Academic literature on the topic 'Azerbaijani poetry'
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Journal articles on the topic "Azerbaijani poetry"
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Nasibova, V. "On the Satirical Poetry School." Bulletin of Science and Practice 6, no. 6 (June 15, 2020): 323–30. http://dx.doi.org/10.33619/2414-2948/55/43.
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The article is devoted to the views of Great Azerbaijan writer Mirza Ibragimov on satirical poetry in Azerbaijani Literature. The academician gave an extensive analysis of the satirical poetry of Mirza Alekper Sabir.
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Quliyev, Faxraddin. "ABOUT SCIENTIFIC AND PHILOSOPHICAL PROBLEMS OF FOLK POET RY OF AZERBAIJAN: SYNERGIC APPROACH." Labor and social relations 20, no. 2 (2023): 15–25. http://dx.doi.org/10.61764/lasr.2.2023.15-25.
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The article examines some aspects of the scientific and philosophical problems of folk poetry of Azerbaijan from the standpoint of synergetic principles. The isomorphism between the Universe, the brain and the topological structures of Azerbaijani (Turkic) folk poetry is substantiated. It has been determined that the structures of Azerbaijani folk poetry are formed according to the principle of recursion and convergence. The genesis of Azerbaijani folk poetry is based on the principle from simple to complex, thanks to heredity and processuality, it gradually approaches its optimal form, which corresponds to Kolmogorov’s epistemological principle. All poetic forms of folk poetry have a common structure, i.e. the lines converge into rhymes, which are semantic centers that ensure the integrity of the poetic work. Azerbaijani folk poetry, as a non-linear multi-level system, has its own specific processes of convergence, divergence and parallelism. The integrity of folk poetry is dynamic in nature and this is important for reflecting the dynamics of the surrounding world. In organisms, convergent similarity is never deep. But in poetry, the situation is different. Unlike living organisms, convergent similarity in poetry has a deep basis, since points of convergence constitute rhymes, and thereby the integrity of the poem. Purpose: to study of ontognoseological problems of Azerbaijani folk poetry using synergetic paradigms. Methodology: To study the systemic-structural problems of folk poetry, evolutionary epistemology, categories of optimality, nonlinear synthesis, the principle of dominance of A. A. Ukhtomsky and the theory of functional systems of P. K. Anokhin were used, and the principles of parallelism and convergence were involved in the study of the problem of adequate reflection of reality. Scientific novelty: An isomorphism has been established between Azerbaijani folk poetry, the Universe and the structures of the brain. The role of the principles of parallelism and convergence in the evolution and development of living organisms and folk poetry has been studied, and similar and different aspects have been identified using the comparative method.
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Shamilova, Shahnaz. "MODERN FRENCH AND AZERBAİJANİ POETRY AT THE LEVEL OF COMPARATİVİSTİCS." Scientific Journal of Polonia University 62, no. 1 (July 8, 2024): 104–14. http://dx.doi.org/10.23856/6214.
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In the article, the stages of development of Azerbaijani poetry from the 19th century to the 20th–21st centuries, which were accompanied by fundamental changes, were reviewed. It has been noted that the wars that took place at the beginning of the 20th century and the strict rules and regulations applied by the Soviet regime had an undeniable influence on our literature. It was at that time, during the years of Repression, prominent representatives of Azerbaijani poetry were subjected to political oppression and persecution, exiled and shot. The names of the poets who played a special role in the development of Azerbaijani poetic thought during the Soviet period were mentioned, and at the same time, the genre and form innovations they brought to our poetry were shown. Starting from the 60s, poets and writers began to deepen their view of man and his spiritual world. This movement, which began in literature for the sake of freedom of speech and thought, political thought, pluralism, national independence, and social justice, was continued in the 70s and 90s, and finally achieved its prospective goals with the acquisition of political sovereignty and state independence of Azerbaijan. The trend of critical realism that prevailed in Azerbaijani poetry in the 19th century was replaced by socialism- realism in the 20th century. The names of the leading representatives of this current have been mentioned. The article compares the similarities and differences of both French and Azerbaijani poetry of the 20th century in terms of literary trends, form, content, and genre, citing the names of poets and showing examples. In particular, the poems of the French surrealist poet Jacques Préver are compared to the poems of Rasul Rza and Huseyn Javid and Adil Mirseyid. The article also examines the form and content of the newest poets distinguished by their innovation in 21st century Azerbaijani poetry.
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Əli qızı Quliyeva, Nazilə. "Rasul Rza's creativity as the beginning of the tradition of free poetry in Azerbaijani literature." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 68–73. http://dx.doi.org/10.36719/2663-4619/67/68-73.
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There was a certain tradition of free poetry in Azerbaijan until the 20th century. In the Middle Ages, along with the chain of eruz poetry, the increase of syllable rhythms is also a concrete practical indicator of the poem's internal struggle for liberation. The beginning of the stage of free poetry in the twentieth century was the logical result of centuries-old processes of liberation in Azerbaijani poetry. People's poet Rasul Rza's contribution to the transformation of free poetry into a special stage of development in Azerbaijani literature is unparalleled. The literary process, marked by the transition to figurative poetic thinking since the late 1950s, is enrichhed with a number of new forms and elements of expression that define the innovative direction of poetry. Since the early 1960s, our poetry has been characterized by a method of figurative-associative expression, the first examples of intellectual beginnings, which should be considered as a new form of return to tradition. Different forms of associative artistic thinking, which we find in folk poetry, especially in bayats and in our classical poetry, begin to acquire a new essence in the second half of the twentieth century with their rebirth in poetry. In the process of this development, the main factors determining R.Rza's creativity are the departure from rhetorical pathos, pathetic expression, the transition to concrete, figurative, and then associative thinking, and innovative qualities. Key words: Azerbaijani literature, free poetry, tradition, innovation, style poetry, Rasul Rza, poem, weight, inner rhyme
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Honcharuk, Maryna. "Azerbaijan mission of Ukrainian: Mykola Myroshnychenko as a poet, translator, literature explorer." SUMY HISTORICAL AND ARCHIVAL JOURNAL, no. 41 (2023): 33–41. http://dx.doi.org/10.21272/shaj.2023.i41.p.33.
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The article examines the role of the prominent Ukrainian translator and researcher of Azerbaijani literature, Mykola Miroshnychenko, in the development of bilateral dialogue between our peoples in various spheres. The author considers the role of the individual as a key and unique resource for the development of relations between countries that have only restored their state independence after decades of Soviet occupation, the destruction of the mechanisms of creating a unique state, cultural, and diplomatic space peculiar to the Ukrainian and Azerbaijani peoples; who learn to build bilateral dialogue, establish cooperation in various sectors, including literature, culture, and journalism. The relevance of the article lies in the lack of research into the figure of Miroshnychenko as a Ukrainian translator, a researcher of Azerbaijani literature and its heritage in the context of the revival of the Ukrainian-Azerbaijani dialogue and the presence of certain crisis processes, such as a crisis of competence, quality of work and expertise of self-proclaimed researchers of cultural relations between our countries. The phenomenon of Ukrainian-Azerbaijani studies (in the context of which the figure of M. Miroshnychenko is considered) is characterized as a constant, long-lasting process, with its own traditions and values, the formation of which was made by the outstanding Mykola Gulak, Oleksandr Navrotskyi, Lev Lopatynskyi, Agatangel Krymskyi, Leonid Pervomaiskyi, Valery Marchenko , Pavlo Movchan, etc. The main achievements of Mykola Miroshnychenko as a Ukrainian translator of Azerbaijani literature are named: the development of Ukrainian Azerbaijani studies as a phenomenon in Ukrainian literature and science, the continuation of the traditions of the outstanding M. Gulak, A. Krymskyi, etc., the actualization of their achievements; systematization and research of large volumes of translation and scientific works, selection of high-quality and competent ones; development of dialogue between writers, literary experts, journalists of Ukraine and Azerbaijan; translation of dozens of Azerbaijani poets to Ukrainian, both classics and modern authors. The author emphasizes the reasons for the exceptional value and significance of Miroshnychenko's works: unlike many Ukrainian translators from Azerbaijani, Mykola Mykolovych perfectly mastered the Azerbaijani language (as well as Turkish, Old Turkish, Crimean Tatar) and constantly improved his knowledge of literature, culture, history, customs and traditions of Azerbaijanis, without which it is impossible to carry out a highly artistic translation of both modern literature and classics that wrote their texts under the influence of complex mystical and philosophical currents; the researcher devoted more than thirty years of his life to Azerbaijani studies, which culminated in the fundamental two-volume "Anthology of Azerbaijani Poetry", which was published in 2006 and to this day remains the main work that represents Azerbaijani literature in Ukrainian translations at a high artistic level. The article outlines a number of tasks that must be implemented in order to continue the work of M. Miroshnychenko and the qualitative development of literary relations between our countries: publication of manuscripts of translations from Azerbaijani that never saw the light of day during the translator's lifetime due to lack of funding; publication of author's poetry collections, in particular, a series of poems dedicated to Azerbaijan; development of dialogue platforms for discussion and analysis of the heritage of the poet, translator and researcher between specialists of Ukraine and Azerbaijan.
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Ağacan qızı Əliyeva, Rəna. "Peculiarities of Kadi Burhan al-din in medieval Azerbaijani poetry." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 63–67. http://dx.doi.org/10.36719/2663-4619/67/63-67.
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Kadi Burhan al-Din was one of the outstanding representatives of medieval Azerbaijani literature. He was the first poet in literature to write in the genre of tuyugh-classical genre of Turkic poetry. His diwan comprises 1,500 ghazals, 119 tuyughs. Not only individual poems of the poet, but all poetry of Kadi Burhan al-Din is very valuable for the history of Azerbaijan literature. Key words: native language, diwan, tuyugh, poetry, poet, literature, medieval
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Ağacan qızı Əliyeva, Gültəkin. "Meaning and stylistic means of Bakhtiyar Vahabzade's free rhymed poetry." SCIENTIFIC WORK 65, no. 04 (April 21, 2021): 89–94. http://dx.doi.org/10.36719/2663-4619/65/89-94.
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The article analyzes the free rhymed poetry of Bakhtiyar Vahabzade, a prominent representative of XXth century Azerbaijani poetry, in terms of meaning and stylistic nuances. It is noted that free rhymed poetry once again entered the stage of self-affirmation in the 50s, which began to decline in the literary environment in the late 30s,. At that time, B.Vahabzadeh began to express himself both in syllables and free rhyme. Starting from the first examples of creativity, the poet increased the journalistic tone in the way of purification and formation of the national consciousness, inspirinig new artistic and aesthetic qualities. One of the main qualities of the poet's poetry is that philosophical shades are expressed in the context of Man and time. At the same time, contrast and contrastivity have enriched the originality and stylistic possibilities of his free rhymed poems. Associative perception and poetic capacity of thought are among the factors ensuring the originality of B.Vahabzadeh's free rhymed poetry. These stylistic enrichments also play an important role in shaping the development of Azerbaijani free rhymed poetry. The stylistic richness of the poet's free rhymed poetry creates wide opportunities for the description and philosophical understanding of life and world events. Key words: B.Vahabzade, free rhymed poetry, structure, meaning, style, contrast
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Mirzayeva, Khanim. "Ghazal in the Azerbaijani poetry." Azerbaijan Journal of Educational Studies 1, no. 1 (2020): 275–82. http://dx.doi.org/10.29228/edu.205.
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Mirzayeva, Khanim. "Mukhammas in Azerbaijani ashug poetry." Philology and Art Studies, no. 01 (2023): 202. http://dx.doi.org/10.59849/2663-4368.2023.1.202.
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Firuz Sadigova, Nigar. "Katran Tabrizi and the Turkish spirit." SCIENTIFIC WORK 60, no. 11 (November 6, 2020): 38–41. http://dx.doi.org/10.36719/2663-4619/60/38-41.
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Katran Tabrizi is an Azerbaijani poet of the 11th century. In his work, he reflected the political history of Azerbaijan. These are known as "history verses". Tabrizi wrote poetry on various topics. If you look closely at his work, you can see that he retained the Turkish spirit, way of thinking, Turkish culture in his works, retained the patriotic spirit that we see in Nizami, Fizuli, Khagani. The poetic ideas expressed in "Dada-Gorgud", "Divani-lugati-Turk", "Gutadgu-bilik" are very similar. Turkish culture here is very close to Katran Tabrizi; purity, courage, loyalty. Like many medieval poets, Katran Tabrizi wrote in Persian for socio-political reasons. Key words: Gatran Tabrizi, poet, poetry, Azerbaijan, turkic peoples
Dissertations / Theses on the topic "Azerbaijani poetry"
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Sultan-Qurraie, Hadi. "Modernity and identity in Azeri poetry : Mo'juz of Shabustar and the Iranian constitutional era /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6686.
Full textBooks on the topic "Azerbaijani poetry"
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İsmayılov, Hüseyn. Göyçä aşıq mühiti: Täşäkkülü vä inkişaf yolları. Bakı: Elm, 2002.
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İsmayılov, Hüseyn. Göyçä aşıq mühiti: Täşäkkülü vä inkişaf yolları. Bakı: Elm, 2002.
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Akhundov, Ă., and Israfil Abbasov. Azerbaycan âşıkları ve el şairleri. İstanbul: Halk Kültürü, 1985.
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Vălii̐ev, Kamil, and F. Ughurlu. Oghuznamălăr. Baky: Universiteti Năshrii̐i̐aty, 1993.
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Folklor İnstitutu (Azärbaycan Milli Elmlär Akademiyası), ed. Şair Näbi Borçalı: Häyatı, mühiti, sänäti. Bakı: Nurlan, 2014.
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Nutki, Hamid. Melodious reveries: Selected poems by Hamid Nutki Aytan : a famous poet of Azerbaijan. Islamabad: Publishing Poligraphy Ltd. for Azerbaijan Culture, 2004.
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Darbandī, Javād. ʻĀşīqlār dünyāsı: Aşıglar dünyası : dīvānīlar, muxammasʹlar, garāyalīlār, ustādnāmah va qūşmālār, tacnīsʹlar, taṣnīfʹlar. Tabrīz: Furūgh-i Āzādī, 2004.
Find full textBook chapters on the topic "Azerbaijani poetry"
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Feldman, Leah. "Postscript." In On the Threshold of Eurasia, 208–16. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501726507.003.0006.
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This postscript discusses the poetry of Mikayil Refili through his collection “The Window” penned in the new Latin alphabet after the Latinization reforms, which severed supranational ties to the Turkic and Persianate world and cemented the creation of an Azerbaijani national canon. This section thus concludes the book by tracing the transformation of poetry in the 1920s, both institutionally through the consolidation of power in Moscow and the creation of the national republics, as well as aesthetically through the ways in which lexical shifts and script reforms shaped the weight of a new materialist conception of the poetic word.
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Feldman, Leah. "Broken Verse." In On the Threshold of Eurasia, 176–207. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501726507.003.0005.
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This chapter discusses the influence of materialist aesthetics on the formation of Azerbaijani Soviet nationalism, which emerged as a cohesive discourse during the first ten years of Soviet control in the poetry of the Baku Red Pens. This chapter highlights the role of Marxist speech acts in shaping the revolution on the periphery.
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Solomon, Thomas. "Azerbaijani rap music and oral poetry between “the folk” and “the popular”." In Turkic Soundscapes, 77–99. Routledge, 2018. http://dx.doi.org/10.4324/9781315161655-5.
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Bellingeri, Giampiero. "Sayat Nova: tra le pause di quiete e le crisi di una creazione." In Eurasiatica. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-340-3/012.
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Sayat Nova (1712?-1795?), the ‘singer’ par excellence of the Transcaucasian peoples and ashuq (lover), follows the hard path of Love of the ashuq/lovers towards the Beloved (or towards the Lord, God, in a sufi, mystical approach). Being based in Tbilisi/Tiflis, siege of the court of the Georgian rulers, he composes in three languages (Armenian, Azerbaijani, Georgian). However, in his trilingual collections (defter) of songs, we can hear and feel only one discourse, or mantıq, that is a logic used and applied by the ashuq/gusan. The evidence of a continuity, in a unique environment/muhit, between Sayat Nova, the medieval Armenian tradition, the Muslim sufi poets and the Christian Masters is clear enough. Sayat Nova organises and recomposes a common way of expression between traditions that are not very different from each other.
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Shidfar, Farhad. "The Aşıq Saz in West and East Azerbaijan Provinces of Iran." In Diversity and Contact among Singer-Poet Traditions in Eastern Anatolia, 225–46. Ergon Verlag, 2019. http://dx.doi.org/10.5771/9783956504815-225.
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Lev, Efraim. "Professional, Social, Geographical, Religious and Economic Aspects of Jewish Medical Practitioners." In Jewish Medical Practitioners in the Medieval Muslim World, 277–446. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474483971.003.0004.
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The fourth chapter is a discussion based on the total number of biographies, and the medieval as well as the contemporary literature available. It discusses professional, social, geographical, religious and economic aspects of the Jewish medical practitioners (mainly physicians); places of medical practice, the practitioners’ professional education, intellectual workshops (i.e. libraries), and their professional roles, mainly that of ‘Head of the Physicians’. It also deals with everyday life and activity of Jewish practitioners, moral aspects, fees and the ‘Geniza’ patients, as well as religious and inter-religious aspects of Jewish practitioners, the high-ranking positions Jewish practitioners held, conversion to Islam, and famous Jewish scholars, authors, poets and diplomats who were simultaneously practitioners. A few more insights are related to community affairs, socio-economic position of Jewish practitioners, their role in the leadership, their share in charity activities, and the inter-community posts they held. The last section of this chapter endorses aspects such as: Karaite and Samaritan practitioners and geographical aspects (Jewish practitioners in Andalusia, north Africa, Sicily, Egypt, Syria, Iraq, Iran and Azerbaijan).
Conference papers on the topic "Azerbaijani poetry"
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Şəmsi qızı Məmmədova, Xumar. "Nakhchivan literary atmosphere and literary translation." In OF THE V INTERNATIONAL SCIENTIFIC RESEARCH CONFERENCE. https://aem.az/, 2021. http://dx.doi.org/10.36719/2663-4619/2021/02/03.
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The presented article discusses the issues of Nakhchivan literary environment and literary translation. It is noted that translation is a creation in itself, and the activities of representatives of the Nakhchivan literary environment in this area are exemplary. In general, during the independence period, some experience was gained in the literary environment of Nakhchivan, translations from German, English and French by our poets and writers Hamid Arzulu, Shirmammad Gulubeyli, Shamil Zaman who is famous as poet, prose-writer and translator were delivered to readers in the form of books and works were published in the press. The examples presented in the article once again prove the perfection of the writers' translation activities, their translations from German, English and French provide the Azerbaijani reader with full information about the society, people and their life of these peoples. Key words: Nakhchivan, literary atmosphere, literary translation, prose, poetry
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.
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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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Axundov, Tufan. "Akhundzade Mirza Ismail Qasir: A New Outlook on His Descent, Dates of Birth and Death." In International Symposium Sheikh Zahid Gilani in the 800th Year of His Birth. Namiq Musalı, 2023. http://dx.doi.org/10.59402/ees01201815.
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If at the beginning of the XIX century there was a period of stagnation in Lankaran but beginning from the middle of the same century here took place a step in a new stage of development. At that time in cultural development of Lankaran side by side with local intelligentsia took part also the representatives of science and culture who arrived from other regions. One of them was Akhundzade Mirza Ismail Qasir. Mirza Ismail Qasir who took a worthy place in the pleiad of resplendent poets, pedagogs and enlighteners of Azerbaijan of the XIX century passed a rich parth of life and spent a most of life till his death in Lankaran. Here, he along with the creation of the poetic circle “Furvjul-fusaha” (Assemble of brilliant speakers) opened the school “Usuli-jadid” (a new method), was busy with pedagogical activity. Qasir had achieved the mastering of subjects using specific methods of teaching and compiled special textbooks. The poetic circle which he created constantly corresponded with poets and similar circles of Azerbaijan and neighboring Iran. At present at the Institute of Manuscripts of Azerbaijan National Academy of Seiences is kept a rich poetic heritage of Mirza Ismail Qasir which he left behind. At the same time there is no consensus in outlooks on his descent, the place and times of birth and death. At present in some degree conventionally his date of birth is considered took place in 1805, the place of birth is the settlement Liaki of modern Agdash region and the time of death is 1900. And except that, in the majority of his publications his surname is mentioned not as Akhundzade, but as Akhundov. Though his surname fixed by the poet is pronounced as Akhundzade. This situation creates contradictions in the research of the poet’s life, literary and pedagogical activity. Taking into consideration all the above mentioned we decided to touch upon these questions one more. The main source of our research was the manuscript of “The unknown” author which was written on the basis of material heard from Mirza Ismail kept in the Manuscrips Fund of Azerbaijan National Akademy of Sciences. In the result of our investigations, we came to the conclusion that Mirza Ismail Qasir descended from the kin of elat population of Mughan which was close to Shirvan tribe Khanchobany. He was born in Iran (South Azerbaijan) in the settlement Khuran of Akharsity in 1826 and died in September 14/15, 1903 at the age of 77 in Lankaran. Keywords: Lankaran, Iran, Mughan, Ahar, Haji Salim, Sabi.
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Rzasoy, Seyfəddin. "The Concept of “Imam Ali” in The Sufism Thinking System: Functional Structure of Epic-İrfani Code." In International Symposium Sheikh Zahid Gilani in the 800th Year of His Birth. Namiq Musalı, 2023. http://dx.doi.org/10.59402/ees01201818.
Full textAbstract:
Sufism is the philosophical-theoretical teaching and socio-cultural practice of the model of God-World-Human relations based on the Sharia-Creation-Truth-Evolution-based evolution scheme. The sufism forms the core of the Sufi teaching concept of "Imam Ali". This concept plays the role of nuclear and concentration center, covering all manifestations and expression levels of the system of sufism. The concept of "Imam Ali" plays a formulas of socio-cultural organization by bringing together all the elements of imaginative systems as a moral idea. The concept of "Imam Ali" shows itself in all the manifestation levels of the Islamic world. It is impossible to imagine medieval classical poetry beyond that. Even beyond the concept of "Imam Ali", the cultural manifestations contradicting him must also be based on literary-art traditions based on this concept. One of the cultural space and codes of use that all the artistic-psychological freshness of the concept of "Imam Ali" is Azerbaijan's love epics. The content, idea and shaping of the love epics of Azerbaijan are directly related to Imam Ali's cult. There are two heroes of this epic: Lover and Beloved. Lover and Beloved, and the opponent (Antihero), according to our own observations, are instructed by God-Human-Satan trixotomic model. On the basis of the functional structure stands the mechanism of the struggle between Truth and False, the Good and Evil, the Good and the Evil. Keywords: Sufism, Imam Ali, Code, Sharia, Sect, Enlightenment, Lover, Beloved.