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kaveh Ghanbari; Aliakbar Forati
Abstract
With the defeat of the Sâsaniân authoritarian government, the Middle Persian language gradually faded and disappeared in the Divan (Government organizations). The Pahlavi language was replaced by the Arabic language, which was considered a sacred language in the light of the holiness of the ...
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With the defeat of the Sâsaniân authoritarian government, the Middle Persian language gradually faded and disappeared in the Divan (Government organizations). The Pahlavi language was replaced by the Arabic language, which was considered a sacred language in the light of the holiness of the Holy Quran. In such a situation, every writer and secretary in Iranshahr poured his mind and thought into Arabic, and this language became the language of the elites of the 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 components of Iranian culture into Arabic, the most prominent of which were the Iranshahri festivals, which provided a platform for the rest of the cultural traditions of Iran 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, Mehrgân, Sadeh, Râm, Âfrijkân, and Khorroz festivals were celebrated in the order of their importance at that time. Nowruz, Mehrgan and Sedeh had more of an occasion aspect and were expressed as court celebrations; Although the century and its ruling atmosphere have been described more than Nowruz and Mehrgân; On the other hand, Ram, Âfrijkân (Abrizgan) and Khorroz (Shab Chele) have been important among the masses of people. In the celebration of songs, the presence of Iranian culture in Arabic poetry is visible in the form of elements such as landscape poems, flowers, colors, Names of kings like Kasra Annoshe-ravan, Ŝahanŝâh (The Imperor) vintage and music
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.
