FEZANA Journal Do Not Necessarily Reflect the Lexicongraphics Views of FEZANA Or Members of This Publication's Editorial Board
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Iconological Study of “Rustam in Struggle with Div-E Sepid” in Tilework of Karim Khan-E Zand Citadel Portal in Shiraz Based on Erwin Panofsky Method Ali Asadpour*1
Bagh-e Nazar, 17(86), 33-46 /Aug. 2020 DOI: 10.22034/bagh.2019.185313.4105 Persian translation of this paper entitled: مطالعۀ شمایل شناسانۀ نبرد »رستم و دیو سپید« در کاشی نگارۀ سردر ارگ کریمخان شیراز به روش »اروین پانوفسکی« is also published in this issue of journal. Iconological Study of “Rustam in Struggle with Div-e Sepid” in Tilework of Karim Khan-e Zand Citadel Portal in Shiraz Based on Erwin Panofsky Method Ali Asadpour*1 1. Assistant Professor, Interior Architecture Department, Shiraz University of Arts, Shiraz, Iran. Received: 11/05/2019 ; revised: 14/10/2019 ; accepted: 19/10/2019 ; available online: 22/07/2020 Abstract Problem Statement: The “Rustam and Div-e Sepid (White Demon)” tilework painting on the Karim Khan citadel (Arg) is one of the Qajarian’s interventions into this Zandian’s building. In addition to its artistic features, this work has a special social and governmental significance. However, it has received less attention from researchers. A new interpretation of it could provide a deeper understanding of the developments of the Zandian’s complex at Qajar era. The research is based on the hypotheses that this tilework in spite of its artistic role -in keeping with the Iranian tradition of illustrating the struggle of Rustam and Div-e Sepid in the art- also has non-artistic (political and governmental) functions. Research objective: The aim of the research is to recognize the content and conceptual aspects of this neglected tilework in its historical and social context and to identify its political and governmental functions in the Karim Khan citadel (Arg). -
Nature As a Romantic Aspect in George Bowering's Poetry
Opción, Año 34, Especial No.14 (2018):1055-1070 ISSN 1012-1587/ISSNe: 2477-9385 Nature as a Romantic Aspect in George Bowering's Poetry Sahar Abdul Ameer Haraj Al-Husseini1 1Dept. of English, College of Education, University of Al- Qadisyiah Iraq [email protected] Abstract This research aims to demonstrate that George Bowering (1945) uses nature as one of his major themes in his poems via qualitative research method based on case study research methodologies. As a result, the poet tries to show his view about outward nature as being concurrent and congruous stating his position in nature as well as his awareness of it. As a conclusion, Bowering opts to presents haunting pictures to keep himself one with nature and consequently keeping himself with Canada and through this close association between humans and nature a new spiritual insight is going to be reciprocally produced. Key words: Bowering, poetry, nature, love, poem. Recibido: 19-11-2017 Aceptado: 13-02-2018 1056 Sahar Abdul Ameer Haraj Al-Husseini Opción, Año 34, Especial No.14 (2018):1055-1070 La historia del filicidio en la novela Lam Yazra (estéril) El tema principal de esta investigación es responder a la pregunta de cuán comparable es el mito del filicidio en Shahnameh con esta novela. Esta investigación ha sido analizada con respecto a su propósito, utilizando los recursos de la biblioteca y el método descriptivo y documental. Como conclusión, la novela que forma parte de la literatura de defensa sagrada, o es una especie de literatura bélica y se ha escrito en tiempos recientes, pero tiene aspectos míticos y simbólicos que desde el principio atraen la atención de los lectores hacia la historia de Rostam y Esfandiar, con un verso de la historia de Rostam y Sohrab. -
FEZANA Journal Do Not Necessarily Reflect the Feroza Fitch of Views of FEZANA Or Members of This Publication's Editorial Board
FEZANA FEZANA JOURNAL ZEMESTAN 1379 AY 3748 ZRE VOL. 24, NO. 4 WINTER/DECEMBER 2010 G WINTER/DECEMBER 2010 JOURJO N AL Dae – Behman – Spendarmad 1379 AY (Fasli) G Amordad – Shehrever – Meher 1380 AY (Shenshai) G Shehrever – Meher – Avan 1380 AY (Kadimi) CELEBRATING 1000 YEARS Ferdowsi’s Shahnameh: The Soul of Iran HAPPY NEW YEAR 2011 Also Inside: Earliest surviving manuscripts Sorabji Pochkhanawala: India’s greatest banker Obama questioned by Zoroastrian students U.S. Presidential Executive Mission PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA Vol 24 No 4 Winter / December 2010 Zemestan 1379 AY 3748 ZRE President Bomi V Patel www.fezana.org Editor in Chief: Dolly Dastoor 2 Editorial [email protected] Technical Assistant: Coomi Gazdar Dolly Dastoor Assistant to Editor: Dinyar Patel Consultant Editor: Lylah M. Alphonse, [email protected] 6 Financial Report Graphic & Layout: Shahrokh Khanizadeh, www.khanizadeh.info Cover design: Feroza Fitch, 8 FEZANA UPDATE-World Youth Congress [email protected] Publications Chair: Behram Pastakia Columnists: Hoshang Shroff: [email protected] Shazneen Rabadi Gandhi : [email protected] 12 SHAHNAMEH-the Soul of Iran Yezdi Godiwalla: [email protected] Behram Panthaki::[email protected] Behram Pastakia: [email protected] Mahrukh Motafram: [email protected] 50 IN THE NEWS Copy editors: R Mehta, V Canteenwalla Subscription Managers: Arnavaz Sethna: [email protected]; -
The Symbolism of Bahram Gor‟S Dragon-Slaying in Haft Peykar and the Story‟S Reflection in Kamāl Ud-Dīn Behzād‟S Paintings
THE SYMBOLISM OF BAHRAM GOR’S DRAGON-SLAYING IN HAFT PEYKAR AND THE STORY’S REFLECTION IN KAMĀL UD-DĪN BEHZĀD’S PAINTINGS PJAEE, 17 (5) (2020) THE SYMBOLISM OF BAHRAM GOR‟S DRAGON-SLAYING IN HAFT PEYKAR AND THE STORY‟S REFLECTION IN KAMĀL UD-DĪN BEHZĀD‟S PAINTINGS Atefeh Garoossi1*, Mina Sadri2 1*Master Student of Persian Painting, Visual Arts Faculty, Tehran University, Tehran, Iran. 2Assistant Professor, Painting & Sculpture Department, Visual Arts Faculty, Tehran, University, Tehran Iran. Corresponding Author: 1*[email protected] Atefeh Garoossi, Mina Sadri. The Symbolism of Bahram Gor’s Dragon-slaying in Haft Peykar and the Story’s Reflection in Kamāl Ud-dīn Behzād’s Paintings-- Palarch’s Journal of Archaeology of Egypt/Egyptology 17(5), 1414-1424. ISSN 1567- 214x Keywords: Bahram Gor, Dragon Slaying, Symbol, Painting, Haft Peykar. Abstract Haft Peykar is One of Nezami Ganjavi‟s most prominent works. It is a symbolic one and each of its stories and scenes can be interpreted and deciphered in different ways. One of the most important stories among them is Bahram Gor‟s dragon-slaying, which has a considerable presence in Iranian visual arts, including painting. The present research aims to study and decipher the symbols used in this mysterious story, as we believe there are still ambiguous points that can be clarified through more accurate studies. To find them, the following questions have been raised: What are the secrets and mysteries behind the story of Bahram Gor‟s dragon-slaying? What are the characteristics of the reflection of Bahram Gor's dragon- slaying story in Iranian painting? The illustration of Bahram Gor's dragon-slaying story is consistent with the poetry images in Haft Peykar, but it seems that the symbols and mysteries that lie in the hidden layers of this story are not found in the paintings drawn according to this story. -
10.7596.Taksad.V6.I1.707 the Tragedy in the Story of Rostam and Sohrab
Journal of History Culture and Art Research (ISSN: 2147-0626) Special Issue Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 6, No. 1, February 2017 Revue des Recherches en Histoire Culture et Art Copyright © Karabuk University http://kutaksam.karabuk.edu.tr ﻣﺠﻠﺔ ﺍﻟﺒﺤﻮﺙ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ DOI: 10.7596.taksad.v6.i1.707 Citation: Ebrahimi, M., & Taheri, A. (2017). The Tragedy in the Story of Rostam and Sohrab in Ferdowsi’s Shahnameh. Journal of History Culture and Art Research, 6(1), 96-105. doi:http://dx.doi.org/10.7596/taksad.v6i1.707 The Tragedy in the Story of Rostam and Sohrab in Ferdowsi’s Shahnameh Mokhtar Ebrahimi1, Abdollah Taheri2 Abstract Tragedy is a stunning example of confrontation between man and nature along with sadness and consequently fate and life. In tragedy, usually one person (hero) is in the center of the story and all of the stories come together to make the inevitable fate happen for that hero. This inevitable fate is usually along with death or a tragic end which occurs for the hero. The purpose of poet in tragedy is illustration of an advice for readers after death of the hero. In this article, we have tried to review various aspects of tragic story of Rostam and Sohrab and the way the Master of Tous makes his audience and fans aware of passage of time and the eternal destiny using analytical descriptive method. Undoubtedly, what the ancient Greeks, especially Aristotle have proposed as a definition for tragedy as, is in some cases different from Ferdowsi's view but there is a close consistency between the nature of tragedy and the base of tragedy of Rostam and Sohrab and definition of tragedy. -
'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! . -
Bahrām Čūbīn in Early Arabic and Persian Historiography – Why So Many Stories?
Faculty of Arts University of Helsinki Bahrām Čūbīn in Early Arabic and Persian Historiography – Why so many stories? Joonas Maristo Doctoral dissertation, to be presented for public discussion with the permission of the Faculty of Arts of the University of Helsinki in, Auditorium P673, Porthania, on the 20th of May, 2020 at 12 o’clock. Bahrām Čūbīn in Early Arabic and Persian Historiography – Why so many stories? Joonas Maristo University of Helsinki Faculty of Arts Doctoral Programme in History and Cultural Heritage Supervisors: Professor Jaakko Hämeen-Anttila (University of Edinburgh) Docent Dr. Ilkka Lindstedt (University of Helsinki) Pre-examiners: Professor Sarah Bowen Savant (Aga Khan University) Professor A.C.S. Peacock (University of St Andrews) Opponent: Professor Sarah Bowen Savant (Aga Khan University) Custos Professor Hannu Juusola (University of Helsinki) The Faculty of Arts uses the Urkund system (plagiarism recognition) to examine all doctoral dissertations. ISBN 978-951-51-6052-2 (nid.) ISBN 978-951-51-6053-9 (PDF) Printed in Finland by Unigrafia Helsinki 2020 Abstract This doctoral dissertation discusses the transmission and evolution of Bahrām Čūbīn stories in early Arabic and Persian historiography in fourteen source texts. Bahrām Čūbīn (d. 591) was a historical figure and general in the Sasanian army during the reigns of Hurmuzd IV (r. 579–590) and Khusraw II (r. 591–628). The original stories were written in Middle Persian probably at the end of the 6th century or at the beginning of the 7th century and then translated into Arabic in the 8th century. Both the Pahlavi versions and early Arabic translations are irretrievably lost. -
Homage Unto Ahura Mazda
Homage Unto Ahura Mazda By Dastur Dr. M. N. Dhalla www.Zarathushtra.com Table of Contents Homage Unto Ahura Mazda TABLE OF CONTENTS .................................................................................................................... I CHAPTER I .................................................................................................................................. 1 THOU ART ALL IN ALL TO ME, AHURA MAZDA ............................................................................ 2 THY NAME IS ABOVE ALL NAMES, AHURA MAZDA ...................................................................... 3 THOU ART THE CREATOR OF ALL, AHURA MAZDA....................................................................... 4 THOU ART OUR NEAREST AND DEAREST, AHURA MAZDA............................................................ 5 THOU ART ALL-GOOD, AHURA MAZDA........................................................................................ 6 THOUGH INVISIBLE THYSELF, THOU ART ALL-SEEING, AHURA MAZDA ...................................... 7 THOU ART LIGHT, AHURA MAZDA............................................................................................... 8 THOU ART THE SAME FROM AGE TO AGE, AHURA MAZDA ........................................................... 9 THOU ART AGELESS, AHURA MAZDA........................................................................................ 10 THY WILL IS THE POLE STAR OF MY LIFE, AHURA MAZDA ......................................................... 11 MY HEART LONGS FOR THEE, -
Curriculum Vitae
Curriculum Vitae Name: Farahnaz Mohammadi-Shahboulaghi Full professor PhD in Gerontological and Geriatric Nursing Master of science In Medical Surgical Nursing Bachelor in Nursing Student of Ms-degree in Medical Education Address: Nursing & Gerontology Department University of Social Welfare and Rehabilitation Sciences (USWR), Koodakyar Ave. Daneshjoo Blvd. Evin Postal code: 19834 Tehran /IRAN FAX: 0098-21-2417921 E-mail: [email protected] [email protected] Academic Records: -2015-2016: Fellowship of research in health -2010: Certified from Iran Ministry of Health and Medical Education in: Gerontological and Geriatric Nursing Training Program. - 2004- 2008. PhD Nursing (in Gerontological &Geriatric Nursing) from Iran Medical Sciences University, Tehran. (Dissertation: Study of Family care giving process and model development on Iranian frail elderly) - 2003: Certified from Iran Ministry of Health and Medical Education in: Gerontological and Geriatric Nursing Training Program 1 -2003: Certified from Iran Ministry of Health and Medical Education in: Rehabilitation Nursing Training Program. - 2000: Certified from New York University in Geriatric Psychology Training Joint Program. - 1991-1993: MSc in Medical – Surgical Nursing Education from Medical Sciences University of Kerman – IRAN. - 1986-1990: BSc in general nursing from Medical Sciences University of Shahid-Beheshti, Tehran – IRAN. Professional training: Some of them are: 1997- A three -days workshop on" Principals of Nursing Records ",In Tarbiat Moddares University, Iran. 1998 –A tow -days workshop on "FGD as a qualitative research method " in USWR. 1999-A tow -days workshop on" Advanced quantitative research methodology "in English 2001- A tow -days workshop on"CQI in Education , in USWR . 2002 – A five -days workshop on "Content Analysis as a Qualitative Research Method",in USWR . -
Additional Catalogue Entries
EPIC TALES from ANCIENT INDIA 1 2 EPIC TALES from ANCIENT INDIA 3 Note: need to add SDMA and Yale to title page This book is published in conjunction with the exhi- bition [Exhibition title], presented at [Museum] from [date] to [date]. Copyright © 2016 __________________ All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, record- ing, or any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data [please provide or L|M will apply] ISBN 978-0-300-22372-9 Published by The San Diego Museum of Art Distributed by Yale University Press, New Haven and London 302 Temple Street P.O. Box 209040 New Haven, CT 06520-9040 yalebooks.com/art Produced by Lucia | Marquand, Seattle www.luciamarquand.com Edited by _______ Designed by Zach Hooker Typeset in Quadraat by Brynn Warriner Proofread by TK TK Color management by iocolor, Seattle Printed and bound in China by Artron Art Group 4 toc TK 5 Director’s Foreword The San Diego Museum of Art is blessed to have one of the great collections of Indian painting, the bequest of one of the great connoisseurs of our time, Edwin Binney 3rd. This collection of over 1,400 paintings has, over the years, provided material for a number of exhibitions that have examined the subject of Indian painting from many different angles, as only a collection of this breadth and depth can do. Our latest exhibition, Epic Tales from Ancient India, aims to approach the topic from yet another per- spective, by considering the paintings alongside the classics of literature that they illustrate. -
UNIVERSITY of CALIFORNIA, IRVINE Narrative and Iranian
UNIVERSITY OF CALIFORNIA, IRVINE Narrative and Iranian Identity in the New Persian Renaissance and the Later Perso-Islamicate World DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in History by Conrad Justin Harter Dissertation Committee: Professor Touraj Daryaee, Chair Professor Mark Andrew LeVine Professor Emeritus James Buchanan Given 2016 © 2016 Conrad Justin Harter DEDICATION To my friends and family, and most importantly, my wife Pamela ii TABLE OF CONTENTS Page LIST OF FIGURES iv ACKNOWLEDGMENTS v CURRICULUM VITAE vi ABSTRACT OF THE DISSERTATION vii CHAPTER 1: INTRODUCTION 1 CHAPTER 2: Persian Histories in the 9th-12th Centuries CE 47 CHAPTER 3: Universal History, Geography, and Literature 100 CHAPTER 4: Ideological Aims and Regime Legitimation 145 CHAPTER 5: Use of Shahnama Throughout Time and Space 192 BIBLIOGRAPHY 240 iii LIST OF FIGURES Page Figure 1 Map of Central Asia 5 iv ACKNOWLEDGMENTS I would like to express my gratitude to all of the people who have made this possible, to those who have provided guidance both academic and personal, and to all those who have mentored me thus far in so many different ways. I would like to thank my advisor and dissertation chair, Professor Touraj Daryaee, for providing me with not only a place to study the Shahnama and Persianate culture and history at UC Irvine, but also with invaluable guidance while I was there. I would like to thank my other committee members, Professor Mark LeVine and Professor Emeritus James Given, for willing to sit on my committee and to read an entire dissertation focused on the history and literature of medieval Iran and Central Asia, even though their own interests and decades of academic research lay elsewhere. -
Edgardo Civallero Libros Pintados
Edgardo Civallero Libros pintados Libros pintados Edgardo Civallero © Edgardo Civallero, 2016. Distribuido como pre-print bajo licencia Creative Commons by-nc-nd 4.0 "Bibliotecario". http://biblio-tecario.blogspot.com.es/ Un tratado sobre gatos En noviembre de 2011, la esposa de un viejo bibliófilo del Reino Unido donó a la British Library un manuscrito tailandés que quedó catalogado como "Or 16797" y que ha sido bautizado como "Treatise on cats". Tratado sobre gatos. El manuscrito es un samut khoi , formato tradicional tailandés –hoy caído en el olvido– que consistía en una tira de papel de morera plegada en acordeón. En este caso se trata de una lámina de color crema cuyos pliegues crean 12 folios alargados, que se despliegan verticalmente. Cada una de las 24 páginas resultantes incluye una pintura de un gato acompañada por una breve explicación, apuntada utilizando los curvilíneos trazos del alfabeto thai. Si bien, como ocurre con muchos otros manuscritos de la zona, el documento no hace ninguna mención a su autor o a su ilustrador ni incluye fecha de producción, se calcula que fue creado en el siglo XIX en el antiguo reino de Siam. Los dibujos describen gráficamente los distintos tipos de gatos conocidos para entonces en Siam. Y las notas explican, de forma breve y concisa, los principales rasgos físicos de los animales, y los efectos que cada variedad tiene para su dueño. Pues se creía que ciertos tipos de gatos podían traer buena suerte, prosperidad o salud a su poseedor, mientras que otros traían mala fortuna y, en consecuencia, debían evitarse.