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: 27 July 2025

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Journal articles on the topic "Mythology, Iranian"

1

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 ha
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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 mythol
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Turdiyeva, Oydin Zafardinovna. "THE ARTISTIC WORLD OF IRANIAN CHILDREN'S WRITER AMOOZADEH KHALILI." International Journal of Advance Scientific Research 4, no. 5 (2024): 35–38. http://dx.doi.org/10.37547/ijasr-04-05-07.

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Faridun Amoozadeh Khalili is a talented writer who brought a new breath and a fresh spirit to Iranian children's literature, raised children's literature to a new level of art, expanded the range of topics, enriched the range of images and became one of the most prominent representatives of modern Iranian storytelling. Faridun Amoozadeh Khalili’s literary career began in the 1980s. There are cases of deep assimilation of elements of mythology, folklore and legends. Khalili's story "سفر به شهر سلیمان" ("Journey to the city of Solomon") is a work that combines real and fantastic factors, based o
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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
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Kulikov, Leonid. "Indo-Iranian gandharvá- and its (non-)Indo-European relatives: Comparative mythological notes." Rodnoy Yazyk. Linguistic journal, no. 1 (June 2021): 256–77. http://dx.doi.org/10.37892/2313-5816-2021-1-256-277.

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This article focuses on the etymology of Indo-Iranian gandharvá- and possible related words outside Indo-Iranian languages. Even though the old comparison of Skt. gandharvá- and Gr. κένταυρος is phonologically untenable and cannot bring us to any reconstructable Proto-Indo-European form, their phonetic similarity should not be neglected or considered accidental and is furthermore corroborated by evidence from comparative mythology. It seems very likely that both words were borrowed from some Near Eastern non-Indo-European language, possibly Kassite or a related language, being perhaps eventual
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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
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Sharifian, Hesam. "Ugly Past/Insensitive Present: Blackface in Persian Popular Entertainment." Asian Theatre Journal 41, no. 1 (2024): 161–76. http://dx.doi.org/10.1353/atj.2024.a927717.

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Abstract: This article is a scholarly expansion of my previous public writing in HowlRound entitled “Iranian Blackface Clowns are Racist, No Matter How You Sugarcoat Them in Obscure Archaic Mythology.” In the essay, I argue siāh-bāzi, an Iranian form of popular entertainment that features a main character in blackface, is indeed a racialized mockery of the African slaves who were brought to Iran from the sixteenth to early twentieth centuries. In the present article, I delve deeper into the history of slavery in Iran as a context for sāh-bāzi . I also analyze the embodiment techniques in siāh-
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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 carac
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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 descenda
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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 descenda
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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
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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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2

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

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

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

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

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

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10

Ismāʻīlʹpūr, A. Usṭūrah, bayān-i namādīn. Surūsh, 1998.

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Book chapters on the topic "Mythology, Iranian"

1

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 F
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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
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Hultgård, Anders. "Travelling myths or Indo-European tradition? The Irano-Scandinavian correspondences." In Indo-European Interfaces: Integrating Linguistics, Mythology and Archaeology. Stockholm University Press, 2024. http://dx.doi.org/10.16993/bcn.e.

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The presence of striking similarities between Scandinavian and Iranian myths has long attracted the curiosity of scholars. The attempts of explaining them follow mainly two lines of reasoning. The first one holds that traditions from Iran spread to northern Europe through different ways in the first millennium CE. The other way round was not proposed – unless we mention Olof Rudbeck and his Atlantica of the 17th century. The second one emphasizes the idea of common Indo-European roots. In this chapter the arguments of both explanation models are discussed and evaluated. Some of the corresponde
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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
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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 th
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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
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Conference papers on the topic "Mythology, Iranian"

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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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