Confrontations in the Historical Part of Shahnameh with the Approach of Louis Strauss
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Persian Heri Tage
Persian Heri tage Persian Heritage Vol. 24, No. 93 Spring 2019 www.persian-heritage.com Persian Heritage, Inc. FROM THE EDITOR’S DESK 6 110 Passaic Avenue The First Annual Iranian Film Festival New York 7 Passaic, NJ 07055 E-mail: [email protected] LETTERS TO THE EDITOR 8 Telephone: (973) 471-4283 Fax: 973 471 8534 NEWS Gold for Iran’s Para Shooter, Sareh Javanmardi 10 EDITOR Resket Tower in Sari, Iran 11 SHAHROKH AHKAMI EDITORIAL BOARD COMMENTARY Dr. Mehdi Abusaidi, Shirin Ahkami Raiszadeh, Dr. Mahvash Alavi Naini, Who Owns Iran’s Oil? 12 Mohammad Bagher Alavi, Dr. Talat Bassari, Mohammad H. Hakami, (Khosrow B. Semnani) Ardeshir Lotfalian, K. B. Navi, Dr. Kamshad Raiszadeh, Farhang A. Sadeghpour, Mohammad K. Sadigh, THE ARTS & CULTURE M. A. Dowlatshahi. REVIEWS 15 MANAGING EDITOR Professor Dariush Borbor’s Works 16 HALLEH NIA (Kaveh Farrokh) ADVERTISING Uncle’s Complaint: Tale of Rejuvenation 17 HALLEH NIA (Iraj Bashiri) * The contents of the articles and ad ver tisements in this journal, with the ex ception The Sakas (Michael McClain) 20 of the edi torial, are the sole works of each The Patriots Who Triggered Demise of the Empire 23 in di vidual writers and contributors. This maga zine does not have any confirmed knowledge (M. Reza Vaghefi) as to the truth and ve racity of these articles. all contributors agree to hold harmless and An Interview with J. Golestan-Parast and R. Blake 25 indemnify Persian Heri tage (Mirass-e Iran), Persian Heritage Inc., its editors, staff, board (Brian Appleton) of directors, and all those in di viduals di rectly Reza Abdoh 29 associated with the publishing of this maga zine. -
Title: Location: Date: Artist: Period/Style: Patron
TITLE:Buddha LOCATION:Bamiyan, Afghanistan DATE: C. 400-800 C.E. ARTIST: PERIOD/STYLE: Gandharan PATRON: MATERIAL/TECHNIQUE:Cut sandstone with plaster and polychrome paint. FORM: Details such as facial features and hands were modeled using mud mixed with straw and then coated with stucco and painted bright colors. Stucco is a kind of plaster that is sometimes put on the exterior of houses as a protective coating against the elements. The stucco wore off long ago, but we do know that the larger Buddha figure was painted a deep red and the smaller Buddha was multi-colored with both jewels and copper. The legs were carved in the round which allowed for circumambulation. FUNCTION: The Silk Road comprosed an overland network of trade routes linking China and Central Asia with India and ultimately the Medi- terranean Sea. The Bamiyan Valley’s fertile fields attracted merchants and Buddhist missionaries. Thus between 500 and 750, the region served as both a commercial hub and an important Buddhist spiritual center. CONTENT: The Bamiyan Buddhas served as centerpieces of a flourishing Buddhist community. Both statues manifested the power and piety of their royal benefactors. Visible for miles, they provided pilgrims and merchants with a dramatic reminder to follow Buddhist practices, The two timeless images also marked a momentous development in Buddhist art. The gigantic Bamiyan statues represented Buddha as more than a gifted teacher; he was now presented as a guiding, enduring, and universal spiritual presence. CONTEXT: Bamiyan was situated right on the Silk Route as it went through the Hindu Kush mountain region in the Bamiyan valley of Afghanistan. -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
The Socioeconomics of State Formation in Medieval Afghanistan
The Socioeconomics of State Formation in Medieval Afghanistan George Fiske Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 George Fiske All rights reserved ABSTRACT The Socioeconomics of State Formation in Medieval Afghanistan George Fiske This study examines the socioeconomics of state formation in medieval Afghanistan in historical and historiographic terms. It outlines the thousand year history of Ghaznavid historiography by treating primary and secondary sources as a continuum of perspectives, demonstrating the persistent problems of dynastic and political thinking across periods and cultures. It conceptualizes the geography of Ghaznavid origins by framing their rise within specific landscapes and histories of state formation, favoring time over space as much as possible and reintegrating their experience with the general histories of Iran, Central Asia, and India. Once the grand narrative is illustrated, the scope narrows to the dual process of monetization and urbanization in Samanid territory in order to approach Ghaznavid obstacles to state formation. The socioeconomic narrative then shifts to political and military specifics to demythologize the rise of the Ghaznavids in terms of the framing contexts described in the previous chapters. Finally, the study specifies the exact combination of culture and history which the Ghaznavids exemplified to show their particular and universal character and suggest future paths for research. The Socioeconomics of State Formation in Medieval Afghanistan I. General Introduction II. Perspectives on the Ghaznavid Age History of the literature Entrance into western European discourse Reevaluations of the last century Historiographic rethinking Synopsis III. -
Historical and Cultural Development of Iranian Kheymeh Shab Bazi from Qajar Dynasty to Present
HISTORICAL AND CULTURAL DEVELOPMENT OF IRANIAN KHEYMEH SHAB BAZI FROM QAJAR DYNASTY TO PRESENT SABA ASLIAN CULTURAL CENTER UNIVERSITY OF MALAYA UniversityKUALA LUMPUR of Malaya 2014 HISTORICAL AND CULTURAL DEVELOPMENT OF IRANIAN KHEYMEH SHAB BAZI FROM QAJAR DYNASTY TO PRESENT SABA ASLIAN THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MASTER OF ART (PERFORMING ART)-DRAMA CULTURALUniversity CENTER UNIVERSITY of Malaya OF MALAYA KUALA LUMPUR 2014 DECLARATION Nama: Saba No. Pendaftaran/Matrik: RGJ120003 Nama Ijazah: Tajuk Kertas Projek/Laporan Penyelidikan/Disertasi/Tesis (“Hasil Kerja ini”): HISTORICAL AND CULTURAL DEVELOPMENT OF IRANIAN KHEYMEH SHAB BAZI FROM QAJAR DYNASTY TO PRESENT Bidang Penyelidikan: Saya dengan sesungguhnya dan sebenarnya mengaku bahawa: (1) Saya adalah satu-satunya pengarang/penulis Hasil Kerja ini; (2) Hasil Kerja ini adalah asli; (3) Apa-apa penggunaan mana-mana hasil kerja yang mengandungi hakcipta telah dilakukan secara urusan yang wajar dan bagi maksud yang dibenarkan dan apa- apa petikan, ekstrak, rujukan atau pengeluaran semula daripada atau kepada mana-mana hasil kerja yang mengandungi hakcipta telah dinyatakan dengan sejelasnya dan secukupnya dan satu pengiktirafan tajuk hasil kerjatersebut dan pengarang/penulisnya telah dilakukan di dalam Hasil Kerja ini; (4) Saya tidak mempunyai apa-apa pengetahuan sebenar atau patut semunasabahnya tahu bahawa penghasilan Hasil Kerja ini melanggar suatu hakcipta hasil kerja yang lain; (5) Saya dengan ini menyerahkan kesemua dan tiap-tiap -
Firdawsi: a Scholium
Firdawsi: A Scholium by Burzine Waghmar and Sunil Sharma Hakim Abu’l-Qasim Mansur b. al-Hasan al-Firdawsi al-Tusi (ca. 940/41-ca. 1020/25), a middle- ranking aristocrat recognised by his nom de plume, Firdawsi (‘paradisiacal’), was a central figure in the history of classical Persian literature.1 His monumental epic poem, Shahnama (‘Book of Kings’), conjures Homeric as well as Miltonic associations to the Iranian mind thus ensuring him a niche in the universal literary canon.2 This mytho-poetic masterpiece, dealing with Persian legendary and recorded history from the first man to the Arab conquest in AD 652, has been continuously read, recited, remembered, and re-enacted across the Iranian-speaking oecumene straddling West, Central and South Asia for over a millennium.3 Starting from the nineteenth century, a virtual school of Shahnama studies has flourished as successive generations of scholars interpreted and contextualised the text in published abridgements, translations and new editions. Animated productions of Rustam’s adventures, as those of Hercules, are keenly enjoyed by adults and children in contemporary Iran and the diaspora.4 Although Firdawsi dedicated his work to Sultan Mahmud of Ghazni (r. 998-1030), his life was spent in the town of Tus, Khurasan, away from the courts of princes and paladins. For almost a generation, about thirty years, he quietly worked on his magnum opus and interspersed it with brief vignettes of his personal life for the reader. As Shahpur Shahbazi has noted: Much has been written on Ferdowsī and his work, but even learned studies have given inharmonious results for the simple reasons that our sources are late, uncritical and contradictory, and that … [t]he best authority is the Šāhnāma itself as the poet frequently breaks his narrative to insert a few lines about his age, work and thoughts.5 Firdawsi belonged to the traditional squirearchy or dihqan class emotively tied to its land and ancient Persian culture. -
Configuring the Roots of Zahak Myth According to the Elamites' Cylinder
Vol.14/ No.56/ Feb 2018 Received 2017/07/07 Accepted 2017/12/16 Persian translation of this paper entitled: بن مایه های کهن اسطوره ضحاک در ایران براساس نقوش روی مهر دوره عیﻻمی)هزاره سوم قبل از میﻻد( is also published in this issue of journal. Configuring the Roots of Zahak Myth according to the Elamites’ Cylinder Seals (3rd Millennium B.C.) Bita Mesbah* Abstract What is different about Iranian art is the use of hybrid motifs which is a characteristic of the Iranian art. The hybrid forms show the impact of the mythological beliefs. These beliefs also have changed a lot so it is hard to recognize the exact meaning of these motifs. Shahnama is the source of great myths in Iran and is the main source for tracing myths between the Islamic periods and the mythological beliefs before Islam. This research is based on studying the snake-man which is known as Zahak in Shahnama. The research focuses on three cylinder seals (the impressions found) which show the snake-man. These cylinder seals were found in Susa, Tepe Yahya and Tepe Shahdad. All three date back to the third millennium B.C. The snake- man which has two snake or dragons on the shoulders was well-known in Iran and Mesopotamia. The god of the dead is basically showed by this motif in Mesopotamia. Especially, Ningišzida is a Mesopotamian deity of the underworld. His name in Sumerian is translated as “the lord of the good tree”. The city of Lagash had a temple dedicated to Ningišzida, and Gudea, patesi of Lagash in the 21st century BC, was one of his devotees. -
Subjectivity in ʿattār, Persian Sufism, and European Mysticism
Subjectivity in ʿAṭṭār, Persian Sufism, and European Mysticism Comparative Cultural Studies Ari Ofengenden, Series Editor The Purdue University Press monograph series of Books in Comparative Cultural Studies publishes single-authored and thematic collected volumes of new scholarship. Manuscripts are invited for publication in the series in fields of the study of culture, literature, the arts, media studies, communication studies, the history of ideas, etc., and related disciplines of the humanities and social sciences to the series editor via e-mail at <[email protected]>. Comparative cultural studies is a contextual approach in the study of culture in a global and intercultural context and work with a plurality of methods and approaches; the theoretical and methodological framework of comparative cultural studies is built on tenets borrowed from the disciplines of cultural studies and comparative literature and from a range of thought including literary and culture theory, (radical) constructivism, communication theories, and systems theories; in comparative cultural studies focus is on theory and method as well as application. For a detailed description of the aims and scope of the series including the style guide of the series link to <http://docs.lib.purdue.edu/clcweblibrary/seriespurdueccs>. Manuscripts sub- mitted to the series are peer reviewed followed by the usual standards of editing, copy editing, marketing, and distribution. The series is affiliated with CLCWeb: Comparative Literature and Culture (ISSN 1481-4374), the peer-reviewed, full-text, and open-access quarterly published by Purdue University Press at <http://docs.lib.purdue.edu/clcweb>. Volumes in the Purdue series of Books in Comparative Cultural Studies include <http://www.thepress.purdue.edu/series/comparative-cultural-studies> Claudia Yaghoobi, Subjectivity in ʿAṭṭār, Persian Sufism, and European Mysticism Lorna Fitzsimmons, ed. -
The Poet & the Poem 1 EPITOME of the SHAHNAMA Prologue 10 IT
CONTENTS List of Illustrations xiii Preface xvii Introduction: The Poet & the Poem 1 EPITOME OF THE SHAHNAMA Prologue 10 I THE PISHDADIAN DYNASTY 11 REIGN OF GAY UM ARTH 11 REIGN OF HUSHANG 11 REIGN OF TAHMURATH 12 REIGN OF JAMSHID 13 The Splendour of jamshid 13 The Tyranny of Zahhak 13 The Coming of Faridun 15 REIGN OF FARIDUN 16 Faridun & his Three Sons 16 REIGN OF MINUCHIHR 18 Zal & Rudaba 18 Birth & Early Exploits of Rustam 20 REIGNS OF NAWDAR, ZAV & GARSHASP 21 War with Turan 21 Robinson, B.W. digitalisiert durch: The Persian Book of Kings IDS Basel Bern 2014 viii THE PERSIAN BOOK OF KINGS II THE KAYANIAN DYNASTY 23 REIGN OF KAY QUBAD 23 Rustam's Quest for Kay Qubad 23 REIGN OF KAY KA'US 24 Disaster in Mazandaran 24 Rustam's Setzen Stages 26 Wars of Kay Ka'us 30 The Flying Machine 31 Rustam's Raid 32 Rustam & Suhrab 32 The Tragedy of Siyawush 36 Birth of Kay Khusraw 40 Revenge for Siyawush 41 Finding of Kay Khusraw 41 Abdication of Kay Ka'us 43 REIGN OF KAY KHUSRAW 43 Tragedy of Farud 43 Persian Reverses 45 Second Expedition: Continuing Reverses 46 Rustam to the Rescue 47 Rustam's Overthrow of Kamus, the Khaqan, and Others 48 Successful Termination of the Campaign 50 Rustam & the Demon Akwan 51 Bizhan & Manizha 53 Battie of the Twelve Rukhs 57 Afrasiyab's Last Campaign 60 Capture & Execution of Afrasiyab 63 The Last Days of Kay Khusraw 65 REIGN OF LUHRASP 65 Gushtasp in Rum 65 REIGN OF GUSHTASP 68 The Prophet Zoroaster 68 Vicissitudes of Isfandiyar 69 Isfandiyar's Seven Stages 70 Rustam & Isfandiyar 74 Death of Rustam 76 REIGN OF -
Cattle and Its Mythical-Epic Themes in Shahnameh, Garshasbnameh, Koushnameh, Borznameh, Bahmannameh and Banogoshasbnameh
Propósitos y Representaciones Jan. 2021, Vol. 9, SPE(1), e871 ISSN 2307-7999 Special Number: Educational practices and teacher training e-ISSN 2310-4635 http://dx.doi.org/10.20511/pyr2021.v9nSPE1.871 CONFERENCES Cattle and its mythical-epic themes in Shahnameh, Garshasbnameh, Koushnameh, Borznameh, Bahmannameh and Banogoshasbnameh El ganado y sus temas mítico-épicos en Shahnameh, Garshasbnameh, Koushnameh, Borznameh, Bahmannameh y Banogoshasbnameh Nasrin Sharifzad PhD Student in Persian Language and Literature, Islamic Azad University, Mashhad Branch, Iran Mohammad Shah Badizadeh Department of Persian Language and Literature, Islamic Azad University, Mashhad Branch, Iran Reza Ashrafzadeh Department of Persian Language and Literature, Islamic Azad University, Mashhad Branch, Iran Received 10-10-20 Revised 11-12-20 Accepted 01-13-21 On line 01-14-21 *Correspondence Cite as: Email: [email protected] Sharifzad, N., Shah Badizadeh, M., & Ashrafzadeh, R. (2021). Investigation and analysis of color pragmatics in Beyghami DarabNameh. Propósitos y Representaciones, 9 (SPE1), e871. Doi: http://dx.doi.org/10.20511/pyr2021.v9nSPE1.871 © Universidad San Ignacio de Loyola, Vicerrectorado de Investigación, 2020. This article is distributed under license CC BY-NC-ND 4.0 International (http://creativecommons.org/licenses/by-nc-nd/4.0/) Cattle and its mythical-epic themes in Shahnameh, Garshasbnameh, Koushnameh, Borznameh, Bahmannameh and Banogoshasbnameh Summary In Shahnameh and other epic poems, which reflect the myths, the life of primitive and ancient Iranian societies, animals and other animals are of great importance and go beyond their normal features and status. Myths that are truths of the thoughts and ideas of the first people, which are mixed with different stories and are expressed symbolically and cryptically. -
'The Conceits of Poetry': Firdausi's Shahnama
Mario Casari ‘The Conceits of Poetry’: Firdausi’s Shahnama and the discovery of Persian in early modern Europe The Muse of the Coming Age In one of his few meta-literary stories, written in 1861, the famous Danish fairy tale writer, Hans Christian Andersen, posed a question to the reader about the future of literature in the century to come. ‘The Muse of the Coming Age, whom our great grandchildren, or possibly a later generation still, but not ourselves, shall make acquaintance with, – how does she manifest herself ? What is her face and form? What is the burden of her song? Whose heart-strings shall she touch? To what summit shall she lift her century?’ Responding with the gaze of a Romantic writer, Anderson proposes a number of possible figures, at the crossroads of the poetic tradition and modern scientific prose. But what is certain to him is that the Muse ‘in the vast workshop of the present . is born, where steam exerts its sinews’; ‘The nurse has sung to her of Eivind Skalde-spiller and Firdusi, of the Minnesingers and what Heine, boyish-bold, sang from his very poet’s soul . ’. Thus, to Andersen, the Persian poet Firdausi was among the required body of knowledge for anyone who aimed at creating literature in the coming age; an age whose Muse was launched towards the future as a locomotive pushed by the force of steam. Andersen added, with emphasis and visionary passion: ‘Europe’s railways hedge old Asia’s fast- sealed culture-archives – the opposing streams of human culture meet! . -
Exploring the Symbol of Gavaevodata and the Essence of Siavash in Shāhnāmeh and Its Replication on the Embossments of Persepolis
Exploring the Symbol of Gavaevodata and the Essence of Siavash in Shāhnāmeh and its Replication on the Embossments of Persepolis Introduction The mythology of each ethnic group is rooted in their initial attitudes and thoughts about creation and the universe. When human science, knowledge and research had not yet begun, and the first man had to calm his troubled mind for his own reasons. The only way he could escape the horror of death was to turn to a supernatural and mythical power. Many words have been said about the meaning and roots of myths. Arab lexicographers consider the term myth in Persian (Ostoreh) as an Arabic word on the weight of "Ofoleh" meaning objects connoting unfounded and wonderful myths and words that have been written (Kazazi , 1993: 1). Myth is a narrative that revives the original reality and satisfies the deep religious need and is a basic element of human civilization; moreover, mythology and storytelling are not in vain in any way (Masoumi, 2009: 19). It is an art, creative and poetic that over time, with the creative power of their imagination, have turned every aspect of human life into a poetic symbol; The aspirations of human beings throughout history have found poetic interpretations during these myths and have been narrated from generation to generation, and over time, have crystallized in the aura of poetic imagination of different generations. In between, myth and epic have a close and fundamental connection with each other. The epic is the product of a myth, and the myth is left to the nurturing mother who breeds the epic and nurtures it on her lap.