Extract from the senior dissertation of dramatic literature
Accepted in Rahpooyeh Honar Scientific Research Quarterly, Soore University: August 29th, 2018
Archetype analysis of Renaissance and Rebirth, Hero and Immortality in Sug-e-Siavash
Seyed Hadi Seyed Sadjadi
Dr. Majid Houshangi
Abstract
In this research, archetype analysis of renaissance and rebirth, hero and immortality in Sug-e-Siavash`s ritual will be examined and analyzed. Based on the archetype analysis which is a subset of psychological criticism in the modern age relying on mythological narratives and analysis of myths and legends, mythologists have discovered repetitive symbols based on the subconscious, which “Carl Gustav Jung” called “Archetype”. According to “Jung”, the archetype is the human aspirations that have not been achieved over the centuries and are part of the collective unconscious that appears in the minds and souls of human beings in the guise of dreams and fantasies. Since the ritual in question has been transmitted orally and chest to chest, it cannot be traced back to its original origins and it is necessary to rely on subsequent research and documentation to the extent that it is based on such an existing procedure and characteristics. As a result of the proposed work, the mentioned archetypes can be examined from a religious, cultural, temporal and political perspective and based on a descriptive/analytical method. In the first hypothesis of this research, we deal with the myth-oriented nature of Sug-e-Siavash's ritual. In this way, Sug-e-Siavash's ritual using fictional and dramatic capacities have formed epic and mythological narratives that have the ability to implement archetypes of renaissance and rebirth, hero and immortality. Sug-e-Siavash's ritual begins with the Iranian national hero and during his heroic journey, he constantly suffers from renaissance and rebirth, like when he comes out of the fire, pure, victorious and proud and finally with his martyrdom, mourning, and grieving in The belief of the Iranians is formed to immortalize him. In these cases, the first answer to the question of this study is also revealed which identifies the archetypes of renaissance and rebirth, hero and immortality.
Relying on different theories and citing various sources, this study has tried to prove that the ancient Iranians, contrary to the opinion of many scholars, along with other ethnic groups in other parts of the world, had dramatic rituals that had a sacred aspect in the beginning and the most important documentary of this speech is the knowledge of the ancient Iranians to quoting stories and storytelling, which has been shown over time in a modern way and in accordance with the new definitions of drama. Sug-e-Siavash's ritual with its religious background under the control of the Moghans was in praise of the infallible Iranian general and later spread to Iranians as a myth and legend, so that “Ferdowsi” in the “Shahnameh” organized the event.
Keywords
Hero, renaissance and rebirth, immortality, archetype, myth, epic, Sug-e-Siavash, dramatic ritual
Title: Archetype analysis of Renaissance and Rebirth, Hero and Immortality in Sug-e-Siavash
Date: 08/2018
Place: Soore University/Tehran/Iran (Persia)
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MFA of Drama / Dramatic Literature - June 2018 (Archetype analysis of Renaissance and Rebirth, Hero and Immortality in Ancient Persian Rituals and Drama)
Abstract
In this research, the archetype analysis of renascence and rebirth,
hero and immortality will be discussed in the ancient Persian ritual and
dramas such as “Sug-e-Siavosh”, “Moghkoshi”, “Mirnoorozi”, “Naghali”, and “Rhymes
of Zorvan`s religion”.
Based on the archetype analysis that is a subset of psychological critique in the modern era, mythologists؛ based on mythological narratives and the analysis of myths and legends, have discovered repetitive symbols based on the unconscious, which Karl Gustav Yong calls them؛Archetype.According to Jung, the archetype is the human desires and hopes that has not been gained over the ages and is part of a collective unconscious that appears in the minds of men in the veins of dreams and imaginations. Because the rituals have been transmitted verbally and chest to the chest throughout the ages, their original roots cannot be reached, and they have to proceed on the basis of subsequent research and documentation, to the point where the “Moghkoshi” ritual, known as the “Shahkoshi” Has been explored to indicate that the naming of this ritual was only based on the concurrency with another ritual called “Faragh e Mehr Sepand”. Since the ancient Persians saw the Shah as a human being, a father and a ruler (one of the archetypes), they never allowed desecration of his honor, and therefore the killing of the king was unusual, and the killing of the king was based on unionism and commander politics has happened.
Based on such an approach and features in the works, the mentioned archetypes can be examined on religious, cultural, political, and timing perspectives. This scrutiny will go up to the point where, in the Mirnoorozi's dramatic manner, governance has been accompanied by religious/cultural practices that took place overnight, which coincided with the days of Nowruz.
In the first hypothesis of this study, we will focus on the myth-centeredness of the rituals and antiquities of ancient Iran, in which the ancient Persian theatrical rituals, using dramatic and talent capacities, have shaped epic and mythological narratives that are capable of implementing renascence and rebirths, hero and immortality`s archetypes, like the drama of Sug-e-Siavash, which started with the Persian national hero and during his heroic journey, constantly suffers from birth and renaissance, just like when he was burned up and came out clean of it victoriously and proudly, and ultimately, with martyrdom, a funeral is formed in the beliefs of Persians to immortal his presence.
In these same cases, the answer to the first question of this review also appears to indicate the repertoire of renascence and rebirth, hero, and immortality. This research, based on the opinions of the great men of the arena of mythology and based on various sources, has come to this conclusion and seeks to prove that the ancient Persians, and unlike many scholars, have demonstrative rituals along with other people’s elsewhere which at the beginning of the Holy Scriptures have been vindictive and the most important documentary of this word, the ancient Persians are narrated in story and storytelling, which has been shown in modern form in accordance with modern definitions. Then, the archetypes of the ancient Iranian rituals will be dealt with.
Based on the archetype analysis that is a subset of psychological critique in the modern era, mythologists؛ based on mythological narratives and the analysis of myths and legends, have discovered repetitive symbols based on the unconscious, which Karl Gustav Yong calls them؛Archetype.According to Jung, the archetype is the human desires and hopes that has not been gained over the ages and is part of a collective unconscious that appears in the minds of men in the veins of dreams and imaginations. Because the rituals have been transmitted verbally and chest to the chest throughout the ages, their original roots cannot be reached, and they have to proceed on the basis of subsequent research and documentation, to the point where the “Moghkoshi” ritual, known as the “Shahkoshi” Has been explored to indicate that the naming of this ritual was only based on the concurrency with another ritual called “Faragh e Mehr Sepand”. Since the ancient Persians saw the Shah as a human being, a father and a ruler (one of the archetypes), they never allowed desecration of his honor, and therefore the killing of the king was unusual, and the killing of the king was based on unionism and commander politics has happened.
Based on such an approach and features in the works, the mentioned archetypes can be examined on religious, cultural, political, and timing perspectives. This scrutiny will go up to the point where, in the Mirnoorozi's dramatic manner, governance has been accompanied by religious/cultural practices that took place overnight, which coincided with the days of Nowruz.
In the first hypothesis of this study, we will focus on the myth-centeredness of the rituals and antiquities of ancient Iran, in which the ancient Persian theatrical rituals, using dramatic and talent capacities, have shaped epic and mythological narratives that are capable of implementing renascence and rebirths, hero and immortality`s archetypes, like the drama of Sug-e-Siavash, which started with the Persian national hero and during his heroic journey, constantly suffers from birth and renaissance, just like when he was burned up and came out clean of it victoriously and proudly, and ultimately, with martyrdom, a funeral is formed in the beliefs of Persians to immortal his presence.
In these same cases, the answer to the first question of this review also appears to indicate the repertoire of renascence and rebirth, hero, and immortality. This research, based on the opinions of the great men of the arena of mythology and based on various sources, has come to this conclusion and seeks to prove that the ancient Persians, and unlike many scholars, have demonstrative rituals along with other people’s elsewhere which at the beginning of the Holy Scriptures have been vindictive and the most important documentary of this word, the ancient Persians are narrated in story and storytelling, which has been shown in modern form in accordance with modern definitions. Then, the archetypes of the ancient Iranian rituals will be dealt with.
Keywords
Hero, Renascence, and rebirth, Immortality, Archetype,
Sug-e-siavash, Moghkoshi, Mirrenorozi, Naghali, rhymes of Zorvan`s religion.
Title: Archetype analysis of Renaissance and Rebirth, Hero and Immortality in Ancient Persian Rituals and Drama
Date: 06/2018
Place: Soore University/Tehran/Iran (Persia)
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Date: 06/2018
Place: Soore University/Tehran/Iran (Persia)
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The Structure of Minimal Scripts in Iranian Cinema - January 2017
Abstract
Minimalism is one of the most influential mini-grams influenced by formalists on the focus of Russian formalism, which became popular in the 1950s and early 1960s, and attracted many scholars, thinkers, and writers.
A thought derived from simplicity and unity in the Word, which relied on the extension of meaning through the assignment of a person or a disciple, differently based on the number of individual's thoughts about the truth.
In this simplicity, the regularity that emerges in the arts manages to perpetuate the inner chaos of an individual and, by attacking the perturbation, arrives at the equilibrium of life. In the same way in the writing, the authors, with the most concise expressions, have transmitted numerous ideas to the reader, avoiding the excesses of other sources to counteract the aggressiveness in the modern world and its fast pace are eager to overcome.
The use of limited time-frames and complex issues in the
context of a realistic, deep-seated issue with a limited number of
personalities is expressed and reveals a dramatic impact on the audience.
Like a wavy sea, in which it creates its endless creations, it presents the thoughts to the person. Relaxation through intrinsic violence. That is what it is and at the same time, is not.
Like a wavy sea, in which it creates its endless creations, it presents the thoughts to the person. Relaxation through intrinsic violence. That is what it is and at the same time, is not.
Title: The Structure of Minimal Scripts in Iranian Cinema
Date: 01/2017
Place: Soore University/Tehran/Iran (Persia)
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