Date: 11/2018
Place: Iran (Persia)
Sunday, November 4, 2018
Wednesday, August 29, 2018
Archetype analysis of Renaissance and Rebirth, Hero and Immortality in Sug-e-Siavash-August 2018
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)
Wednesday, June 27, 2018
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 based on 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 by 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 based on 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 by 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)
Date: 06/2018
Place: Soore University/Tehran/Iran (Persia)
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