کاربرد عناصر اساطیری در داستان های فانتزی کودکان دهۀ هشتاد

اسطوره یکی از مهم‌ترین موضوعات بشر است که در سراسر فضای زندگی او جریان دارد. اسطوره امری پویاست و بازتاب این پویایی در تمام کارهای بشر به‌ویژه ادبیات جلوه‌گر است. ادبیات کودکان و نوجوانان نیز از این تاثیر برکنار نیست. گستره‌ی این بازتاب به‌ویژه در گونه‌ی فانتزی آشکارتر است. در این پژوهش در ابتدا تعریفی مختصر از اسطوره ارائه داده شده‌است؛ آن‌گاه ویژگی‌های بینش اسطوره‌ای بررسی شده‌ و سپس درباره‌ی ویژگی‌های عناصر اسطوره‌ای و شیوه‌ی به‌کارگیری آن در داستان‌های منتخب کودکان و نوجوانان بحث شده ‌است. جنبه‌های بررسی‌شده در این مقاله عبارتند‌از: ویژگی‌های انسان‌گیاهی، شخصیت‌های اساطیری مانند غول و پری، جادو، پیکرگردانی و آنیمیسم. بررسی این پژوهش نشان داد استفاده از عناصر اسطوره‌ای برای نویسنده‌ی داستان فانتزی یک هدف نیست؛ بلکه یک وسیله‌ی بسیار کارآمد است. او می‌تواند با این عناصر، دنیایی نو و سرشار از شگفتی را برای مخاطب خلق کند. زیرا کودک اسطوره‌زی است و هنوز لایه‌های ناخودآگاه ذهن او با جهان اسطوره‌ای و پیوندهای آن در ارتباط است؛ پس بیشترین لذت را از داستان خواهد برد.

mythological insights into children’s fantasy stories of the eighties

introduction  myth is one of the original sources of children’s stories. every child’s imagination contains all the experiences that human beings have had in their history. the scope of this reflection is especially evident in the fantasy genre. fantasy also has an essential affinity with myth. the direction of both implies something beyond reality. myth should be considered as a minoan story, the origin of which is usually unknown, and is a description of a natural action, belief, institution, or phenomenon that is inextricably linked to religious mirrors and beliefs. in children’s stories, elements of myth and fantasy are widely used. methodthe present study aims to investigate the connection between the fantasy stories of children and adolescents with myths in a descriptiveanalytical way by studying the fantasy stories of the eighties. in our opinion, these aspects are the origin of fantasy stories. the aspects studied in this article are: planthuman characteristics, mythical characters such as giants and fairies, magic, the archetype of the hero’s journey and sculpting, and animism. the stories studied in this research have been selected from the authors of the field of children and adolescent literature. discussionusing mythical elements is not a goal for a fantasy writer, it is a very effective tool. with these elements, he can create a new world full of surprises for the audience. because the child is a myth and the subconscious layers of his mind are still connected to the mythical world and its connections; so he will enjoy the story the most.the story of 6,000yearold green man by fariba kalhor is based on the ideas of planthuman myths. this story is a description of a green human life that is six millennia old. he has been the companion of many people and scientists. even the title of the eleventh chapter of the book is humanplant. the sixthousandyearold green man, like the legend of gil the lost, seeks the mystery of immortality.another story in which humanplant features are evident is the famous pea story of qasemonia. this story is rooted in the persian myth of the plant growing from tears. in chickpea stories, which have been rewritten based on ancient stories, we encounter the birth of a plant from human eyes.the story of the grove fairy by hossein fattahi uses mythical characters such as the fairy. in creating the unreal characters of the story, in addition to the capacities of those characters, the author has also paid attention to their mythological aspects, such as pigeons and crows. the important point is that the author pays attention to the ecology of the southern region. the author has chosen the characters of his story from the birds and plants of the same area. the grove fairy, who is one of the most important characters in the story, is originally a palm tree.   animals are often used in children’s stories; as we saw in this story or in the story of autumn on the train, written by mohammad kazem mazinani, part of the story is based on the relationship of the child’s character with animals.     the magic object expresses one of the most important human needs. many fantasy stories are based on the pattern of the magical object, and we will confine ourselves to the story of the three magical whistles. in this story, too, the child character of the story takes refuge in a magical whistle in the face of danger and insecurity.the fantasy world is also a world of wonders. some of these creations are in the form of animalshaped sculptures in fantasy stories. the two stories of the boy who became a crow by mohammad kazem mazinani and the wolves do not cry are written by mohammad reza yousefi based on metamorphosis. rebellion against oneself and against one’s false traits can be the basis for writing a beautiful educational story. to do this, the author has resorted to symbolism, the wolf is a symbol of the ugly and predatory aspect of man.a large part of the texts produced for children and adolescents deal with the issue of animism in different forms, which, in addition to representing the mythical mentality of their creators and their audiences, in addition to poems, poems, anecdotes and poems. are also important from an aesthetic point of view. the animation of objects is very evident in the story of autumn on the train. conclusionmythology is the source of inspiration for children’s stories. because every child in his imagination provides the seeds of all the experiences that human beings have gone through in their history. the child discovers fire like a primitive human. there is no way that the early man walked and the child did not walk in his childhood world and his games. the subconscious layers of the child’s mind are still connected to the mythical world and its connections, and therefore the poet and writer of children and adolescents in the moment of composing poetry for them, especially poetry in which the dominance of consciousness is less, inevitably myths take refuge in their mentality and communicate with that audience through that part of their mind.   many aspects of mythic insight are influential in children’s stories, especially children’s fantasy stories. but in the meantime, mythical characters, the recreation of mythical stories, the archetype of the hero’s journey, and animism have an undeniable effect. applying myth to a fantasy writer is not a goal but a very effective tool. using mythological elements, he can create a new world full of surprises for the audience. it can be said that any story that has benefited the most from the myth has been more welcomed by children and teenagers.    the space that pervades fantasy stories is highly dependent on mythological elements, especially animism and discernment. diagnosis in fantasy stories is not crosssectional; it can be seen throughout the text of the story. as it turns the story into a whole. the use of these recognitions has helped a lot in instilling a special fantasy space that is an expression of wonder.  references  abyar, n. (2009). the boy with a worm on his shoulder and the moat. ofoq.akbarpour, a. (2010). three magic whistles. ofoq.amuzadehkhalili, f. (2009). black yellow. institute for the intellectual development of children and adolescents.amuzegar, j. (2008). mythical history of iran. samt.armstrong, k. (2007). the great transformation: the world in the time of buddha, socrates, confucius and jeremiah (n. pashaei e. pashaei, trans.). forouzan.aydanloo, s. (2002). mythical motif of the growth of plants from humans and its reflection in shahnameh and persian literature. national conference of iranian studies. iranian studies foundation.bahar, m. (1974). iranian myths. iranian culture foundation.barthes, r. (2008). an introduction to structuralist analysis of narratives (m. ragheb, trans.). farhange saba.beaucorps, m. de (1997). les symboles vivants (j. sattari, trans.). markaz.bettelheim, b. (2004). children need stories (k. behroozkia, trans.). afkar.christensen, a. (2004). les types du rremier homme et du prmier roi dans l’historie legendaire des iraniens (j. amouzegar a. tafazzoli, trans.). cheshmeh.eliade, m. (1989). myth and reality (n. zangouei, trans.). papyrus.eliade, m. (2008). myth and mystery (j. sattari, trans.). markaz.eqtedari, a. (1976). the land of kings (2nd volume). national heritage society.faranbagh dadegi. (2001). bundahish (m. bahar, trans.). tous.fattahi, h. (2009). fairy of the palm tree grove. qadyani.hesampour, s. arameshfard, s. (2010). a look at the narrative dimensions of ahmad akbarpour’s story, three magic whistles, based on the theory of maria nikolaeva. journal of children’s literature studies, 3 (1), pp. 1946.hinnells, j. (2003). persian mythology (j. amouzegar a. tafazzoli, trans.). farhange moaser.horri, a. (2014). this imaginative pen: poetics of horror, marvels and miracle literature. ney.horri, a. (2009). function of archetypes in classical and contemporary persian poetry in light of a structuralist approach to shamlou’s poetry. mystical and mythical literature, 5 (15), pp. 933.hosseini, m. azimi, m. (2016). analysis of iranian fairy tales based of bettelheim’s theories. popular culture and literature, 4 (9), pp.102124.jahandideh, s. (2012). time, narrative, identity: how to understand time in the imaginative narratives of west and iran. studies in literature, no. 19, pp. 121151.kalhor, f. (2001). the sixthousandyearold green man. mehrabe qalam.kavianipouya, h. (2017). comparative study of the creation of human in the mythology and religions of iran and mesopotamia. comparative theology, 7 (17), pp. 139156.khanian, j. (2010). childhood of the earth. amirkabir.khosrownejad, m. (2004). innocence and experience. markaz.leick, g. (2010). a dictionary of ancient near eastern mythology (r. behzadi, trans.). tahouri.mazinani, k. (2008). autumn in the train. soureye mehr.mohammadi, a. rouzbehani, a. (2012). i have a fantasy in seven days of the week. journal of children’s literature studies, no. 5, pp. 87108.mohammadi, m. h. (1999). fantasy in children’s literature. rouzegar.parsanasab, m. manavi, m. (2015). changes in the motif of crow from mythology to popular culture. popular culture and literature, 1 (1), pp. 7192.parsinejad, k. (2005). we had a war, we had a story. sarir.pouladi, k. (2008). principles of children’s literature. institute for the intellectual development of children and adolescents.pourkhalqi, m. jalali, m. (2010). fantasy and methods of fantasymaking for shahnameh in children’s and adolecents’ literature. journal of children’s literature studies, 1 (1). 5573.qasemnia, s. (2009). adventures of nokhodi. peydayesh.qazal iyaq, s. (2007). children’s and adolescents’ literature and reading promotion. samt.rastegarfasaei, m. (2004). transformation in myths. research institute for social sciences and cultural studies.razi, a. hajati, s. (2011). analysis of the signs of nonverbal communication in the story two friends. journal of children’s literature studies, 2 (1), pp. 91114.rowshanfekr, k. (2013). symbol, mask and myth in resistance poetry of qeisar aminpour. literary devices, esfahan university, 5 (1), pp. 3552.salajeqeh, p. (2008). from this eastern garden. institute for the intellectual development of children and adolescents.sarkarati, b. (2006). hunted shadows. qatreh.sarmadi, m. (2004). faramarznameh. society for the national heritage of iran.shamisa, s. (1994). literary genres. ferdows.shaygan, d. (2012). mythical insight. asatir.yahaqqi, m. j. (2012). encyclopedia of myths and fables. farhange moaseryousefi, m. r. (2010). wolves don’t cry. ofoq.