The Academic Resume of Dr. Gholamhossein Gholamhosseinzadeh
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International Mevlana Symposiuın Papers
International Mevlana Symposiuın Papers ,. Birleşmiş Minetler 2007 Eğitim, Bilim ve Kültür MevlAnA CelAleddin ROmi Kurumu 800. ~um Yıl Oönümü United Nations Educaöonal, Scientific and aoo:ı Anniversary of Cu/tura! Organlzatlon the Birth of Rumi Symposium organization commitlee Prof. Dr. Mahmut Erol Kılıç (President) Celil Güngör Volume 3 Ekrem Işın Nuri Şimşekler Motto Project Publication Tugrul İnançer Istanbul, June 20 ı O ISBN 978-605-61104-0-5 Editors Mahmut Erol Kılıç Celil Güngör Mustafa Çiçekler Katkıda bulunanlar Bülent Katkak Muttalip Görgülü Berrin Öztürk Nazan Özer Ayla İlker Mustafa İsmet Saraç Asude Alkaylı Turgut Nadir Aksu Gülay Öztürk Kipmen YusufKat Furkan Katkak Berat Yıldız Yücel Daglı Book design Ersu Pekin Graphic application Kemal Kara Publishing Motto Project, 2007 Mtt İletişim ve Reklam Hizmetleri Şehit Muhtar Cad. Tan Apt. No: 13 1 13 Taksim 1 İstanbul Tel: (212) 250 12 02 Fax: (212) 250 12 64 www.mottoproject.com 8-12 Mayıs 2007 Bu kitap, tarihinde Kültür ve yayirı[email protected] Turizm Bakanlıgı himayesinde ve Başbakanlık Tamtma Fonu'nun katkılanyla İstanbul ve Konya'da Printing Mas Matbaacılık A.Ş. düzerılenen Uluslararası Mevhiııfı Sempozyumu bildirilerini içermektedir. Hamidiye Mahallesi, Soguksu Caddesi, No. 3 Kagıtlıane - İstanbul The autlıors are responsible for tlıe content of tlıe essays .. Tei. 0212 294 10 00 "W e are the inheritors of the lig ht of Muhammad": Rumi, ada b, and Muhammadan intimacy ümid Safi 1 lran 1 WlLL begin by two stories about relations between Mawlana and his do se companions, each revealing one facet of his un derstanding of the Prophet. One day Shaykh Shas al-Din Multi (Malati?) had come to see Mawlana. -
Jami and Nava'i/Fani's Rewritings of Hafez's Opening Ghazal
Imitational Poetry as Pious Hermeneutics? Jami and Nava’i/Fani’s Rewritings of Hafez’s Opening Ghazal Marc Toutant To cite this version: Marc Toutant. Imitational Poetry as Pious Hermeneutics? Jami and Nava’i/Fani’s Rewritings of Hafez’s Opening Ghazal. Charles Melville. The Timurid Century, 9, I.B. Tauris, 2020, The Idea of Iran, 9781838606886. hal-02906016 HAL Id: hal-02906016 https://hal.archives-ouvertes.fr/hal-02906016 Submitted on 23 Jul 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Imitational Poetry as Pious Hermeneutics? Jami and Nava’i/Fani’s Rewritings of Hafez’s Opening Ghazal Marc Toutant (CNRS Paris) He was the unique of the age (nadera-ye zaman) and a prodigy of the world (o‘juba-ye jahan). These are the first words with which Dowlatshah Samarqandi begins the notice he devotes to Hafez in his Tazkerat al-sho‘ara in 1486. Then he adds: ‘His excellence (fazilat) and his perfection (kamal) are endless and the art of poetry is unworthy of his rank. He is incomparable in the science of Qur’an and he is illustrious in the sciences of the exoteric (zaher) and the esoteric (baten).’1 Although Hafez died in 1389, his poetry was widely celebrated one century later, as shown by Dowlatshah’s eulogy. -
KHERAD-DISSERTATION-2013.Pdf
Copyright by Nastaran Narges Kherad 2013 The Dissertation Committee for Nastaran Narges Kherad Certifies that this is the approved version of the following dissertation: RE-EXAMINING THE WORKS OF AHMAD MAHMUD: A FICTIONAL DEPICTION OF THE IRANIAN NATION IN THE SECOND HALF OF THE 20TH CENTURY Committee: M.R. Ghanoonparvar, Supervisor Kamran Aghaie Kristen Brustad Elizabeth Richmond-Garza Faegheh Shirazi RE-EXAMINING THE WORKS OF AHMAD MAHMUD: A FICTIONAL DEPICTION OF THE IRANIAN NATION IN THE SECOND HALF OF THE 20TH CENTURY by Nastaran Narges Kherad, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2013 Dedication Dedicated to my son, Manai Kherad-Aminpour, the joy of my life. May you grow with a passion for literature and poetry! And may you face life with an adventurous spirit and understanding of the diversity and complexity of humankind! Acknowledgements The completion of this dissertation could not have been possible without the ongoing support of my committee members. First and for most, I am grateful to Professor Ghanoonparvar, who believed in this project from the very beginning and encouraged me at every step of the way. I thank him for giving his time so generously whenever I needed and for reading, editing, and commenting on this dissertation, and also for sharing his tremendous knowledge of Persian literature. I am thankful to have the pleasure of knowing and working with Professor Kamaran Aghaei, whose seminars on religion I cherished the most. -
The Creation of National Ideologies in Kyrgyzstan and Tajikistan Erica Marat
Imagined Past, Uncertain Future The Creation of National Ideologies in Kyrgyzstan and Tajikistan Erica Marat National ideologies were a HEN the Central Asian nations inherited statehood as Wa result of the collapse of the Soviet Union in late crucial element in the process 1991, their political elites quickly realized that the new states needed to cultivate a unifying ideology if they were of state-building in the to function as cohesive entities. What with the region’s independent Central Asian fuzzy borders and the dominance of the Russian language and Soviet culture, Central Asian leaders had to develop a states. national idea that would solidify the people’s recognition of post-Soviet statehood and the new political leadership. The urgent need for post-communist ideological programs that would reflect upon the complex Soviet past, accom- modate the identities of majority and minority ethnic groups, and rationalize the collapse of the Soviet Union emerged before the national academic communities could meaningfully discuss the possible content and nature of such ideologies. Attributes for ideological projects were often sought in the pre-Soviet period, when there were no hard national borders and strict cultural boundaries. It was in this idiosyncratic setting that the Central Asian regimes tried to construct national ideological conceptions that would be accessible to the mass public, increase the legitimacy of the ruling political elites, and have an actual historical basis. National ideologies were a crucial element of the state-building processes in the independent Central Asian states. They reflected two major goals of the ruling elites. ERICA MARAT is a research fellow at the Institute for Security & Develop- First, the elites were able to strengthen themselves against ment Policy in Stockholm, Sweden, and the Central Asia–Caucasus Institute competing political forces by mobilizing the entire public at the School of Advanced International Studies, Johns Hopkins University, in Washington, DC. -
Epic of Manas - Wikipedia, the Free Encyclopedia 08/25/14 01:21 PM Epic of Manas from Wikipedia, the Free Encyclopedia
Epic of Manas - Wikipedia, the free encyclopedia 08/25/14 01:21 PM Epic of Manas From Wikipedia, the free encyclopedia The Epic of Manas (Kyrgyz: Манас дастаны, Turkish: Manas Destanı) is a traditional epic poem of the Kyrgyz people. The monumental epic Manas is the most treasured expression of the national heritage of the Kyrgyz people. Composed and sung entirely in oral form by various singers throughout the centuries, Manas is regarded as the epitome of oral creativity. It is considered to be one of the greatest examples of epic poetry, whose importance is not inferior to that of the Homeric epic. As nomads, the Kyrgyz had no written language. However, they excelled in oral composition, which they artistically employed in their traditional poetry and epic songs. As the internationally renowned Kyrgyz writer Chingiz Aitmatov notes: "If other peoples/nations displayed their past culture and history in written art, the sculpture, architecture, theatre and literature, Kyrgyz people expressed their worldview, pride and dignity, battles and their hope for the future in epic genre." Today there are about sixty versions of the epic Manas recorded from various epic singers and oral poets. Its longest version, consisting of half Manas monument in Bishkek. a million poetic lines, was written down from one of the last master- manaschï (singers of Manas) Saiakbai Karalaev (1894-1971). The epic is indeed unique in its size. It is twenty times longer than the Homeric epics Iliad (15693) and Odyssey (12110) taken together and two and a half times the length of the Indian epic Mahabharata. -
“Transfer” XIV: 1-2 (2019), Pp. 49-72. ISSN: 1886-554
“Transfer” XIV: 1-2 (2019), pp. 49-72. ISSN: 1886-554 “SOMETHING FOREIGN IN IT”: A STUDY OF AN IRANIAN TRANSLATION OF WHITMAN’S IMAGE Behnam M. Fomeshi (ORCID: 0000-0001-6821-9699) TU Dortmund University (Germany) Reception date: 02/02/2018; Acceptance date: 15/03/2018 Introduction What happens to Whitman when he enters Iran? What does the Persian Whitman look like? What does his Persianness or his foreignness tell us about Whitman, Iran, and the interaction between the two? This essay answers these questions to elaborate on the dialogue created between American poetry and contemporary Iran through translating Whitman. Studies of the reception of a writer in another culture primarily deal with the translation of the works into the target language. Such studies usually ignore the translation of the writer’s image. The present essay focuses on the translation of an American writer’s image into a contemporary Iranian context. In this study, “image” refers both to visual representations, such as pictures or photographs, and the mental conceptions held in common by members of a group, such as is the subject of imagology. Walt Whitman (1819-1892), commonly referred to as the father of American free verse and the American poet of democracy, has frequently been studied in terms of his reputation, reception, and influence in other countries. Blodgett’s 1934 book, Walt Whitman in England, the first formal reception study of the poet in an international context, was followed by Betsy Erkkila’s Walt Whitman among the French: Poet and Myth (1980), Walter Grunzweig’s 49 “Transfer” XIV: 1-2 (2019), pp. -
Divine Love in Early Persian Prose* William C
129-143 Chittick Divine Love_Layout 1 16/08/2013 20:20 Page 129 Divine Love in Early Persian Prose* William C. Chittick eaders of this journal are no doubt familiar with Persian poets like R cAttar and Rumi, famous for their celebration of love. What is much less well known is that the theological vision shared by these poets was given explicit formulation by a series of prose works written in the century leading up to cAttar, who died in 1221. If we try to understand the teachings of the poets without this theological background, it is difficult to grasp what they are saying. To illustrate what I have in mind, I want to look at a few short passages drawn from this early period. The most famous Persian classic on love appeared during the life- time of Sanaʾi (d. 1131), the first major poet of love. This was a short book called Apparitions (Sawanih) by Ahmad Ghazali, who died in 1126, fifteen years after his illustrious brother, the theologian, philoso- pher, and Sufi Muhammad Ghazali. Ahmad’s Apparitions is relatively well known and has been translated into English,1 so here I will look at two other scholars whose significance has been underrated or ignored. One is cAbdallah Ansari from Herat, who died forty years before Ahmad, in the year 1088. He is the author of the classic Arabic description of the stages on the path to God, The Way Stations of the Travelers (Manazil al-saʾirin). He also wrote a great deal in Persian, much of it addressing the role of love in the spiritual life. -
ACTA UNIVERSITATIS UPSALIENSIS Studia Iranica Upsaliensia 28
ACTA UNIVERSITATIS UPSALIENSIS Studia Iranica Upsaliensia 28 Traces of Time The Image of the Islamic Revolution, the Hero and Martyrdom in Persian Novels Written in Iran and in Exile Behrooz Sheyda ABSTRACT Sheyda, B. 2016. Traces of Time. The Image of the Islamic Revolution, the Hero and Martyrdom in Persian Novels Written in Iran and in Exile. Acta Universitatis Upsaliensis. Studia Iranica Upsaliensia 28. 196 pp. Uppsala. ISBN 978-91-554-9577-0 The present study explores the image of the Islamic Revolution, the concept of the hero, and the concept of martyrdom as depicted in ten post-Revolutionary Persian novels written and published in Iran compared with ten post-Revolutionary Persian novels written and published in exile. The method is based on a comparative analysis of these two categories of novels. Roland Barthes’s structuralism will be used as the theoretical tool for the analysis of the novels. The comparative analysis of the two groups of novels will be carried out within the framework of Foucault’s theory of discourse. Since its emergence, the Persian novel has been a scene for the dialogue between the five main discourses in the history of Iran since the Constitutional Revolution; this dialogue, in turn, has taken place within the larger framework of the dialogue between modernity and traditionalism. The main conclusion to be drawn from the present study is that the establishment of the Islamic Republic has merely altered the makeup of the scene, while the primary dialogue between modernity and traditionalism continues unabated. This dialogue can be heard in the way the Islamic Republic, the hero, and martyrdom are portrayed in the twenty post-Revolutionary novels in this study. -
A Study of the Poetic Foundations of Three Prominent Contemporary
Propósitos y Representaciones May. 2021, Vol. 9, SPE(3), e1097 ISSN 2307-7999 Current context of education and psychology in Europe and Asia e-ISSN 2310-4635 http://dx.doi.org/10.20511/pyr2021.v9nSPE3.1097 RESEARCH NOTES A Study of the Poetic Foundations of Three Prominent Contemporary Poets Mehdi Akhavan Sales, Ahmad Shamloo and Hamid Mossadegh with an Approach to European Literature Un estudio de los fundamentos poéticos de tres destacados poetas contemporáneos Mehdi Akhavan Sales, Ahmad Shamloo y Hamid Mossadegh con un enfoque de la literatura europea Farshad Daneshvar Nik PhD student in Persian language and literature, Islamic Azad University, Mashhad Branch, Iran Mohammad Fazeli Member of the Department of Persian Language and Literature, Islamic Azad University, Mashhad Branch, Iran Parvin Dokht Mashhor Member of the Department of Persian Language and Literature, Islamic Azad University, Mashhad Branch, Iran Received 07-08-20 Revised 08-10-20 Accepted 09-02-20 On line 03-06-21 *Correspondence Cite as: Email: [email protected] Daneshvar, F., Fazali, M., & Dokht, P. (2021). A Study of the Poetic Foundations of Three Prominent Contemporary Poets Mehdi Akhavan Sales, Ahmad Shamloo and Hamid Mossadegh with an Approach to European Literature. Propósitos y Representaciones, 9(SPE3), e1097. Doi: http://dx.doi.org/10.20511/pyr2021.v9nSPE3.1097 © Universidad San Ignacio de Loyola, Vicerrectorado de Investigación, 2021. Este artículo se distribuye bajo licencia CC BY-NC-ND 4.0 Internacional (http://creativecommons.org/licenses/by-nc-nd/4.0/). A Study of the Poetic Foundations of Three Prominent Contemporary Poets Mehdi Akhavan Sales, Ahmad Shamloo and Hamid Mossadegh with an Approach to European Literature Summary Literary schools in the West are influenced by the social and political conditions prevailing in those societies; This means that each school in line with the political and social developments of its time has undergone structural and content changes and gives way to a school with a different perspective. -
Why Should Anyone Be Familiar with Persian Literature?
Annals of Language and Literature Volume 4, Issue 1, 2020, PP 11-18 ISSN 2637-5869 Why should anyone be Familiar with Persian Literature? Shabnam Khoshnood1, Dr. Ali reza Salehi2*, Dr. Ali reza Ghooche zadeh2 1M.A student, Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran 2Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran *Corresponding Author: Dr. Ali reza Salehi, Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran, Email: [email protected] ABSTRACT Literature is a tool for conveying concepts, thoughts, emotions and feelings to others that has always played an important and undeniable role in human life. Literature encompasses all aspects of human life as in love and affection, friendship and loyalty, self-sacrifice, justice and cruelty, manhood and humanity, are concepts that have been emphasized in various forms in the literature of different nations of the world. Poets and writers have endeavored to be heretics in the form of words and sentences and to promote these concepts and ideas to their community. Literature is still one of the most important identifiers of nations and ethnicities that no other factor has been able to capture. As a rich treasure trove of informative and educational material, Persian literature has played an important role in the development and reinforcement of social ideas and values in society, which this mission continues to do best. In this article, we attempt to explain the status of Persian literature and its importance. Keywords: language, literature, human, life, religion, culture. INTRODUCTION possible to educate without using the humanities elite. -
An Animated Look at Kazakh National Identity J
e Allegorical Aĭdaḣar 43 e Allegorical Aĭdaḣar: An Animated Look at Kazakh National Identity Jake Zawlacki Louisiana State University Baton Rouge, USA Abstract e little-known Kazakh animated film, Why the Swallow’s Tail is Forked (1967), written and directed by Amen Khaydarov, not only holds the position as the first example, but is also acclaimed as the greatest work of Kazakh animation by critics, academics, and contemporary animators. Je film, based on the traditional Kazakh folk tale of the same name, was significantly altered by Khaydarov in his auteurist direction resulting in a radical retelling. Despite these alterations, Khaydarov’s variant of the folk tale resonated with viewers of the period as well as today. In this paper I argue how certain motifs are changed, added, and removed from the original folk tale by Khaydarov, consciously or unconsciously, to incorporate new allegorical elements in the folk tale. Jis essay takes an “animated look” at the film in that it performs a close reading of a folk tale through a film medium. After performing a shot by shot analysis, I deconstruct alleged “traditional” Kazakh elements, then analyze the dreamlike nature of pastoral national identity, the interplay of film, written, and spoken folklore, and the rhizomatic structure of folklore through audio and visual elements. Ultimately, I return to the film and display it as a construction of a specific nationalist narrative thus shedding light on the broader pastoral nationalist vision. Introduction While touring the grounds of Kazakhfilm studio with Gali Murzashev, a contemporary Kazakh animator who once worked under the late Amen Khaydarov in the 1980s, Why the Swallow’s Tail is Forked (1967) (1) arose in our conversation. -
Collective Love
art credit rule should be: if on side, then in gutter. if underneath, then at same baseline as text page blue line, raise art image above it. editorial note editorial note CARLA CRAWFORD AHMAD SHAMLOU I have wept in blazing solitude with you For the sake of the living And have sung the most beautiful of songs Soleil, 2014 In the darkest of graveyards Oil on Linen, 15 x 16 in Collective For the dead of this year Love Were the most loving of the living Give me your hands Your hands know me You found-at-last I speak with you As the cloud with the storm The weed with the felds The rain with the sea The bird with spring And the tree that speaks with the woods For I have discovered your depths For my voice is Intimate with yours. Tears are a mystery —Translated from the Persian by Niloufar Talebi Smiles a mystery Love a mystery The tears of that night were the smile of my love I am not a tale to be told Not a song to be sung Not a sound to be heard Or something that you can see Ahmad Shamlou (1925–2000) was nominated for the No- Or something that you can know bel Prize in 1984. Shamlou, also known under his pen name, I am Common Pain A. Bamdad, is among the most influential Iranian literary Cry me out! voices of the twentieth century, and widely known as the father of modern Iranian poetry. He published more than seventy books, including poetry, fiction, short stories, chil- The tree speaks with the woods dren’s books, essays, translations, and several volumes of his The weed with the felds encyclopedia of Iranian folklore, Book of Alley.