Jalaluddin Rumi and Hi Tasawwuf
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International Journal of English and Studies (IJOES)
SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed English Journal www.ijoes.in Vol-1, Issue-4, 2019 ISSN: 2581-8333 Indexed in ________________________________________________________________ GHAZAL: JOURNEY FROM PERSIAN TO ENGLISH ______________________________________________________________________________ Dr. R.P. Singh Professor of English University of Lucknow-226007 ______________________________________________________________________________ Abstract: It is an informative paper on the construct, form, and expansion of Ghazal as a poetic form. The origin of the word ‘Ghazal' goes back to the Arabic word ‘Ghazal' meaning ‘deer' in English. The reference finds roots to the act of hunting a deer. When a hunter shoots a deer in a moonlit night in the Arabian desert, the deer getting pierced with the arrow, runs around helplessly in search of water. In this state, the throat makes the sound like "gaz - gaz". A lover, in the same way, pines for his beloved, and feels emotional bleeding; this leads to the making of Ghazal. The paper discusses various aspects of Ghazal. Key Words: Ghazal, Sher, Matla, Takhallus. The Ghazal is a Persian word referring to a form of Persian poetry. It became popular in Urdu literature later. It is, generally speaking, a form of poetic expression describing platonic love. The locale, tone, and content –almost everything around Ghazal find a lover and his unattained love as the central concern. The narrator almost knows it too well that the meeting of the lovers is unattainable, yet they keep striving till the last. This pang and desire emanate into the verses of Ghazal. The complete Ghazal comprise of Shers (couplets); most of the Ghazal has less than fifteen shers, A good Ghazal has approximately five Shers. -
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. -
The Concept of City in Qajar Era in the Mirror of Matla Al-Shams Focusing on Mashhad
Science Arena Publications Specialty Journal of Architecture and Construction ISSN: 2412-740X Available online at www.sciarena.com 2018, Vol, 4 (4): 40-48 The Concept of City in Qajar Era in the Mirror of Matla Al-Shams Focusing on Mashhad Mahdi Mohammadi1*, Ehsan Kakhani2 1 PhD student, Arts & Architecture Department, Yazd University, Iran, 2 PhD student, Architecture and Urban Planning Department, Shahid Beheshti University, Iran. *Corresponding Author Abstract: Matla Al-Shams by Mohammad-Hasan Khan Etemad-al-Saltana is one of the most important geographical books from Nāṣeri Era. The book contains extensive information about several cities and villages in Iran, including the 14th hegira century’s holy city of Mashhad. The present article aims at the investigation and interpretation of an image portrayed of Mashhad by Mohammad-Hasan Khan Etemad-al-Saltana in his book “Matla Al-Shams”. To do so, first of all, the importance of Mashhad from the perspective of Mohammad-Hasan Khan in the position of an author and as an individual belonging to Qajar era will be investigated based on the extant evidences. Next, the current research paper’s writer tries decoding the significations of “holy Mashhad” in “Matla Al-Shams” and distinguishing their relationship with the holy shrine of Shiites’ eighth Imam through interpretation of the proofs and materials existent in the book. Keywords: The concept of city, Mashhad, Qajar era, Iran Historical Architecture, Matla Al-Shams, Etemad-al-Saltana INTRODUCTION Accompanied by his court fellows, Naser-al-Din Shah took a trip to Khorasan in 1879. Etemad-al- Saltana who was authoring a book called “Meraat al-boldan” at the time and used to record the geographical and historical information of the various localities in Iran seized the opportunity. -
MUJEEBUDDIN SYED Nahi Tera Nasheman Khisr
MUJEEBUDDIN SYED Nahi tera nasheman khisr -sultani ke gumbad per Tu Shaheen hai! Basera kar pahadon ki chattanon mein "Not for you the nest on the dome of the Sultan's mansion You are the Eagle! You reside in the mountain's peaks." IQBAL W_/ALMAN RUSHDIE'S first novel, Grimus ( 1975) ,2 is marked by a characteristic heterogeneity that was to become the hallmark of later Rushdie novels. Strange and esoteric at times, Grimus has a referential sweep that assumes easy acquaintance with such diverse texts as Farid Ud 'Din Attar's The Conference of the Birds and Dante's Divina Commedia as well as an unaffected familiarity with mythologies as different as Hindu and Norse. Combining mythology and science fiction, mixing Oriental thought with Western modes, Grimus is in many ways an early manifesto of Rushdie's heterodoxical themes and innovative techniques. That Rushdie should have written this unconventional, cov• ertly subversive novel just three years after having completed his studies in Cambridge, where his area of study was, according to Khushwant Singh, "Mohammed, Islam and the Rise of the Caliphs" (1),3 is especially remarkable. The infinite number of allusions, insinuations, and puns in the novel not only reveals Rushdie's intimate knowledge of Islamic traditions and its trans• formed, hybrid, often-distorted picture that Western Orientalism spawned but also the variety of influences upon him stemming from Western literary tradition itself. At the heart of the hybrid nature of Grimus is an ingenuity that displaces what it has installed, so that the much-vaunted hybridity ARIEL: A Review of International English Literature, 25:4, October 1994 136 MUJEEBUDDIN SYED is itself stripped of all essentialized notions. -
' God Hath Treasuries Aneath the Throne, the Whereof
' God hath Treasuries aneath the Throne, the Keys whereof are the Tongues of the Poets.' - H a d i s i S h e r i f. HISTORY OF OTTOMAN POETRY BY E. J. W. GIBB, M. R. A.S. VOLUME I LONDON LUZAC & CO., GREAT RUSSELL STREET 1900 J V RA ^>^ (/ 'uL27 1S65 TV 0"^ TO^^t^^ 994016 PRINTED BY E. J. BRILL. LEYDEN. PREFACE. The History of Ottoman Literature has yet to be written. So far no serious work has been published, whether in Turkish or in any foreign language, that attempts to give a compre- hensive view of the whole field. Such books as have appeared up till now deal, like the present, with one side only, namely, Poetry. The reason why Ottoman prose has been thus neglected lies probably in the fact that until within the last half-century nearly all Turkish writing that was wholly or mainly literary or artistic in intention took the form of verse. Prose was as a rule reserved for practical and utilitarian purposes. Moreover, those few prose works that were artistic in aim, such as the Humayiin-Name and the later Khamsa-i Nergisi, were invariably elaborated upon the lines that at the time prevailed in poetry. Such works were of course not in metre; but this apart, their authors sought the same ends as did the poets, and sought to attain these by the same means. The merits and demerits of such writings there- fore are practically the same as those of the contemporary poetry. The History of Ottoman Poetry is thus nearly equi- valent to the History of Ottoman Literature. -
Khorasan's Great Doctrine in Timurid Period 18
Azam Kalantar, et al.: Khorasan's great doctrine in Timurid period 18 Khorasan's great doctrine in Timurid period AZAM KALANTAR ,MOHAMMAD KARIM YOUSEFJAMALI, HOSSEIN MIR JAFARI PhD student, Department of History, Faculty of Humanities, Najaf Abad Branch,Islamic Azad University, Najaf Abad, IRAN, Address, Iran Associate Professor, Department of History, Faculty of Humanities, Najaf Abad Branch,Islamic Azad University, Najaf Abad, IRAN, Address, Iran, Professor, Department of History, Faculty of Humanities, Najaf Abad Branch,Islamic Azad University, Najaf Abad, IRAN, Address, Iran Abstract. Timurid period is one of the most turbulent and important periods in the history of Iran. Mysticism market was warm during this period due to the political and social turmoil and different doctrines had found followers and had different influence on social and political events. Great Khorasan that has long been the major focus of Sufism in Iran, in this period it was considered activity of different principle owners such as Sheykhiye, Movlavie, Mashashiyan, Hurufieh, Naqshbandiyya, Nurbakhshiye and nematollahiye. Among these were more influential Hurufieh and Naqshbandiyya in Khorasan. This series is supported some from Sunni and some from Shiie. Hurufieh follows social justice and struggle with the Timurid rulers. Government severely dealt with them. Naqshbandi doctrine was the reaction of Sunni Sufis against increase activities of Shiie Sufi doctrine. Elders of this doctrine were respected by Timurid in Khorasan. This article tries to investigate the major sects of Khorasan mysticism such as Nematollahiyein, Hurufieh and Naqshbandiyya in Timurid period. Keywords: Khorasan, Mysticism, Hurufieh, Nematollahiye, Naqshbandiyya 1 Introduction Attention of Teimur and Timurid was effective to Sufi elders and respect to them and stating belief to companions of monasteries in rare extension and popularity of Sufi thought. -
Naqshbandi Sufi, Persian Poet
ABD AL-RAHMAN JAMI: “NAQSHBANDI SUFI, PERSIAN POET A Dissertation Presented in Partial Fulfillment of the Requirement for The Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Farah Fatima Golparvaran Shadchehr, M.A. The Ohio State University 2008 Approved by Professor Stephen Dale, Advisor Professor Dick Davis Professor Joseph Zeidan ____________________ Advisor Graduate Program in History Copyright by Farah Shadchehr 2008 ABSTRACT The era of the Timurids, the dynasty that ruled Transoxiana, Iran, and Afghanistan from 1370 to 1506 had a profound cultural and artistic impact on the history of Central Asia, the Ottoman Empire, and Mughal India in the early modern era. While Timurid fine art such as miniature painting has been extensively studied, the literary production of the era has not been fully explored. Abd al-Rahman Jami (817/1414- 898/1492), the most renowned poet of the Timurids, is among those Timurid poets who have not been methodically studied in Iran and the West. Although, Jami was recognized by his contemporaries as a major authority in several disciplines, such as science, philosophy, astronomy, music, art, and most important of all poetry, he has yet not been entirely acknowledged in the post Timurid era. This dissertation highlights the significant contribution of Jami, the great poet and Sufi thinker of the fifteenth century, who is regarded as the last great classical poet of Persian literature. It discusses his influence on Persian literature, his central role in the Naqshbandi Order, and his input in clarifying Ibn Arabi's thought. Jami spent most of his life in Herat, the main center for artistic ability and aptitude in the fifteenth century; the city where Jami grew up, studied, flourished and produced a variety of prose and poetry. -
Kocaer 3991.Pdf
Kocaer, Sibel (2015) The journey of an Ottoman arrior dervish : The Hı ırname (Book of Khidr) sources and reception. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20392 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. The Journey of an Ottoman Warrior Dervish: The Hızırname (Book of Khidr) Sources and Reception SIBEL KOCAER Thesis submitted for the degree of PhD 2015 Department of the Languages and Cultures of the Near and Middle East SOAS, University of London Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
SZBA Winners Booklet En 2019 Final.Pdf
2019 LITERATURE Bensalem Himmich Morocco ‘The Self - Between Existence and Creation’ published by Le Centre Culturel Du Livre, Casablanca (2018) About the Author Bensalem Himmich is an intellectual and author, and the former Minister of Culture for Morocco. He attained his PhD in Philosophy from the University of Paris. Writing in both Arabic and French, some of his novels have been translated into several other languages. The Writers’ Union of Egypt chose Himmich’s novel Majnoun Al Hukm as one of the 100 best novels of the 20th Century, and another novel, Mu’athibati, was shortlisted for the Arab Booker International Award. Himmich has spoken at several Arab, European and American forums, and received the grand award of the French Academy of Toulouse in 2011. About the Book The Self - Between Existence and Creation is an autobiography in which Himmich offers glimpses into his life as a novelist and writer, discussing the intellectual stances he has embodied throughout his various stages of writing. Himmich’s book asserts the close connection between ‘existence’, a term impacted by philosophy, and ‘creation’, which is the path taken by oneself in struggles against various cultural and existential matters. The Self - Between Existence and Creation brings together creative dimensions fed by an author’s technical expertise and the debating nature acquired by a critical academic. The book carries a depth of knowledge and culture that commands several readings and interaction with its content. CHILDREN’S LITERATURE Hussain Almutawaa Kuwait ‘I Dream of Being a Concrete Mixer’ published by Al Hadaek Group, Beirut (2018) About the Author Hussain Almutawaa is a Kuwaiti writer and photographer born in 1989. -
Revisiting the Canon Through the Ghazal in English
Revisiting the Canon through the Ghazal in English Chandrani Chatterjee Milind Malshe Abstract At the dawn of English education in India the popularity of certain genres led to the adaptation, transformation and assimilation of these forms in the Indian languages. However, in this East-West encounter, not only were the European forms appropriated by the Indian writers, one of the Eastern forms, viz. the ghazal, was taken up by writers in English. This paper traces the origin of the ghazal as a distinct form, its development in the poetry of Mir (c 1723-82) and Ghalib (1797-1869) before discussing how this genre was adapted and experimented with, by some writers in English. In this process we try to address some issues like translation, adaptation and transformation and also what factors affect the composition and institution of a canon. I Ghazal as a form is supposed to have originated in Arabia in the late seventh century. 1 It is said to have developed from the nasib , which itself was an amorous prelude to the qasida (an ode). Qasida was a panegyric to the emperor or his noblemen. It has been observed that because of its comparative brevity and concentration, its thematic variety and rich suggestiveness, the ghazal soon eclipsed the qasida and became the most popular form to be introduced in India from the Persian and Arabic literary traditions: “Ghazal means literally conversation, most often between lovers. It has a strict form Translation Today Vol. 3 Nos. 1 & 2, 2006 © CIIL 2006 Chandrani Chatterjee 184 Milind Malshe bound by rules, containing from a minimum of five to a maximum of seventeen couplets. -
Curriculum Vita
Curriculum Vita Dr. Mohd Rashid Azeez Assistant Professor Department of Urdu, School of languages, Central University of Kashmir Puhroo Chowk, Bypass SRINAGAR – 190015 J&K Cont. No.: +91-8803766036 Office No.: +91-0194-2315271 Email : [email protected] ................................................................................................................................................ Academic Profile I Mohammad Rashid Azeez was born at Hayat Nagar, Sambhal, Moradabad U.P. My father’s name is Mr. Abdus Samad Saifi. I have completed my Matric from Zia ul Uloom Higher Secondary School Sarai Tarin and Intermediate from Hind Inter College Sambhal and B.A. from Dharam Samaj College Aligarh Dr. B.R.A. University and M.A. Urdu from Dr. B.R.A. University Agra and I have qualified the NET exam of UGC as well. I have many courses like Adeeb-e-Mahir and Adeeb-e-Kamil from Jamia Urdu Aligarh and Dabir-e-fazil from Urdu Board Aligarh to my credit. I have also completed basic Computer Course from S.I.E.T. Chandigarh. I have been awarded Ph.D Degree by MJP Rohilkhand University Bareilly under the supervision of Prof. Shahzad Anjum, Government Women’s PG College Rampur. I took PG Diploma in Paleography from University of Delhi. I started my teaching career as Urdu Teacher/ Lecturer in several schools and colleges as Sabri H.S.S. School Chandigarh, Nighat Inter College Sambhal, SBH Azad Girl’s Degree College Sambhal, Urdu Academy Delhi, Satyawati College Delhi and I was associated with the Department of Urdu, University of Delhi and at the same time served as an editor of many magazines and journals including the prestigious Urdu journal quarterly “Naya Safar” Allahabad and Delhi (07 Issues) and one of the most popular Urdu literary magazine Aiwan-e-Urdu Delhi (42 Issues), a children’s magazine “Bachchon ka Mahnama Umang” (42 Issues). -
Persian Poetry at the Indian Frontier
Permanent Black Monographs: The ‘Opus 1’ Series Published by PERMANENT BLACK D-28 Oxford Apartments, 11, I.P. Extension, Persian Poetry Delhi 110092 Distributed by at the Indian Frontier ORIENT LONGMAN LTD Bangalore Bhubaneshwar Calcutta Chennai Ernakulam Guwahati Hyderabad Lucknow Mas‘ûd Sa‘d Salmân Mumbai New Delhi Patna of Lahore © PERMANENT BLACK 2000 ISBN 81 7824 009 2 First published 2000 SUNIL SHARMA Typeset in Adobe Garamond by Guru Typograph Technology, New Delhi 110045 Printed by Pauls Press, New Delhi 110020 Contents Acknowledgements ix Transliteration and Abbreviations xi INTRODUCTION 1 1. POETRY AT THE FRONTIER OF EMPIRE 6 A. At the Frontiers of Islam: The Poetics of Ghazâ 7 B. Lahore: The Second Ghaznavid City 14 C. The Life of Mas‘ûd Sa‘d 18 D. Mas‘ûd Sa‘d and Ghaznavid Poetry 26 2. POETS IN EXILE FROM PRIVILEGED SPACES 33 A. The Perils of Being a Court Poet 33 B. The Poetic Memory of Ghazna and Sultan Mahmûd 39 C. Manipulation of History in a Qasida by Mas‘ûd Sa‘d 43 D. Poets Complaining of Ghurbat 47 E. Mas‘ûd Sa‘d between Ghazna and Lahore 56 3. PRACTICING POETRY IN PRISON 68 A. The Genre of Prison Poetry (Habsîyât)68 B. Varieties of Habsîyât 73 viii / Contents C. The Physical State of Being Imprisoned 81 D. The Prisoner’s Lament 86 E. Mas‘ûd Sa‘d’s Use of His Name 102 4. ‘NEW’ GENRES AND POETIC FORMS 107 A. Shahrâshûb: A Catalogue of Youths 107 B. Bârahmâsâs in Persian? 116 C. Mustazâd: A Choral Poem 123 D.