Religious Narrations in Ashoura’s Killing Places: Narrations of Holy Qasem Ibn Hassan in Three Historical-Fictional Killing Places: Rozatolshohada, Toufanolboka and Moharagholgholoub

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Hayati Zahra

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Journal Paper

Paper Information

Journal: Journal of Ritual Culture and Literature Year:2022 | Volume:1 | Issue:1 Page(s): 85-114

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Information Journal Paper

Title

Religious Narrations in Ashoura’s Killing Places: Narrations of Holy Qasem Ibn Hassan in Three Historical-Fictional Killing Places: Rozatolshohada, Toufanolboka and Moharagholgholoub

Author(s)

Hayati Zahra | Issue Writer Certificate

Keywords

Killing Place

Religious Narration

Rozatolshohada

Moharagholgholoub

Toufanolboka

Abstract

Religious Narration is a literary style in narration of Killing Places. This style is mostly seen in historical-fictional Killing Places after the 16th century. Due to their eloquent influence, some Religious Narrations are gradually accepted as historical reality, and their analysis will fulfil two purposes: (1) recognizing historical and evolutionary development of Religious Narrations in Ashoura’s narrations in the Persian language, and (2) identifying the origin of some distortions in the historical reports of this event. Killing Place researchers classify the Killing Place and Killing Place narrations into two general types: valid Killing Places that mostly include the old resources and writings of the 9–11th centuries, and the resources dealing with story telling that consist of the Killing Places related to 12–21st centuries. This paper analyzes Religious Narrations in three historical-fictional Killing Places, Rozatolshohada, Toufanolboka and Moharagholgholoub, which have provoked serious criticism in terms of historical report criteria, but are valued in terms of literary writing and artistic style. The scope of the research is the narration of Holy Qasem Ibn Hassan’s fights and martyrdom whose narrations in many parts may not be supported by evidence. The results indicate that many Religious Narrations are related to the dialogue of the characters, especially Imam Hussein’s family members, which in most parts are unfounded and have emotional content.

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