THE UZBEKS by Mark Dickens
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Fall 2016 Newsletter Pages.Pdf
INSTITUTE FOR THE STUDY OF THE ANCIENT WORLD Newsletter 16 Fall 2016 From the Director As I embark on my term as Interim Director of ISAW, I cannot help being struck by the complex entity that it has come to be in the nine years since its foundation— in eight of which I have had the privilege of participating. We are, by a considerable margin, the smallest of New York University’s many schools; in terms of faculty, if we were a mere university department, we would be a smallish one. But we are active, and excel, in a spread of dimensions that function as essential implementations of our mission that it would be difficult to find paralleled in any academic institution even several times ISAW’s size. One reason that we have been able to do this is that ISAW’s principal components, faculty, doctoral students, associated and visiting researchers, library, digital team, and exhibitions, interact and collaborate. Several of our exhibitions, including the soon-to-open Time and Cosmos in Greco-Roman Antiquity featured on this issue’s cover, have been curated or co-curated by ISAW faculty, research associates, and visiting research scholars; and at least three of our students will be involved in Time and Cosmos during its run. Again, one of our doctoral seminars this fall, “Introduction to Digital Humanities for the Ancient World,” is being team-taught by Tom Elliott, our Associate Director of Digital Programs, our faculty colleague Sebastian Heath, and our librarian, David Ratzan. ISAW is about breaking down imagined barriers not just between ancient civilizations but also between present-day institutional cultures. -
A History of Ottoman Poetry
351 went and told his story to Mu'eyycd-zadc the Anatolian Qazi'^Asker, who was the very antithesis of the Rumclian, being, as we have more than once seen, the ever-ready friend and patron of talent and ability. This good and learned man bade the would-be principal go and formally accept the cadiship proposed by his colleague, and leave the rest to him. Kemal-Pasha-zade did as he was told. And so on the morrow Hajji-Hasan-zade presented to Sultan Bayezid the young man's request and suggested that it should be granted. But Mu^eyyed-zade, who was present, interposed, saying that the applicant was one of the most gifted and promising young men of the day, and that it would be a grievous misfortune if he were lost in a cadiship, the more especially as the Tashliq principalship, which would give him an excellent opening, was just then vacant; and he prayed the Sultan to confer this on him. Hajji-Hasan-zade had not the effrontery to oppose his colleague's request, which was accordingly granted. Mu'eyyed-zade's kindly offices by no means ended here; he frequently brought his protege under the notice of the Sultan, and succeeded in obtaining for him grants of money as well as other favours. It was he too who proposed to Bayezid that Kemal-Pasha-zade should be commissioned to write the history of the Ottoman power in Turkish, as it was desirable to have the story in the national language, Monla Idris's work on the subject being in Persian. -
Soviet Central Asia and the Preservation of History
humanities Article Soviet Central Asia and the Preservation of History Craig Benjamin Frederik J Meijer Honors College, Grand Valley State University, Allendale, MI 49401, USA; [email protected] Received: 23 May 2018; Accepted: 9 July 2018; Published: 20 July 2018 Abstract: Central Asia has one of the deepest and richest histories of any region on the planet. First settled some 6500 years ago by oasis-based farming communities, the deserts, steppe and mountains of Central Asia were subsequently home to many pastoral nomadic confederations, and also to large scale complex societies such as the Oxus Civilization and the Parthian and Kushan Empires. Central Asia also functioned as the major hub for trans-Eurasian trade and exchange networks during three distinct Silk Roads eras. Throughout much of the second millennium of the Common Era, then under the control of a succession of Turkic and Persian Islamic dynasties, already impressive trading cities such as Bukhara and Samarkand were further adorned with superb madrassas and mosques. Many of these suffered destruction at the hands of the Mongols in the 13th century, but Timur and his Timurid successors rebuilt the cities and added numerous impressive buildings during the late-14th and early-15th centuries. Further superb buildings were added to these cities by the Shaybanids during the 16th century, yet thereafter neglect by subsequent rulers, and the drying up of Silk Roads trade, meant that, by the mid-18th century when expansive Tsarist Russia began to incorporate these regions into its empire, many of the great pre- and post-Islamic buildings of Central Asia had fallen into ruin. -
On Theatre Stage
Prof. Dr. Şeref Ateş President Greetings our esteemed readers in the last issue of the year 2017, e experience the sweet weariness of lea- from concerts performed by famous Turkish artists ving a busy year behind, and the excite- to film screenings where the most popular examp- Wment of welcoming a new year which har- les of Turkish cinema are shared with the audience, bingers the new projects to be launched. from gastronomic trainings where traditional, unique We have come a long way in teaching Turkish within Turkish dishes are introduced to exhibitions where the past year, that is among our primary goals. We Anatolia's centuries of artistic heritage is presented, have reached 10 thousand people in the last year in short, with both short and long-term projects in a by way of 54 Enstitü centres in 43 countries on 5 very wide range, promoting Turkey still remains as continents, schools with which we have agreements one of our top priorities. within the scope of My Preference Turkish Project, We think that bringing the accumulation of our an- and universities with which we signed cient civilization to regions we reach, is the Turcology protocol. Since the foun- a debt we owe to civilizations that lived dation of the Enstitü, we have taught on these lands for centuries as well as Turkish to nearly 120 thousand people. to our country, and the ties we have es- These figures were multiplied thanks to tablished with all the cultures we have Turkish Instruction Portal. The portal encountered from America to Asia, and has served 65,000 users in as little as from Europe to Africa since 2009, come 9 months. -
Title Change of Suspension Systems of Daggers and Swords in Eastern
Change of suspension systems of daggers and swords in eastern Title Eurasia: Its relation to the Hephthalite occupation of Central Asia Author(s) Kageyama, Etsuko Citation ZINBUN (2016), 46: 199-212 Issue Date 2016-03 URL https://doi.org/10.14989/209942 © Copyright March 2016, Institute for Research in Humanities Right Kyoto University. Type Departmental Bulletin Paper Textversion publisher Kyoto University ZINBUN No. 46 2015 Varia Change of suspension systems of daggers and swords in eastern Eurasia: Its relation to the Hephthalite occupation of Central Asia Etsuko KAGEYAMA ABSTRACT: This paper focuses on changes in the suspension systems of daggers and swords in pre- Islamic eastern Eurasia. Previous studies have shown that scabbard slides were used in the Kushan and early Sasanian periods to suspend a sword from a bearer’s waist belt. This method was later replaced by a “two-point suspension system” with which a sword is suspended by two straps and two fixtures attached on its scabbard. Through an examination of daggers and swords represented in Central Asian art, I consider the possibility that the two-point suspension system became prevalent in eastern Eurasia in connection with the Hephthalite occupation of Central Asia from the second half of the fifth century through the first half of the sixth century. KEYWORDS: Hephthalites, Sogdians, Central Asia, bladed weapons, Shōsō-in Etsuko KAGEYAMA is Associate Fellow at Nara National Research Institute for Cultural Properties. * This paper is based on my article published in Japanese: E. Kageyama, “Change of sus- pension systems of daggers and swords in eastern Eurasia: Its relation to the Hephthalite occupation of Central Asia”, Studies on the Inner Asian Languages 30, 2015, pp. -
The Socioeconomics of State Formation in Medieval Afghanistan
The Socioeconomics of State Formation in Medieval Afghanistan George Fiske Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 George Fiske All rights reserved ABSTRACT The Socioeconomics of State Formation in Medieval Afghanistan George Fiske This study examines the socioeconomics of state formation in medieval Afghanistan in historical and historiographic terms. It outlines the thousand year history of Ghaznavid historiography by treating primary and secondary sources as a continuum of perspectives, demonstrating the persistent problems of dynastic and political thinking across periods and cultures. It conceptualizes the geography of Ghaznavid origins by framing their rise within specific landscapes and histories of state formation, favoring time over space as much as possible and reintegrating their experience with the general histories of Iran, Central Asia, and India. Once the grand narrative is illustrated, the scope narrows to the dual process of monetization and urbanization in Samanid territory in order to approach Ghaznavid obstacles to state formation. The socioeconomic narrative then shifts to political and military specifics to demythologize the rise of the Ghaznavids in terms of the framing contexts described in the previous chapters. Finally, the study specifies the exact combination of culture and history which the Ghaznavids exemplified to show their particular and universal character and suggest future paths for research. The Socioeconomics of State Formation in Medieval Afghanistan I. General Introduction II. Perspectives on the Ghaznavid Age History of the literature Entrance into western European discourse Reevaluations of the last century Historiographic rethinking Synopsis III. -
Introduction
Introduction The H"’ Cen, A.D, was the most progressive time in Persian science, culture, art, literature and philosophy; and it too can be held as the glorious period of the world. Some of the great rulers such as Samanides, Khwarezmids, Ma’munids, Bavandies, al-e-Ziar, al-e-Buye and Deyalamides, etc., were governing over the Persian land for a long time, and during their regimes all the scientists, writers, poets, artists and philosophers were encouraged.' Two hundred years after the scholars like Biruni (973-1048 A.D.), Ibn Sina (Avicenna) (980-1037 A.D.), Ferdowsi (940-1020 A.D.) Khayyam (1048-1122 A.D.), Ghazzali (1058-1111 A.D.), and Nasir al-Din Tusi (1201- 1274 A.D.), were settled in the European Universities such as Paris, Oxford and Cambridge (1800-1828 A.D.). And works of the above mentioned scholars were translated from Persian into Latin, and used by European scholars. Therefore, the historians and orientalists enumerated and illustrated the effects of these scientists and re-published their works, and evaluated them in an appropriate way.^ All significant personalities of this period had lot of researches in different subjects. Among these scholars, this thesis concentrates only on Biruni and his comparative method used for philosophisation, which is significant for research, especially for studying different ancient Indian philosophical traditions and various sects of them. Biruni (973-1048A.D.) can be claimed as one of the most outstanding figure in the history of science, philosophy and comparative religions of the entire worlds. He seems to be the pioneer in various fields of sciences such as mathematic, astrology, physics, pharmacology, mineralogy, etc., and also historiography, anthropology and linguistics. -
III Fəsil “Nizami” Operası 1948-Ci Ildə Opera Teatrı Ə.Bədəlbəylinin
III fəsil “Nizami” operası 1948-ci ildə opera teatrı Ə.Bədəlbəylinin “Nizami” operasını tamaşaya qoydu. Operanın ilk tamaşası dekabrın 12-də böyük şair-mütəffəkir Nizami Gəncəvinin 800 illiyinin qeyd olunduğu günlərdə oldu. Məlum olduğu kimi, 1945-ci ildə bitmiş Böyük Vətən mühari- bəsi Azərbaycan xalqina dinc yaradıcı əməyə qayıtmaq imkanı ver- di. Təbiidir ki, müharibədən sonrakı dinc həyatın yeni şəraitində ədə- bi-bədii əsərlərin və incəsənətin bütün növlərinin məzmun və möv- zuları gözəçarpacaq dərəcədə yeniləşdi. Bir çox janrlarda əsərlərin müəlliflərini tarixlə, tarixi keçmişin əlamətdar hadisələri, ədəbiyyat abidələri və xalqın bütün mədəni irsi ilə bağlı mövzular cəlb edir. Yeni mövzular, yeni obrazlar incəsənətin bu və ya digər sa- həsində yaradıcılıq diapozonunu genişləndirən yeni janr, forma, ifadə vasitələri axtarışlarına gətirib çıxarır. Opera yaradıcılığı sahəsində ideya-mövzu, obraz-janr diapo- zonu genişlənməsinin əlamətlərindən biri də opera və balet teat- rının səhnəsində “Nizami” operasının milli səhnə üçün yeni janrda tamaşaya qoyulması oldu. Operanın müəllifi ilk dəfə olaraq qarşısına tarixi şəxsiyyət – şair, filosof obrazını milli operada hələ təqdim olunmamış janr- da yaratmaq, beləliklə də, operanı onun yeni növü ilə zənginləş- dirmək vəzifəsini qoydu. Qarşısına böyük şairi musiqidə tərən- nüm etmək vəzifəsini qoyan Ə.Bədəlbəyli ilk dəfə olaraq xalqın yaddaşında yaşamış və bəşəriyyətdə yaxşı nə varsa onu təcəs- süm etdirən insanın canlı obrazını səhnəyə çıxardı. Bəstəkar operada tanınmış yazıçı M.S.Ordubadinin “Qılınc və qələm” romanının məzmununa əsaslanır. “Dumanlı Təbriz”, “Gizli Bakı”, “Döyüşən şəhər” kimi bir sıra romanların müəllifi olan yazıçı “Qılınc və qələm” romanı üçün süjeti aramla inkişaf edən epik nəql formasını seçir. Hadisələrin iştirakçılarının taleyi 386 ictimai və siyasi münaqişələr fonunda baş verir. Burada müba- rizə, iztirab xəyanətlə, məhəbbət nifrətlə, qətl və saray fitnə-fa- sadı ilə bir-birinə qarışır. -
Bu Eserin Tam Metnini Indirmek Için Tıklayın
IJOESS Year: 9, Vol:9, Issue: 31 MARCH 2018 THE BENEFITS OF USING WORKS ADAPTED FROM EPICS TO OPERAS FOR THE TEACHING OF EPICS Halide Gamze İnce Yakar Assist. Prof. Dr., Okan Universiy , [email protected] ORCID Number: 0000-0002-9165-7037 Received: 22..12.2017 Accepted: 21.03.2018 ABSTRACT Epics as products of oral literature tradition have found their way into the forms of performance since the disappearance of the epic tradition, opera being one of such forms of performance. Difficulties are observed in the teaching of epics in high-schools because they express the life and times of an era distant from the students’ time period. In the teaching of epics, it is possible to make use of multi-dimensional contributions made by an inter-disciplinary learning environment and form an effective learning environment by means of the works adapted from epics to opera. The present paper aims to present the relationship between epics and opera, a short history of opera in Turkey, major works adapted from Turkish and world epics, the benefits of making use of the works adapted from epics to opera, the works of literature and opera with titles, and some ways of making use of them in the teaching of epics. Keywords: The teaching of epics, opera, effective teaching, inter-disciplinary learning. 312 İnce Yakar, H. G. (2018). The Benefits Of Using Works Adapted From Epics To Operas For The Teaching Of Epics, International Journal Of Eurasia Social Sciences, Vol: 9, Issue: 31, pp. (312-319). IJOESS Year: 9, Vol:9, Issue: 31 MARCH 2018 INTRODUCTION It is possible to make use of modern genres of art in the teaching of epics, which are the products of oral culture in which the stories of heroism, natural disasters, wars, immigrations, love and religion as formed in mythological eras and holding a position in the anonymous memory and common emotions of a nation. -
Musical and Dramatic Features of Choral Scenes in the Operas of Azerbaijani Composers
Journal of Critical Reviews ISSN-2394-5125 Vol 7, Issue 7, 2020 MUSICAL AND DRAMATIC FEATURES OF CHORAL SCENES IN THE OPERAS OF AZERBAIJANI COMPOSERS Ayten Babaeva Baku Music Academy named after Uzeyir Hajibayli Azerbaijan, Baku [email protected] Received: 11.02.2020 Revised: 03.03.2020 Accepted: 17.04.2020 Abstract The presented article is devoted to the musical and dramatic features of choral scenes in the operas of Azerbaijani composers. The paper considers the long-term development of Azerbaijani national operas from operas of mugamat the beginning of the 19th to the 20th century some aspects are found in the context of European and national traditions. Also, the domestic operas of Azerbaijan paid attention to the features of choral scenes, some principles of development, and the richness of the musical language. In particular, the law of updating the dramaturgy of choral scenes in Azerbaijani operas at the level of content and musical language was emphasized. The article classifies Azerbaijani operas by content and considers drama, the principle of structure, features of the musical style, the artistic character of images in the analysis of choral scenes in lyric-dramatic, literary-historical, satirical and patriotic operas. The unique qualities and role of choral scenes in Azerbaijani national operas were also presented. Keywords: Azerbaijan National Opera, musical and dramatic features of choral scenes, mugam opera, lyrical and tragic opera, satirical opera, patriotic opera, musical and exciting art. © 2020 by Advance Scientific Research. This is an open-access article under the CC BY license (http://creativecommons.org/licenses/by/4.0/) DOI: http://dx.doi.org/10.31838/jcr.07.07.87 INTRODUCTION. -
Silk Road and Buddhism in Central Asia
SILK ROAD AND BUDDHISM IN CENTRAL ASIA 1ARCHANA GUPTA, 2ARADHANA GUPTA, 3AKANKSHA GUPTA 1School of International Studies, Jawaharlal Nehru University, New Delhi India 2Work as Librarian in Jawahar Navodaya Vidhyalaya, India 3School of International Studies, Jawaharlal Nehru University, New Delhi India E-mail: [email protected] Abstract- The Silk Route is the ‘Ancient International Trade Road’ that spread from China to Italy existed from second century BC to fifteenth century AD. Although it was known for trade which carried silk, paper and other goods between East and West through India, China and Central Asia. It also became a channel of transmission of art, architecture, culture, religion, philosophy, literature, technology etc to different countries in Asia and beyond. One of the important religions that transmitted through Silk Road was Buddhism which developed in India. It is interesting to note that Silk Road turned as the springboard of Buddhism to spread it from India to Central Asia. The Buddhist Religion originated in India. Through Buddha’s enlightenment and with his teachings, it became one of the most important “World Religions” in past. It was the first religious philosophy which transmitted along this trade route from India to China through Gandhara which is recognized in modern time northern Pakistan and southern Afghanistan. After long Centuries Islam began and it followed the same Silk route and replace Buddhism from some places. Judaism and Christianity also followed the Silk route for spread their ideology & philosophy. The proposed Article intends to examine the role of Silk Road in the spread of Buddhism from India to Central Asia. -
Culture of Azerbaijan
Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y CULTURE OF AZERBAIJAN CONTENTS I. GENERAL INFORMATION............................................................................................................. 3 II. MATERIAL CULTURE ................................................................................................................... 5 III. MUSIC, NATIONAL MUSIC INSTRUMENTS .......................................................................... 7 Musical instruments ............................................................................................................................... 7 Performing Arts ....................................................................................................................................... 9 Percussion instruments ........................................................................................................................... 9 Wind instruments .................................................................................................................................. 12 Mugham as a national music of Azerbaijan ...................................................................................... 25 IV. FOLKLORE SONGS ..................................................................................................................... 26 Ashiqs of Azerbaijan ............................................................................................................................ 27 V. THEATRE,