DOCSLIB.ORG

شورای سیاستگذاری جشنواره the Strategic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
شورای سیاستگذاری جشنواره the Strategic In Islamic mysticism, art is a vivid explanation of justice, nobility and equity, as well as the visualization of afflictions of those disfavored by power and money. Imam Khomeini, the founder of the Islamic Revolution هنر در عرفان اسﻻمي ترســيم روشن عدالت، شرافت، انصاف و تجسم تلخكامي گرسنگان مغضوب قدرت و پول است. بنيانگذار جمهوري اسﻻمي ايران حضرت امام خميني)ره( Theater in Islamic Republic of Iran, acquire is sublime nobility in expressing torments and afflictions of those oppressed and submissive. Leader of the Islamic Revolution Ayatollah Seyyed Ali Khamenei تئاتر در جمهوری اســﻻمی ایران، اصالت واﻻی خودرا در بيان دردها و بازگویی قصه مظلوميت بشریت در بند می یابد. مقام معظم رهبري حضرت آيت اهلل خامنه اي ّ)مد ظله العالی( Government should make policies in, supervise and support culture. Its first support will be the transparency of regulations and provision of a calm atmosphere in the society. However, we have to hand over the job to itsreal possessors who are the artists. Iranian President Hassan Rouhani دولت باید در فرهنگ سياستگذار باشد و نظارت و حمایت کند. اولين حمایتش شفافيت مقررات و فضای امن در جامعه است اما باید کار را به صاحبان اصلی اش یعنی اصحاب هنر واگذار کنيم. رئيس جمهوری اسﻻمی ايران دکتر حسن روحانی The Book (Catalog) of کتاب )کاتالوگ( 18th interantional puppet هجدهمین جشنواره نمایش theater Tehran-Mobarak عروسکی تهران- مبارک Managing Director: Mehdi Hajian مدير مسئول: مهدی حاجيان Editor In Chief: Omid Biniaz سردبير: اميد بی ن ياز Idea And Plan Advisors: Sayed Ali Falah, Hatef Jalilzadeh, Hamed Hooshiari And Dariush Nasiri مشاوران ايده و طرح: سيد علی فﻻح،هاتف جليل زاده، حامد Thanks for: Moloud nemati هوشياری و داریوش نصيری Graphics Designer: Amir Reza Amini And Fatemeh Teymoori با سپاس از: مولود نعمتی (Cover Designer: Farzad Adibi (festival Poster Designer طراح گرافيک: امير رضا امينی و فاطمه تيموری Photo Secretary: Akhtar Tajik طرح جلد: فرزاد ادیبی )طراح پوستر جشنواره( Executive Director: Marjan Goudarzi Editorial Secretary: Maryam Jafari Hesarlou دبير عکس: اختر تاجيک Read And Editorial Director: Mahbobeh Bayat And Behdad دبير اجرايی: مرجان گودرزی Mansoori دبير تحريريه: مریم جعفری حصارلو Translator And Director of ENGLISH Part: Mohammad Biniaz دبير خوانش و ويرايش: محبوبه ب يات و بهداد منصوری With cooperation Worya Zargari And DR. Arman Roukhzadi مترجم و دبير بخش انگليسی: محمد بی ن ياز با همكاری وریا زرگر و دکتر آرمان Catalog`s Public Relations Manager: Dariush Nasiri Editorial Board: Mostafa Naghli Irad Mosa, Seyed Hamzeh رخزادی ,Pahneh Kolaei, Khadijeh Jafari Hesarloo, Ali Rezaei Farahabadei مدير روابط عمومیکاتالوگ: داریوش نصيری Mehdi Mahmoud Aghdam, Danial Mahmoud Aghdam, Hafez هيأت تحريريه: مصطفی ناقلی ایرد موســی، ســيد حمزه پهنه کﻻیی، خدیجه Jalilzadeh, Homa Jalilzadeh جعفری حصارلو، علی رضایی فرح آبادی، مهدی محموداقدم، دانيال محمود اقدم، Editorial Photpgraphers: Sepehr Adibzadeh, Tanaz Tajik, Majid Ghafari حافظ جليل زاده، هما جليل زاده ,And Thanks for theater Photographers: Farid Mesbah عکاسان تحريريه: سپهر ادیب زاده، طناز تاجيک، مجيد غفاری Bahareh Ebrahimzadeh, Ali Rasti, Mahtab Abaszadeh, Nafiseh و تشکر از عکاسان تئاتر: فرید مصباح، بهاره ابراهيم زاده، علی راستی، مهتاب ,Gahsempur, Masood Khalajzadeh, Maryam Noori, Zainab Noori عباس زاده، نفيســه قاسم پور، مســعود خلجزاده، مریم نوری، زینب نوری، اعظم Azam Larijani ﻻریجانی Arsham Ghalee Shakhani :Typing آرشام قلعه شاخانی Transportation: Sasan Bidarpur تايپ: ,Thanks for: Ghader Ashna The Chief Manager of Dramatic Art حمل و نقل: ساسان ب يدار پور ,Mozhgan Vakili Azar International Affairs center of Dramatic Art با سپاس از: قادر آشنا مدیر کل هنرهای نمایشی، مژگان وکيلی آذر، مدیر امور ب ين Mitra Karim Khani, Amir Abedi, Fahimeh Mirza Hosaini, Saman الملل مرکز هنرهای نمایشی- ميترا کریم خانی، امير عابدی، فهيمه ميرزاحسينی، Khalilian, Vahid Rahjoo, the boble nad popular artists in 18th سامان خليليان، وحيد رهجو، هنرمندان محبوب حاضر در جشنواره هجدهم و تک festival and all of great theater`s family one that in presenting this .experimental idea, help us with endless kindness تک اعضای خانواده بزرگ تئاتر که در ارائه این ایدۀ تجربی با مهربانی بی پایان، همراه ما بودند. Minister of Culture and Islamic Guidance 4 to 18th puppet festival Tehran-Mobarak پیام وزیر فرهنگ و ارشاد اسﻻمی به هجدهمین جشنواره نمایش عروسکی تهران ـ مبارک In the limited world of puppets جهان بیمرز عروسکها با عبور از پس with passing after many millenium is still so active هزارهها همچنان با همراهی ِمهر مردم with people`s kindness and it پرهياهوست و شگرف آنكه انسان is wonderful that thinker man اندیشمند همواره دنيای برساخته خود looks his making world with مبارک تهران- عروسکی/ نمایش جشنواره هجدهمین extent of dead objects to simple را با طيف گستردهای از اشياء بیجان and comlicated puppets so that گرفته تا عروسکهای ساده و گاهی find the appropriate and beautiful پيچيده تماشا میکند تا پاسخی زیبا برای answer to his excitement, and .learn more and find hobby شگفت زدگیاش بيابد، از آن بياموزد و Although the puppets don`t have سرگرم شود. عروسکها، اگرچه قلبی برای hearts for loving, they have مهربانی ندارند ّاما توانستهاند قلب انسانها captured the people`s hearts. The puppets know that honesty را بربایند. عروسکها با تمام بی قلبیشان and correctness are the keys میدانند راستی و یکرنگی رمز ماندنشان for staying in hearts and falling در دلهاست. مواجهه زﻻلی عروسکها loves. Facing the honest puppets with children is the symbol of با کودکان که نمادهای بیبدیل پاکیاند، the purity is seeing. They have دیدنی است. به سادگی یكدیگر را باور کرده accepted each other with love and و میپذیرند. فرصتی که بزرگترها هم به آن simply. The chance that the adult people need it and the puppet theater, is the chance نياز دارند و نمایش عروسكی، فرصتی برای .for visiting the sincerity دیدار یکرنگی است. هجدهمين جشنواره نمایش عروسكی تهران The 18th puppet festival Tehran-Mobarak is the ــ مبارک فرصتی برای قرار گرفتن در جایی ميان واقعيت و رویا chance for locating between reality and dream for .finding more information برای کسب آگاهی ب يشتر است. Although the starting of the bitter days come back اگرچه روزهای تلخی که آغازش به سال گذشته برمیگردد با to the last year, and still last with fatal bad omen حضور نامبارک ویروسی مرگبار هنوز ادامه دارد، اما یقين دارم با and fatal virus , we believe that with smile and hope with puppets in this festival, the better days اميد و شادی خلق شده از سوی عروسکهای این رویداد، بهزودی will come in near future for people in all over the روزهایی مبارک و بیاضطراب به زندگی مردم سراسر جهان، از .world, especially kind people in Iran جمله مردم مهربان ایران باز خواهد گشت. حضور و هنرآفرینی We respect and appreciate the attending of all artistic group in all over the country and the artistic گروههای هنری سراسر کشور و تﻻش و همت هنرمندانه تمام endeavor and hardworking of all attendants in this دستاندرکاران برگزاری این رویداد هنری را ارج نهاده و از پروردگار artistic event, and i hope the merciful God bestows مهربان برای تمامیعزیزان پيروزی و سربلندی آرزومندم. victory and honour to all dear people. Sayed Abas Salehi سيد عباس صالحی 5 Art Affairs Deputy Minister of Culture and Islamic Guidance to 18th puppet festival Tehran-Mobarak پیام معاون امور هنری وزیر فرهنگ و ارشاد اسﻻمی به هجدهمین جشنواره نمایش عروسکی تهران ـ مبارک Living with wishes and hope are the به آرمان و آرزو زیستن، غایت بندگیست target of each person, that human is که انسان، ِفرزند فروزندهی اميد و ِجان the son of the hope and immortality. The sigh of pure love that reach جویای جاودانگیست. شور عارفانهای که people to the GOD and renew the آیهآیه، مخلوق را به خالق شبيه میکند و excitement of the creation. Puppets نشاط آفرینش را تازه میدارد. عروسکها and statues are the results of this و پیک رکها، زادهی همين خداباوری و مبارک تهران- عروسکی/ نمایش جشنواره هجدهمین جشنواره نمایش عروسکی/ تهران- مبارک believing. The facts that taken part خداوارگیست. حقي قتهای برساختهای in happy and sad moments, without که از کهنروزگاران تا به روزگار ما، در سور و any expectation, they are in the سوگ، سهمی داشتهاند و بیاندک توقعی، sadness and happiness. Puppets are the signs of the myths in past, and شریک غمها و شادیها بودهاند. عروسکها، .imagination of dreams in next days تبلور اسطورههای دیروز و تجسم رویاهای They are created for remembering فردایند. خلق شدهاند تا یادآور زیباییها beauties, and discovering the و کاشف فضي لتها باشند که به سادگی و goodness that simply creates the صداقت و خوشباوری زیستن شاید از جهان؛ .more fairy and purely base قرارگاه معصومانهتری بيافریند. جشنوارهی The 18th puppet theater festivals تئاتر عروسكی هجدهمين هنگامهی خود finishes the details with focusing on discovering personal creativities را با تاکيد بر کشف خﻻقي تهای فردی ,of children. In this course و کنشهای جمعی کودکان پشت سر with remembering capacity of میگذارد. در این دوره با مرور ظرفي تهای performing puppet in resume of traditional theater نمایش عروسكی در کارنامهی تئاتر سنتی and using of experimental treasures of this artistic و بهرهگيری از گنجي نهی تجربی این نوع هنری، جنبههای تعاملی and communicative aspects and evolutional theater و الگوهای تكاملی تئاتر عروسكی در شي وههای توليدی و شگردهای puppet in production and skills of performing. And اجرایی مورد تاکيد قرار گرفته است و به ضرورت دشواریها و احتياط for focusing difficulties and causion of Corona time, there are executive and educational in cyber space روزگار کرونا، بسياری از بسترهای اجرایی و آموزشی در فضای رسانهای .that reach to the good talent and artistic satisfation تدارک دیده شده است که قطعا بنا به ُحسن سليقه و دانش متوليان، به In the 18th course of festival what is important is مقصد رضایت و اقناع هنرمندان و مخاطبان منتهی خواهد شد. آن چه the kindness and responsible for its director Golzar در جشنوارهی هجدهم اتفاق میافتد بيش و پيش از هر چيز مرهون Mohammadi, that will remain memorable her lovely مهر و مسئوليت دبير جانآگاهش "گلزار محمدی" است که خاطرهی living with puppets and we appreciate her collegues عاشقانهزیستنش در جهان عروسکها برای ما به یادگار باقی ماند و for making alive in the world of puppets for us.
Load more

Recommended publications
  • The Pseudo-Kufic Ornament and the Problem of Cross-Cultural Relationships Between Byzantium and Islam
    The pseudo-kufic ornament and the problem of cross-cultural relationships between Byzantium and Islam Silvia Pedone – Valentina Cantone The aim of the paper is to analyze pseudo-kufic ornament Dealing with a much debated topic, not only in recent in Byzantine art and the reception of the topic in Byzantine times, as that concerning the role and diffusion of orna- Studies. The pseudo-kufic ornamental motifs seem to ment within Byzantine art, one has often the impression occupy a middle position between the purely formal that virtually nothing new is possible to add so that you abstractness and freedom of arabesque and the purely have to repeat positions, if only involuntarily, by now well symbolic form of a semantic and referential mean, borrowed established. This notwithstanding, such a topic incessantly from an alien language, moreover. This double nature (that gives rise to questions and problems fueling the discussion is also a double negation) makes of pseudo-kufic decoration of historical and theoretical issues: a debate that has been a very interesting liminal object, an object of “transition”, going on for longer than two centuries. This situation is as it were, at the crossroad of different domains. Starting certainly due to a combination of reasons, but ones hav- from an assessment of the theoretical questions raised by ing a close connection with the history of the art-historical the aesthetic peculiarities of this kind of ornament, we discipline itself. In the present paper our aim is to focus on consider, from this specific point of view, the problem of a very specific kind of ornament, the so-called pseudo-kufic the cross-cultural impact of Islamic and islamicizing formal inscriptions that rise interesting pivotal questions – hither- repertory on Byzantine ornament, focusing in particular on to not so much explored – about the “interference” between a hitherto unpublished illuminated manuscript dated to the a formalistic approach and a functionalistic stance, with its 10th century and held by the Marciana Library in Venice.
    [Show full text]
  • A Comparative Study of Arthur John Arberry's And
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/102256/ Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications i A Comparative Study of Arthur John Arberry’s and Desmond O’Grady’s Translations of the Seven Mu‘allaqāt by Heba Fawzy El-Masry A thesis submitted in fulfillment of the requirement for the degree of Doctor of Philosophy in Translation Studies University of Warwick, Department of English and Comparative Literary Studies September 2017 I Table of Contents List of Figures IV Note on Translation and Transliteration V Acknowledgments VII Declaration VIII Abstract IX Abbreviations X 1. Introduction 1 1.1.Rationale for Undertaking the Research 1 1.2. Statement of the Problem 4 1.3. Survey of Arthur John Arberry’s and Desmond O’Grady’s Contributions to the Field of Translation 6 1.4. Definitions of Key Terms 10 1.5. Thesis Structure 11 2. Review of the Literature 13 2.1. Introduction: A Bourdieusian Approach to Studying the History of the Field of English Translations of the Mu‘allaqāt 13 2.2. Genesis of the Field of English Translations of the Mu‘allaqāt. 18 2.2.1.
    [Show full text]
  • Traditional Kyrgyz Carpet Weaving Process and Semantics of Related Customs
    Advances in Anthropology, 2021, 11, 68-75 https://www.scirp.org/journal/aa ISSN Online: 2163-9361 ISSN Print: 2163-9353 Traditional Kyrgyz Carpet Weaving Process and Semantics of Related Customs Chynykhan Satybaldieva1, Mukaram Tashalieva2, Zamira Eshnazarova3, Ainura Tagaibekova1, Aizirek Satybaldieva4, Zhanara Tashalieva5, Zhypargul Abdullaeva6* 1Department of History, Archeology and Ethnography, Osh State University, Osh, Kyrgyzstan 2Departmemnt of History, Kyrgyz-Uzbek University, Osh, Kyrgyzstan 3South Department of Academy of Sciences, Osh, Kyrgyzstan 4Department of Public Health and Well-Being, Osh State University, Osh, Kyrgyzstan 5Department of Accounting and Customs, Financial-Juridical College, Osh State University, Osh, Kyrgyzstan 6Science and Research Department, Osh State University, Osh, Kyrgyzstan How to cite this paper: Satybaldieva, C., Abstract Tashalieva, M., Eshnazarova, Z., Tagaibe- kova, A., Satybaldieva, A., Tashalieva, Z., & Research relevance in this article is providing information about the tradi- Abdullaeva, Z. (2021). Traditional Kyrgyz tional Kyrgyz carpet weaving process and semantics of related customs. Car- Carpet Weaving Process and Semantics of pet weaving is the most popular form of Kyrgyz traditional handicraft. This Related Customs. Advances in Anthropol- ogy, 11, 68-75. craft is mainly seen as a women’s activity. The process of carpet weaving is a https://doi.org/10.4236/aa.2021.111006 combination of involved activities. The history of people’s ethnic culture is deeply connecting with the way of life and the type of economy of certain Received: February 2, 2021 people. Handicrafts are satisfying aesthetic needs and have a great practical Accepted: February 22, 2021 Published: February 25, 2021 value, as well as reflecting ethnic relations between people.
    [Show full text]
  • Tunisie Tunisia
    TUNISIETUNISIA ROUTEUMAYYAD DES OMEYYADES ROUTE Umayyad Route TUNISIA UMAYYAD ROUTE Umayyad Route Tunisia. Umayyad Route 1st Edition, 2016 Copyright …… Index Edition Andalusian Public Foundation El legado andalusí Introduction Texts Mohamed Lamine Chaabani (secrétaire général de l’Association Liaisons Méditerranéennes); Mustapha Ben Soyah; Office National du Tourisme Tunisien (ONTT) Umayyad Project (ENPI) 5 Photographs Office National du Tourisme Tunisien; Fundación Pública Andaluza El legado andalusí; Tunisia. History and heritage 7 Association Environnement et Patrimoine d’El Jem; Inmaculada Cortés; Carmen Pozuelo; Shutterstock Umayyad and Modern Arab Food. Graphic Design, layout and maps José Manuel Vargas Diosayuda. Diseño Editorial Gastronomy in Tunis 25 Printing XXXXXX Itinerary Free distribution ISBN Kairouan 34 978-84-96395-84-8 El Jem 50 Legal Deposit Number XXXXX-2016 Monastir 60 All rights reserved. No part of this publication may be reproduced, nor transmitted or recorded by any information Sousse 74 retrieval system in any form or by any means, either mechanical, photochemical, electronic, photocopying or otherwise without written permission of the editors. Zaghouan 88 © of the edition: Andalusian Public Foundation El legado andalusí. Tunis 102 © of texts: their authors © of pictures: their authors Bibliography 138 The Umayyad Route is a project funded by the European Neighbourhood and Partnership Instrument (ENPI) and led by the Andalusian Public Foundation El legado andalusí. It gathers a network of partners in seven countries
    [Show full text]
  • Interactive Novel, Forever a Work in Progress, Contributions Welcome
    Interactive novel, forever a work in progress, Contributions welcome To My Daughter I have learned after 50 years of bumping into various objects, Some of them painfully sharp, That in this huge dark dark room, there is a light switch. Our often humbling efforts to search for it Will encourage others to do the same And we will find it. Love Dad Election Platform Ontario Good News: Scientists at Harvard Medical School have discovered a molecule NAD+ that repairs damaged DNA and reverses a substantial factor in the aging process. Mice with Alzheimer's had their brains grow back; gray hairs turned black; their cells looked young again. Other universities have developed a similar but different methods to reverse aging. Like the development of computer science from 1885 to date, the knowledge about how cells grow old, and about repairing damage in the cells is growing exponentially. Soon to flower. https://www.youtube.com/watch?v=4O6bh8OpL70 https://www.youtube.com/watch?v=e83pGX7BVBk https://www.youtube.com/watch?v=HJ14Lb4MfJY https://www.youtube.com/watch?v=AvIaR5WBKrQ https://www.youtube.com/watch?v=32vfZ-6jmQg https://www.youtube.com/watch?v=UT3arHEflsY https://www.youtube.com/watch?v=PcIDKUiUsPk https://www.youtube.com/watch?v=2YBbx6Lzzg8 Proposal: The Ontario government hires IBM’s Watson or a similar size computer with similar software. Presently this computer is being used for medical diagnosis. https://www.youtube.com/watch?v=HkEOJnn_zlg Computer programmers, biochemists and experts in cell functions will assist Watson in assimilating all the best ideas from around the world on the issue of aging reversal.
    [Show full text]
  • The Blue-Eyed
    پسرک چشم آبی The Blue-Eyed Boy پژوهشگر: حسن لطفی Researcher: Hassan Lotfi تصویربردار: محمدرضا تیموری Cinematographer: Mohammadreza Taymouri صدابردار: مهرداد عباس پور Sound Recorder: Mehrdad Abbaspour صداگذار: حامد کلجه ای Sound Mixer: Hamed Koljeii تدوینگر: حامد کلجه ای Editor: Hamed Koljeii آهنگساز: مسعود سخاوتدوست Composer: Masoud Sekhavatdoust عکاس: تورج خامنه زاده Photographer: Touraj Khamenehzadeh تهیه کننده: حسن لطفی Producer: Hassan Lotfi کارگردان: حسن لطفی متولد: 1342/ خواف خﻻصه فیلم: زندگی جواد مجابی شاعر، نقاش، نویسنده و منتقد ادبی. بزرگانی چون محمود دولت آبادی، تحصیﻻت: کارشناسی مدیریت دولتی، فارغ التحصیل سینما سیمین بهبهانی و... در این فیلم حضور دارند. فیلمشناسی: دزد دوچرخه، قطره ای از دریا، بودن یا نبودن، خانه روشنان، دیوارهای چاه Synopsis: Life of Javad Mojabi, poet, painter, writer, and literary critic. Masters of Mah- Director: Hassan Lotfi moud Dolatabadi, Simin Behbahani,… are present in the film. Born: 1963/Khaaf Education: B.A in Governmental Management, Educated in Cinema Filmography: Thief of Bicycle, A Drop from the Sea, To Be or Not To Be, House of Light, Walls of Well 45´/DVD/2006 1387 [email protected] در ستایش 70سالگی Tribute of 70-Year-Old پژوهشگر: ابراهیم حقیقی Researcher: Ebrahim Haghighi تصویربردار: فرید حسینی، حسن جاوید، فرید -Cinematographer: Farid Hosseini, Hassan Ja صداقت، مانی مهرورز vid, Farid Sedaghat, Mani Mehrvarz صدابردار: فرید حسینی Sound Recorder: Farid Hosseini صداگذار: ابراهیم حقیقی Sound Mixer: Ebrahim Haghighi تدوینگر: ابراهیم حقیقی Editor: Ebrahim Haghighi عکاس: مریم زندی Photographer: Maryam Zandi مجری طرح: امراله فرهادی Executive Producer: Amrollah Farhadi تهیه کننده: آموزشگاه تخصصی گرافیک ویژه Producer: Vijeh Graphics Professional Institute کارگردان: ابراهیم حقیقی خﻻصهفیلم: در بزرگداشت 70 سالگی اساتید هنرهای تجسمی و گرافیک ایران آقایان محمد احصایی، آیدین متولد: 1328/ تهران آغداشلو و عباس کیارستمی.
    [Show full text]
  • Saviours of Islamic Spirit
    ISLAMIC BOOKS HUB ( islamicbookshub.wordpress.com ) http://islamicbookshub.wordpress.com/ ISLAMIC) BOOKS islamicbookshub.wordpress.com HUB ( http://islamicbookshub.wordpress.com/ ISLAMIC) BOOKS islamicbookshub.wordpress.com HUB ( http://islamicbookshub.wordpress.com/ internal deterioration caused by ignorance of the masses, pro­ tested against external encroachments of alien thought and customs and called a halt to the decadence of Muslim society by summoning it back to the original purity and order of Islam. Their techniques differed according to their circumstances and needs of the time, but they all tried to re-create the true bonds of relationship between the believer and the Supreme Being. It has to be borne in mind, in this context, that by the middle of the eighth century the centre1 of Islamic religious and intellectual activities had shifted itself to India where a power­ ful Muslim power had been firmly established. Simultaneously, the ravages of the Mongols had destroyed all traces of culture and civilization from Turkistan and Persia, in the east, to Syria and borders of Egypt, in the west, and extinquished the lamp of Abbasid Caliphate for ever. For several hundred years to come, India had to assume the educational and intellectual and and religious and spiritual leadership of the world of Islam. A historian has thus inevitably to turn his attention to this new centre of Islam. It is for this reason that a portion of this volume and one or two subsequent volumes, whenever they are written, would have to be devoted to the revivalist movement in this country. The reader will find in this volume a new religious dimension of Islam revealed by Makhdum Sheikh Sharaf ud-dln Yahya Maneri.
    [Show full text]
  • Katalog 2012
    DOK.fest 27. Internationales Dokumentarfilmfestival München. 02. bis 09. Mai 2012. Atelier/City, ARRI, Filmmuseum, Rio Filmpalast, Staatliches Museum für Völkerkunde, Pinakothek der Moderne, Vortragssaal der Stadtbibliothek am Gasteig, HFF München. www.dokfest-muenchen.de Veranstalter: Internationales Dokumentarfilmfestival München e.V. in Kooperation mit Film- stadt München e.V., zusammen mit der Münchner Stadtbibliothek am Gasteig, gefördert vom Kulturreferat der Landeshauptstadt München, von der Bayerischen Staatskanzlei im Rahmen der Bayerischen Filmförderung, der Kulturstiftung des Bundes, dem MEDIA Programm der Europäischen Union, vom Bezirk Oberbayern, dem Bayerischen Rundfunk, der Bayerischen Landeszentrale für neue Medien und der Verwertungsgesellschaft der Film- und Fernseh- produzenten mbH. Willkommen Glauben Sie mir, die Leitung des DOK.fest München ist eine Aufgabe, die mir große Freude macht, weil ich durch die vielen Dokumentarfilme Einblicke in Lebenswelten bekomme, die ich persönlich wohl nie machen könnte. An- dererseits werde ich Jahr für Jahr auch mit viel Elend konfrontiert. Auch in diesem Jahr, dem Jahr eins nach Fukushima, gab es zahllose Ereignisse, die in einem Dokumentarfilm verarbeitet wurden. Für mich ist dabei eines „Nichts bedarf so sehr der Reform, entscheidend: Schafft es der Autor oder die Autorin, mich nicht nur zu infor- wie die Gewohnheiten der Menschen“ mieren, sondern entlässt mich der Film zurück in meine Wirklichkeit mit (Mark Twain) einer emotional gereiften Erkenntnis? Der sogenannte Arabische Frühling, der schon jetzt von einem stürmischen Herbst abgelöst wurde (um im Sprachgebrauch der Medien zu bleiben), steht dieses Jahr im Zentrum der Reihe DOK.guest. Die eingeladen Filme aus verschiedenen arabischen Ländern präsentieren dem Publikum tiefer gehende Einblicke in die Umbrüche dieser Region und ihre Entwick- lung, deren Ende noch nicht abzusehen ist.
    [Show full text]
  • In the Name of Allah Introduction
    In the name of Allah Introduction The expansion, and all forms of developments in various aspects of cultural activities, have a transactional relationship with culture oriented industries, and technological advancements. In modern times, different cultures are heading towards homogeny, whence, the role of cultural industries has become more pronounced. The essence of intercultural relations is based on the axis of cultural industries, the most important element of which is publication; an industry that is always and everywhere readily available, and is the most effective form of delivering a message. The efficient utilization of this tool in cultural relations, between the people and governments, can have progressive, and constructive results, whereas, the improper use of it will result in destruction, delusion, and misunderstanding. The role of translation in cultural interactions does not go unnoticed by authorities. The concept of translation, in relevance to cultural interactions, must be viewed as inclusive of cultural activities, and the effects of pri- 2 vate institutions, and organizations that present new angles and avenues. Thus, cultural local- ization, in the globalization process, can be better understood, and we can recognize why the more culturally localized works are also more global. It has, even, been proven through experi- ence, that, the works of many authors, have become globally renowned, because they had been culturally localized. The project to support the translation of Persian works to other languages, also known as TOP (Translation of Persia), with the objective of outsourcing the task of trans- lation and publication to other countries, has been a progressive step towards breaking free of the formalities of international publication, vis-à-vis the selection of books by this charter, and the starting point in evaluating Persian works of Iran, which will, hopefully, proceed towards perfection.
    [Show full text]
  • The Muslim Carpet and the Origin of Carpeting April 2004
    The Muslim Carpet and the Origin of Carpeting IMPORTANT NOTICE: Author: Dr Rabah Saoud Chief Editor: Professor Salim Al-Hassani All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Production: Lamaan Ball accessing these web pages, you agree that you may only download the content for your own personal non-commercial use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or Release Date: April 2004 change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Publication ID: 4053 Limited. Material may not be copied, reproduced, republished, Copyright: © FSTC Limited, 2003 2004 downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. Readers should always verify information with the appropriate references before relying on it.
    [Show full text]
  • Maria Vittoria Fontana
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 21, Issue 12, Ver. 2 (December. 2016) PP 56-73 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Kufic Ornamental Motifs in the Wall Paintings of Six Churches in Southern Italy Maria Vittoria Fontana The churches we are concerned with here are in South-eastern Italy where, more than in other parts of Southern Italy (with the exception of Calabria), the Byzantine presence and Byzantine influence were obviously strong.1 Islam arrived on the Apulian coast from the 11th to 13th century was often mediated by Byzantium: this is verifiable in techniques, iconographies and styles. One case in particular concerns the epigraphic characters of Islamic derivation which abound in many media and, specifically, in architectural decoration: in other words, stone, stucco, mosaic, painting and so on. But, if the Byzantine mediation is evident, it is very important to observe that the labour is always local.2 We will look at six churches. They do not constitute a «catalogue», but offer a good «sample» of pseudo-kufic of the 13th century.3 First of all, I wish to present the map of the six churches with frescoes (Fig. 1). Four of them are in Apulia: Gravina (province of Bari), Massafra (province of Taranto), Squinzano (on the road between Lecce and Brindisi) and Otranto (both provinces of Lecce). The other two are in the present-day Lucania (or Basilicata): Matera and the former town of Anglona, near Tursi (province of Matera).4 Furthermore, I wish to specify that three of them (those in Massafra, Gravina and Matera) are rock- churches, small chapels hewn out of the rock, without doors.5Before starting the description of the frescoes and, in particular, of their epigraphic cycles, I wish to say few words about the choise of the expression «pseudo- kufic».
    [Show full text]
  • Edmonds Etal 2021 MPB
    Marine Pollution Bulletin 163 (2021) 111915 Contents lists available at ScienceDirect Marine Pollution Bulletin journal homepage: www.elsevier.com/locate/marpolbul Review Kuwait’s marine biodiversity: Qualitative assessment of indicator habitats and species N.J. Edmonds a,*, A.S. Al-Zaidan b, A.A. Al-Sabah b, W.J.F. Le Quesne a, M.J. Devlin a, P. I. Davison a, B.P. Lyons c,d a Centre for Environment, Fisheries, Aquaculture Science (Cefas), Pakefield Road, Lowestoft, Suffolk NR33 0HT, United Kingdom b Kuwait Environment Public Authority (KEPA), P.O. Box: 24395, Safat 13104, Kuwait c Cefas, Weymouth Laboratory, Barrack Road, Weymouth, Dorset DT4 8UB, UK d British Embassy at the State of Kuwait, P.O. Box 2, Safat 13001, Kuwait ABSTRACT The tropical waters of the Northern Arabian Gulf have a long history of maritime resource richness. High levels of biodiversity result from the complex matrix of coastal habitats, coral reefs and sea grass beds that characterise the region. Insight into the ongoing health of such habitats and the broader Kuwait maritime environment can be gauged by the status of indicator species found within these habitats. Here we review information on the occurrence, distribution and threats to key marine habitats and associated indicator species to provide an updated assessment of the state of the Kuwait’s marine biodiversity. Critical evaluation of historic data highlights knowledge gaps needed inform the focus of future monitoring and conservation efforts. This assessment is designed to evaluate performance against environmental policy commitments, while providing a solid foundation for the design of comprehensive marine ecosystem management strategies.
    [Show full text]