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kaveh Ghanbari; Aliakbar Forati
Abstract
With the defeat of the authoritarian and centrist government of the Sassanids by the Muslim Arabs, the use of the Middle Persian language in the court and government organizations gradually faded and then disappeared. The Pahlavi language, which until then was the official language of the government ...
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With the defeat of the authoritarian and centrist government of the Sassanids by the Muslim Arabs, the use of the Middle Persian language in the court and government organizations gradually faded and then disappeared. The Pahlavi language, which until then was the official language of the government and the language of many works created at that time, gradually gave its place to the Arabic language, which was considered a sacred language in light of its sanctity of the Holy Quran. In such a situation, every writer in Iranshahr poured his mind and thoughts into the Arabic language, and the Arabic language became the language of the elite group of Iranian society and the language of contemporary culture. From writing letters in the courts to writing news and reviews, etc., everything was in Arabic. In this situation, Arab poets of Iranian origin who played the role of connecting Iranian cultural and literary traditions; They introduced the elements of Iranian culture into the Arabic language, one of the most prominent of which was the Iranshahri celebrations, which provided a platform for the rest of Iran's cultural traditions to be transferred through this channel. In the current research, Iranian festivals in the works of writers and poets of Yatima Al-Dahr book were examined with a literary-historical-social approach. The findings of this research show that Nowruz, Mehrgan, Sadeh, Ram, Afrijkan, and Khorroz festivals were celebrated in the order of their importance at that time. Nowruz, Mehrgan and Sadeh had more of an occasion aspect and were expressed as court celebrations; Although the Sadeh and its ruling atmosphere have been described more than Nowruz and Mehrgan; On the other hand, Ram, Afrijkan and Khorroz have been important among the masses of people. In addition, the influence of Iranian culture on Arabic poetry is evident, ranging from Iranshahri celebrations to the description of the components of Iranian culture such as nature, spring, flowers, colors, and music, etc.
Fateme Zeynaliegolnabadi; Narges Zaker Jafari
Abstract
Manifestation ...
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Manifestation of spring messengers is a special matter among the New Year signs of Iranian culture.It has been years “Haji-Firouz” is known as a messenger of spring in cities especially in Tehran city. The purpose of this research is investigating of Haji-Firouz character and an archetypal approach of him reference to the Jung’s psychological theories. Psychology is one of the sciences that has a multilateral connection with rituals and myths. Archetypes are one of the important subjects among Jung’s psychoanalytic and personality psychology. Although these elements are located in the collective unconscious of man, they show signs in the conscious mind that cause the type of archetype to be recognized, and this recognition has made it possible for mankind to understand the symbols and mysteries of the mind and nature.In this research, concentrating on Nowruz ritual and considring Haji Firooz characteristics features ,symbols and signs, the attempt is to explore his nature compared to Jung's archetypal and collective unconscious relationships point of view so that the hidden mysteries in this character have been known more clearly. The questions this study is trying to answer are: What has been the reason of the continuation of Haji Firooz existence till now? To what extent the character of Haji Firooz overlaps the framework of archetypes which are the bridge between science and myth?According to the result of this research, we can look for "self" archetype as the most adjustment of Haji-Firouz and Jung archetypes. Properties such as iteration, correlation of mandala geometric symbol with tambourine, Snake’s bestial symbol and eternity and its connection with Haji-Firouz hat are mediatative in this case as well as the feature of opposites sum and mutual confrontation. Also presences of Haji-Firouz features in “Anima”, “Shadow” and “Mask” archetypes are traceable too. This study shows Haji-Firouz can be consider and placed in the scientific myth framework that is why in spite of deep cultural and political evolutions through the history it has lived in collective Iranian subconscious and its presence has been continued in Iranian objective cultural world. This investigation has been performed based on collecting information which was carried out with a analytical-descriptive method.
