Relevant bibliographies by topics / Mythology, Iranian

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Mythology, Iranian'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Mythology, Iranian"

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Lincoln, Bruce. "Pahlavi kirrēnīdan: Traces of Iranian Creation Mythology." Journal of the American Oriental Society 117, no. 4 (1997): 681. http://dx.doi.org/10.2307/606450.

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Mortezaee, Mahlagha, and Mohsen Abolqasemi. "The Concept of ‘MiOra’ in the Ancient Iranian Mythology." Asian Culture and History 8, no. 2 (2016): 76. http://dx.doi.org/10.5539/ach.v8n2p76.

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MiOra (male) is the name of one of the Ancient Iran’s gods. MiOra, meaning ‘contract’ and keeping it within measure, is the gist of Manichaean ethics and has mighty and theurgic forces. The myth prevalent in Mihr-Yašt is that MiOra observes all the contracts agreed upon in the society, sets people free of troubles, and brings peace and security. The myth has had important consequences for beliefs and behaviors of the people of the time. However, even though MiOra was dignified in Zoroastrianism, Ohrmazd was regarded as God of gods in this religion. Yet, MiOra is close to Soroush and Sun and has a lot in common with them. He was also highly dignified in the eras of Achaemenian, Parthian Empire, and Sasanian and could find its way to Europe in the era of Parthian Empire. The remnants and remainings of the Mithraic religion and temples can also be observed in Iran’s ancient athletics and Zurkhaneh. The purpose of the present paper is to give the readership a review of the concept of MiOra, as it was conceived in the ancient Iran and the relationship the concept has with some other significant concepts that were contemporary to MiOra.
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Saadi-nejad, Manya. "Sūdābeh and Rūdābeh: Mythological Reflexes of Ancient Goddesses." Iran and the Caucasus 20, no. 2 (2016): 205–14. http://dx.doi.org/10.1163/1573384x-20160204.

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Many female characters in the Šāhnāmeh are striking for their extraordinary independence and self-assertion, qualities not typically associated with women in the medieval Islamic society in which Ferdowsi lived. This may be an indication that such female figures have superhuman roots, possessing features that may be derived from those attributed to goddesses in ancient mythology. The characters of Sūdābeh and Rūdābeh who can be seen as representing opposing archetypes of feminine power are analyzed in terms of their possible derivations from female divinities in Iranian and Mesopotamian mythology.
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Farahani, Ebrahim Vasheghani, Mahtab Hassani, and Naeimeh Taheri. "Implementation of Human Creation Myth in Iranian and Semitic Mythology." Asian Journal of Research in Social Sciences and Humanities 5, no. 5 (2015): 265. http://dx.doi.org/10.5958/2249-7315.2015.00124.0.

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Kulikov, Leonid. "The First Woman Yamī, Her Origin and Her Status in Indo-Iranian Mythology: Demigoddess or Half-human? (Evidence from R̥gveda 10.10, Iranian Parallels and Greek Relatives)." Studia Ceranea 8 (December 30, 2018): 43–75. http://dx.doi.org/10.18778/2084-140x.08.03.

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This paper focuses on the mythology of Yamī and her twin-brother Yama (the first humans according to Indo-Iranian mythology), their non-human origin and some aspects of Yamī’s behaviour which presumably betray a number of features of a female half-deity. The relationships between Yamī and Yama are the central topic of the dialogue hymn Rgveda 10.10, where Yamī attempts to seduce her twin to incest in order to produce offspring and thus continue the human race. This offer is refused by Yama, who refers to the inappropriateness of incest. Although Yamī and Yama are humans according to the Vedic tradition, their origin from two half-deities – a Gandharva father and an Apsara mother – remains inexplicable: how could a couple of non-human beings (half-deities or demons) give birth to humans? Obviously, the mythological status of the twins should be reconsidered. I argue that at least one of them, Yamī, retains immortality and some other features of the non-human (semi-divine) nature. On the basis of the analysis of the Yama and Yamī hymn and some related Vedic texts, I argue that this assumption may account for certain peculiarities of Yamī’s behaviour – particularly her hypersexuality (which can be qualified as demonic type of behaviour), as opposed to the much more constrained, human type of conduct displayed by Yama. Given the notoriously lustful character of the Gandharvas, an origin from this semi-divine creature may account for Yamī’s hypersexuality. Although the word gandharvá- does not have Indo-European etymology, we can find possible Indo-European parallels. In particular, the Gandharvas are comparable with the Centaurs, which cannot be etymologically related but possibly originate in the same non-Indo-European source. There are some reasons to assume that both words are borrowed from the Kassite language and mythology, which, in turn, may have been related to the language and culture of the Proto-North-Caucasians. Although we do not find exact equivalents of Yamī outside of the Indo-Iranian pantheon, indirect parallels can be found in other Indo-European traditions. The Apsaras (water nymphs) can be compared to a variety of water deities (nymphs) in Greek mythology, such as the Naiads, or to the Slavic rusalki.
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Simidchieva, Marta. "Zoroastrian Mythology and Iranian Modernism in Sadeq Hedayat’s «The Blind Owl»." Papers of the Institute of Oriental Studies of RAS, no. 28 (2020): 186–214. http://dx.doi.org/10.31696/2587-9502-2020-28-186-214.

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Shapira, Dan. "Īrān-o Tūran: On Iranian (and Quasi-Iranian) in the Ruhnama." Iran and the Caucasus 14, no. 2 (2010): 265–78. http://dx.doi.org/10.1163/157338410x12743419190188.

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AbstractAfter the disintegration of the Soviet Union, political élites of some of the former Soviet republics, especially the Turkic-speaking ones, found themselves in ideological limbo. The first President of Turkmenistan, Saparmurat Niyazov (Saparmyrat Nyýazow), has trodden his way out from the vacuum of legitimacy in the most original and interesting manner. In 2001, Niyazov, known also as Turkmenbashi (Türkmenbaşy), made public his book, Ruhnama, which later has been translated into about fifty languages. The book, appealing to the Oğuz Turkic heritage of the Turkmen nation, to her remote Parthian past, and to vague Islamic cultural inheritance, was supposed to provide guidelines for nation-building and cohesiveness. Atatürk's Nutuk was one of the literary models of Niyazov's book. Having fixed the newly-invented national mythology in writing, Niyazov was not only shaping his society in the desirable manner, but also legitimising his own rule. This paper analyses fragments of different—and not identical—versions of the first part of the work in several languages, mostly in Turkmen, Turkish, Russian, and English. The author suggests that the text of the Ruhnama was updated several times, with different translations reflecting different stages of fixing the original; the English text was translated faithfully from the elaborated Turkish translation, not from the Turkmen.
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Borumand, Safura. "Cornucopia: Origins, diffusion and adoption in ancient Irano-Indian semiosphere." Studies in People's History 5, no. 2 (2018): 166–79. http://dx.doi.org/10.1177/2348448918795754.

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Cornucopia or the horn of plenty is one of the cultural and social symbols that signify abundance and blessing in Western culture. Cornucopia originated from Greek mythology, partly related to the legend of Zeus, and partly to the legends of Hercules, Hades, Demeter and Tyche. The sign of cornucopia is also depicted on ancient Iranian and Indian artworks, and the obvious inference is that this was due to Hellenistic influence in both countries.
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Anikina, Anna Alexandrovna. "J. R. R. Tolkien and the Indo-Iranian Mythology: Certain Intersections of Plots." Filologičeskie nauki. Voprosy teorii i praktiki, no. 2 (February 2021): 350–54. http://dx.doi.org/10.30853/phil210046.

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Lahe, Jaan. "Mitra-Mithra-Mithras: The Roman Mithras and His Indo-Iranian Background." Acta Antiqua Academiae Scientiarum Hungaricae 58, no. 1-4 (2018): 481–91. http://dx.doi.org/10.1556/068.2018.58.1-4.28.

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Summary One of the key questions in the studies of the Roman cult of Mithras has been, since the works of F. Cumont, the question about the religious historical origin of the cult – regarding which there is no consensus to this day. Theories about the origin of the cult can be divided into three groups: (1) the so-called “strong” Iranian thesis, according to which the cult was imported from Iran; (2) the so-called “weak” Iranian thesis, claiming that just a few, mostly irrelevant elements of the cult originated in Iran; (3) a radical stance that there is no consistency between the Roman cult of Mithras and the Iranian cult of Mithra and what the two have in common is simply the similar name of a god. The author of this presentation has studied comparatively the character of Mitra in Indian religious literature, that of Mithra in Iranian religious and mythological texts as well as in Iranian religious iconography, and Mithras in the cult devoted to him in Rome, and has concluded that the radical belief common in current Mithras studies, according to which Mithras is connected with Mitra and Mithra only by them having similar names, is just as erroneous as the “strong” Iranian thesis defended by F. Cumont and G. Widengren. Although it is certain that the Roman cult of Mithras is not a cult imported from Iran, but a new cult that originated in the Roman Empire, the author of this presentation maintains that the Roman cult of Mithras contains a series of motifs that can be found both in the Vedas and in Iranian mythological texts: connection of Mitra/Mithras with friendship and a contract of friendship; certain military traits; connection with cosmogony and the cosmic order; connection with light, the Sun and the chariot of Sol; the role of the god as a giver of water and fertility; the idea of a sacrifice that stimulates fertility. Based on the sources linked to the Roman Mithras, in particular the iconography, it may be claimed that a large part of these motifs did not have a peripheral role in the mythology connected with the cult, but they carried an important, maybe even a central role. As the previously mentioned motifs were already interrelated in India and Iran, the author of this presentation believes that their coexistence in the mythology of the Roman cult of Mithras cannot be a coincidence but testifies to the wider Indo-Iranian background of the central figure of the cult, the god Mithras, which should not be ignored even if the Roman cult of Mithras is viewed as a new cult that evolved in the Roman Empire and within the context of the Greco-Roman religion.
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Dissertations / Theses on the topic "Mythology, Iranian"

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Nosrat, Shahla. "La chevalerie iranienne : ‘Ayyâri, à travers le récit médiéval de Samak-é ‘Ayyâr." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC027.

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Jusqu'à présent, plusieurs études ont été consacrées au 'Ayyâri et à ses origines, mais aucune n'a visé le cœur mythique de cette chevalerie qui se nourrie du culte de Mithra. Cette thèse étudie en premier lieu la genèse de la chevalerie iranienne et ses idéaux dans un contexte mythico-religieux où la fonction de l'lzad Mithra est analysée comme celle de la grande Déesse-Mère des sociétés archaïques mèdes et scythes bien avant la réforme religieuse de Zoroastre. En deuxième lieu, puisque la femme est le pivot de tous les événements du récit, la thèse en se basant sur les fonctions et les caractéristiques d'un Mithra féminin, étudie la place et le rôle prépondérant de la femme dans le système religieux mithriaque. L'objectif consiste à dévoiler les raisons socio-religieuses pour lesquelles la femme est considérée, depuis la religion de Zoroastre, comme un être inférieur dans toutes les religions postérieures au caractère monothéiste et dans toutes les sociétés du type patriarcal<br>Till today, several studies have been devoted to Ayyâri and its origins, but none of them has pointed to the cuit of Mithra who is the mythical source of this knigtit. This thesis studies, firstly, the origins of lranian chivalry and its ideals in a mythical-religious context in which the function of the lzad Mithra is analyzed as one of the greatest Mother-Goddess of archaic societies of Medes and Scythian; well before the religious reformation of Zoroaster. Secondly, forasmuch as the woman is the axis of all events in the story, this thesis analyzes the status and leading role of women in the Mithraic religious system, based on the functions and features of a female Mithra. The aim is to reveal the socio-religious reasons for which the woman isconsidered, since the religion of Zoroaster, as an inferior in all the subsequent religions with monotheistic character and in all the patriarchal societies
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Wolff, Shahla. "Origines indo-européennes des deux romans médiévaux : Tristan et Iseut et Wîs et Râmîn." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00720933.

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L'examen attentif des concordances ponctuelles et annexes des romans de Tristan et Wîs et Râmîn de Gorgâni dévoilela survivance d'un passé idéologique commun provenant de I'idéologie tripartite des Indo-européens. Comme le récitdu roman persan date de l'époque parthe, cette thèse pour découvrir l'énigme d'une transmission ou d'un emprunt, se focalise sur I'origine iranienne de certains thèmes et motifs du roman de Tristan et retrace la migration d'un rameau des peuples iraniens en Europe jusqu'en France. Ce peuple que la mémoire historique connaît sous le nom des Alains était I'un des descendants des Scythes qui étaient eux-mêmes les frères nomades des Parthes.
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Nosrat, Shahla. "Origines indo-européennes des deux romans médiévaux : Tristan et Iseut et Wîs et Râmîn." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC002/document.

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L'examen attentif des concordances ponctuelles et annexes des romans de Tristan et Wîs et Râmîn de Gorgâni dévoilela survivance d'un passé idéologique commun provenant de I'idéologie tripartite des Indo-européens. Comme le récitdu roman persan date de l'époque parthe, cette thèse pour découvrir l'énigme d'une transmission ou d'un emprunt, se focalise sur I'origine iranienne de certains thèmes et motifs du roman de Tristan et retrace la migration d'un rameau des peuples iraniens en Europe jusqu'en France. Ce peuple que la mémoire historique connaît sous le nom des Alains était I'un des descendants des Scythes qui étaient eux-mêmes les frères nomades des Parthes<br>A careful examination of occasional concordances and appendices of Tristan and Gorgâni's Wîs and Râmîn novel reveals the survival of a common ideological past borrowed from Indo-Europeans tripartite ideology. As the narration of the Persian novel dates from the Parthian period, this thesis to solve the enigma of a transmission or an adaptation focuses on the Iranian origin of some themes and motifs of Tristan novel and retraces the migration of a branch of lranian people in Europe, even to France. This people who is known by historical memory under the name of the Alans, was one of thedescendants of the Scythians who were themselves the nomadic brothers of the Parthians
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Sadeghi, Morad. "The influences of Ancient Iranian Zoroastrian Religion and Mythology on the Contemporary Iranian Cinema, 1970 – 2009 with a focus on Bahram Beizai." Thesis, 2012. http://spectrum.library.concordia.ca/974868/1/Sadeghi_MA_F2012.pdf.

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Abstract Iranian Cinema: The influences of Ancient Iranian visual Art and Mythology on the Contemporary Iranian Cinema, 1970 – 2009 with a focus on Bahram Beizai Morad Sadeghi This thesis will examine the influences of ancient Iranian art and mythology on the contemporary Iranian cinema from 1970 – 2009, with an emphasis on Bahram Beizai's works. Postrevolutionary Iranian cinema has gained international audiences while the wave of Iranian cinema presented itself as a particularly legible form of escapism. By the late 1990s, indeed, cinema in Iran appeared to be flourishing, its remarkable transformation paralleling wider changes in Iranian culture and society. The study of cultural and the mythological influences on cinema in the Islamic Republic of Iran (IRI) involves looking at cinema from a certain angle and taking into consideration the influences of ancient Iranian literature, painting, and architecture on the contemporary cinema without necessarily focusing too much on historical analysis of the films. I draw attention in my thesis to the presence and function of ancient culture in Iranian films, and the ways different filmmakers use it. The study of Iranian contemporary films with a focus on Beizai as prominent figure of the Iranian New Wave director lead us to apprehend a tension and counter point between Iranian postmodern and postrevolutionary society and the continuity of the myths and rituals in that society. The point of using ritual and myth, here in my thesis, is to achieve understanding and vision, accomplished through two means: metaphor and symbolism on the imagery of the Iranian ancient religion, Zoroastrian. However, one must know the entire ritual in order to see its structure and influence on Iranian postmodern art. In my thesis, I will begin to explain how the culture of Zoroastrianism in Iran can be set in comparison to Islam. Also, the forms of myth and religion in Zoroastrianism will be focused on. In the 1990s Iranian film became one of the most celebrated national film traditions on the international circuit. Here, I am interested in film first as a kind of register and second as a descriptive medium of cultural patterns. I am also interested in film as a complex vehicle of cultural critique. I will emphasize how film has become like a parable and a discourse with literature, the traditional painting, the epic traditions of ethical and moral reason, and the ancient Iranian architecture. In order to shed light on the influences of ancient Iranian art on the contemporary cinema of directors like Beizai, one has to inquire about the parables and mythical stories of the Shahnameh. My thesis forms part of a larger project to map out in some mythological detail the competing rhetoric in Iran, and by so doing, to contribute to a theory of culture that is dynamic, that illuminates historical and political – economic realities, and is sensitive to the hermeneutics of cultural rhetoric as seen from the inside. In my thesis, the written analyses of a series of films will focus in turn on the intelligentsia’s dilemmas of locating themselves between East and West, between Zoroastrianism and Islam, and between past and present. These films take as their central subjects the confusions resulting from the contradictory intertwining of pre – Islamic and Islamic heritage. The inability to escape into modernity, to be free from the legacy of the past, and to change the corrupt present by revolution are the main discourses of Iranian intellectuals’ films before and after the revolution.
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Books on the topic "Mythology, Iranian"

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Hinnells, John R. Persian mythology. P. Bedrick Books, 1985.

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Allan, Tony 1946. Wise lord of the sky: Persian myth. Time-Life, 1999.

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Gavīrī, Sūzān. Anāhītā dar usṭūrahʹhā-yi Īrānī. Intishārāt-i Jamāl al-Ḥaqq, 1993.

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ʻAnāṣirī, Jābir. Shinākht-i asāṭīr-i Īrān bar asās-i ṭūmār-i naqqālān: Payvast, dāstānhāʹī az Shāhnāmah va--. Surūsh, 1991.

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Āvīshan, Ashkān. Z̤aḥḥāk dar chashmʹandāz-i yak taʻbīr. Navīd, 1990.

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T͡Sagaraev, Valeriĭ. Zolotai͡a i͡abloni͡a nartov: Istorii͡a, mifologii͡a, iskusstvo, semantika. Respublikanskoe izdatelʹsko-poligr. predprii͡atie im. V.A. Gassieva, 2000.

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Gavīrī, Sūzān. Anāhītā dar usṭūrah'hā-yi Īrānī. Intishārāt-i Jamāl al-Ḥaqq, 1993.

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Gavĭrĭ, Sūzān. Ānāhĭtā dar osṭūreh?hā-ye Īrānĭ. Jamāl al-Ḥaqq, 1993.

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Rak, I. V. Mify drevnego Irana. U-Faktorii︠a︡, 2006.

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A, Ismāʻīlʹpūr, ed. Az usṭūrah tā tārīkh. 2nd ed. Nashr-i Chashmah, 1998.

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Book chapters on the topic "Mythology, Iranian"

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Asghari, Bibiaghdas, and Annapurna M. "Contrastive Study of "Time" in Iranian-Indian Mythology." In Antrocom: Journal of Anthropology, edited by Marco Menicocci and Moreno Tiziani. Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463235413-003.

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Ovla, Arman. "Myth and Mythology Related to Water in Indian and Iranian Culture." In Art and Architectural Traditions of India and Iran. Routledge India, 2021. http://dx.doi.org/10.4324/9781003229421-8.

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Hultgård, Anders. "The Signs of the End and the Final Battle." In The End of the World in Scandinavian Mythology. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192867254.003.0007.

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Abstract With this chapter the comparative analysis begins. Snorri’s account in Gylfaginning 51‒3 provides the thematic structure of the comparisons. The signs of the end and the cosmic upheavals announce the coming events. Monster animals and demonic beings that have been fettered are now let loose. In Jewish and Christian traditions we encounter Leviathan, Satan, and Antichrist. Iranian mythology features the ferocious dragon Azi Dahaka who will be killed by the hero Thraetaona (Middle Persian: Frēdōn). The Iranian myth shows striking similarities with the Scandinavian story about the wolf Fenrir. Scandinavian and Iranian ideas of heavenly warriors are compared to Christian conceptions where the martyrs are the warriors. The decisive moment comes with the great final battle. Its description once again unites Scandinavian myth with Iranian tradition.
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"Pahlavi kirrēnīdan and Traces of Iranian Creation Mythology." In Religion, Culture, and Politics in Pre-Islamic Iran. BRILL, 2021. http://dx.doi.org/10.1163/9789004460294_012.

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Hultgård, Anders. "The Ragnarök Myth—Distinctive Features and Origins." In The End of the World in Scandinavian Mythology. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192867254.003.0009.

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Abstract Comparative analyses show the distinctive character of the Ragnarök myth. Christian medieval texts in the vernacular reveal an influence of ancient Scandinavian concepts. Conversely, Christianity has left some imprints on the myth during its medieval transmission. Stanza 65 of the Vǫluspá is comprehensively discussed. The origins of the Ragnarök myth are dealt with, particularly in comparison with Iranian traditions. The theme of the cosmic tree is important. In both Scandinavian and Iranian mythology the tree is a symbol of the world in its temporal as well as spatial aspect. Further striking similarities include the idea of heavenly warriors awaiting the final battle and the conception of the renewal of the world as a ritual. The importance of the number ‘nine’ is prominent in both religions. This marks them off from other traditions, especially those with roots in the Middle East where the number ‘seven’ dominates. It is concluded that the roots of the Ragnarök myth lie far back in time. The correspondences with Iranian mythology suggest a common Indo-European background.
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Hultgård, Anders. "Destruction and Renewal." In The End of the World in Scandinavian Mythology. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192867254.003.0008.

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Abstract In Ragnarök the world is destroyed but is also restored. The idea of a cosmic conflagration has parallels elsewhere. In Jewish and Christian traditions it is gradually developing and is connected with the Judgement Day. The early Old Norse edifying literature puts the world fire into the foreground. In the Graeco-Roman world conceptions of a cosmic conflagration alternate with myths of a destruction through a huge flood. Iranian tradition emphasizes above all the purifying function of the cosmic fire. Scandinavian mythology includes different pictures of the world’s renewal. The earth will rise out of the sea greening as before. The old gods who have fallen will be replaced by a younger generation of gods, Baldr will return from Hel. Curiously, Thor’s hammer did not disappear with the god but is transferred into the new world. A human couple having survived the conflagration in a protected place will give rise to new generations. Christianity displays less interest in a cosmic renewal, and in Judaism the focus is on the restoration of land and people. Again, Iranian tradition shows the closest similarity with the Ragnarök myth in emphasizing the renewal of nature and humankind.
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McCants, William F. "Gifts of the Gods: The Origins of Civilization in Ancient Near Eastern and Greek Mythology." In Founding Gods, Inventing Nations. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691151489.003.0002.

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In order to see how the Greek, Roman, and Arab conquests of the Near East shaped the conqueror's and conquered's understanding of the origins of civilization, this chapter surveys the region's ancient mythologies before the conquests: Mesopotamian, Iranian, Egyptian, Greek, and Hebrew (the surviving Hurrian, Hittite, and Canaanite texts do not treat the subject). In Mesopotamian, Iranian, and Egyptian myths, gods create civilization ex nihilo and gave it to humans, sometimes through special human or semihuman interlocutors. The arts and sciences they create are almost always beneficial, and their point of origin is usually associated with cities, not with peoples. The genres of texts surveyed are also heterogeneous because of the ways that culture myths from the different ancient societies survived.
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"11 Pre-Islamic Iranian Astral Mythology, Astrology, and the Star of Bethlehem." In The Star of Bethlehem and the Magi. BRILL, 2015. http://dx.doi.org/10.1163/9789004308473_012.

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Panaino, Antonio. "The Chariot and its Antagonist Steeds About Aeschylus’ Persae 171-200 and Plato’s Phaedrus 246ab." In Lexis Supplements. Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-632-9/004.

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This study deals with the image of the chariot and its steeds in the imagery of some crucial Greek texts suggesting a number of Iranian resonances, which show the presence of corresponding themes and motifs well rooted within the Mazdean mythology and its poetical language. The article actually proposes a new approach to famous passages, such as Parmenides’ proem to the poem On Nature, Aeschylus’ Persae 171-20, Plato’s Phaedrus 24, and suggests an original interpretation of the ideological (Barbarian = Persian) role assumed by the victorious Greek king in Aeschylus’ Agamemnon, when he appears in front of his palace and his wife Clytemnestra. Some aspects of Atossa’s dreams, in particular their symbolic complexity, are dealt with in the framework of a comparative Greek-Persian dimension.
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Loma, Aleksandar. "Mineralogie und Mythologie. Aus den iranischen-griechischen Lehnwortbeziehungen." In Essays in the History of Languages and Linguistics: Dedicated to Marek Stachowski on the Occasion of His 60th Birthday. Ksiegarnia Akademicka Publishing, 2017. http://dx.doi.org/10.12797/9788376388618.22.

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The present paper is an attempt to reconsider three Greek mineralogical terms: νάφθα ‘petroleum’, σανδαράκη ‘realgar, sandarac’ and σάνδυξ ‘a bright red mineral colour’ by tracing them back to Old Iranian etymons inspired by mythological representations. In view of the Middle Persian naft ‘petroleum’ homonymous with the word for ‘moisture, steam’, Greek νάφθα is traditionally believed to go back to an Old Persian source meaning ‘wet’. However, this is semantically unattractive; more probably OPers. *napta‑ derives from the inflectional stem napt‑ of napāt‑ ‘grandson, nephew’, whose strong stem may be recognised in Νάπας, the name of an oil well in the mountains of Persia according to Hesychius, whereas the heteroclitic stem of the same word naptar‑ occurs, as νεφθαρ, in 2 Maccabees 1, 36, designating the petroleum in a context strongly impregnated by Old Persian rites and beliefs. Underlying such a denomination of the mineral oil is presumably the mythological “Fire in water” theme, personified in the ‘Descendant of the Waters’, Vedic Apām Napāt, a hypostasis of the fire‑god Agni, Avestan Apąm Nap, a deity protecting the royal glory (Khvarenah) in the depths of the sea Vourukasha. Traceable back to the common Indo‑Iranian prehistory, the origin of this figure might be due to the natural gas phenomena in Caspian basin.
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Conference papers on the topic "Mythology, Iranian"

1

Molchanova, E. K. "Demons and albasty in Iranian mythology (or who harm the women in childbirth and the newborn?)." In International scientific conference " Readings in memory of B.B. Lashkarbekov dedicated to the 70th anniversary of his birth". Yazyki Narodov Mira, 2020. http://dx.doi.org/10.37892/978-5-89191-092-8-2020-0-0-212-217.

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