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Showing 3 results for Šâhnâmeh
Hasan Shahryâri , Kiânoush Beirânvand,
Volume 33, Issue 98 (5-2025)
Abstract
Epic stories and ideas have capacities that partly nourish revolutionary and liberation movements and partly serve antihuman, dictatorial systems and various forms of fundamentalism. The epic potential of Iranian stories, depending on the needs of each period, has manifested itself occasionally in epic poems, at times between the lines of historical works, and at other times as novels and historical stories. The historical fiction, as one of the newly emerging literary genres in the Qajar period, maintains a deep connection with epic narratives and ideas, and writers have made use of it with different aims and methods. Therefore, it is necessary to conduct a study aimed at examining the goals of the writers, how they were used, and even the developments that led to the epic and epic ideas in these works. This study was conducted using library sources and a descriptive-analytical and comparative method. The findings indicate that in the first period of historical novels (1905–1921), considering the danger of the destruction of Iranian identity in the face of foreigners, authors sought to promote epic ideas with an educational view to create a spirit of resistance, unity, and defense of the homeland, while in the second period (1921–1941), the epic element functioned as a tool at the service of the court and the expression of the nationalist ideas of the first Pahlavi era. In the third period (1941–1953), under the influence of the Allied occupation of Iran and the weakening of the court, epic ideas declined, and stories and ayyar (rogue) heroes replaced epic thought and heroic champions.
Saeed Amiriniâ, Javâd Dehqâniân,
Volume 33, Issue 98 (5-2025)
Abstract
The trajectory of the Shahnameh studies from its inception in 1915 until the end of 2006 has been critically evaluated in several articles. These studies have examined factors such as the quantitative growth of articles, the reasons behind the fluctuations in the Shahnameh scholarship, and the thematic, content-related, and structural weaknesses of the articles. However, these earlier analyses have paid less attention to the degree of innovation in research methods, hypotheses, and novel findings, which are among the most crucial components of a scholarly article. This study addresses two fundamental indicators of scholarly research articles on the Shahnameh and Ferdowsi published between 2007 and 2011, examining innovation in two of their main sections: the research problem and the research method. For this purpose, 210 scholarly research articles published in the last five years of the 1380s (in the Iranian calendar) were categorized into nine thematic groups based on academic criteria. Subsequently, the level of innovation and trend-setting impact of these articles was assessed based on specific indicators. Quantitatively, the thematic categories of "Textual Studies of the Shahnameh," "Comparative Analyses of the Shahnameh with Other Works," and "Analyses of Characters in the Shahnameh" have higher frequencies than other topics. The results indicate that, compared to previous periods, qualitatively, thematic and methodological shortcomings have diminished in the articles of this era, and fresh perspectives and new approaches have emerged in the Shahnameh studies. In the thematic category of "Textual Studies of the Shahnameh," due to various factors such as the publication of a critically edited version of the Shahnameh, a greater focus on literary theories, and comparative and intertextual studies, some articles have been published that have, at times, been trend-setting.
Hâmed Dâlvand, Mohammad Khosravishakib, Safiyeh Moradkhani, Rasul Heydari,
Volume 33, Issue 98 (5-2025)
Abstract
The story of “Rostam and Šaqâd” is one of the most technical and coherent narratives in the Šâhnâmeh. In this story, the most prominent hero, Rostam, is removed from the narrative flow. His interest and attachment to Rostam caused Ferdowsi to show great sensitivity and obsession in removing Rostam from the narrative. In order to remove this national figure, Ferdowsi had to exert a lot of linguistic and psychological precision to make the death of such a great and invincible character appear reasonable. As a concrete and systematic approach, new criticism attempts to show the verbal patterns, harmony, coherence, and the internal unity of the components in a work by giving authenticity to the text. The premise of this article is that Ferdowsi tried to make the death of a hero like Rostam believable to the reader by using categories called “trust game” and “emotional deception”. Premises such as “charming”, “persuading”, “creating crisis and urgency”, “creating astonishment”, “transforming my story into ours”, “collusion”, “attracting trust”, “accelerating trust”, and “conspiracy” make Rostam’s murder believable to a great extent. In this article, using the method of qualitative and precise description and analysis of the text, an attempt is made to evaluate Ferdowsi’s linguistic and psychological premises for the justification of the death of his great hero.
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