Modern Persian Poetry
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The Poetics of Commitment in Modern Persian: a Case of Three Revolutionary Poets in Iran
The Poetics of Commitment in Modern Persian: A Case of Three Revolutionary Poets in Iran by Samad Josef Alavi A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Near Eastern Studies in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Shahwali Ahmadi, Chair Professor Muhammad Siddiq Professor Robert Kaufman Fall 2013 Abstract The Poetics of Commitment in Modern Persian: A Case of Three Revolutionary Poets in Iran by Samad Josef Alavi Doctor of Philosophy in Near Eastern Studies University of California, Berkeley Professor Shahwali Ahmadi, Chair Modern Persian literary histories generally characterize the decades leading up to the Iranian Revolution of 1979 as a single episode of accumulating political anxieties in Persian poetics, as in other areas of cultural production. According to the dominant literary-historical narrative, calls for “committed poetry” (she‘r-e mota‘ahhed) grew louder over the course of the radical 1970s, crescendoed with the monarch’s ouster, and then faded shortly thereafter as the consolidation of the Islamic Republic shattered any hopes among the once-influential Iranian Left for a secular, socio-economically equitable political order. Such a narrative has proven useful for locating general trends in poetic discourses of the last five decades, but it does not account for the complex and often divergent ways in which poets and critics have reconciled their political and aesthetic commitments. This dissertation begins with the historical assumption that in Iran a question of how poetry must serve society and vice versa did in fact acquire a heightened sense of urgency sometime during the ideologically-charged years surrounding the revolution. -
KHERAD-DISSERTATION-2013.Pdf
Copyright by Nastaran Narges Kherad 2013 The Dissertation Committee for Nastaran Narges Kherad Certifies that this is the approved version of the following dissertation: RE-EXAMINING THE WORKS OF AHMAD MAHMUD: A FICTIONAL DEPICTION OF THE IRANIAN NATION IN THE SECOND HALF OF THE 20TH CENTURY Committee: M.R. Ghanoonparvar, Supervisor Kamran Aghaie Kristen Brustad Elizabeth Richmond-Garza Faegheh Shirazi RE-EXAMINING THE WORKS OF AHMAD MAHMUD: A FICTIONAL DEPICTION OF THE IRANIAN NATION IN THE SECOND HALF OF THE 20TH CENTURY by Nastaran Narges Kherad, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2013 Dedication Dedicated to my son, Manai Kherad-Aminpour, the joy of my life. May you grow with a passion for literature and poetry! And may you face life with an adventurous spirit and understanding of the diversity and complexity of humankind! Acknowledgements The completion of this dissertation could not have been possible without the ongoing support of my committee members. First and for most, I am grateful to Professor Ghanoonparvar, who believed in this project from the very beginning and encouraged me at every step of the way. I thank him for giving his time so generously whenever I needed and for reading, editing, and commenting on this dissertation, and also for sharing his tremendous knowledge of Persian literature. I am thankful to have the pleasure of knowing and working with Professor Kamaran Aghaei, whose seminars on religion I cherished the most. -
“Transfer” XIV: 1-2 (2019), Pp. 49-72. ISSN: 1886-554
“Transfer” XIV: 1-2 (2019), pp. 49-72. ISSN: 1886-554 “SOMETHING FOREIGN IN IT”: A STUDY OF AN IRANIAN TRANSLATION OF WHITMAN’S IMAGE Behnam M. Fomeshi (ORCID: 0000-0001-6821-9699) TU Dortmund University (Germany) Reception date: 02/02/2018; Acceptance date: 15/03/2018 Introduction What happens to Whitman when he enters Iran? What does the Persian Whitman look like? What does his Persianness or his foreignness tell us about Whitman, Iran, and the interaction between the two? This essay answers these questions to elaborate on the dialogue created between American poetry and contemporary Iran through translating Whitman. Studies of the reception of a writer in another culture primarily deal with the translation of the works into the target language. Such studies usually ignore the translation of the writer’s image. The present essay focuses on the translation of an American writer’s image into a contemporary Iranian context. In this study, “image” refers both to visual representations, such as pictures or photographs, and the mental conceptions held in common by members of a group, such as is the subject of imagology. Walt Whitman (1819-1892), commonly referred to as the father of American free verse and the American poet of democracy, has frequently been studied in terms of his reputation, reception, and influence in other countries. Blodgett’s 1934 book, Walt Whitman in England, the first formal reception study of the poet in an international context, was followed by Betsy Erkkila’s Walt Whitman among the French: Poet and Myth (1980), Walter Grunzweig’s 49 “Transfer” XIV: 1-2 (2019), pp. -
Hosseini, Mahrokhsadat.Pdf
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Iranian Women’s Poetry from the Constitutional Revolution to the Post-Revolution by Mahrokhsadat Hosseini Submitted for Examination for the Degree of Doctor of Philosophy in Gender Studies University of Sussex November 2017 2 Submission Statement I hereby declare that this thesis has not been, and will not be, submitted in whole or in part to another University for the award of any other degree. Mahrokhsadat Hosseini Signature: . Date: . 3 University of Sussex Mahrokhsadat Hosseini For the degree of Doctor of Philosophy in Gender Studies Iranian Women’s Poetry from the Constitutional Revolution to the Post- Revolution Summary This thesis challenges the silenced voices of women in the Iranian written literary tradition and proposes a fresh evaluation of contemporary Iranian women’s poetry. Because the presence of female poets in Iranian literature is a relatively recent phenomenon, there are few published studies describing and analysing Iranian women’s poetry; most of the critical studies that do exist were completed in the last three decades after the Revolution in 1979. -
Simin Behbahani, the “Lioness of Iran” the Economist, Aug 30Th 2014 | from the Print Edition Simin Behbahani, Poet, Died on August 19Th, Aged 87
Simin Behbahani, the “Lioness of Iran” The Economist, Aug 30th 2014 | From the print edition Simin Behbahani, poet, died on August 19th, aged 87 EVEN as a child, she knew how poetry should sound. The rhythm of the rhyme her teacher gave her to recite—“I am a yellow rose, the Sultan of all the flowers, the Sultan of all the flowers”—was wrong. She envied the verse bestowed upon a friend, which scanned so much more sweetly, as much as she coveted the red ruffles of her dress, so much finer than her own yellow organdy. So, at the age of 12, Simin Behbahani began writing her own rhymes. She wrote in the style of the old Persian poets: Hafez, Rumi and Sa’adi. Her contemporaries had abandoned traditional forms such as the ghazal, a sonnet of sorts, with its stiff, restrictive structure. With heads full of modernism they used rhymeless, formless verses to criticise their country and its rulers. But she embraced the old ways. After all, that was the sort of poetry that Iranians knew, the sort they could recite from memory, the cadences of their history. She borrowed the styles of the masters, but not their substance. They wrote of goblets of wine, and nightingales, and laments for their beloved. She wrote of love, too, but also of politics and of life’s darker realities. “O moaning starving masses, what will you do? O poor anguished nation, what will you do?” asked the first line of her first published poem. Later she wrote about prostitutes hustling in the streets of Tehran, and about the pain of a mother unable to afford pistachios for her son. -
A Study of the Poetic Foundations of Three Prominent Contemporary
Propósitos y Representaciones May. 2021, Vol. 9, SPE(3), e1097 ISSN 2307-7999 Current context of education and psychology in Europe and Asia e-ISSN 2310-4635 http://dx.doi.org/10.20511/pyr2021.v9nSPE3.1097 RESEARCH NOTES A Study of the Poetic Foundations of Three Prominent Contemporary Poets Mehdi Akhavan Sales, Ahmad Shamloo and Hamid Mossadegh with an Approach to European Literature Un estudio de los fundamentos poéticos de tres destacados poetas contemporáneos Mehdi Akhavan Sales, Ahmad Shamloo y Hamid Mossadegh con un enfoque de la literatura europea Farshad Daneshvar Nik PhD student in Persian language and literature, Islamic Azad University, Mashhad Branch, Iran Mohammad Fazeli Member of the Department of Persian Language and Literature, Islamic Azad University, Mashhad Branch, Iran Parvin Dokht Mashhor Member of the Department of Persian Language and Literature, Islamic Azad University, Mashhad Branch, Iran Received 07-08-20 Revised 08-10-20 Accepted 09-02-20 On line 03-06-21 *Correspondence Cite as: Email: [email protected] Daneshvar, F., Fazali, M., & Dokht, P. (2021). A Study of the Poetic Foundations of Three Prominent Contemporary Poets Mehdi Akhavan Sales, Ahmad Shamloo and Hamid Mossadegh with an Approach to European Literature. Propósitos y Representaciones, 9(SPE3), e1097. Doi: http://dx.doi.org/10.20511/pyr2021.v9nSPE3.1097 © Universidad San Ignacio de Loyola, Vicerrectorado de Investigación, 2021. Este artículo se distribuye bajo licencia CC BY-NC-ND 4.0 Internacional (http://creativecommons.org/licenses/by-nc-nd/4.0/). A Study of the Poetic Foundations of Three Prominent Contemporary Poets Mehdi Akhavan Sales, Ahmad Shamloo and Hamid Mossadegh with an Approach to European Literature Summary Literary schools in the West are influenced by the social and political conditions prevailing in those societies; This means that each school in line with the political and social developments of its time has undergone structural and content changes and gives way to a school with a different perspective. -
Collective Love
art credit rule should be: if on side, then in gutter. if underneath, then at same baseline as text page blue line, raise art image above it. editorial note editorial note CARLA CRAWFORD AHMAD SHAMLOU I have wept in blazing solitude with you For the sake of the living And have sung the most beautiful of songs Soleil, 2014 In the darkest of graveyards Oil on Linen, 15 x 16 in Collective For the dead of this year Love Were the most loving of the living Give me your hands Your hands know me You found-at-last I speak with you As the cloud with the storm The weed with the felds The rain with the sea The bird with spring And the tree that speaks with the woods For I have discovered your depths For my voice is Intimate with yours. Tears are a mystery —Translated from the Persian by Niloufar Talebi Smiles a mystery Love a mystery The tears of that night were the smile of my love I am not a tale to be told Not a song to be sung Not a sound to be heard Or something that you can see Ahmad Shamlou (1925–2000) was nominated for the No- Or something that you can know bel Prize in 1984. Shamlou, also known under his pen name, I am Common Pain A. Bamdad, is among the most influential Iranian literary Cry me out! voices of the twentieth century, and widely known as the father of modern Iranian poetry. He published more than seventy books, including poetry, fiction, short stories, chil- The tree speaks with the woods dren’s books, essays, translations, and several volumes of his The weed with the felds encyclopedia of Iranian folklore, Book of Alley. -
Roger Sedarat
Roger Sedarat Associate Professor MFA in Creative Writing and Literary Translation Department of English Queens College, City University of New York 65-30 Kissena Blvd., Flushing NY, 11367 [email protected] 718-997-4713 Education Ph.D. English, 2005. Tufts University Dissertation: Crossing History: New England Landscape in the Poetry of Emily Dickinson, Robert Frost, Wallace Stevens, and Robert Lowell. Directors: Jesper Rosenmeier and Deborah Digges MA English/Creative Writing, 1997. Queens College, City University of New York BA Sociology, 1993. University of Texas at Austin Creative Writing Publications Books: Haji as Puppet: an Orientalist Burlesque, (Word Works. 2017). Winner of 2016 Tenth Gate Prize for Mid-Career Poets, Leslie McGrath, judge. Foot Faults: Tennis Poems (David Robert Books, 2016). Ghazal Games (Ohio UP, 2011). Dear Regime: Letters to the Islamic Republic.( Ohio UP, 2007). Winner of Hollis Summers Book Prize, David Lehman, judge. Chapbooks: Eco-Logic of the Word Lamb: translations/imitations. New York: Ghost Bird Press, 2016. From Tehran to Texas. Somerville: Cervena Barva Press, 2008. Anthologies: “My In-Flight Mistress.” In Flight Reading: an Anthology of Real Life Airplane Stories. Washington/Winchester: Zero Press, 98-101. “Ghazal 6,” Hafez translation. Best of the Net 2016 (Sundress Press, Forthcoming). “My Mother’s 20 Persian Gold Bracelets,” “San Antonio, 1979,” “Khomeini’s Beard,” “Outing Iranians.” Talking through the Door: an Anthology of Middle Eastern American Writing. Ed. Susan Atefat- Peckham (Syracuse UP, 2014). “Apple” and “Speed.” Sharing the Earth: an International Environmental Justice Reader. Elizabeth Ammons and Modhumita Roy, eds. (Athens: U. of Georgia P, 2014), 267-268. -
Persian Optional Subject
Optional Subject: Persian PAPER – I Unit-1 - 1. Short essay in Persian (Compulsory.) Unit-II - 2. (a) Origin and development of the language. (Old Persian, Pahlavi, Modern Persian). (b) Applied Grammar. (c) Rhetorics. (d) Prosody (Bahr-i-Hazaj Kamil, Bahr-i- Motaqarib Mahzuf/ Maqsur, Bahr-i-Rajaz Kamil).Asbab,Autad, Fawasil, Haruf-i-Qafia. Unit-III - 3. Literary History, Criticism, Movements; Socio-cultural influences, Modern Trends. (a) Samanid Period: (Important Poets and Writers) (b) (Firdausi) Rumi, Masud Sad-i-Salman, Tarikh-i-Baihaqi) (c) Saljuquid Period : (Anwari Attar, Khayyam, Kimya-i-Saadat, Chahar Maqala, Siyasat Nama). (d) llkhanid Period : (Sa'di, Rumi, 'Jame'-ut-Tawarikh, Tarikh-i-Jahan Kusha). (e) Timurid Period : (Hafiz, Salman Saoji, Khaju-i-Kirmani, Zafar Nama-i-Sharfuddin Yazdi, Tazkira- Daulat Shah Samarqandi, Jami) (f) Indo-Persian Literature : (Aufi, Khusrau, Faizi, Urfi, Naziri, Abu Fazl, Tarikh-i-Firuz Shahi of Barani, Chahar Chaman of Brahman, Ghalib, lqbal) (g) Safavid to Modern Period : : (Mohtashim Kashi, Qaani, Malik-ushshu'ara Bahar, Nimayushij, Parwin E'tesami, Simin Behbahani' Sadiq Hedayat, Jamalzada, Hejazi, Sabki-Khurasani, Sabk-i-Eraqi, Sabk-i- Hindi, lslamic Revolution of lran) Unit-IV - 4. Translation of ten out of fifteen simple sentences of Urdu into Persian (Compulsory). Downloaded from: www.studymarathon.com PAPER - II The paper will require first hand reading of the texts prescribed and will be designed to test the candidates critical ability. Unit-I - Prose - 1. Translation from the following texts : (a) Nizami Aruzi Samarqandi, Chahar Maqala (Dabiri and Sha'iri). Saadi Shirazi Gulistan (Der Sirat-i- Padshahan and (b) Dar Akhlaq-i- Derwishan) Ziauddin Barani, Tarikh-i-Firuz Shahi (Wasaya-i-Sultan (c) Balban be Ferzand-o-Wali Ahd-i-Khud). -
Looking Back and Ahead: an Insight Into the Iranian Influence in the Caucasus
G. Tsereteli Institute of Oriental Studies of the Ilia State University Observatory of the Caucasus/French Institute for Anatolian Studies International Conference LOOKING BACK AND AHEAD: AN INSIGHT INTO THE IRANIAN INFLUENCE IN THE CAUCASUS Dedicated to the 110th Anniversary of the Founder of the Institute of Oriental Studies Academician Giorgi Tsereteli Programme and Abstracts Tbilisi, October 1-2, 2014 International Conference Looking Back and Ahead: An Insight Into the Iranian Influence in the Caucasus Dedicated to the 110th Anniversary of the Founder of the Institute of Oriental Studies Academician Giorgi Tsereteli Tbilisi, October 1-2, 2014 Organizers: G. Tsereteli Institute of Oriental Studies of the Ilia State University Observatory of the Caucasus/French Institute for Anatolian Studies-Istanbul Organizational Committee: Adeline Braux, George Sanikidze With the Support of Rustaveli National Scientific Foundation French Institute of Anatolian Studies/Observatory of the Caucasus (Baku) Institut français de Géorgie Cultural Department of the Embassy of Iran in Georgia Service de coopération et d'action culturelle de l'ambassade de France en Arménie Service de coopération et d'action culturelle de l'ambassade de France en Iran Address: 1, Acad. G. Tsereteli St., Ilia State University, Building G, Hall 106 Programme October 1 10.00-12.30 Chair: George Sanikidze Welcome Addresses Academician Thomas V. Gamkrelidze – Head of the Scientific Council of the G. Tsereteli Institute of Oriental Studies Giga Zedania – Rector of Ilia State University -
The Manichaean Living Self Reflected in Persian Mystical Poetry
The Manichaean Living Self Reflected in Persian Mystical Poetry Omid Behbahani Introduction The Living Self, as part of the divine entity imprisoned in Matter, is a defined concept in the Manichaean mythological terminology. The essence of this concept, adopted and adapted in Iranian Mysticism and reflected in the words of Persian poets, is the focus of this article. After introducing the concept of Living Self, I will bring some examples of Rumi, Hafez, and a few modern Persian poets to demonstrate the conti- nuity of ancient believes in classical and modern Persian poetry. Manichaeism, founded in the third century CE by Mani, borne in Bab- ylonia (a province of Persia at the time), once flourished in the ancient world and claimed followers from North Africa to China for over a mil- lennium. It was adopted as the state religion by Uygur kingdom (762- 840 CE). “In China the religion was proscribed in 863, but although persecuted it survived there at least until the 14th century.”1 1Mary Boyce: A Reader in Manichaean Middle Persian and Parthian, Textes et Mémoires, vol. 2 (Téhéran, Liège: Bibliothèque Pahlavi, 1975), 4. Omid Behbahani <[email protected]> is an Associate Professor in Ancient Iranian Cul- ture and Languages at the Institute for Humanities and Cultural Studies (IHCS), Tehran, Iran. She teaches Manichaean Middle Persian and Parthian Texts of Turfan (Xinyang, China) at IHCS, Faculty of Linguistics (1998-present). She was appointed Invited Lecturer in Persian Language and Iranian Studies at Eötvös Loránd University, Budapest, Hungary (2008-2009), and the Australian National University (ANU), Canberra, Australia (2014-2017). -
Magazine Are Those of the Authors and Are Not Necessarily Those of This Magazine
exiledexiled ink!ink! Iranian writers and literature in exile poetry prose articles reviews price £3 Editorial Team David Clark Isabelle Romaine Miriam Frank Soheila Ghodstinat Jennifer Langer Richard McKane Nathalie Teitler Design and Layout Angel Design EWI Patrons Alev Adil Lisa Appignanesi Moris Farhi MBE Esmail Khoi Howard Jacobson exiled ink! Julia Camoys Stonor Exiled Ink! is published by Exiled Writers Ink EWI Artistic Advisory registered as Charity No.1097497 Committee Ghias Al Jundi Mir Mahfuz Ali Marion Baraitser Miriam Frank Choman Hardi Richard McKane Hom Paribag Isabelle Romaine Darija Stojnic Nathalie Teitler Editorial Office Exiled Writers Ink 31 Hallswelle Road London NW11 0DH Tel: +44 (0) 20 8458 1910 [email protected] www.exiledwriters.co.uk Printed by: The cover image is by Afshin Shahroodi and appeared in Ali Abdolrezaie’s collection Shinema which was partly censored in Iran. Material may not be used without the written expressed permission of Exiled Writers Ink. Views ex- pressed in the magazine are those of the authors and are not necessarily those of this magazine. Every effort has been made to contact all the authors regarding permission. ISSN 1744-149B Iranian Writers and Literature in Exile Contents: 4 Editorial 5 Iranian Women and Contemporary Memoirs Farideh Goldin 9 Writing Out Terror Hammed Shahidian 12 Hatred and other poems Esmail Khoi 12 The Doves/Cemetery Reza Baraheni 13 Love is the Colour of Lemon/Collage Poem 2 Ziba Karbassi 15 Standing Upright They Were Tall Enough/Forrough Ali Abdolrezaie