A COMPARATIVE STUDY OF

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FANAEIAN T.

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Journal: HONAR-HA-YE-ZIBA Year:2008 | Volume:- | Issue:32 Page(s): 101-108

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Information Journal Paper

Title

A COMPARATIVE STUDY OF "SHABIH" (LIT. SIMILAR) AND "SHAKHSIYAT" (CHARACTER)

Author(s)

FANAEIAN T. | Issue Writer Certificate

Keywords

CHARACTERRQ2

IRANQ2

SHABIH (SIMILAR)Q2

TA'ZIYEQ3

TRAGEDYQ3

WESTQ3

Abstract

The common terminological mistake about the equality of TRAGEDY and TA'ZIYE may also be seen in "character" and "similar". That is why the people present in a TA'ZIYE show are regarded as the characters of that play, for example, they are referred to as the Imam Hossein character, Hor character, etc., while the term "Shabih" (lit. "similar") is based on an intellectual and philosophical basis. This basis forms a special structure and certain rules in the performance of TA'ZIYE. Dealing with the characteristics of this word requires a scientific comparison between Character and similar. The scientific definition of character, according to psychologists like Freud and Jung, and the quality of the character development in the WESTern drama reveal that this word has a semantic connotation which is based on details. On the other hand, Shabih is a word which is more holistic within the framework of TA'ZIYE. In providing this difference, some other features such as the relationship between the issues of place and time, the opposition between the two words, Knowledge and ignorance about the future and some other issues may be traced. Character takes its roots in the dramatic literature in the material aspect of human being. That is why the gods residing in the Olympus mountain receive human characteristics when they interfere in humans activities. This way, the psychology of the person should be studied in the particular physical- social, psychological and cultural circumstances. Shabih (similar) which takes its roots from the IRANian narrative plays such as Maddahi, Parde Khani, Naghali and finally TA'ZIYE; represents a general nature: good or evil. From an outer point of view, it does not coincide with reality. But thanks to the symbols and discourse features, it reflects the facts, and makes use of the signs in order to provide a real face of the good and the evil. It abstains from imitating the speech and the deeds of the characters of the play, in order to prove its independence from the CHARACTERR we have in mind. Therefore, it does not recnstruct the details of CHARACTERR speech or actions, but simulates his internal actions with poetic and musical signs and symbols. So it can be concluded that Shabih simply describe the events, and drives the sympathy of the audience to the good front, as well as driving the hatred of the audience to the evil group. The cause and effect relations in the realistic plays, as well as all the plays which claim a reflection of the external or internal realities of the person in his particular temporal and locative situations, follow the same real and tangible temporal and locative features. However, in TA'ZIYE plays, the cause relations are functions of the cause and effect relations in a mental world, so the material worldly criteria can not represent them.

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APA: Copy

FANAEIAN, T.. (2008). A COMPARATIVE STUDY OF "SHABIH" (LIT. SIMILAR) AND "SHAKHSIYAT" (CHARACTER). HONAR-HA-YE-ZIBA, -(32), 101-108. SID. https://sid.ir/paper/5707/en

Vancouver: Copy

FANAEIAN T.. A COMPARATIVE STUDY OF "SHABIH" (LIT. SIMILAR) AND "SHAKHSIYAT" (CHARACTER). HONAR-HA-YE-ZIBA[Internet]. 2008;-(32):101-108. Available from: https://sid.ir/paper/5707/en

IEEE: Copy

T. FANAEIAN, “A COMPARATIVE STUDY OF "SHABIH" (LIT. SIMILAR) AND "SHAKHSIYAT" (CHARACTER),” HONAR-HA-YE-ZIBA, vol. -, no. 32, pp. 101–108, 2008, [Online]. Available: https://sid.ir/paper/5707/en

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