CULTURE AND FOLK LITERATURE
Year:2019 | Volume:7 | Issue:26 |Papers Count:10

The abundance of Iranian jokes, especially about the elite governors of the Qajar era, is important to examine their position in the political life of the mass. Conciseness and irony, as well as the inherent attraction of humor, have fostered the spread of these jokes in society and made them an effective tool in the political struggle of the mass. The question is whether these jokes seek to disrupt one of the official narrative sections of the government and which areas of domination have been denied? Our hypothesis is that among these jokes, the ones that challenged the authority of the state and the inherent nature of its components for the general public have a special place. In the case of jokes denying the authority of the state, there is a clear disobedience of the mass representative to the representative of the government, which leads to the success of representative of the mass, and in the jokes that confront the claims of superior elites, significant personal weaknesses were observed. Simultaneously by this jokes, people challenged the domination of power and dignity, and their efforts were aimed more at neutralizing domination. The theoretical framework of research is based on the theory of "hidden narratives" by James C. Scott, who tried to explain the resistance of the mass to openly criticize power without protest. So far, no research has been done to analyze the political jokes of the pre-constitution period.

Today, in historical and cultural studies, objects and images are also called sources of information as text-document. They are important not only to supply the information of written sources, but also to provide information enabling writers of historical texts who have not been able to express them. Examining these works and reading commonly used cultural themes can help better understand public opinion and lifestyle. The themes of magic and amulet are derived from the main doctrines and ways of thinking. The common cultural and religious ties that unite them are closely tied to the popular culture of the people. In the context of this study and in order to understand the influence of ideology and religion on the material culture of the Qajar period, the authors have tried to apply different themes to these works by studying the case of armbands to answer the following question: how do Islamic Shi'a notions fit into the apparent structure and patterns of Qajar armbands? Research methodology is descriptive – analytical. In this research, this issue has been addressed in two parts of the position of Iranian-Islamic culture and the formal and cultural annexes of amulets (narratives, codes and decipherments). The result of this study, while demonstrating the direct effect of Shia and Islamic beliefs on Qajar periodical armbands, showed the direct effect of popular beliefs on how these works are used and designed.

In this article, one of the most iterative examples of Iranian tales and myths, heroism and the victory of the last child, has been examined, based on the ancient examples of the child's model from the view point of Jung. Son or the third daughter, fourth, seventh, fortieth or hundredth, who is in fact the youngest child, fights against his brothers and sisters in a scene of balanced struggle and triumphs. In this paper, several types are first selected and for each type, a story has been chosen. Then, the stories are examined according to the three characteristics that Young attributes to the child's old model. The results indicate that the latest children of tales with smaller than small while bigger than big character than Jung model have a close connection with the three attributes of rejection, invincibility and hermaphroditic talent.

Marriage and its rituals have always preoccupied the inhabitants of this country. The wooden horse is part of the ancient rituals practiced in some parts of the central plateau, including Khorasan during the marriage ceremony, but Sabzevar is one of the main centers for manifestation of this practice. This ritual has a symbolic function. In this research, various aspects of this ritual are discussed. What is the significance of the wedding ceremony and the presence of a horse in this ritual? In this research, which is descriptive-analytical, firstly, the author has focused on how to hold this ritual, the method of making doll and its components, the presentation of this ritual and the presence of horses in these rituals, the myths and the origin of the ritual of these myths. The next part is allocated to its context and source. The record of this ritual and the fact that the ceremony is gradually falling in oblivion-what necessitates the statement of problem. The ceremony is currently held in Khorasan, Hussein Abad, Aran and Bidgol.

The image and description of the image of beloved is one of the most important issues in Persian and folk poetry. Images and testimonies help both draw objectively the beloved body and the attitude of the poet, as well as the general attitude of the society and culture in which the poet lives. The purpose of this research is to examine the images and descriptions of the beloved body in Bakhtiari's folk poems by comparing them to the image of beloved in Persian poetry to answer the following questions: What elements are used to describe the beloved body and what are the adjectives that show the differences and similarities with Persian poetry in this area? The results of the research showed that, in Bakhtiari folk poems, the images look more like typographic characters (sensory, sensory, singular to singular and detailed), and that the names of this type are different. The poets used this type of comparisons in which the signified is much closer to the referent. Bakhtiari's life is based on nomadism, alongside agriculture and, to this end they rely more on the sky and constellation. A greater number of these elements is therefore used to illustrate the climatic color of the images which is very high. Compared to Persian poetry, there are differences and similarities that are more similar in terms of descriptions and differences in the field of imagery.

Some castles are called daughters’ castle. There are two main points about the reasons to choose this name. First, because of the difficulty of access and the impossibility of siege, they are called like this. In addition, this name indicates the attribution of these places in ancient times to ancient goddesses such as Anahita. The recent commentary on the tendency of contemporary Iranians to recognize ancient themes in monuments and works of art have become relatively popular and have thus influenced the identification of the origin of some sacred places, such as the sanctuaries of Zoroastrian mosques and Muslim. This article assesses the historical validity of these two points of view and suggests that this designation is not related to the complication of the claimed castles or the ancient Iranian religion. This article shows that the denomination of these castles is as a result of the people's fantasy and uses the treasure of folk tales. Their common theme is the presence of a girl in the castle. The types of folk tales associated with the naming of the castles of girls are presented in this article.

One of the intrinsic qualities of literature as art is beauty. The important musical and linguistic elements make poetry beautiful by creating deviation. Sherveh which is one of the well-known examples of southern Iran musical art (Hormozgan and Bushehr ) is not the case of exception. The present research aims at introducing as much as possible the verses as well as the study of the aesthetic elements of this type of poetry, with a rhetorical criticism and a descriptiveanalytical approach. The corpus of the present study consists of Fayez Dashtestani and Mahya Bastaki lyrics. The results of the research indicate that the main reason for the survival of these poems, in addition to their content, is due to the aesthetic components of these poems, which shows that these two poets are totally mastered the poetry. These two poets were able to create beauty in their poetry by using simple language, the most popular vocabulary and the vast frequency of inventive figures corresponding to the linguistic context of poetry, such as comparison and metaphor. A linguistic and literary beauty which are in perfect harmony with the emotional texture of the poem, its content and its audience in general.

Among the various types of oral literature and due to their richness, tales and myths have the ability to examine the origin and effects of anthropology, sociology, psychology, etc. Some sociologists believe that their knowledge of the institution of the family in Iran's past is negligible. Therefore, history, especially folktales, can illuminate parts of social life that are far from the eyes of sociologists. The question of power is one of the subjects of interest in sociological studies in family institution. Understanding the distribution of power within the family in past periods represents a lot of social change. In this article and in order to examine the power structure within folklore tales; the structure of power, its methods of action and the type of resistance in front of power, as well as the sources of power production in family relationships, were examined in 93 kinds of folk narrative using content analysis approach. The results showed that the power structure in family is highly dominant and is represented in terms of paternity in relation to the child. In relations between men and women, in addition to domination, there is an intimate and legitimate relationship that women accept based on traditional ideologies, the power of men even in intimate relationships. The methods for exercising more power are forced, but the type of resistance, especially girls 'resistance to domination, and boys' active resistance to the father for passive reasons are evident. Gender-related beliefs, socio-economic resources and tips, such as the child's tone and hints, are among the sources of energy production in the family.

The use of different metaphors in text by language speakers reflects their attitude and perception. Ideologies create metaphors to realize their beliefs and teachings. In this way, the role of metaphor in society and in life is undeniable. As a reflection of the thoughts of the speakers of a language, the proverb is part of the local and popular literature that can be considered as one of the best ways to express the common thoughts among them. The name of the animals is one of the widely used words in Persian proverbs and in the poetry of the past and in contemporary poets to represent the material and spiritual instances. By adopting a descriptive – analytical research methodology, this research aims at investigating conceptual metaphors of animals in literary texts based on cognitive linguistics theoretical framework. The data gathered is based on “ the great dictionary of Persian proverbs “ by Hassan Zolfaghari. The results of the total proverbial corpus of this dictionary concerning the use of animals showed that 184 mappings were observed, among which the conceptual metaphor of "weakness” with 26 proverbs and 15 mappings was the most frequent, followed by the conceptual metaphor, respectively. "Hostility” with 21 proverbs and 8 mappings, "strenghtness" metaphor with 15 proverbs and 6 mappings and finally the metaphor of "ignorance and disbelief" with 12 proverbs and 5 mappings have been frequently used.

Folk tales are among the fascinating and dynamic forms of folk culture and literature reported in oral and ancient tales. Farahvar is one of the most prominent concepts in mythological and epic beliefs revealed by folk stories. However, obvious examples of the kings of Farahmand in mythology and the epic types have inherited their form, but this form is not the only way to acquire the character of Farahvar. By adopting a descriptive-analytical research methodology, this article attempts to reveal the nature of Farvahar in a collection of four volumes of Iranian stories. The study of Iranian stories and the extraction of many examples from the stories showed that the nature, the manifestations, the forms and the characteristics of Farvahar retain their mythological functions in the Persian narratives. Farvahar is often inherited from stories, and there are examples of this gift taken temporarily or permanently from the king. However, the promising ideas of folklore in the context of narratives allow the lower strata of society to reach the level of monarchy. It should be noted that the spirituality that exists in the stories of Farvahar and the tales, and the luck of the individuals is also a platform for the emergence of archetypes of the model.