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Journal articles on the topic 'Majnûn Laylâ'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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1

Hatem, Jad. "Amour pur et union en dépit de l’absence dans Laylî u Majnûn de Nizâmî." Thème 16, no. 2 (2009): 67–85. http://dx.doi.org/10.7202/001715ar.

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Résumé Après avoir acquis son titre de référence des amants, la figure de Majnûn Laylâ a été mobilisée par la mystique pour exprimer l’amour pur, à savoir l’union à Dieu en dépit de l’absence. À l’instar du Majnûn de la légende arabe, qui s’est enfoncé sans recours et jusqu’à la folie dans l’amour désespéré, celui de la mystique voue à Dieu une dilection sans bénéfice. Dans le roman que Nizâmî lui consacre, deux rêves, l’un du personnage principal, l’autre d’un compagnon, viennent rétablir l’équilibre. Dans le premier, de teneur subjective, l’amant est consacré roi, ce qui est de nature à conc
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2

Kahhorova, Shahnoza Abdimuminovna. "POETIC INTERPRETATION OF NONEXIST TION OF NONEXISTANCE (F ANCE (FANA) IN THE A) IN THE EPIC “LAILI AND MAJNUN” OF FUZULI." Scientific Reports of Bukhara State University 3, no. 3 (2019): 176–79. http://dx.doi.org/10.52297/2181-1466/2019/3/3/11.

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In the article It is conceived about the views of the author according to Sufism, particularly, about the artistic interpretation of the status of FanoendBaka in the epic poem of "Layli end Majnun". Fuzuli's epic "Layla and Majnun" was a mystical epic along with secularism, in which the poet skillfully created a tax in the person of Majnun, Ruhi Mutlaq in the person of Layla.
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3

López-Baralt, Luce. "St. John's Nocturnal Beloved Could Have Been Named “Layla”." Medieval Encounters 12, no. 3 (2006): 436–61. http://dx.doi.org/10.1163/157006706779166093.

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AbstractSt. John of the Cross silences the names of his feminine poetic alter egos. In this essay, I propose a symbolic name for the nocturnal lover of Noche oscura del alma: Layla. In Arabic layl means “night,” and this is the name of the woman Qays loved to the point of madness, according to the famous pre-Islamic legend. Forced to part from his beloved, Qays goes to the desert and writes desperate love verses to her until he feels so spiritually transformed in Layla that he is Layla herself. As “Majnūn Layla,” or “Layla's fool,” the Lover no longer needs the Beloved's physical presence. Suf
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4

Rofikoh, Siti. "Perilaku Tokoh Utama Dalam Novel Layla Majnun Karya Nizami Ganjavi." ATAVISME 18, no. 1 (2015): 107–17. http://dx.doi.org/10.24257/atavisme.v18i1.37.107-117.

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Penelitian ini bertujuan untuk mendeskripsikan perilaku taksadar dan sadar tokoh utama dalam novel Layla Majnun dengan pendekatan fenomenologi Hugenholtz. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Berdasarkan hasil analisis dan pembahasan diperoleh simpulan sebagai berikut: (1) bentuk perilaku tidak sadar tokoh utama dalam novel Layla Majnun meliputi perasaan kesendirian, ketiadaan minat dan perasaan bersalah; (2) bentuk perilaku sadar tokoh utama dalam novel Layla Majnun dilakukan dengan melibatkan indera, yakni melihat, mendengar, dan beradaptasi. 
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5

Humaira, Megan Asri. "LAYLA MAJNUN: LITERATURE PSYCHOLOGICAL STUDY." Indonesian Journal of Social Research (IJSR) 1, no. 1 (2019): 30–36. http://dx.doi.org/10.30997/ijsr.v1i1.8.

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Novel works usually raise various phenomena that occur in the community. These interesting works can influence the soul of the reader so that they can dive in and appear to be present in the story. In literary psychology,novel is Laila Majnun's very appropriate to study because it can see the psychological phenomenon experienced by the main character of the story, Layla and Majnun. The method used in this research is descriptive qualitative method. Representation of human behavior seen through the figures Majnun, Layla, and Syed Omri who experienced chronic frustration, so that ended in death.
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6

Feizabadi, Azin. "Chronicles from Majnun until Layla." ARTMargins 3, no. 1 (2014): 81–86. http://dx.doi.org/10.1162/artm_a_00072.

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Chronicles from Majnun until Layla is a film project structured in three stages: 1.) The Museum of Modern Iranian History (2011–2013), 2.) Layla and Majnun (in preparation), and 3.) The Film (in preparation). Each stage bears its own approach, format, and mode of presentation. The first two stages are conceived as preparation for the third and final stage: the merging moment, which will be in the form of a feature-length, hybrid fiction/documentary film. The film depicts a couple, lovers, visiting a virtual museum of modern Iranian history. The lovers appear both as themselves and as “Layla an
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7

Suharsono, Suharsono. "PENGGUNAAN METAFORA DALAM LAYLA MAJNUN." Adabiyyāt: Jurnal Bahasa dan Sastra 13, no. 2 (2014): 176. http://dx.doi.org/10.14421/ajbs.2014.13202.

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The study of the metaphor in a literary work can be used to find out the author’s creativity in utilizing words to concretize an abstraction through the use of metaphor. Because every human being is essentially unique, each author is assumed to have his/her own style in creating metaphors. The two questions in this article are: 1) how is the typical form of metaphor in Layla Majnun as the embodiment of creativity? ; 2) what is the function of the use of metaphor in Layla Majnun? Based on the analysis of data, a metaphor can be classified into a phrase, clause, and sentence. At the phrasal leve
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8

Tavares, Elizabeth E. "Romeo & Juliet / Layla & Majnun." Shakespeare Bulletin 36, no. 2 (2018): 340–45. http://dx.doi.org/10.1353/shb.2018.0030.

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9

Jafari, Sajad, Julien C. Sprott, and S. Mohammad Reza Hashemi Golpayegani. "Layla and Majnun: a complex love story." Nonlinear Dynamics 83, no. 1-2 (2015): 615–22. http://dx.doi.org/10.1007/s11071-015-2351-3.

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10

AYYILDIZ, Mustafa. "Modern Narration Elements In Masnawi ‘Layla Wu Majnun." Journal of Turkish Studies Volume 4 Issue 7, no. 4 (2009): 187–93. http://dx.doi.org/10.7827/turkishstudies.904.

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11

Beck, Kirsten. "Iṣbahānī’s Invitation to Madness: Introduction to the Majnūn Laylā Story". Journal of Arabic Literature 49, № 4 (2018): 330–54. http://dx.doi.org/10.1163/1570064x-12341371.

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AbstractAbū al-Faraj al-Iṣbahānī’s (d. 971) Kitāb al-Aghānī chapter on Majnūn Laylā (“Akhbār Majnūn Banī ʿĀmir wa nasabuh”) confronts its audience with unresolving divergent knowledge about Majnūn. We are left not only wondering about his name, his origin, and his mental state, but also his being—does he even exist? This paper examines the potential impact of Iṣbahānī’s selection and presentation of akhbār in this Aghānī chapter, making a case for a literary approach to Iṣbahānī’s text fitting with the medieval concept of adab. It asserts that the line of questions we ar
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12

Fauziah, Dzia, and Maman Lesmana. "Reading the Story of Majnun Layla through Qassim Haddad’s Poem." IOSR Journal of Humanities and Social Science 22, no. 06 (2017): 57–67. http://dx.doi.org/10.9790/0837-2206085767.

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13

Khallieva, Gulnoz I. "LAYLA AND MAJNUN BY ALISHER NAVOI IN E.E. BERTELS’S INTERPRETATION." Imagologiya i komparativistika, no. 10 (December 1, 2018): 74–81. http://dx.doi.org/10.17223/24099554/10/3.

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14

Sita, Firdauzi Nur, Hana Septiana Jamal, and Dian Hartati. "KAJIAN SASTRA BANDINGAN NOVEL SALAH ASUHAN DENGAN NOVEL LAYLA MAJNUN: Pendekatan Psikologi Sastra." Lingua Franca:Jurnal Bahasa, Sastra, dan Pengajarannya 5, no. 2 (2021): 131. http://dx.doi.org/10.30651/lf.v5i2.8663.

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Sastra lahir dari masyarakat, kemudian besar, dan berkembang di masyarakat. Sastra bukan hanya dinikmati dari keindahannya saja, bentuknya, isinya, pentasnya, alunan-alunan yang mengirinya. Melainkan sastra dapat meninjau seberapa jauh manusia berekspresi, melihat dan merasakan kesamaan dan perbedaan sudut pandang, dan makna sastra itu sendiri tiada berbatas zaman, serta melibatkan segala macam ilmu. Sastra Bandingan merupakan cabang ilmu sastra yang mengkaji karya sastra dalam beragam bentuk, fungsi, dan makna. Artikel ini mencoba meninjau dari aspek Psikologi Sastra akan dua karya sastra yan
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15

Avci, Nilay. "Forbidden Love of Shakespeare’s Romeo and Juliet and Fuzûlî’s Layla and Majnun." International Journal of Literature and Arts 4, no. 1 (2016): 1. http://dx.doi.org/10.11648/j.ijla.s.2016040101.11.

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16

Shem-Tov, Naphtaly. "The Jewish-Iraqi theatre – Ur Ensemble: Majnūn Laylā as interweaving performance cultures." Journal of Modern Jewish Studies 19, no. 3 (2020): 382–404. http://dx.doi.org/10.1080/14725886.2020.1713513.

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17

al-Zayn, Amirah. "Min Majmun Layla ila Majmun Ilsa: Bahth Fi al-Tanas wa-al-Fada` al-Adabi." Alif: Journal of Comparative Poetics, no. 21 (2001): 161. http://dx.doi.org/10.2307/1350041.

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18

Kumar, Pushpendra, Vedat Suat Erturk, and Marina Murillo-Arcila. "A complex fractional mathematical modeling for the love story of Layla and Majnun." Chaos, Solitons & Fractals 150 (September 2021): 111091. http://dx.doi.org/10.1016/j.chaos.2021.111091.

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19

DARAM, Mahmoud. "SUBVERSION OF POWER IN ROMEO AND JULIET AND LAYLI AND MAJNOON." Journal of International Social Research 8, no. 36 (2015): 81. http://dx.doi.org/10.17719/jisr.2015369490.

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20

Gould, Rebecca Ruth, та Kayvan Tahmasebian. "The Temporality of Desire in Ḥasan Dihlavī’s ʿIshqnāma". Journal of Medieval Worlds 2, № 3-4 (2020): 72–95. http://dx.doi.org/10.1525/jmw.2020.2.3-4.72.

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This essay traces the conception of love and desire (ʿishq) in a Persian verse romance by the Indo-Persian poet Ḥasan Dihlavī, known as ʿIshqnāma (composed in 1301). ʿIshqnāma narrates a tragic and unconsummated love affair between a young Hindu couple. When the two protagonists immolate themselves in what is at once a reworking of the Indic custom of widow burning (sati) and an allusion to the deaths of the famed lovers Laylī and Majnūn, the poet offers an innovative account of the temporality of desire. In transforming the Persian master narrative of love, Ḥasan anticipates Freud’s account o
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21

Shteir, Rachel. "THEATER IN NEW York: THE INSANITY OF Passion: MARGARET Wolfson's MAJNOUN LAYLA." Theater 20, no. 2 (1989): 91–94. http://dx.doi.org/10.1215/01610775-20-2-91.

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22

Achildieva, Muyassarkhon, and Bekhzodbek Tursunboyev. "Application of status paths in the opera“layli and majnun” by reyngold glier and tolibjon sadikov." ACADEMICIA: AN INTERNATIONAL MULTIDISCIPLINARY RESEARCH JOURNAL 11, no. 1 (2021): 368–71. http://dx.doi.org/10.5958/2249-7137.2021.00046.x.

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23

Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.

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After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works o
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24

Lahuti, L. G. "Discourse of the father with his son about the water of life in the masnavi “Ilahi-Nameh” by (Farid ad-Din)." Orientalistica 3, no. 5 (2020): 1397–436. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1397-1436.

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This is the line-by-line commented translation into Russian of the chapter (maqaleh) 14 from the masnavi “Ilāhī-nāme” by Abū Ḥamīd bin Abū Bakr Ibrāhīm (Farīd ad- Dīn, ʿAṭṭār), the Persian Sufi poet (1145–1220 AD). The chapters in the Ilahi-name are in fact answers given by the King to his six sons. Chapter 14 deals with the water of life, which, according to the legend, Alexander the Great once unsuccessfully tried to find. The answer to the King’s son includes 24 stories about historical and legendary characters, such as Iskandar (Alexander the Great), Namrud (the Biblical Nimrod), the right
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25

Arndt, Susan. "Trans*textuality in William Shakespeare’s Othello: Italian, West African, and English Encounters." Anglia 136, no. 3 (2018): 393–429. http://dx.doi.org/10.1515/ang-2018-0045.

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Abstract William Shakespeare’s Othello (1604) displays a critical agenda towards the emerging colonialist discourse of his time and may have encountered, or even been influenced by, African oral literature. This thesis will be probed in this article by comparing Othello with the folktale “The Handsome Stranger” and the Trickster character, well known all across Western Africa, touching lightly on Leo Africanus’s The History and Description of Africa (1550) in the process. In doing so, Othello’s most acknowledged source text, “Un Capitano Moro” by Giovanni Battista Giraldi (1565), will be invol
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26

RUBANOVICH, JULIA. "ALI ASGHAR SEYED-GOHRAB, Laylī and Majnūn: Love, Madness and Mystic Longing in Nizāmī's Epic Romance, Brill Studies in Middle Eastern Literatures, 27 (Leiden: E. J. Brill, 2003). Pp. 384. €120/$162 cloth." International Journal of Middle East Studies 37, no. 3 (2005): 454–56. http://dx.doi.org/10.1017/s002074380542214x.

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27

Ichsan, Wahyu Khairul. "ANALISIS PESAN DAKWAH DALAM NOVEL LAYLA MAJNUN." At-Tanzir: Jurnal Ilmiah Prodi Komunikasi Penyiaran Islam, January 2, 2021, 229. http://dx.doi.org/10.47498/tanzir.v11i2.436.

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Layla Majnun is a novel written by a Sufi and a poet from Persia named Nizami Ganjavi, he expresses his thoughts through prose, poetry, and poetry which is very thick with deep spiritual meaning. There are many versions of the story of Layla Majnun, but Nizami's work is the most famous and there have been many researchers who have researched the Layla Majnun novel, but no researcher has yet examined the da'wah message in the novel. This study aims to analyze the da'wah messages contained in the Layla Majnun novel. The method used in this research is library research. The data analysis techniqu
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28

Shodiev, Odiljon. "FOLK MOUTH OF THE STORY "LAYLI VA MAJNUN" CREATIVITY." Конференции, December 26, 2020. http://dx.doi.org/10.47100/.v1i2.237.

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The development of the plot of "Layli and Majnun" in the folklore andthe analysis of scientific works in the study. Progress after the epic, its appearance anddevelopment in the form of scientific work in world and Uzbek literature.
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29

"THE CHARACTER OF JAMSHID IN “KHAMSA." International Journal For Innovative Engineering and Management Research, December 13, 2020, 120–25. http://dx.doi.org/10.48047/ijiemr/v09/i12/22.

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This article deals with the traditional image of Jamshid in the epic "Khamsa" by the great poet Alisher Navoi. Navoi (1441-1501) in his works effectively used the traditional symbols of oriental literature. For example, the weight of literary images such as Farhod, Shirin, Layli, Majnun, Bahrom, Iskandar; Legendary characters such as Hizr, Socrates, and historicallegendary characters such as Jamshid and Faridun have become a traditional character in his creative fiction and play an important role in Navoi’s work. That is why the poetics of traditional characters in the creation of the poet des
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30

Feuillebois-Piérunek, Ève. "Laylī and Majnūn. Love, Madness and Mystic Longing in Nizāmī’s Epic Romance. Leiden/Boston, Brill, 2003, 368 p." Abstracta Iranica, Volume 26 (May 15, 2005). http://dx.doi.org/10.4000/abstractairanica.2101.

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