other sort of rituals in which birth and new creation is expected to occur based on the original model, or the form of the sacred creation.}, keywords = {Yazidism,Yezidi's Qawlls,creation myth,Origin mythology}, title_fa = {اسطورة آفرینش در آیین ایزدی}, abstract_fa = {اسطوره روایتی قدسی از خلقتی آغازین است که با آیین، مراسمات و ادبیّات جامعه پیوستگی دارد. اساطیر ریشه و بن، ادامه دهنده و مکمّل اسطورة آفرینش اند. آیین ایزدی، آیینی محلّی در منطقه ای کوچک از کردستان عراق است که دارای دو کتاب مقدّس و مجموعه ای سروده های دینی شفاهی است. این سروده ها در مراسم هایی مانند تولّد، مرگ، اعیاد و هر مراسمی که در آن زایشی نو اتفاق می افتد، خوانده می شوند. این پژوهش به بررسی عناصر اسطوره ای رایج در سروده ها و اقوالی می پردازد که با اسطورة آفرینش آغازین در ارتباط است. روش تحقیق از نوع تحلیلی-توصیفی است. این سروده ها مستقیماً از نسخه ای گرفته شده اند که خلیل جندی ره شو به زبان کردی تدوین کرده است. عناصر اسطوره ای اصلی در این قول ها عبارتند از: درّ (مروارید)، بحر، خرقه، مرکب، گاو و ماهی. با دقّت در عناصر اسطوره ای در متون مقدّس و سروده های دینی ایزدیان که دربارة آفرینش ثبت شده است، مشخّص می گردد که عناصر «درّ»، «بحر» و «ماهی» به مبحث زمین، زنانگی و زایندگی اشاره دارند. «خرقه» با توجه محتوای متون، نشان دهندۀ تأثیر عناصر صوفیه و عرفان اسلامی است. «مرکب» نیز از آنِ خدای آسمان است. عنصر مقدّس «گاو»، نمادی از خدایان آسمان و کشتن آن در عید اصلی ایزدیان، با ازدواج مقدّس و اسطورة آفرینش آغازین در ارتباط است.}, keywords_fa = {آیین ایزدی,اقوال ایزدی,اسطورة آفرینش,اساطیر ریشه و بن}, url = {https://jls.um.ac.ir/article_34361.html}, eprint = {https://jls.um.ac.ir/article_34361_1dd4403db5a3ee18862f0ceea6b79a9a.pdf} } @article { author = {Mahmoudi Lahijani, Seyed Ali and Fesharaki, Mohammad and Khorasani, Mahboubeh}, title = {Noun-Epithet Formulae in Ferdowsi's Shahnameh A Legacy of Oral Poetry in Khodaynameh}, journal = {New Literary Studies}, volume = {49}, number = {2}, pages = {21-51}, year = {2016}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v49i2.47287}, abstract = {1. Introduction One of the features of oral poetry in Aryan-Indo-European tribes is the usage of epithets in their epic and religious works. After conducting research in oral poetry in Yugoslavia and comparing results with literary features of Iliad and Odyssey, researchers concluded that these epithets along with the name of characters are based on formulas. Homer had learned these formulas from the previous oral tradition and had used them for the meter of his poetry. In Yashts the usage of noun-epithet formulae shows the use of this literary technique in the ancient Persian’s oral poetry; verses that after being written, have preserved the literary techniques of oral tradition. A thorough exegesis of Ferdowsi’s Shahnameh offers various pieces of evidence that the noun-epithet formulae in this work has not been devised by the creative mind of Ferdowsi, but most probably, they have been taken from Ferdowsi’s sources such as Abumansouri’s Shahnameh which is the translation of Khodaynameh. Therefore, it can be concluded that the Pahlavi version of Khodaynameh has been written according to oral poetry and has had this potential of being recounted by minstrels in various places. 2. Methodology This essay is written based on descriptive-analysis method. It attempts to know what the epithets and noun-epithet formulae are and what their role is in oral poetry. On the other hand, this essay wants to explore the reasons for the repetition of noun-epithet formulae in Homer's Iliad and Odyssey. Furthermore, it will try to determine in which era these epithets have been more popular. Also, we can see noun-epithet formulae in Yashts and Ferdowsi's Shahnameh which brings us to the question of whether these noun-epithet combinations have been made by Ferdowsi or they are rooted in older literary tradition. Is it possible to attribute these combinations to oral poetry, songs that have been collected and written down from Khodaynameh which later in the Islamic era became Ferdowsi's source. 3. Discussion Based on oral poetry and the way of its composition with formulaic methods, Olga Davidson conducted a research about Ferdowsi's Shahnameh and found out that Ferdowsi has used oral resources some of which have been poetry. Ultimately, she attempted to show that Ferdowsi is an oral minstrel who like ancient oral minstrels, has paid attention to poetic traditions of the past by writing Shahnameh according to his own unique style. In so doing, Ferdowsi has benefitted from Zoroastrian minstrels and other poets whose names have been mentioned in Shahnameh. Davidson has collected verses that are repeated in the beginning of every letter: نخست آفرین کرد بر کردگار First he praised God the omnipotent نخست آفرین کرد بر دادگر First he praised God the all-just According to the rhyme, Ferdowsi has used some words as the formula for these two lines: کزو دید نیک و بد روزگار From whom he saw good and bad fortune. کزوی است پیروز به روزگارWho gives glory to one's fortune. کزو دید پیروزی و روزگارWho grants him victory and fortune. خداوند پیروزی و زور و فرLord of Victory, chiefs, and luminous glory. خداوند مردی و داد و هنرLord of mankind, justice, and knowledge. کزو دید مردی و بخت و هنرfrom whom there is manliness, fortune, and wisdom. کزو دید پیدا به گیتی هنرfrom whom art came into existence Here, we cannot depend on Davidson’s evidence of Shahnameh as formulae, because Davidson does not prove the traditional feature of letter writing. She attempted to use the simplest aspect which is phrases create patterns based on each other to show the existence of formulae in Shahnameh. But here we analyze the other kinds of which can be proven to be traditional; combinations that have been made by putting proper nouns with artistic epithets which are repeatedly used throughout Shahnameh. Combining nouns and epithets can be traced back to the oral poetry. Khodaynameh is a book of songs which has been collected and written in Sassanid era. In the Islamic period, noun-epithet combinations came in to Abumansouri’s Shahnameh from Khodaynameh's translation which later came to Ferdowsi's Shahnameh. So, we can find features of oral poetry in Ferdowsi's Shahnameh. 4. Conclusion According to points mentioned above it can be concluded that one of the techniques used in oral poetry that has been transferred from one generation of minstrels to another and has had an important role in the syllabic meter of oral poetry has been the usage of noun-epithet combinations. The minstrels have used these combinations repeatedly as pre-fabricated formulae in their poetry. Thus, they regularly filled same parts of the meter with fixed syllables. This feature has been used not only in the works of ancient literature such as Homer's Iliad and Odyssey but also it has been used in contemporary oral poetry such as epic poems in Serbian Guslars. In Iran, the use of noun-epithet combinations in Yashts and Zoroastrian priests’ emphasis in its oral preservation shows that this oral technique has had an important role in the ancient religious works. Since poets such as Rodaki and Monjik Tarmizi who lived before Ferdowsi and other poets such as Farrukhi Sistani, Unsuri Balkhi, and Manuchehri Damghani who were unfamiliar with Ferdowsi's Shahnameh have used the same epithets as Ferdowsi, it can be concluded that these epithets were not the result of Ferdowsi's creativity in Shahnameh's as he has most probably taken them from Abumansouri’s Shahnameh. On the other hand, we know that probably Abumansouri’s Shahnameh has been the translation of Khodaynameh which has been written by four Zoroastrian priests based on an order from Abu Mansur Abdal Razzaq. Therefore, noun-epithet combinations most likely have been transferred from Khodaynameh to Abumansouri’s Shahnameh and later they have found their way to Ferdowsi's Shahnameh. According to this, we can say that Khodaynameh was the work which its different stories were collected and written based on popular oral poetry. This feature has preserved its written version that has been collected to be chanted by minstrels and Zoroastrian priests in Sassanid period. The minstrels and singers most likely have inherited this method from the works of Parthian Gōsān and Sassanid priests. The epithets that have been used in Shahnameh, are basically rooted in the tradition of minstrelsy. Besides, the character names in the story formed formulae that helped the poets or minstrels complete the meter of verses and then coordinate it with his own music. It seems that Sassanid kings decided to collect this oral poetry and have them written down for their political and religious propaganda. Therefore, they persuaded Zoroastrian priests to collect and compose new sections, and create a new work which is nowadays called Khodaynameh. The translation of this work after Islam formed the basis of Abumansouri’s Shahnameh in the Islamic period. The artistic and literary features of this work were the main reasons that it became poetry (prosodic poetry) by Ferdowsi and Daqiqi. Perhaps, the tradition of composing in a style similar to Khodaynameh has been inherited by the poets of Islamic period as well. The culture and tradition which were transferred to Zoroastrian priests and minstrels by Parthian Gōsān as oral techniques in Sassanid period were also transferred to their successors. As Masoudi Marvazi, Daqiqi, and Ferdowsi bequeathed these techniques to them, now, it was their turn to compose Khodaynameh in prosodic meter and in a new style.}, keywords = {Oral poetry,Noun-epithet formulae,Yashts,khodaynameh,Shahnameh}, title_fa = {فرمول‌های اسم-صفت هنری در شاهنامۀ فردوسی میراثی از سروده‌های شفاهی در خداینامۀ پهلوی}, abstract_fa = {یکی از ویژگی‌های سروده‌های شفاهی اقوام آریایی- هندواروپایی، کاربرد صفت‌های هنری در آثار حماسی و دینی آن هاست. با پژوهش در سنت‌های زندۀ نقالی یوگسلاوی و تطبیق نتایج به دست آمده با ویژگی‌های ایلیاد و ادیسه، پژوهشگران به این نتیجه رسیدند که این صفت‌ها همراه با نام شخصیت‌ها، فرمول‌هایی را شکل می‌دهند که هومر آن ها را از سنت شعری پیش از خود فرا گرفته بود و برای پر کردن وزن اشعار از آن ها استفاده می‌کرد. در یشت‌های اوستا نیز کاربرد فرمول اسم-صفت هنری، نشان از استفاده از این تکنیک در سروده‌های ایران باستان دارد؛ سروده‌هایی که پس از نگارش شیوه‌های ادبیِ سنتِ شفاهی، به همان شکل در آن ها حفظ شده است. با دقت در شاهنامۀ فردوسی، فرمول‌های اسم-صفت هنری را به وضوح می‌بینیم و با توجه به شواهدی می‌توان گفت این فرمول‌ها زادۀ ذهن خلاق فردوسی نبوده‌اند بلکه به احتمال فراوان از منبع فردوسی یعنی شاهنامۀ ابومنصوری که ترجمۀ خداینامۀ پهلوی بوده، اخذ شده‌اند. از این رهگذر می‌توان نتیجه گرفت که خداینامۀ پهلوی احتمالاً بر اساس سروده‌های شفاهی تحریر شده بوده و این قابلیت را داشته که داستان‌های مختلف آن پس از نگارش در مجالس گوناگون توسط خنیاگران و قوّالان خوانده شود.}, keywords_fa = {سروده‌های شفاهی,فرمول‌های اسم-صفت هنری,یشت‌ها,خداینامه,شاهنامه}, url = {https://jls.um.ac.ir/article_34374.html}, eprint = {https://jls.um.ac.ir/article_34374_17d73e72d8638de094d77b1b3be0fbf2.pdf} } @article { author = {Naghshbandi, Syed Ayub and Kazzazi, Mir Jalaleddin and Dawood Abadi Farahani, Mohammad Ali}, title = {Character Recognition of Rostam Yekdast and his Convergence and Hostility with Rostam Zal in Kurdish Shahnameh (Gorani)}, journal = {New Literary Studies}, volume = {49}, number = {2}, pages = {53-79}, year = {2016}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v49i2.56582}, abstract = {1. Introduction In epic narratives, heroes have a specific and key role in the processing of epic development. Some heroes’ roles are based on the situation in which they have been created. Thus, the epic narrator states their life journey from the beginning to the end in a vicissitude process. However, some heroes do not have a specific position in epic stories as they appear as a thunder in some scenes and disappear afterwards. The performance and characteristics of these heroes, who are present in some scenes while there is no trace of them throughout the plot, are thought-provoking and exciting. These non-fixed heroes draw attention more than the fixed heroes, according to what they do in the stories. Rostam Yekdast who has a role in Kurdish Shahnameh has a dual identity of human and demon. However, he is more or less well-known in folk stories, but there is no trace of him in Persian epic poems. This dual-identity character has such particular features which are hardly observable in other heroes having high strength,high running power, immeasurable intelligence, and being skillful in throwing stones. Although it is not possible to assume Rostam Yekdast as a counterpart for Rostam Zal in epic stories, but they have some similarities, especially, in having high strength. He is even more skillful than Rostam Zal in some skills. Rostam Zal and Rostam Yekdast are sometimes friendly and convergent and sometimes hostil. As mentioned earlier, since Rostam Yekdast is both human and demon, he has a dual nature. Norms and behavior of this demon-like human or in other words this human-like demon is a representation of human change and evolution during the history which exists in epics in the form of myth. He is such a character who can change from being animal to human in a moment and at the same time return from being human to animal. Sometimes, like Rostam Zal, he is chivalrous, powerful, and service provider for the king, while other times he is rough, disloyal, brutal, sly, and mocking. In addition, such mysterious wisdom is often observable in his behavior which is hardly ever observable in human being. Even Rostam Tahamtan, experienced Zal, and goodwill elders are succumbed in confronting with Rostam Yekdast. Rostam Yekdast, who is not mentioned in Ferdowsi’s Shahnameh is a complex and controversial character in Kurdish epics. It is most likely that the resources, in which the story of Rostam Yekdast has been mentioned, have never been available to Ferdowsi, otherwise he would have made a mention of his name in his great work. There have been no studies comparing Kurdish Shahnameh characters with other epic characters so far. It should be noted that identifying the anonymous epic characters and analyzing their personality and norms would be helpful to enrich the national epic as we can become more familiar with their character dimensions as well. 2. Methodology This study is based on the library research. After studying and taking advantage of the available resources and collecting data, Rostam Yekdast and his convergence and hostility with Rostam Zal are presented. Kurdish Shahnameh is the main resource of this study. The features of demons in Kurdish Shahnameh have been studied in this research based on the available resources as, accordingly. 3. Results The development process of an epic can experience ups and downs due to the performance of anonymous characters, thus, the presence of these characters makes an epic story different and exciting. Rostam Yekdast is one of the prominent and famous characters in Kurdish Shahnameh whose name has not been mentioned in Ferdowsi’s Shahnameh. He is a hero of dual nature whose behavior and performance show human mental and physical changes over the time. New origins can be achieved through the study of epic characters’ stories in Kurdish Shahnameh which can contribute to identifing the evolution and development of Iranian epics. In other words, it can be said that analyzing and studying the heroes’ characters such as Rostam Yekdast depicts the social and individual face of the society in the distant past. The results lead to the richness of national epic to make the reader more aware of history and epic mixture. 3. Discussion The story of Rostam Yekdast or Rostam Kutah dast (short-hand Rostam in English) which is called “kola das” in Kurdish is famous. It is one of the eventful and exciting stories of Kurdish Shahnameh. As this character has a dual nature of human and demon, his behavior is also influenced by his dual nature. Thus, he has a dual behavior in confronting with Rostam Zal. Sometimes, he is sincere and acts like Rostam’s servant while sometimes he is one of Rostam’s toughest enemies. He is a perfect hero in two skills of throwing stones and running. He is so powerful that Rostam Zal had to play tricks on him in order to be able to entangle and arrest him. Sometimes, he acts like a moral and devoted hero while at other times he acts like a wicked and nefarious zan. Sometimes he appears in the middle of war and helps Rostam Zal, while he disappears in a moment and is seen in the demon army or Turanis fighting with Iranians. Since Rostam Yekdast is a mixture of human and demon, therefore regarding appearance and behavior, he is a dual-nature creature. Sometimes he wants to come to humanity from being demon and include himself in human features but suddenly he turns back to his demon nature and goes far from humanity. It can be said that Rostam Yekdast story is kind of inverted change in human body and human inherent character from primitivism to humanity. The performance of this character in the story somehow reflects the human’s transition from savagery to humanity and his sudden return to savagery from humanity. His behavioral and personality paradoxes are the same as human struggle with his innate nature that he wants to control in civil and rational world.}, keywords = {Kurdish Shahnameh,Rostam Yekdast,demon,Rostam Zal}, title_fa = {چهره‌شناسی رستم یک دست و هم‌گرایی و ستیزه‌گری او با رستم زال در شاهنامۀ کردی (گورانی)}, abstract_fa = {چهره‌شناسی پهلوانان و قهرمانان در داستان‌های حماسی و بررسی کارهای آن ها، ما را بیشتر به شناخت باورها، اعتقادات و اتفاقات تاریخی گذشته نزدیک می‌کند. همچنین، بررسی سرنوشت و منش بعضی از این پهلوانان حماسی می‌تواند آبشخور بسیاری از اسطوره‌ها و حماسه‌ها را به ما بشناساند. رستم یک دست در بین پهلوانان و قهرمانان داستان های شاهنامۀ کُردی، جایگاه خاصّی را داراست، او موجودی نیمه انسان و نیمه دیو است که رفتار و کردارش در طول داستان ها، تحت تأثیر وجود دوسرشتی اش قرار دارد. دوگانگی سرشتی در این شخصیت، باعث رفتارهای ناهمگون و متضاد در کردار و رفتار او می‌گردد و دو نیروی خیر و شر، در درون او مدام در جدالی پایان ناپذیرند. این چهرة حماسی در شاهنامة کردی، رابطه تنگاتنگی با چهره‌های برجستة منظومه‌های حماسی فارسی دارد که خود قابل توجه و تأمل است. در این مقاله سعی شده است شخصیت و کردارهای رستم یک دست که چهره‌ای ناشناخته در پهنۀ حماسۀ ملی است، معرفی و بررسی و تحلیل شود.}, keywords_fa = {: شاهنامۀ کردی,رستم یک دست,دیو,رستم زال}, url = {https://jls.um.ac.ir/article_34394.html}, eprint = {https://jls.um.ac.ir/article_34394_ba60c47e0b570c429b99e34e67abde06.pdf} } @article { author = {Zamani, Fatemeh and Hassanzadeh Mirali, Abdollah and Akbari bairagh, Hassan}, title = {The Analysis of the Novel of Fereydoon Had Three Sons, Based on Bakhtin's Dialogism}, journal = {New Literary Studies}, volume = {49}, number = {2}, pages = {81-105}, year = {2016}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v49i2.46140}, abstract = {. Introduction Bakhtin has specialized the polyphony to the type of novel, especially postmodern novels. He generally has divided the fiction into the three periods: the classical, new (modern), and post-modern period (postmodern). The integrity protection along with the cause and effect relationship in the text are the first period features. The modern era is known for the emergence of complexity and the words disorderliness, and the postmodern period, considering the beginning of the novel pays attention to the absurdity. The stream of consciousness, criticizing the past and returning to it, the presence of historical personage, intertextuality, the reader engagement with the text, the emphasis on the infinite meaning and uncertainty are the post-modern novel’s features. The technique of transition and having flashbacks to the past centuries and the old texts by disrupting the dimension of the time, is a common and specific feature of the post-modern stories which is characterized as the era of transition from the modernity. Making symmetrical characters of the old men in modern fiction stories or relating the same actions and functions, will revive the reminiscent of those characters and their great deeds. This artistic method can be considered as an expanded but a renovated and a progressive form of allusion (Razabigy & others, 2013, p. 139). Hence, the postmodern works are suitable for the intertextual analysis and reading. Abbas Maroofi in the collection of his works, such as Farhad’s Body, The Dead’s Symphony, The Years of Riot, Fereydoon Had Three Sons, etc., had a tendency towards principles of postmodernism particularly postmodern intertextuality. 2. Methodology This study has analyzed the novel of Fereydoun Had Three Sons in relation to the story of King Fereydoon in Shahnameh based on Dialogism theory. Bakhtin has considered dialogism as the speech foundation. Dialogism is based on an intertextual dimension. By definition of the conversation, Mikhail Bakhtin continually links the text to the context, to the author, and also to the authors who have lived earlier. So, each text consciously or unconsciously converses to the earlier texts with which it has some similarities and even with the forthcoming texts which can be predicted based on the present text. He believes that the novel is a mixture of all the literary types: from the lyric poem to the epic, and didactic literature, especially the folklore which is written in prose that is the most various literary type. We, alternatively, find different parts in the novel like the historical part, the recitative, and also the conversational parts. These parts are interwoven with each other and they are also written in the most innovative and the most artificial way as it is possible. Bakhtin in different ways, has classified the represented discourse (means the author’s / the narrator’s perception of the reality) that Tzvetan Todorov has given its simplified diagram to this form: 1- Monologue (direct quote) 2- Polyphony: 1. Passive: a) convergent (stylistic), b) divergent (parody). 2. Activate (public or private debate). By the single phonetic (monologue) Bakhtin means that the narrator has the last word in the novel to make the final decision and his sound or his phonetic is the overall sound, but in the polyphonic novel, the narrator’s sound is alongside the other’s sounds. In this case, when there is another sound beside the author’s sound, the author doesn’t intend to recreate and to give a new interpretation of another speech as there is another speech parallel to the author’s speech. Different sounds display different ideological deployments as they equally and without the author’s judgment or limitations can be involved in the conversation. In these kinds of novels, the characters will not be subdued by the author and the author’s sound is alongside their sound or is parallel to them. A polyphony speech is the speech belonged to a single narrator because of its syntactic features, but practically includes two interwoven speeches, two methods of talking, two styles, two languages, and also two semantic horizons. In this level, the author has applied the other’s sound while giving a new meaning to the text. Bakhtine considers stylistic, parody, Manipe libel, carnival, and internal controversies as the examples of such a speech. 3. Results and Discussion The result of this analysis shows that in this novel, by using some elements of postmodernism, the author has tended to deconstruct and to parodize the mythical narrative of Fereydoon in Shahnameh. Through semantic implications and new values, carnivalism as well as creating polyphony in the speech of Shahnameh, the author has depicted an eternal man struggling to seize power while criticizing Iran's male dominance and patriarchal society. Novel of Fereydoon Had Three Sons is one of the postmodern texts which raises doubts about the reality, relativism, uncertainties, and other intellectual and political issues by creating a conversational relationship with the story of Fereydoon and his sons in Shahnameh. In order to criticize the domineering discourse and the single voice of the society which does not allow the other systems of thought to act, Maroofi uses the other (Shahnameh) speech in three ways and makes a polyphonic discourse. Stylistically, he could mention the story of Fereydoon as a repeatable cycle of the history. Maroofi has a trans-historical attitude to the stories of Jamshid, Zahhäk, and Fereydoun. He considers the mythical narratives as the samples of the facts which have mingled with the man’s nature. Being repeatable is in the nature of the myth, so, it is repeatable in the modern age too. Also, the paradoxical dialogue of the author with the story of Feriydun in Shahnameh causes the two semantic layers to be inferred from this story: infanticide and patriarchy. Maroofi emphasizes on the role of Feriydoun Amani as a father in the son's fate and creates a connection between this character and the mythical character of Fereydoon which shows that the most neglected feature of Fereydoon in Shahnamehhas is his role in the abominable tradition of the infanticide. The mythical foundations of this tradition can be seen in the myths of the other nations, especially in the character of Zeus. The monophonic discourse in the patriarchal society has no result but killing the sons like Iraj by their fathers. The author’s emphasis on the mother’s role who can do nothing to save his son from the death’s claws, is another semantic layer or another paradoxical reading inferred from the novel's conversational relationship with Shahnameh. Through this semantic layer, Maroofi has criticized the male-dominated society which is indicative of another semantic layer of the story of Fereydoun in Shanameh as it is the transition of the Iranian society from the matriarchy to the patriarchy. This novel has depicted the time when the domination of the great goddess on the men has been forgotten. In addition, raising doubt about the reality, relativism, and uncertainty in this novel has ridiculed the monologue narrative of Shahnameh. Ranting about Ferdowsi and the narratives of Shahnameh, presenting ridiculous scenes of Zahhak and his court grandees as well as Kaveh’s insurrection, the deconstruction of the glory and the imposition of the mythical figure of Fereydoun, and Manouchehr’s strange creation of being Woolly, all are the examples of the author's efforts to ridicule the power of the mythical narratives of Shahnameh. By Ranting about the story of Fereydoon in Shahnameh and Ferdowsi’s character, Maroofi could present a new interpretation of Shahnameh. So, he has made it possible to hear the other sounds which were not being heard because of the mythical sanctity of Shahnameh.}, keywords = {Dialogism,Bakhtin,Shahnameh,Fereydoon had three sons,Abbas Maroofi}, title_fa = {تحلیل رمان فریدون سه پسر داشت بر اساس منطق گفتگویی باختین}, abstract_fa = {جریان سیال ذهن، بازگشت به گذشته و به نقد کشیدن آن، حضور شخصیت های تاریخی، بینامتنیت، درگیر شدن خواننده با متن، تأکید بر بی نهایت بودن معنا و عدم قطعیت از ویژگی های رمان های پسا  مدرن است که امکان گفتگوی این آثار را با دیگر متون فراهم می کند. عباس معروفی در مجموعه آثار خود مانند پیکر فرهاد، سمفونی مردگان، سال بلوا، فریدون سه پسر داشت و غیره به اصول داستانی پست مدرنیسم به ویژه بینامتنیت پسامدرنی گرایش داشته است. پژوهش حاضر، بر مبنای نظریة منطق گفتگویی به تحلیل رمان فریدون سه پسر داشت با داستان پادشاهی فریدون در شاهنامه پرداخته است. نتیجة این تحلیل نشان می دهد که در این رمان، نویسنده با بهره مندی از برخی مؤلفه های پسا  مدرن به ساختارشکنی و نقیضه پردازی از روایت اسطوره ای فریدون در شاهنامه روی آورده است. وی از خلال دلالت های معناشناختی و ارزشی جدید، کارناوال گرایی و دورگه کردن سخن شاهنامه، جدال همیشگی بشر بر سر تصاحب قدرت را به تصویر می کشد و جامعة پدرسالار و مردسالار ایران را مورد انتقاد قرار می دهد}, keywords_fa = {منطق گفتگویی,باختین,شاهنامه,فریدون سه پسر داشت,عباس معروفی}, url = {https://jls.um.ac.ir/article_34411.html}, eprint = {https://jls.um.ac.ir/article_34411_71ee7959cfbf649760324ad37d09aca0.pdf} } @article { author = {Aydenloo, Sajjad}, title = {Deraxti ke Talx Amad u ra Serešt… (about three famous distiches attributed to Ferdowsi and Process of imitation from them in Persian poem)}, journal = {New Literary Studies}, volume = {49}, number = {2}, pages = {107-129}, year = {2016}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v49i2.56912}, abstract = {1. Introduction According to the main text of Shahnameh, the Sasanian Yazdgerd III after awareness of defeated his armies toward Arabs and to be killed Rostam Farrukhzad, he consults with the elders of court and says to them “he wants to go of Baghdad to Marv and stay near ruler there Mahoe Suri that he is his bred. Farrukhzad one of the leaders of that community to Yazdgerd says: که این را یکی داستان است نو به بدگوهران بر بس ایمن مشو بکوشی کزو رنگ بیرون کنی که هرچند بر گوهر افسون کنی تو بر بند یزدان نیابی کلید چو پروردگارش چنان آفرید In Cairo manuscript (796 AH) after the third line the three bits is as follows: گرش درنشانی به باغ بهشت درختی که تلخ آمد او را سرشت به بیخ انگبین ریزی و شیرِ ناب ور از جوی خُلدش به هنگامِ آب همان میوۀ تلخ بار آورد سرانجام گوهر به کار آورد The lines except Cairo handwritten (796 AH) do not exist in any of the editions basis editing of Dr. Khaleghi Motlagh and also editions of Saint-Joseph, Saadlou and margins of Zafarnameh and it is extension. The main references of fame and using the three mentioned lines the name of Ferdowsi, satire is attributed to him. For the reason that popularity Ferdowsi’s lampoonery and reputation with enhancement and development of lines called satire from the early eighth century onwards, the three bits of writings and various narratives of satire entered the literary and historical sources and alone or with the number of their back and forth lines called Ferdowsi was written. Poet of the lines anyone who is probably he considered to older example to verse them and as previously researchers have noted to it, these two lines belong to Abushakur Balkhi, Forth century poet it is available in his the book Mathnavi “Afarinnameh”: اگر چرب و شیرین دهی مر ورا درختی که تلخش بود گوهرا همان میوۀ تلخت آرد پدید از او چرب و شیرین نخواهی مزید 2. Discussion The three well-known lines attributed to Ferdowsi due to the important issue and the form of its human-social, visual and expression construct of the poem and famousness of that called Ferdowsi particularly in the form of satire section and addressed to Sultan Mahmud Ghaznavi, it attracted the attention of many different poets and several examples according to its pattern were composed so that these bits we can consider as one of the full more imitation the poem sonnets in Persian literature history. To the best of my research, the oldest example like this lines-which is likely imitated them- three bits is in the poem “large Faramarz-nama” (probably composed in the late fifth century) and then there are other similar examples that most notably of them is four lines belong to Abdollah Hatefi Jami it became a new model for following a number of poets and in Qassim Husseini Gonabadi’s lyrics, poem of Zarrin Ghaba-nama, sonnet of Vali Gholi Beyg Shamlou, Arefi, Mohebbi and etc. is imitated of that. 3. Conclusion In this article, fifteen similar examples to imitate the three famous bits attributed to Ferdowsi was shown that the most repetition word/content element/ image maker in the lines and sonnets is the word “Serešt” with eight times ingemination and then words and compounds are located such as “Češme /Āb Behešt” (6 times), “Behešt and its belongings” (Bāq, Tāvus, Anjir, Kabab and Morq” (5 times), “Jibrail” (5 times), “Mey, Angabin, Shir and Golāb” (4 times), “Hur” (3 times), “Āb Hayat” (3 times) and “Derakht” (2 times), respectively. The other point, because Hatefi in his well-known imitation from lines attributed to Ferdowsi, “Zāq” has replaced to “Deraxt” in the first bit and conditional section of speech and to impact of this change, creatures and other animals have brought in part of his speech such as: “Bačče Mār af'i', Bačče Div, Bačče xuk, Kudake Zangi and Bache Joqd. In other words, element of plant and tree (“Deraxt” and “Nān”) in the original and ancient samples of this literature, in previously imitations generally has become to animal and human. Another noteworthy point, the number of lines is this imitation sonnets that in most examples (nine cases) to following the original pattern (lines attributed to Ferdowsi) is the three bits and three samples also with imitation from Hatefi’s lines have gone to parody of this content and format. The longest adapted is five lines, as well and it belong to Amir Ali Shirnavaei.}, keywords = {Ferdowsi,satire,attributed couplets,imitation,Hātefi}, title_fa = {درختی که تلخ آمد او را سرشت... (دربارۀ سه بیتِ  مشهورِ منسوب به فردوسی و سابقه و سیرِ تقلید از آن ها در شعر فارسی)}, abstract_fa = {در هجونامۀ منسوب به فردوسی سه بیتِ معروف وجود دارد که ضبط اصلیِ آن ها مطابق با کهن ترین منابع چنین است: درختی که تلخ آمد او را سرشت ور از جوی خُلدش به هنگامِ آب سرانجام گوهر به کار آورد گرش درنشانی به باغ بهشت به بیخ انگبین ریزی و شیرِ ناب همان میوۀ تلخ بار آورد این سه بیت که به احتمالِ بسیار، بر الگوی دو بیت از آفرین نامۀ بوشکور بلخی ساخته شده، به دلیلِ شهرتِ  انتساب به فردوسی و هجونامۀ نامدارِ او بسیار مورد توجّه و تقلیدِ شعرای دیگر قرار گرفته است؛ به طوری که می توان آن را یکی از پرتقلیدترین قطعاتِ شعریِ منسوب به فردوسی و حتّی تاریخ شعر فارسی دانست. قدیمی ترین استقبال از این سه بیت در فرامرزنامۀ بزرگ (اواخر قرن پنجم) است و پس از آن از سدۀ هشتم و نهم به بعد، گویندگانِ مختلف به نظیره گوییِ آن برخاسته اند که مشهورترینِ آن ها چهار بیتِ هاتفی جامی است. در این مقاله چهارده نمونه از تقلیدها و قطعاتِ مشابهِ  سه بیتِ منسوب به فردوسی، به ترتیبِ تاریخی معرّفی و بررسی شده است.}, keywords_fa = {فردوسی,هجونامه,ابیات منسوب,تقلید,هاتفی}, url = {https://jls.um.ac.ir/article_34435.html}, eprint = {https://jls.um.ac.ir/article_34435_b939df4ee34d7abc61093ffc8b2f5853.pdf} } @article { author = {JalalianChaleshtari, Mohammad Hasan}, title = {Seeking Mate or Mate Seeking: A Suggestion for the Edition of a Line of Shahnameh}, journal = {New Literary Studies}, volume = {49}, number = {2}, pages = {131-141}, year = {2016}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v49i2.45713}, abstract = {1. Introduction Thebeginning of the reign of Kavus coincides with the battle of Mazandaran. The exordium of the story is as follows: Kavus and his heroes are drinking wine and celebrating his enthronement. The Div (Ahreman) made himself like a musician and demanded the chamberlain to let him play before the king.As soon as thechamberlain brings him to the presence of the king, he starts playing lute and singing about the beauties of Mazandaran. In this description of Mazandaran, there are some ambiguities that need particular considerations. Among the verses of the description there are two verses which are consecutive in all the manuscripts. The following verses are based on Shahnameh edited by KhaleghiMothagh: Nivāzandebolbol be bāghandarun Gorāzandeāhu be rāghandarun Hamišenayāsāyadazjoft-juy Hamesāleharjāy rang-ast o buy (Shahnameh, vol.2, pp. 4-5, verses 28-29) 2. Methodology Mohl has recorded the first hemistich of the second verse as hamišebiyāsāyadazjost o juy; the editors of the Moscow edition have registered it as hamišebiyāsāyadazxoft o xuy; Dabir-Siaghi and Kazzazi as hamišenayāsāyadazjost o juy; Jeihuni as hamišenayāsāyadazxoft o xuy, and Revaghi as hamišebiyāsāyadazxoft o xuy. Kazzazi has explained his record as the strutting gazelle never stops running and leaping in the meadow. Though he has statedthat the two variants ofxoft o xoy and joft o juy,are not applicable and appropriate, at the end of his comment, he has declared joft o juy as companionwhilementioning that juy in this word might be a kind of partial reduplicative for the emphasis of the meaning ofjoft. The underlying reason is Th’alebi’sexplanationofthis part: its birds are coupled. KhaleghiMotlagh has explained the last word of the first hemistich of the second verse as: Joft-juy in the aforementioned verse might be an agentive noun,while it can be an abstract noun in the sense ofmating. The gazelle (also the nightingale) does not rest from coupling even a moment.Herein, it may be an agent noun: “the gazelle does not restbeacause ofcoupling (male) gazelle”.However, the first concept is more probable. Anyway, this complexity has caused joftjuy to change into joft o juyin some manuscripts. 3. ResultandDiscussion Three forms have attracted the scholars more than other forms: jost o juy, xoft o xuy, and joftjuy. The form xoft o xuy which is recorded just in two manuscripts is not valid. To the researcher’s best knowledge, the scholars who have chosen this term have not made any attempt to prove it. Semantically, the nearest word to this form is xoft o xiz whichis more frequent in shahnameh. It is possible that the complexity of the verse along with thesemantic concept of the scribes have caused the emergence of xoft o xuy. However,the combinationof xoftand xuy is seen nowhere and potentially it is not possible at all. Although it is has been recorded in five manuscripts, the form jost o juy which is interpreted as leaping and runningby Kazzazihas no weightsinceeven if its meaning was established, the verse itself would have no logical meaning. The singing nightingale in the garden and the leaping gazelle in the meadow never rest from searching and investigating!It seems that Kazzazi in this case has mixed the terms jostand jast. The first idea which Khaleghi has proposed is more notable. The fact that some of the words made by the present stem might have infinitival meaning is totally accepted. Some words such asdast-bus, dast-cin,etc. are examples of such compounds. However,the problem is that thousands of such compounds with the same construction do not have the infinitival meaning and the existence of compounds with such meaning will not guarantee the extension of such meaning to other compounds,especially, when all the instances of joftjuy in other texts as well asShahnameh have the function of agent noun. Another point which should be taken into account is that though joftjuy with the agentive role does not grant a suitable meaning to the verse, is not a difficult form which might cause so many disagreements in the manuscripts. If this form were the original one, the scribes most probably might have recorded it in the same formsincethere are no disagreements across seven otherverses of shahnameh in which this word is used. None of the editors of Shahnameh has considered joft-o-juy as the correct form. Even Khaleghi, who has great regards to the manuscript of Florence has not tried to justifythis form as itis recorded in hismanuscript as well.Khaleghi’ssuggestionis to consider just this latter form as the accurate one and analyze it as a compound word with the infinitival meaning based on the present and past stem of the verb. These compounds have some varieties in Persian asone of their constructions is to conjoin the present and past stem of the same verb by addingo. goft-o-guy andpoxt-o-paz are examples of this group of compounds. Although none of the present and past stems of this hypothetical verb is recorded in Persian texts, it is possible to find a trace of the past stem (=joft) in the history of Persian, i.e. Middle Persian. In fact, on the basis of thepast stem along with the phonological processes and sound changes,one can reconstruct its present stem, too. The Middle Persian verb juxtanto intercourseis from the root yaog- to bind, to yoke.There are so many derivatives based on this root in Old and Middle Iranian languages. The old past participle of this root which is also preserved in Avesta is yuxta-. This form has been reached to Middle and New Persian, respectively as juxt and joft. Since the primary past stems in Middle Persian are the remnants of the past participles, one can simply assume juxt as the past stem in this language. Beside this past stem it is possible to reconstruct the present stem. For instance, one of the present stem forms ofyaog in Avesta is the root-stem yaog-. The result of this present stem in Middle Persian cannot be anything other than jōy-. Although this present stem has not been seen in any text yet, it has appeared as the second component of the joft-o-juy in the verse in question. This word is also recorded in an Interpretation of Holy Quran (i.e.,TafsireQuran-e Pak) as Joft-o-jur. This latter case is justified by taking into account the evolution of šost-o-šuy to šost-o-šur. Relying on the proposed idea, the two verses in question can be interpreted asthe singing nightingale in the garden and the leaping gazelle in the meadow do not rest from mating and always are in the work of intercourse and reproduction.}, keywords = {Shahnameh,Present stem,Past stem,Infinitive,compound}, title_fa = {«جفتْ‌‌جوی» یا «جفتوجوی» (پیشنهادی برای تصحیح بیتی از شاهنامه)}, abstract_fa = {آغاز پادشاهی کیکاووس با ماجرای جنگ مازندران همراه شده است. داستان بدین قرار است که کاووس به همراه پهلوانان سرگرم باده‌گساری است که دیو (= اهریمن) چون رامشگری از سالار بار می‌خواهد تا او را به نزد کاووس ببرد. سالار بار پس از کسب رخصت از شاه، دیو را به حضور او می‌برد و در کنار نوازندگان جای می‌دهد. دیو بربط می‌نوازد و سرود مازندرانی در ذکر زیبایی های مازندران سر می‌دهد و چنان توصیفی از مازندران می‌کند که شاه را به کشیدن سپاه به مازندران برمی‌انگیزد. ادامۀ داستان شامل مخالفت پهلوانان و بزرگان با این اقدام و استمداد آن ها از زال برای برگرداندن رأی شاه و ناکامی او در این کار و لشکر کشیدن و گرفتار شدن شاه و لشکریان در مازندران و ماجرای هفت‌خوان رستم و کشتن دیو سپید و رهانیدن شاه و لشکریان و فتح مازندران است.}, keywords_fa = {شاهنامه,مادّۀ مضارع,مادّۀ ماضی,مصدر,ترکیب}, url = {https://jls.um.ac.ir/article_34449.html}, eprint = {https://jls.um.ac.ir/article_34449_4f2a9cf8a4d03c3a01b47d9e8258e7fc.pdf} }