Persian Literature

Persian poets since Rūdakī have drawn on the letter symbolism of the Perso-Arabic alphabet. Visually, its characters have attracted poets who find the likeness of the beloved in their shapes. Spiritually, it enjoys a special status as the language of the Koran and therefore, in the eyes of some, God. Classical Persian lyric poetry combined these aesthetic and religious connotations, and as one of the foremost voices in that tradition, Ḥāfiẓ was no exception. But a review of the extant literature shows that, as a trope, letter symbolism has been largely overlooked when compared with wine, the moth, or the candle. Through a comprehensive study of the let-ters' use in Ḥāfiẓ's dīvān, this article argues that, by playing with particular letters' connotations, or punning on their physical shapes and homographs, Ḥāfiẓ invokes disparate meanings, only to then reveal their underlying unity, in the process affirming the affinity between love and language, the beloved and the divine.

Examines the literary topos of dawn, the "Alba," in Persian poetry in comparative perspective, first considering the Alba poem in medieval Provencal lyric in southern France and northern Italy, establishing how the theme of the parting of two lovers at dawn was a well-established trope in European poetry of the medieval and renaissance periods.  A close parallel also appears in the Arabic poetry of Andalusia, perhaps with some interchange.  In Persian there are also some examples of the "Alba" theme -- the ghazals of Sa`di but especially Sana'i. Although Hafiz' poems do not use the Alba theme  in the same way, Hafiz does set many of his ghazals (perhaps 1/5 of all his ghazals) in the dawn or early morning.  The article develops how Hafiz uses the topos of dawn and why it is integral to his mythopoetic vocabulary.

This dissertation examines the ways in which three female Iranian writers have inverted the patriarchal dynamic of Iranian society by asserting their radically feminine voices through literature. However, it will be revealed how each of the texts in this study also articulate social anxieties about the fluctuating and uncertain roles of women in Iran in the last hundred years. Partly in response to the dogmatic political frameworks of the Pahlavi dynasty and the Islamic Republic, Forugh Farrokhzad, Azar Nafisi and Marjane Satrapi have respectively articulated a distinctly feminine experience of growing up in Iran. Each text takes on a potent political charge due to its autobiographical overtones, for ‘writing the self’ is a powerful metaphorical act of unveiling in a traditionally veiled society. Herein, this paper joins the vibrant and topical conversation about the place of women in Iran, as well as challenging the patriarchal Western stereotypes that all too often dominate such discourses.

This essay examines the role and meaning of Shaykh Mushrif al-Dīn “Saʻdī” Shīrāzī’s Gulistān in late Mughal India. As the prose primer for a Persian education, the Gulistān encompassed the double meaning of adab, as exemplar both of literary form and of proper conduct. I explore instances in which the original text is cited in the work of Sirāj al-Din ʻAli Khān Ārzū (1689-1756 CE), a scholar and poet, who also wrote a commentary on the text. I then explore the larger context of Ārzū’s life and work in the context of mid- eighteenth-century Delhi, to situate the stakes of social and literary adab in a time of political fragmentation and social upheaval. Patronized by high-ranking Mughal officials, Ārzū was engaged in a larger project of recouping the cultural prestige of the imperial capital as political power devolved to regional centers in the face of factional politics and external invasion. Such an analysis seeks to historicize particular readings of classical texts of Persianate education.

Title in Italian: "La letteratura tagica fra riforme e rivoluzioni (1870-1954). Con uno studio preliminare delle Ëddoštho [Memorie] di Sadriddin Ajnī e appendici bibliografiche"

The thesis focuses on the period of reforms and revolutions the Tajik intellectuals and men of letters experienced in the field of culture and literature from the second half of the 19th century, when Tsarist Russia penetrated in Turkestan, to the first Soviet decades (1870-1954).
In 1870, Ahmad Donish, one of the first reformers in the history of Modern Tajik literature, wrote the Risola dar nazmi tamaddun va taovun [Treatise on the organization and regulation of common decency], trying to persuade the emir of Bukhara of the need of reforms.
In 1954, Sadriddin Ayni, the author commonly regarded as the founder of Soviet Tajik literature, died of disease. His final major work, Yoddoshtho [Reminiscences; 1948-1954, uncompleted], to which a preliminary study is devoted to in this thesis, is a collection of lively short-stories where the author describes his childhood spent in two villages near Bukhara, his youth and schooldays in Bukhara city between 1882 and 1903, also depicting the social and economic situation of the Emirate with particular reference to the lowest social strata (petty farmers and craftsmen) living there.
The period under consideration in this thesis also marked the transition from the manuscript era to the periodical press age.
The reformers of the first two decades of the 20th century, the Jadids, turned newspapers and journals into an instrument of protest against the social, cultural, and spiritual degradation of the Bukhara Emirate. In the 1920s, magazines became a platform for the expression of a nascent Tajik nationalism, as in those years Tajikistan, rather than a Federal Republic of the Soviet Union, was an Autonomous Region within the Republic of Uzbekistan. Moreover, Soviet magazines became the first editorial space for the spreading of the Tajik realistic prose, since during the 1920s and the 1930s Tajik tales and novels were first published there in serial form, later in book form."

Water stands as one of the most symbolically significant images in most of the world’s religious communities. Yet Islam’s intellectual, contemplative, and popular traditions accord distinctive and variegated meaning to this image, uniquely influenced by pre-Islamic Arabic literary convention, the text of the Qur’ān, Muslim rituals, Islamic literature, and the cultural context within which Islam blossomed. It is difficult to say that there is an image of water in Islam at all, but one can discern an accumulation of images and connotations that contribute to a concept of water as indefinite as it is rich. While, broadly speaking, that “image” relays life, knowledge, and purity, this work assumes that studying particular, illustrative instances of the meaning of water will yield a picture more indicative of Islam’s unique symbolic heritage.

The Faculty of Arts and Letters of the University of Bonn is advertising two Research Assistant/Teaching Assistant Positions which are attached to the Alexander von Humboldt Chair for Islamic Studies (Prof. Dr. Judith Pfeiffer). Applicants should work towards a Ph.D. in a relevant field (e.g., Islamicate intellectual history of the late medieval and/or early modern period, history of Oriental Studies, Islamic historiography, or similar subjects). For more information please visit https://www.uni-bonn.de/de/universitaet/medien-universitaet/medien-arbeiten-an-der-uni/medien-personalmanagement/pdfs-stellenausschreibungen-wiss.ma/07-22-3-202_en.pdf

متن کامل در آدرس زیر قابل دانلود است
http://www.ensani.ir/fa/147735/profile.aspx

""""""On Not Translating Hafiz
Dick Davis, Ohio State University
Tr. Behnam Mizababazadeh & Mostafa Hosseini
In this paper Dick Davis tries to explain the reasons behind the  difficulty in translating classical Persian poetry in general and Hafiz in  particular. He divides the problems into two categories: the linguistic  and the cultural problems. Lack of exact synonyms especially for
idioms, puns and lack of rhyme in English belong to the first category.  The lore of Shi’i Islam, the prevalence of the cult of pederasty in  Persian poetry, difference in the pattern of the poems and the language of panegyric in Persian poetry belong to the second category. Davis concludes his paper with the following sentences:  And this is why the poets who seem to develop a poetry’s capabilities most tellingly, who seem to their linguistic communities to be the most “poetic” of all, are often precisely those whom it is most difficult to bring over into  another language. Certainly, in Persian literature, the example of Hafiz, and  of the numerous poor poet-translators who metaphorically lie bleeding at  his feet, would seem to bear this out. (B. M. & M. H.)
Keywords: Hafiz, Dick Davis, classical Persian poetry, translation of
poetry, untranslatability of poetry. """"""

Cartas Persas aos Trópicos.
Envio abaixo link para download e consulta gratuita  do meu livro Cartas Persas aos Trópicos, sobre Renascimento do Oriente Médio no qual  exponho minha troca de correspondência por dois anos entre 2003 e 2005 com uma jovem iraniana feminista enquanto trocávamos nossas experiências culturais através da Poesia  Sufi  Persa e do Modernismo Lusófono através de nossos maiores poetas mostrando que a Literatura, a Poesia e a Cultura são linguagens que permitem qualquer intercâmbio de ideias por mais diferentes que sejam nossas sociedades  . Espero que gostem.

شان  موسوم به چلیپای شکسته و گردونۀ مهر، از نقشمایه های اصیل و دیرینۀ هنر ایران است. این نشان را ازآن رو گردونۀ مهر می نامند که به آیین مهرپرستی تعلّق دارد و در متون مقدّس نیز مهر سوار بر گردونه ای وصف شده است. صلیب یا چلیپای شکسته با قدمتی نزدیک به هفت هزار سال نخستین بار در خوزستان یافت شد. معادل لاتین آن، واژه سانسکریت سواستیکا به معنی هستی خوب و نیکو است. صلیب پیشینه ای بسیار کهن تر از مسیحیّت دارد و به دوره های ابتدایی زندگی بشر بازمی گردد. نمونه های بسیار کهنی از نقشمایۀ چلیپا از دوران هخامنشی، اشکانی و ساسانی بر جای مانده است. این نشان اسرارآمیز نماد صلح و آشتی، خوشبختی، نیروهای حیات بخش و درمانگر، رفع چشم زخم، رفع گزند نیروهای اهریمنی و شیطانی است.

Videoconferenza disponibile su YouTube al link allegato. Si propone un itinerario tra le sete ispirate alla vita romanzata del re persiano Bahràm V (421-439 d.C.). Grazie a questi preziosi manufatti, l'eco di un racconto orientale si è diffusa nel cuore dell'Europa nell'età di Carlo Magno.

Forty years of publishing activities with the publication of about 1,000 books.
In this book, the introduction of all books with the alphabetic list of products, thematic list, books published in Arabic, and the history of MZI = مجمع الذخائر الاسلامیة
This book is published in 2017.

Persian title of the article:
جُستاری در بررسی بازتاب و اثرگذاری داستانهای رستم پهلوان در آثار هنری عصر قاجار(مطالعه موردی: کاشی کاری های سلطنتی و نقاشی های حسین قوللر آغاسی) که در هشتمین همایش ملی متن پژوهی ادبی ارائه گشته است.

Abstract:
Shahnameh, as one of the most important literary works in the Persian language, has been very influential in contemporary history, culture and thought and has shaped our society. Extensive attention to the Shahnameh can be found in various arts and literary works emerging in later periods. In the Qajar era, Shahnameh was widely reflected in works of art due to Fath Ali Shah's and politicians' attention to ancient literature and ancient history of Iran. Among the most important of these are royal tiles as symbols of royal thought and cafe paintings as reflections of people's views. This style of painting was also founded by Hossein Qollar-Aqasi. In the present study, I try to examine the quality of reflection of the stories of Rostam Pahlavan, one of the prominent figures in the Shahnameh, relying on library and conceptual and artistic studies. This research has been done on Rustam Pahlavan images in royal tiles and paintings by Hossein Qollar-Aqasi as one of the founders of cafe painting.

A close reading of Amir Khusrau's Persian-language Alexander Romance titled "Aina-ye Eskandari", in the footsteps of A.M. Piemontese and M. Casari. Focus on Alexander's representation as a scientist-king in Khusrau's narration of the underwater expedition.

Colonialism is one of the phenomena that have had a harsh impact on the east. Due to the cruel treatment of the colonized by the colonizers, many classes of the people within the oppressed nations have risen against the oppressors. Among the Arab and Persian freedom fighters, one can refer to the remarkable struggle of such poets as al-Rusafi and Farokhi Yazdi, respectively. These two poets have entered this battlefield with their pens and poems, and have opened a new chapter in the book of struggle against colonialism. ...

Braucht das kollektive Gedächtnis die Literatur? Welche Rolle spielt sie für das Erinnern? Und welche Vorteile gegenüber anderen Medien bieten fiktionale Texte für die Erinnerungskultur? Literatur kann das Vergessen überwinden, identitätsstiftende Opfer- und Heldennarrative aufbrechen und Vergangenes anders und neu erzählen. Durch Perspektivwechsel kann bei der Lektüre zudem Empathie aufkeimen, ein wirksames Gegenmittel bei Opferkonkurrenz. Wie das alles gelingt, untersucht Lena F. Schraml an polnischen Texten, die den Zweiten Weltkrieg thematisieren, und an persischen Texten, deren Gegenstand der Iran-Irak-Krieg ist. In der Verbindung von memory studies und Narratologie entwickelt sie ein Analyseinstrumentarium, das sich dem Text ohne Theoriefilter nähert und ihn aus sich heraus wirken lässt. Die Autorin findet Antworten auf Fragen nach der literarischen Widerspiegelung von Krieg und Trauma und nach universalen, transkulturellen Motiven in diesem Kontext.

حرف اخیر
2 قصۀ مرد قوی هیکل و بچۀ مو درخشان
یک افسانۀ 2300 ساله است که مربوط به
یونان قدیم میشود. این قصه تقریبا از بین رفته بود و تنها چیزیکه بر جا مانده بود پنج
قطعه ای از نو یسندگان قدیمی یونان بود. در باز یکجا کردن این قطعات باید مطمئن میشدم
که ساختار قصه درست است ، یعنی: تناسب صحنه، طرح، بحران و حل. تنها چیزی که
من اضافه کرده ام آنست که در تنظیم باز یکجا کردن قطعات مذکور با آرامی برای ش
ضرورت بود. همچنان اسمای یونانی را هم ترجمه کرده ام بخاطریکه با خود ایشان معانی
پنهان نقل مینمود ند. اسم اصلی نوجوان برای ما نشان میدهد که خاصیت قابل توجه وی
موهای دراز طالیی اش بود ، یا به عبارت دیگر؛ زیبا جلوه نمودن وی بود. اسم اصلی مرد
نشان میدهد که ساخت و ساز فیزیکی وی بسیار قوی بوده اما در بارۀ هوشمندی اش ما را
اندکی پریشان میکند.
یاد آوری این افسانه در متون مربوط به سالهای 330 قبل از میالد آمده، ولی باید ازین هم
قدیمی تر باشد چون به ما گفته میشود که این قصه در زمان قدیم بسیار مشهور بود و
بعد از آن الی پنج قرن دیگر هم بر سر زبانها ماند، که نشان میدهد مردم قدیم این قصه
را میپسندیدند او آن را مفید میشمردند. فایده آن چه بود؟ افسانه های قدیم یونانی عشق
بین نوجوانان و مردان )که حدود دوازده قصه استند( قصه های آموزنده هستند. هر یکی
از این قصه ها پیام خاصی دارند. اینها به ما می آموزانند که مردهاییکه در عشق نوجوانها
گیر میشوند و یا بچه هاییکه میخواهند از سوی مردان با آنها عشق ورزی شود )که در
یونان قدیم تقریبا به معنای هر کس است( باید با یکدیگر برخورد پر از احترام کنند و
باید در دام طمع، رفتار نامناسب، عشق کورکورانه وتحقیر گیر نمانند.
بر اساس منابع اسم Erastes یا عاشق machos-Pro یعنی مقدم ترین در جنگ و یا هم -Eu 2
xinthetus یعنی خوب ساخته شده آمده است. اما اخذ از هر دویشان همان یکی است؛ یعنی مرد قوی
اما نه آنقدر باهوش. اسم Eromenos یا نوجوان معشوق در همۀ مآخ ذ comas-Leuco یا صاحب
موهای درخشان آمده است.
درسی که در قصۀ مرد قوی هیکل و بچۀ مو طال یی نشان داده میشود برای یونانیها بسیار
پر ارزش بود که از سوی آنها کم از کم دو قصۀ دیگر هم با پیام مشابه نوشته شده است؛
اینکه: نوجوانان نباید با آن مردان محترمی که میخواهند با آنها عشق ورزند رفتار بد و
ناخوشایند کنند. همچنان مردان نباید اجازه دهند که عشق آنها را کور کنند و از سوی
نوجوانان مورد استفادۀ سوء قرار گیرند. مشهورترین قصۀ این افسانه ها قصۀ نارکیسوس
زیبای پانزده ساله و امینیاس است؛ مردیکه آن نوجوان را د وست داشت. این قصه
اندوهگین تر از قصۀ مرد قوی هیکل و بچۀ مو طالیی است که در آن امینیاس و
3 نارکیسوس هر دو میمیرند
.
این افسانه ها ما مردم این زمانه را در فکری فرو میبرند که برای یک مرد محترم یونانی
باید کاری سختی باشد که عشق یک نوجوان را بدست بیاورد. این چیزی است که پدران
یونانی میخواستند، آنها نمیخواستند که بچه هایشان با اسانی با اولین مرد رابطه
عاشقانه را برقرار نمایند، بلکه میخواستند که بچه هایشان قضاوتی خردمندانه بکنند
و یک مرد خوب را منحیث عاشقشان انتخاب کنند؛ یعنی بر اساس شخصیت، نه بر اساس
4 طالهای ی که در جیب آن مرد هستند.