Interdisciplinary Studies of Literature, Arts and Humanities

Abstract The issue of nation branding as an interdisciplinary concept has been popular in the field of marketing and international relations for several years and has attracted the attention of governments. Given the importance of nation branding in promoting and enhancing Iran's image both internationally and domestically, this article analyzes Hakim Abolghasem Ferdowsi's Shahnameh using a historical-narrative approach. It explores the concepts and themes associated with the name Iran in Ferdowsi's perspective, and examines the meanings and connotations that the audience of the Shahnameh encounters when hearing the name Iran and its derivatives. For this study, narrative analysis was conducted using content analysis tools in MAXQDA software. The findings indicate that the Iranian brand rests on five pillars: Iranian tradition; characteristics of Iran and Iranians; the constituent elements of Iran as a nation-state; the concept of Iran as a nation-state in comparison with other states—particularly Turan; and the perceived failures of Iran and Iranians, which will be elaborated on later. These results not only lay the groundwork for developing new constructions of national identity but also provide a basis for organizing media campaigns aimed at promoting Iran’s nation branding both domestically and internationally. The results of this research, while laying the groundwork for achieving new constructions in the field of national identity, can be used to organize media campaigns in the field of nation branding of Iran inside and outside the country.

Abstract This study employs an interdisciplinary approach and an analytical-comparative methodology to examine shared psychological characteristics in the poetry of Forough Farrokhzad and the paintings of Vincent van Gogh. The primary objective is to determine points of convergence and divergence between these two artists' works in their expression of emotions, their use of symbols, and cultural influences. Utilizing van Gogh's paintings as tangible manifestations of inner turmoil, the research investigates how both artists articulate universal human experiences, such as love, solitude, and the search for meaning, through distinct artistic media (poetry and painting). The findings reveal that Farrokhzad's psychological impulses, which evolve from personal anguish to existential suffering, find visual representation in van Gogh's works. By establishing a dialogue between literary and visual texts, this study uncovers latent psychological dimensions in both artists' oeuvres, proposing an innovative interdisciplinary framework for art and literary studies. Furthermore, the analysis of shared symbols (night, trees, wind, and stars) demonstrates their aligned perspectives on modernity's defining themes: alienation, suffering, and the quest for transcendence.

Abstract "Varagheh and Golshah" is an oldstory, written by a poet named Ayouqi.The origin of the story, as the poet says, is one of the Arab stories that happened in the past of the Arab tribes, and it is the story of two cousins (son and daughter of two brothers) named "Varagheh and Golshah" who grew up together in theirown tribe and the family. And they became interested in and fell in love with each other. The general similarities between this story and the story of "Orwa and Afra", which is also the love story of two lovers in Arabic literature and has its roots in Arabic sources, leaves no doubt that the story of "Varagheh and Golshah" is taken from the story of "Orwa and Afra". It is obvious that this romance, like the "Orwa and Afra" romance, has its roots in Arabic sources, but it is necessary to research from which source or sources this story is taken and which are its most important sources. The results of the researches done on the sources of the story of "Varagheh and Golshah" by Ayouqi and the accuracy in the era of composing of this romance show that Ayouqi could have used Al-Aghani by Isfahani and "Al-Sher va al-Shoara" by Ibn Qutaybah and "Muruj Al-Dhahab" by Masoudi.

Abstract In contemporary literary and artistic theories, intertextuality has emerged as a prevalent concept, emphasizing the notion that texts are not entirely closed systems, but rather possess intricate connections with other texts. A notable example of this phenomenon is the play Karnama-ye Bondar-e Bidakhsh by Bahram Beyzai, which incorporates elements of mythical history. The author has employed ancient myths to enhance the depth and significance of his work. The objective of this research is to examine the intertextual connections of Beyzai's play Karnama-ye Bondar-e Bidakhsh with Zoroastrian texts (Avestan and Pahlavi texts), as well as Ferdowsi's Shahnameh and select literary and historical books from the Islamic period. This descriptive-analytical research endeavors to address the following inquiries: First, what is the intertextual relationship between Beyzai's narrative regarding the main elements of the play Karnama-ye Bondar-e Bidakhsh and ancient Iranian religious, literary, and historical texts? Secondly, the manner in which these intertextual relationships are manifested in Beyzai's text is examined. The results of this research indicate that, given Beyzai's profound knowledge of ancient Iranian myths and history, it appears he has shaped the main elements of his narrative, such as the character of Bondar Bidakhsh and Royineh-Dezh (Brazen fortress), based on a hypertextual intertextual relationship with Zoroastrian texts, the Shahnameh, and historical books from the Islamic period.