List of Articles Rostam

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  1 - Figure (Naghsh) and Banner (Derafsh): An Investigation into the Underlying Relations between Hero, Color, and Figure in the story of Rostam and Sohrab
  محمدکاظم  یوسف‌پور نسرین  کریم‌پور
  Underlying structures of literary or artistic works are shaped by implied and multilayer semantic relations among their constituents. At the surface structure, they manifest as aesthetics of the works. So, their key concepts and symbolic meanings should be sought at the More

  Underlying structures of literary or artistic works are shaped by implied and multilayer semantic relations among their constituents. At the surface structure, they manifest as aesthetics of the works. So, their key concepts and symbolic meanings should be sought at the layer of deep structure. Shahnameh is a literary work having rich meaning depth, and broad underlying semantic relations. The variety and multiplicity of its constituents open it up to study from different perspectives. Focusing on two frequent structural elements in an episode in the story of 'Rostam and Sohrab', namely, 'the color of Sarapardeh' and 'the figure of Darafsh', this article reveals the their implicit relations, and sheds light on one part of the colorful and mysterious world of this masterpiece, in order to show to what extent the overall meaning and the numerous concepts of the text have been conveyed through these two elements alone. Manuscript profile
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  2 - A Structural Survey of Kin Combat in the Poems of ‘Rostam-o-Sohrab’, ’Borzu Nameh’, ’Jahangir Nameh’
  Ahmad Khatami علی  جهانشاهی افشار
  Despite the existence of numerous works and hero-epics in Persian literature, it is noteworthy that they all have similar structures and consist of limited elements. Of course this is not a new subject. The structuralists like Levi Strauss, Vladimir Yakovlevich Propp, a More

  Despite the existence of numerous works and hero-epics in Persian literature, it is noteworthy that they all have similar structures and consist of limited elements. Of course this is not a new subject. The structuralists like Levi Strauss, Vladimir Yakovlevich Propp, and Frazer, have already discussed it. The present article studies ‘kin combat’ in the poems of: ‘Rostam and Sohrab’,’Borzunameh’,’Jahangirnameh’, based on a structural approach. According to findings of the research, the common fixed elements of these works are as follows: accidental visit of the hero to a foreign land, his accidental meeting with a daughter in a foreign land , his marriage abroad, hero’s leaving his wife, giving her a token , birth of an extraordinary baby, child’s departure to his father’s land, assistance of the father’s enemies’ to him, deception, defeating father’s vanguard army by child, father being called by the king to fight the child, asking each other’s names, triple combats, child introducing himself to father. Manuscript profile
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  3 - Investigating the Dramatic Aspects of Rostam and Sohrab Story in Shahnameh Based on Aristotle’s Views on Drama
  داود  حاتمي
  Among the mythological, heroic, and historic stories in Shahnameh, the heroic ones are of better ground and more fascinating perspectives for study than the others. Isolation of heroic function from the functions of mythological-king-hero character and its appearance in More

  Among the mythological, heroic, and historic stories in Shahnameh, the heroic ones are of better ground and more fascinating perspectives for study than the others. Isolation of heroic function from the functions of mythological-king-hero character and its appearance in a particular character named hero, with his own actions and feelings that are increasingly similar to a common human behaviors and emotions on one hand, and Ferdowsi’s (the poet’s) tendency to investigate and interpret the hero’s internal motivations facing epical events, on the other hand, have made the characterization aspect of the work deeper and more elaborate, and also promoted the structure of the story from a mere heroic narration to a dramatic structure with its embodiment potential, that latter effect is more prominent in some of the heroic stories. The study of dramatic aspects of these stories, in addition to understanding the dramatic potentials, helps their typology be more methodological and exact. This article, selecting one of the most well known heroic stories of Shahnameh, i.e. Rustam and Sohrab story, and through an introductory emphasis on the originality of its Iranian version, compared with the non-Iranian ones, attempts to investigate its dramatic aspects based upon Aristotle’s Poetica, as the most ancient and, at the same time, credible thesis on recognizing drama and its mechanism in the context of the classic verse and prose works; and presents its own results. Manuscript profile
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  4 - 'Other' and its Function in the Stories of Shahnameh
  كاظم  دزفوليان راد  
  'Other' is a concept attentions to which were attracted through the works of scholars such as Husserl, Heidegger and Sartre (in philosophy) and Bakhtin (in literature). Attention to it provided new perspectives for philosophical and literary debates. Using Bakhtin's vi More

  'Other' is a concept attentions to which were attracted through the works of scholars such as Husserl, Heidegger and Sartre (in philosophy) and Bakhtin (in literature). Attention to it provided new perspectives for philosophical and literary debates. Using Bakhtin's views, and the status of the 'Other' in his thinking system, the present article reads the stories of Shahnameh where Rostam is present, and offers new horizons to the readers. Considering presence or absence of the 'Other', the stories of shahnameh can be divided into three groups: a. The stories indicating exclusion or absence of the 'Other'. b. Shahnameh mostly consists of the stories of this type c. The stories stressing on non-absence and maintainance of the 'Other'. The only instance is the story of Rostam and Esfandyar, where the two opponents – both good and mythical – never wish the other to be excluded. d. The stories intermediating a & b types, like the story of Rostam and Sohrab containing the elements of both epic and tragedy. Manuscript profile
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  5 - Rostam vs. Arjan A Comparative Study of the Characters In Shahname and Mohabaharat
  حسينعلي  قبادي Alireza  Siddiqui
  Mohabahart is an Indian work of epic, which narrates the war of Pandowan between the five sons of Raja Pand and gurus, the sons of Raja, to rule over a region called, Hastnapur. In this eighteen-day war, Pandowan defeats his cousins. Arjan, one of the characters, who s More

  Mohabahart is an Indian work of epic, which narrates the war of Pandowan between the five sons of Raja Pand and gurus, the sons of Raja, to rule over a region called, Hastnapur. In this eighteen-day war, Pandowan defeats his cousins. Arjan, one of the characters, who shoulders a large number of responsibilities during different events, resembles Rostam in many ways. It is the objective of this paper to compare the two champions: their relations with gods, their marriage in a foreign land, having a son, becoming aware of revitalizing herb, going on seven dangerous journeys, and finally each killing his own brother. Attempts have been made to prove that due to the immigrations of the tribes from Iran to India, the Iranian beliefs, customs, and mythology, have had a profound impact on Indian epics. Manuscript profile
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  6 - A comparative analysis of narratives about “Rostam” and “Goshtasb” in Ferdowsi’s Shahnameh (Based on the Interaction of Cyclic and Lnear Patterns of Time, in the Formation and Critical Study of the Narratives)
    محمدکاظم  یوسف‌پور
  In Persian literature, Ferdowsi’s Shahnameh has been used as the resource of many researches and an interesting subject for many literary and non-literary scholars. The special multidisciplinary structure of this masterpiece and the diversity and the extent of its nar More

  In Persian literature, Ferdowsi’s Shahnameh has been used as the resource of many researches and an interesting subject for many literary and non-literary scholars. The special multidisciplinary structure of this masterpiece and the diversity and the extent of its narratives provide an opportunity for different interpretations using methods like historicism, discourse analysis and narratology in contemporary research arena. Searching in historical origins, this article aims at studying the way of narrative building in narratives about Rostam and Goshtasb, and they interacted in epic. The use of cyclic pattern in codification and organization of historical narratives mainly leads to the formation of narratives with mythical and epical contents that limits and transubstantiate events and historical characters in the predetermined substructure patterns. As much as the historiography method under the influence of cyclic pattern of time leads to the ambiguity of historical origins of events and characters, identification, and repetition in this method of historiography, the linear transition of events with story-like narrating ploys, provides narratives about events with different historical and temporal origins that appear to be coherent since they are formed under the domination of cyclic perception of time, and they do not transfer the whole past. For this reason, and according to neo-historicism perspective, every historical narrative is a story about the past which is not equal to the past. After matching the dual patterns of time perception with epistemology schools of history, by using discourse and narratology approaches, this article displays how the cyclic and linear patterns influence the narratives related to Rostam and Goshtasb, and their permutations. Manuscript profile
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  7 - Rostam and Searching for Individuality in Jahangirnameh
  Reza Satari Aliakbar Bagheri Khalili sogol khosravi
  Jahangirnameh, written by Qāsem-e Mādeḥ is one of the epic poems that describes Rostam’s life after the death of Sohrab and then explains his acquaintance with Delnavaz, the daughter of Messiah, the praytal (Massihā-ye Ābed) and the birth of Jahangir and the narration o More

  Jahangirnameh, written by Qāsem-e Mādeḥ is one of the epic poems that describes Rostam’s life after the death of Sohrab and then explains his acquaintance with Delnavaz, the daughter of Messiah, the praytal (Massihā-ye Ābed) and the birth of Jahangir and the narration of his courageous actions. In the first section of the story, Rostam who feels lost, confused and sad after killing Sohrab, leaves his home land and goes to Mazandaran to start an inner journey through entering the unconscious world which transforms his personality. Rostam‘s journey to Mazandaran, the events he goes through and what he experiences can be reviewed as an archetype. This research Using the notion of the process of individuality based on Jungian analytical psychology studies the archetypes in Jahangirnameh, including mask, Anima, shadow, the sage, etc. and analyzes the process of individuation of Rostam. In this story, Rostam, after killing Sohrab, becomes ready to regain his lost individuality by leaving the conscious world (Iran) and entering an unknown unconscious world (Mazandaran) and confronting the elements and aspects of unconsciousness. Rostam’s individuality which has been distorted after the death of Sohrab, is reconstructed after facing Jahangir who is a substitute for Sohrab. Manuscript profile
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  8 - Description in The Story of Rostem and Sohrab
  Ghodsiyeh  Rezvaniyan Ahmad 
  Description is a part of most literary texts. Considering its great importance, description has not been given the attention it deserves especially, in Persian literature. In this article in addition to reviewing the previous definitions and theories, by using a method More

  Description is a part of most literary texts. Considering its great importance, description has not been given the attention it deserves especially, in Persian literature. In this article in addition to reviewing the previous definitions and theories, by using a method close to that of structuralists, a new classification of types of description is presented which is achieved through the analysis of description in the story of Rostam and Sohrab. According to this method, description is considered a dynamic linguistic proposition (not a static one) which represents features and consists of three basic elements: subject (the descripted), describing words, and the feature. This research intends to prove that description has a crucial role in any literary text since it is the foundation of narrative and poetry. Thus, the form and content of various types of description are analyzed in the story of Rostam and Sohrab as a descriptive narrative text. It is also tried to achieve a theory of description in Persian literature based on the results. Manuscript profile
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  9 - The investigation of mythological structure of the first fight of the Indo-Iranian Hero
         
  This study aims at analyzing the structure of narratives about the first battle of the three Iranian heroes Garshasb, Sam and Rostam to define the common structural pattern in them and compare it with the myth of Indra’s fight who was the Indo-Iranian god of war, with V More

  This study aims at analyzing the structure of narratives about the first battle of the three Iranian heroes Garshasb, Sam and Rostam to define the common structural pattern in them and compare it with the myth of Indra’s fight who was the Indo-Iranian god of war, with Vitra, the evil god of drought. With this purpose, and using a structural analysis of myth, narrative segments of these heroes’ first battles will be defined and their mythemes will be compared. Then, it will be revealed how the structural patterns in these narrative are in consistent with Indra’s first and famous battle. The aforementioned battles take place in parallel with an event that is the young hero/god becomes his father’s successor by removing his authority. Thus, the result of the research suggests that there is an intertwined relationship between the fight of Indo-Iranian hero with dragon, and the elimination of the venerable status of the hero’s father. It seems that these two events are somehow the transformed forms of one another and each is the alternative for the other one. Here, there is one linking element that keeps the two sides of the equation connected like a chain, and it is the weapon of having a father, i.e. the symbol of father`s power to defeat the dragon and consequently denying the father’s authority. Manuscript profile
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  10 - A comparative critical analysis Rustam & Shaghad's story (Based on three editions of Shahnameh)
  محمود حسن آبادی لیلا شیرازی
  20.1001.1.17351030.1398.17.52.3.3
  Shahnameh is one of the most valuable works in Iranian culture and has always been of interest to people from all walks of life. Many scribes and copywriters have reproduced it and this has produced many manuscripts.There have been many differences and discrepancies in More

  Shahnameh is one of the most valuable works in Iranian culture and has always been of interest to people from all walks of life. Many scribes and copywriters have reproduced it and this has produced many manuscripts.There have been many differences and discrepancies in the writing of verses, interpretations and words between these manuscripts and, consequently, between the numerous editions of the Shahnameh. Minovy, Nooshin, Davies, Khatibi and Aidenlo have done some research on Shahnameh publications but no independent research has ever been conducted on the differences and discrepancies in those editions of the story of Rostam and Shoghad, which is one of the most important and prominent stories of Shahnameh. Regarding the importance of this issue, the authors of this paper, with the aim of examining the differences among the editions and manuscripts of Shahnameh in the story of ‘Rostam and Shoghad’, have focused on three editions of Shahnameh (I.e. the editions of Khaleghi, Moscow and Mohl) and by applying a comparative-analytical method, they have extracted, classified, analyzed and ultimately attempted to find the sources and causes of these differences and discrepancies.The results of this study indicate that the the main motivations to add verses (eleven verse) by the scribes have been the completion of the structure or characterization of the story, or to add to its semantic and emotional aspect. These additions can be identified mainly by the principle of "authenticity of the brief recording". Although there are various causes in phonetic and lexical interference, the main reason was to simplify the text and bring it to the audience's understanding. In any case, the main reason for all these interferences is the lack of copyright loyalty to the original text. It is worth noting that the results of this essay are restricted to this story and ought not to be generalized to every story of Shahnameh. Manuscript profile
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  11 - Bānu Gošasb, A Scythian heroine
  marzie azimi Roozbeh zarrinkoob
  Bānu Gošasb is a famous heroine who has always been considered because of her special personality.The question that arises is about the origin of such a character and such a heroine.This heroine always has been related to goddesses, while mythological, historical, and s More

  Bānu Gošasb is a famous heroine who has always been considered because of her special personality.The question that arises is about the origin of such a character and such a heroine.This heroine always has been related to goddesses, while mythological, historical, and sociological origins have been supposed for her, and also, some researchers introduce her emanating either from matriarchal culture or patriarchal culture. In this essay, following the traces of her origin, we raise this question “Is Bānu Gošasb a Scythian heroine”?For this purpose, we refer to the Scythia of the Rostam family. Afterwards, we gather the features of Scythians, Sarmatians, and Scythians females;Because Bānu Gošasb is Rostam's daughter and if Rostam is from Scythian family, his daughter is also a Scythian lady.We examine the character of Bānu Gošasbin various texts and finally compare her characteristics with Scythian women. The result of this study shows that many characteristics of Bānu Gošasb and Scythian women are common and Bānu Gošasb is a Scythian heroine. Manuscript profile
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  12 - Dragon killing Zāl
  saeid shahrouei ebrahim mohammadi Sayyed Mahdi Rahimi
  20.1001.1.17351030.1400.19.62.6.0
  Zāl is always distinct from Sām and Rostam regarding his special heroic actions. He killing dragons and brings wealth to Irānshahr from a different and new narrative point of storytelling. The degradation of Zāl in the world champion’s battle had been discussed and is p More

  Zāl is always distinct from Sām and Rostam regarding his special heroic actions. He killing dragons and brings wealth to Irānshahr from a different and new narrative point of storytelling. The degradation of Zāl in the world champion’s battle had been discussed and is pointed out that Zāl in the process of turning myth to epics, the underlying structure related to the act of dragon slaying, or his primary archetype in battles with femiciding dragons, about the alliance with Rōdābeh, daughter of Mehrāb a descendant of dragons, who has a symbol of fertility in his domain, becomes the reason for redemption of Rōdābeh and also the birth of a power like Rostam, so that with the world championship being transferred to Rostam, he becomes the guardian of Iranshahr against the attacks of Afrāsiāb, who is descent of dragons. Purism demonstrates that, there are signs of, Mehr-Izad myth in Mehrab’s character. Manuscript profile
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  13 - Rakhsh: horse entrusted from Garshasp to Rostam
  saeid shahrouei ebrahim mohammadi Sayyed Mahdi Rahimi
  In this article, by analyzing the text and using a comparative method, the similarities between Rostam and Gershasep are examined from the point of view of the physical characteristics of the horses of those two. After receiving the title of world heroism, Rostam stands More

  In this article, by analyzing the text and using a comparative method, the similarities between Rostam and Gershasep are examined from the point of view of the physical characteristics of the horses of those two. After receiving the title of world heroism, Rostam stands against Afrasiab who has sent a large army to invade Iran. But in order to stand against the Turanians and set foot on the battlefield, he wants two things from Zal: one is a mace and the other is a horse. First, Zāl gives the mace of Garshasp- his great grandfather-to Rostam and then, by gathering many herds of horses, provides the conditions for Rostam to choose a suitable horse. Rostam chooses a slim waist horse from various horses. Regarding to the meaning of Garshasp's name and also attending to many similarities between him and Rostam, such as: being born from mother's side, being similar in dealing with fire, falling into a holl, a similar battle with Akvān and Gandarva, etc. it is hypothesized that Garshasp, who means the owner of a thin horse, in addition to his mace, gives his slender horse to Rostam as well. So, Rakhsh can be a reflection of the part "Kres" or "Kresh" in the name "Garshasp" which means lean horse. Manuscript profile