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Journal articles on the topic 'Mythology, Iranian'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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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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3

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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10

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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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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Kotyk, Jeffrey. "A Walk through the Iranian Heavens: Spherical and NonSpherical Cosmographic Models in the Imagination of Ancient Iran and Its Neighbors by Antonio C. D. Panaino." Aestimatio: Sources and Studies in the History of Science 3, no. 1 (2023): 127–33. http://dx.doi.org/10.33137/aestimatio.v3i1.41819.

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A Walk through the Iranian Heavens is an innovative and focused study by the well-known scholar Antonio Panaino. This monograph looks at cosmography in ancient Iran and adjacent cultures, with attention to the problem of sphericity in antiquity. We might take for granted that the Greeks, after a point, operated with the model of a spherical Earth, but what about Iran, which had its own Mazdean mythology and worldview but was still influenced by Hellenic culture? At what point did ancient Iran become exposed to and/or adopt a spherical Earth as well as the model of a cosmic sphere? How did this

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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 o

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Ghalekhani, Golnar, and Mahdi Khaksar. "A Thematic and Etymological Glossary of Aquatic and Bird Genera Names in Iranian Bundahišm." International Letters of Social and Humanistic Sciences 62 (October 2015): 39–52. http://dx.doi.org/10.18052/www.scipress.com/ilshs.62.39.

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The purpose of this study is to present a thematic and etymological glossary of aquatic and bird genera names which have been mentioned in Iranian Bundahišn. In this research, after arranging animal names in Persian alphabetic order in their respective genus, first the transliteration and transcription of animal names in middle Persian language are provided. Afterwards, the part of Bundahišn that contains the actual animal names and the relevant translations are mentioned. The etymology of every animal name is described by considering the morphemic source. Finally, mention is made of the myt

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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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Sick, David. "Mit(h)ra(s) and the Myths of the Sun." Numen 51, no. 4 (2004): 432–67. http://dx.doi.org/10.1163/1568527042500140.

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AbstractThe extent of the connection between Indo-Iranian Mitra/Mithra and Roman Mithras has been vehemently debated for the last thirty years. One of the several problems in outlining the history of Mit(h)ra(s) has been the definition of the Iranian Mithra. In particular, the process by which he becomes a solar deity in the postAvestan period needs clarification. This study considers the history of Mithra with regard to solar mythology; it describes a set of myths from the traditions of two neighbors to Iran — Greece and India. In this set of myths, the Sun is the guardian of contracts and ca

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Darchiev, A. V. "On Problem of Meaning of Three-Legged Horse in Religious and Mythological Representations of Ossetians." Nauchnyi dialog 1, no. 8 (2020): 383–97. http://dx.doi.org/10.24224/2227-1295-2020-8-383-397.

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The article is devoted to the image of a wonderful three-legged horse belonging, according to the religious views of Ossetians, to Uastyrdzhi — the heavenly patron of men, warriors and travellers. The relevance of the research is due to the fact that Uastyrdzhi is one of the main actors of the Ossetian saga and mythology, so a thorough study of all the stories and characters associated with Uastyrdzhi contributes to a more complete reconstruction of traditional religious and mythological representations of Ossetians. In addition, this study is a response to the increased public interest in thi

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Abramovych, S. D., and M. Yu Chikarkova. "“The Green Gospel” by B.I. Antonych in the Context of the Neopagan Movement." Rusin, no. 65 (2021): 159–72. http://dx.doi.org/10.17223/18572685/65/9.

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The article analyzes B.I. Antonych’s poem “The Green Gospel”, usually perceived in the vein of Lemko mythology as a direct emotional experience of the spring Carpathian landscape, interpreted within the aesthetics of symbolism or avant-garde. Critics point out the parallelism of Christian and pagan motives, but do not focus on the poet’s spiritual position. The purpose of our study is to consider this poem in the context of the growing global neo-paganism. In particular, it concerns the growing authority of Indo-Iranian mythology, which was thought as a more significant counterweight to the Bi

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Guinashvili, Elene. "Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 14 (2019), Special Issue. A Volume in Honour of Professor Anna Krasnowolska. Editor-in-Chief: Celina Juda." Kadmos 11 (2019): 216–22. https://doi.org/10.32859/kadmos/11/216-222.

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Anna Krasnowolska is an outstanding Polish Iranologist. She is the author of two monographs and more than 150 scholarly publications. Her comprehensive research work deals with various aspects of the history of pre-Islamic and Modern Iranian literature and culture, including the development and functioning of national mythology, the formation and transformation of the Iranian religious system, Iranian social and aesthetic concepts, and oral and written communication issues. A collection of papers dedicated to the 70th anniversary of Professor A. Krasnowolska (276 pages) contains 22 thematicall

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Абсалямова, Юлия Аликовна, Закирьян Галимьянович Аминев, and Эльза Венеровна Мигранова. "ABOUT THE CHARACTER OF THE BASHKIR MYTHOLOGY AZHDAHA." Tomsk Journal of Linguistics and Anthropology, no. 4(38) (January 12, 2023): 84–94. http://dx.doi.org/10.23951/2307-6119-2022-4-84-94.

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Аждаха у башкир известен в двух образах: в эпосе и сказках он изображается многоголовым драконом, а в поверьях – это мифологизированный змей, достигший огромных размеров, прожив до ста лет. Наличие многих характеристик, в которых обнаруживается схожесть его с драконами других народов Евразии, говорит о том, что образ развивался в общеевразийском русле. Сам дракон – относительно поздний мифологический персонаж, являющийся развитием образа змея. У башкир оба образа – змея и дракона – стали называться одним именем – аждаха, которое имеет иранскую этимологию и восходит к авестийской мифологии. При

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Polidovych, Yu, and E. Velychko. "Winged Boar: Image at the Crossroad of the Scythian, Iranian and Ancient Greek Mythology." Oriental Studies 2022, no. 89 (2022): 73–106. http://dx.doi.org/10.15407/skhodoznavstvo2022.89.073.

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Jabborova, Matluba. "ON THE GENESIS OF THE IMAGE OF JAMSHID." Golden scripts 1, no. 2 (2019): 71–85. http://dx.doi.org/10.52773/tsuull.gold.2019.2/orwh7162.

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There are many Turkic superheroes depicted in the ancient folklore, literary fiction, and historic prose. For centuries, people in many regions of ancient Uzbekistan and Iran glorified the extraordinary traits of brave Jamshid who is famous for his immortality, symbol of happiness, and creator of all handcrafts and professions.This article introduces the historical ethno genesis of Jamshid, how his characters developed with time into a symbol of bravery, immortality, glory, and prosperity. The very first image of Jamshid can be found in the Iranian manuscripts of ancient “Avesto” and Indian my

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Polidovych, Yu B. "IRANIAN MYTH ABOUT THE ROYAL AUTHORITY AND THE PECTORAL FROM TOVSTA MOGYLA." Archaeology and Early History of Ukraine 36, no. 3 (2020): 135–49. http://dx.doi.org/10.37445/adiu.2020.03.06.

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The article is devoted to the analysis of images on a gold pectoral from the Tovsta Mogyla of the middle of the 4th century BC. The product has a well-thought-out structure (fig. 1). The main friezes are the internal and external ones. The central axis on which the most important scenes are located is highlighted. The arrangement of the scenes inside the friezes is subject to pendulum symmetry (fig. 2). The main theme of the external frieze is the death. The central scene embodies the triumph of death, but with each next scene it recedes, and in scenes with a hare and grasshoppers one can watc

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Elahi, Babak. "Mirrors of Entrapment and Emancipation." American Journal of Islam and Society 33, no. 3 (2016): 115–19. http://dx.doi.org/10.35632/ajis.v33i3.924.

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In 1992, Farzaneh Milani’s groundbreaking Veils and Words brought into dialoguethe fields of Iranian studies and feminist critical theory – two areas ofhumanist inquiry that, in some sense, need each other. Moreover, with workslike Hamid Naficy’s The Making of Exile Cultures (1993), interdisciplinarycritical theory has informed many humanist and social science approaches toIranian literature and culture. These links between integrated critical theoryand Iranian studies can produce compelling and insightful analyses. However,the cadence of such work might be more in tune with one subfield than

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Shinakov, Evgenii, and Arthur Chubur. "Ornitomorphic Plots on Radial Temporal Rings: Semantics and Mythological Origins." Stratum plus. Archaeology and Cultural Anthropology, no. 5 (October 2022): 259–72. http://dx.doi.org/10.55086/sp225259272.

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Radial temporal rings (earrings, head pendants) serve for some direct aesthetic purposes, but also for ethnic identification, status-ranking and have a symbolic-sacred value. The article addresses one of the least studied group in this category of jewelry. Dents on the inside of the handle here are replaced by some cast ornitomorphic figures. A typological correlation analysis made it possible to highlight 3 insulated variants and 4 types. The defining feature is the iconography and semantics of the image associated with a certain layer of mythology. The motives of Iranian and Byzantine art ar

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Ф.М., ТАКАЗОВ,. "HUMAN CREATION IN OSSETIAN MYTHOLOGY: TYPOLOGICAL ASPECT." Kavkaz-forum, no. 12(19) (December 14, 2022): 45–54. http://dx.doi.org/10.46698/vnc.2022.19.12.002.

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Наиболее фундаментальным и типичным видом мифотворчества осетин являются космогонические мифы. Космогонические мифы повествуют о происхождении космоса в целом и его частей, связанных в единой системе. Основным начальным сюжетом творения мира в осетинской космогонии является происхождение космоса из хаоса. Часть космогонии составляют антропогонические мифы, в том числе о сотворении человека, первой человеческой пары или первых людей. Осетинская мифология, восходящая к индоиранскому наследию, испытала влияние христианства, ислама и кавказской культурной общности. Актуальность исследования мотива

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Loveimi, Soheila. "Fateful Women in Ferdowsi Shahnameh." English Language Teaching 9, no. 5 (2016): 46. http://dx.doi.org/10.5539/elt.v9n5p46.

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<p>Shahnameh as one of the most important literary works that reflects the pure thoughts of the past Iranians, plays a key role in preserving the Iranian cultural heritage and national identity. Mythology helps us to understand the civilizations included the cultures. For example, the image of the women in the literary works is different from their modern popular image that ignores the real position of the women. Abu l-Qasim Ferdowsi, the highly revered Persian poet, is one of the literary figures who considered the role of women in his literary masterpiece in spite of the prevailing att

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Grinevich, Anna. "Using Phylogenetic Analysis for Tale Type Identification (Ob Ugric Narratives)." Cultural and Historical Heritage: Preservation, Presentation, Digitalization 10, no. 2 (2024): 98–107. https://doi.org/10.55630/kinj.2024.100207.

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The study aims to identify the fairy tale types associated with Imi Khily, an important figure in Ob Ugric folklore. This tale character is associated with a deity from the highest pantheon of the Khanty people, which researchers link to Iranian influence on Ob Ugric mythology. We examined 21 texts in the Khanty language, including both myths and fary tales. By applying phylogenetic analysis and the principle of maximum parsimony to a corpus of texts, four primary tale types were identified within the narrative cycle studied: Myth of the Celestial Hunt, Tereshechka, The Hero Wins a Bride, and

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Silverman, Jason M. "Achaemenid Creation and Second Isaiah." Journal of Persianate Studies 10, no. 1 (2017): 26–48. http://dx.doi.org/10.1163/18747167-12341305.

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For many years, scholars have entertained the idea that monotheism appeared in Second Isaiah as a result of Zoroastrian influence. Since the issue of monotheism is inappropriate for either the Persian or the Judaean contexts, this paper argues that a more fruitful angle to pursue the Persian context of Isaiah is through analysis of the concept of creation. This paper takes the Achaemenid creation prologues in the Old Persian inscriptions as a comparator for the use of creation in Second Isaiah, and places these two in a broader ancient Near Eastern context of creation mythology. It is argued t

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YUYUKIN, MAXIM ANATOL’EVICH. "On the Mythological Background of the Bylina “Ilya Muromets and Nightingale the Robber”." Revista de etnografie și folclor / Journal of Ethnography and Folklore 2024, no. 1-2 (2024): 20–31. http://dx.doi.org/10.59277/jef.2024.1-2.02.

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The bylina “Ilya Muromets and Nightingale the Robber” is one of the most popular Russian epics. Several interpretations of this bylina and of the image of Nightingale the Robber have been proposed: a reflection of the Indo-European storm myth, an Iranian borrowing, the image of a monstrous guard on the border between the two worlds, a reflection of the principal Balto-Slavic myth of Perun and Veles. Each of these points of view is partially grounded but does not exhaust the complicated nature of this narrative. Its mythological background survived three development stages: from the primitive m

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POLAT, Mahmut. "Dini Metin ve Geleneklerde Mitra Kültü ve Mitraizm Üzerine Bir İnceleme." International Journal of Social Sciences 8, no. 33 (2024): 361–84. http://dx.doi.org/10.52096/usbd.8.33.23.

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The cult of Mitra, which is related to the cult of the Sun, was active in Anatolia, India and Iran. The name and cult of Mitra has been widely used in Indian and Iranian religious texts and rituals. It still continues in the Zoroastrian tradition. The religious tradition of Mithraism, which bears the same name, emerged in the Roman period in the 1st century BC in the form of the religion of mystery, and continued its existence in Anatolia and Roman lands until the 5th century. Mithraism, which was adopted by Roman soldiers and merchants, spread to Europe and North Africa under the rule of Rome

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Yamaeva, E. E. "On an episode of a funeral ritual associated with a dog in the Teleut epic “Keziyke”: To the problem of Turkic (Oghuz) and Indo-Iranian cultural heritage." Languages and Folklore of Indigenous Peoples of Siberia, no. 42 (2021): 94–101. http://dx.doi.org/10.25205/2312-6337-2021-2-94-101.

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A dog plays a significant role in the world mythology. The Teleut epos “Keziyke” presents the motif of a dog being killed during the funeral ceremony. Also, this motif can be seen in the text of “Avesta” telling about bringing a dog to the funeral ceremony to help the soul reach the world of the dead safely. Teleuts are considered descendants of the ancient Oguz, an ethnic group of Turkic origin. The oral folklore provided us with the idea of a dog state and people born with a dog body and a human head. The analysis of the Chinese chronicle allows assuming that a habit of people’s feeding the

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Dashieva, N. B. "Historical and Cultural Origins of Cosmological Representations of the Balagan Buryats of the Bulagat Tribe (Late 19th – Early 20th Century)." Bulletin of the Irkutsk State University. Geoarchaeology, Ethnology, and Anthropology Series 40 (2022): 57–66. http://dx.doi.org/10.26516/2227-2380.2022.40.57.

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Cosmological representations associated with cosmogonic plots belong to the little-studied problems of the traditional culture of the Buryats. The purpose of this article is to identify the historical and cultural origins of cosmological representations of the Balagan Buryats of the Bulagat tribe, personified in the images of celestial deities with the common name “Kings of Waters” (Bur. Ukhan-khat). The relevance of the study is because the images of these deities in the plots of cosmogonic myths and shamanic iconography of the Balagan Bulagats differ from the traditions of all other Buryats

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Galstyan, Hasmik H., and Hayk E. Hakobyan. "AL DEMON IN THE CONTEXT OF CAUCASIAN CONTACT ZONES." History, Archeology and Ethnography of the Caucasus 19, no. 4 (2023): 1074–81. https://doi.org/10.32653/ch1941074-1081.

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The cultural landscape of the South and North Caucasus is marked by distinct religious characteristics, exhibiting a shared essence typical of contact zones. Within the religious mosaic of the local population, there is a blend of indigenous and imported, deeply ancient layers. Since at the core of people’s worldview are beliefs connected not only with gods or God but also with all kinds of “lower,” unclean beings that do not have the status of God, mythical creatures called demons and spirits, which interfere in human destinies, lives, living among people and transforming into them. In Armeni

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С.А., АЙЛАРОВА,. "IMAGES OF MODERNIZATION: ON THE WORKS BY SOSLAN (VANO) TEMIRKHANOV." Известия СОИГСИ, no. 46(85) (December 19, 2022): 61–71. http://dx.doi.org/10.46698/vnc.2022.85.46.005.

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Статья является первым опытом анализа интеллектуального наследия осетинского просветителя Сослана (Вано) Темирханова (1881-1925 гг.), включающее разножанровые произведения – рассказы, стихи, эссе, фольклорные и этнографические публикации, исторический труд «Иры истори». Исследуется важный аспект его творчества – воззрения на роль труда и хозяйственного созидания для успешного развития пореформенной Осетии. Эту проблему просветитель рассматривает сквозь призму тысячелетней этнической истории, полной войн, миграций, демографических катастроф. Блестящее начало осетинской культурной истории – куль

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Sadeghi Sahlabad, Zeinab, Oksana Kravchenko, and Alina Shuldishova. "IMAGES OF GILAN IN THE POETICS OF VELIMIR KHLEBNIKOV." Проблемы исторической поэтики 21 (June 2023): 196–216. http://dx.doi.org/10.15393/j9.art.2023.12402.

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The article discusses V. Khlebnikov’s Iranian images associated with the poet’s stay in Gilan from April to July 1921. The relevance of the article is determined by the need to explore the Persian component of Khlebnikov’s poetics, which cannot be reduced to speculative and generalized Asian images. The article demonstrates the diversity of poetic manifestations of Gilan, depicted through its inhabitants, landscapes, mythology, ancient and contemporary history. The poem “Night in Persia” is proposed to be read as a spiritual experience of mastering space. The specifics of female images in the

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Sommer, Sommer. "Artemis Orthia." Indogermanische Forschungen 127, no. 1 (2022): 307–42. http://dx.doi.org/10.1515/if-2022-0014.

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Zusammenfassung The goddess Orthia, whose name is attested by different variants in inscriptions mainly at her sanctuary at Sparta, and who was at some point identified with Artemis, is the subject of an ongoing debate in various fields of ancient studies. As the textual mythology of the goddess is meagre, the etymology of this theonym is of primary importance in bringing to light possible mythological concepts associated with the deity. Drawing on earlier attempts proposed in the literature, the Greek adjective ὀρθός (ved. ūrdhvá- ‚upright‘) is identified as the natural derivational basis for

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Takazov, Fedar Magometovich. "Theonymic vocabulary of the Ossetian language." Philology. Issues of Theory and Practice 16, no. 12 (2023): 4396–401. http://dx.doi.org/10.30853/phil20230667.

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The study aims to identify the semantics of theonyms, both in mythological texts and in everyday speech of the Ossetian language. The study is novel in that it is the first to analyse the use of the terms reflecting the names of sacred characters of the celestial sphere in speech structure. As a result of the study, three layers of the formation of mythological vocabulary in the Ossetian language under the influence of the ancient Iranian, Christian and Caucasian religious and mythological systems were identified. Certain aspects of mythology have already become the object of research, but the

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Mamiev, Mikhail E. "The Model of the World in the Architecture of the Nuzal Temple." Vestnik of North Ossetian State University, no. 4 (December 25, 2022): 75–83. http://dx.doi.org/10.29025/1994-7720-2022-4-75-83.

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The article is devoted to the identification of a three-level Indo-Iranian model of the world in the architecture of the Nuzal temple. This corresponds to the theory of three functions formulated by J. Dumisil for Indo-European and, already, Indo-Iranian society and confirmed by researchers in the most important spheres of Scythian-Alan culture. Unfortunately, the semantics of the Alanian religious architecture remains unexplored, so the article attempts to consider it on the example of the medieval Nuzal Church – a reference temple that has great historical significance and carries architectu

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Vakili, Neda. "Reading the Ascension (Meraj Nameh) writing of the Holy Prophet (pbuh) (Ilkhani and Timurid period) from the perspective of ancient Iranian mythology." Motaleat-e Tatbiqi-e Honar 11, no. 22 (2022): 49–64. http://dx.doi.org/10.61186/mth.11.22.49.

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Ansari, Ali. "The Shah and the Ayatollah: Iranian Mythology and Islamic Revolution, Fereydoun Hoveyda, Westport, CT: Praeger, 2003, ISBN 0275978583, ix+125 pp." Iranian Studies 42, no. 5 (2009): 792–94. http://dx.doi.org/10.1017/s0021086200018491.

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Гульнур Харуновна, Бухарова. "Образ змеи в башкирской топонимии". Tomsk Journal of Linguistics and Anthropology, № 4(46) (15 листопада 2024): 23–30. http://dx.doi.org/10.23951/2307-6119-2024-4-23-30.

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«Змеиные» географические названия получили довольно широкое распространение в башкирской топонимии. В статье предпринята попытка раскрытия мотивов номинации таких онимов и объяснения их происхождения. Наличие «змеиных» названий в башкирской топонимии связано прежде всего с местом обитания змей, где отмечается их обилие. В названиях рек, связанных с образом змеи, мотивом для номинации послужила также образная ассоциация, связанная со скольжением, ползанием змеи: река, ее течение в народном видении ассоциируется с ползущей змеей. Присутствие в топонимии образа змеи имеет связь также с древними в

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Старостина, Аглая Борисовна. "Mythological Beliefs about Serpent Women in Chinese Sources of the 8th-10th Centuries." People and Cultures of the Orient. Studies and Translations, no. 1 (December 27, 2021): 37–57. http://dx.doi.org/10.48647/pcost.2021.81.89.003.

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При относительном богатстве сведений о демонологии в раннесредневековых китайских текстах в них единичны упоминания о таких распространённых впоследствии и в фольклоре, и в литературе мифологических персонажах, как способные принимать женский облик злонамеренные змеи-оборотни. До III в. не находится упоминаний ни о каких змеях-оборотнях вообще, а злонамеренные змеи-оборотни, превращающиеся в женщин, появляются только к VIII в. В статье перечислены контексты, в которых в период с VIII по X вв. появляются эти мифологические персонажи, и разобраны некоторые связанные с ними мотивы. Схожие офиомор

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Konstantakos, Ioannis M. "The Flying King: the novelistic Alexander (Pseudo-Callisthenes 2.41) and the traditions of the Ancient Orient." Classica - Revista Brasileira de Estudos Clássicos 33, no. 1 (2020): 105–38. http://dx.doi.org/10.24277/classica.v33i1.898.

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The story of Alexander’s flight is preserved in early Byzantine versions of the Alexander Romance (codex L, recensions λ and γ) but is already mentioned by Rabbi Jonah of Tiberias (4th century AD) in the Jerusalem Talmud. The narrative must have been created between the late Hellenistic period and the early Imperial age. Although there are differences in details, the main storyline is common in all versions. Alexander fabricates a basket or large bag, which hangs from a yoke and is lifted into the air by birds of prey; Alexander guides the birds upwards by baiting them with a piece of meat fix

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Iliadi, Alexander. "A FORGOTTEN CHARACTER OF THE EAST SLAVIC DEMONOLOGY: *КАНТЫСАР (RECONSTRUCTION OF THE FORM AND SEMANTICS OF THE IMAGE)". Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, № 31 (2020): 205–17. http://dx.doi.org/10.24195/2616-5317-2020-31-13.

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The paper deals with the etymological analysis of the name of mythological character Царь Хан, from the text of a Ukrainian spell for snake bites. A number of signs encourages to think about, that we deal with the result of division and rethinking of the etymological form *Кантысар, the trace of which is found out in archaic Ukrainian vocabulary of burial ritual. Particularly, here the Lord of Graves, which charges payment with dead for a place under the ground, is mentioned. Further search of the etymological source of this word takes us up to the conclusion about reflection of Alanian *Kanti

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B.Rajan. "THE CONCEPT AND THE IDENTITY OF THE INDIANS AS PRESENTED IN SALMAN RUSHDIE'S THE MOOR'S LAST SIGH." International Journal of Education &Applied Sciences Research 1, no. 3 (2014): 20–23. https://doi.org/10.5281/zenodo.10683201.

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Rushdie is best known as the author of <em>The Satanic Verses</em> (1988), the book condemned by many Muslims as an insult to their religion. Former Iranian leader Ayatollah Khomeini called for the execution of Rushdie and his publisher, forcing the author into hiding from bounty hunters for almost a decade until the publication of <em>The Moor's Last Sigh</em> (1995). With this latest work, Rushdie chose to return to limited public exposure, and some critics have found evidence in the book to suggest that Rushdie has reconciled himself to life under threat of death. Salman Rushdie (1947- ) wa

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KeshavarzMotlaghShirazi, Zohreh. "Cloaked Philosopher." Pacific Journal of Technology Enhanced Learning 7, no. 2 (2025): 10–11. https://doi.org/10.24135/pjtel.v7i2.210.

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This abstract presents a scholarly examination of the intertwining between traditional Iranian storytelling and contemporary educational practices through technological advancements, particularly artificial intelligence (AI). It articulates the concept of "cloaked philosophy," where deep philosophical insights are embedded within compelling narratives, akin to the allegorical style found in the works of historical Iranian mystics like Suhrawardi (Najafi, 2022). This methodology not only preserves cultural heritage but also enhances intellectual inquiry within educational frameworks (Najafi, 20

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Kukushkin, I. A. "World view and traditions of the population of the Andronovo historical and cultural community (according to the funeral rites)." Archaeology and Ethnography 17, no. 5 (2018): 87–98. http://dx.doi.org/10.25205/1818-7919-2018-17-5-87-98.

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Purpose. We aimed at studying the traditions and world views of the Andronovo population of the steppe bronze. Due to the absence of direct written sources and zoo-anthropomorphic pictorial tradition on the subject, the burial practice of the Andronovo population, whose detailing presupposes the existence of extensive mythological ritual knowledge concentrated in the worldview sphere, is the foreground of research as the main informative base. Results. The earliest evidence that specifies certain aspects of the worldview of the ancient society appears at the dawn of the Andronovo era. The find

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Амбарцумян, А. А. "The Armenian-Iranian epic Rostam Zal and the epic David of Sassoun." Эпосоведение, no. 3(23) (October 27, 2021): 19–25. http://dx.doi.org/10.25587/x7599-6864-5954-u.

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В статье представлена история записей, публикации и исследования вариантов эпоса«Ростам Зал», также обозначены ареалы и пути распространения данного эпоса. Анализируются жан-ровые особенности эпоса «Ростaм Зал»; рассматриваются жанровые признаки классического эпоса иих соотносимость с эпосом «Ростам Зал», в частности, национально-исторический фон, характер геро-изма, структурная целостность и идеологическое единство отдельных частей. Основные мотивы эпоса«Ростам Зал» сравниваются с соответствующими мотивами армянского народного эпоса «Давид Сасун-ский». Устанавливается характер общности и возм

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MIKAEILI, Mahshid. "MITHRAISM ROCK TEMPLE ARCHITECTURE IN IRAN." New Era Journal of Interdisciplinary Social Studies 7, no. 12 (2022): 8–22. http://dx.doi.org/10.46291/newera.158.

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Mithraism is known as one of the ancient world religions. The roots of Mithraism settle in the old world beliefs, culture, and mysteries. Historical documents show the origin of Mithraism belongs to the 1400 years B.C. Mithraism features found in different parts of the ancient world from east to the west: India, Iran, Anatolia, and Europe. The name of Mithra in ancient Indo-Iranian mythology as the god of light is in some historical inscription. Among the ancient world’s religions, Mithraism is the ancient Iran pre-Zoroastrian religion. There are some doctrines about the origins of Mithra. The

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