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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 (May 20, 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 concevoir un accomplissement au sein même de l’absence; dans le second, la réunion des amants dans la mort redéfinit le paradis comme le lieu de l’union.

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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 (March 30, 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. Sufi mystics like Rūmī read this legend in terms of the mystical union, transforming Layla into the symbol of the dark night of the soul. St. John of the Cross is much indebted to Islamic mystical symbolism, and he closely follows the Islamic symbolism of the dark night in his poem.

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4

Rofikoh, Siti. "Perilaku Tokoh Utama Dalam Novel Layla Majnun Karya Nizami Ganjavi." ATAVISME 18, no. 1 (June 29, 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. Abstract: This research aims to describe conscious and unconscious behavior of main characters in the novel Layla Majnun. The study was based on Hugenhotz phenomenological approach. The method used in this research was descriptive qualitative. Based on the analysis and discussion, it can be concluded as follows: (1) forms of unconscious behavior of the main characters include the feelings of loneliness, disinterest, and guilt; (2) forms of conscious behavior of the main characters involve the senses of seeing, hearing, and adapting. Key Words: phenomenology; unconscious behavior; conscious behavior

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5

Humaira, Megan Asri. "LAYLA MAJNUN: LITERATURE PSYCHOLOGICAL STUDY." Indonesian Journal of Social Research (IJSR) 1, no. 1 (August 31, 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 (February 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 and Majnun,” characters adapted from a classical Middle Eastern love tale. As they walk the museum, the couple engages in dialogue about their individual and collective stories, memories, dreams, rages, and desires. The lovers' affairs and conversations interact with the representations of the major historical moments of Iran being documented in the museum. In Stage 1, through the museum's architectural design and references to an official Iranian narrative taken from a high-school textbook, the various historical periods of Iran get transformed into Kairos (the Now), contradicting Chronos and scientific and analytical historiography.

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7

Suharsono, Suharsono. "PENGGUNAAN METAFORA DALAM LAYLA MAJNUN." Adabiyyāt: Jurnal Bahasa dan Sastra 13, no. 2 (December 31, 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 level, position or location of the image element can be either in the beginning or in the end of the topic. Meanwhile, at the level of the clause and sentence, image elements are always in the end of the topic. This latter sequence is possible because the clause part of the “explained or described” is filled syntactically by the predicate. The predicate in Indonesian is predominantly located after the subject. The study of the use of metaphor in Layla Majnun leads to the conclusion that the creativity of the author in creating metaphor reflected on how human (the author) sees the world. Because human perception is inseparable from the environment in which the author lives, develops, and interacts, the use of metaphor in Layla Majnun reflects an overview of the social life, values of culture, and customs of the Arab people at that time.

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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 (August 28, 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, no. 4 (November 28, 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 are compelled to ask about Majnūn implicates us in his madness and the madness of the text, which disrupts and complicates that which appears most essential to his story.

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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 (June 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 (September 7, 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 yang dibandingkan yakni novel yang berjudul "Salah Asuhan" karya Abdul Moeis dengan novel yang berjudul "Layla Majnun" karya Syaikh Nizami. Teori psikologi yang digunakan ialah teori Sigmund Freud (1923), ada tiga unsur kepribadian dalam teori psikoanalisis yaitu Id, Ego, dan Superego. Id merupakan sistem kepribadian yang asli, dibawa sejak lahir. Saat dilahirkan, id berisi semua aspek psikologi yang diturunkan seperti insting, impuls, dan drives. Dari id ini kemudian muncul ego dan superego. Ego beroperasi mengikuti prinsip realita. Sedangkan, superego berkaitan dengan kekuatan moral dan etika dari kepribadian yang beroperasi, memakai prinsip idealistik, sebagai lawan dari id dan ego. Tinjauan ini dimaksudkan guna meneliti kejiwaan atau psikologis tokoh utama dari kedua novel tersebut. Metode yang digunakan dalam penelitian ini adalah analisis deskriptif. Populasi dalam penelitian ini adalah dua novel di di atas. Sampel di sini adalah ujaran narasi ataupun ujaran dari tokoh kedua novel tersebut. Hasil penelitian ini berupa ujaran narasi atau ujaran tokoh utama yang berkenaan dengan id, ego, dan superego pada kedua novel tersebut yang kemudian dideskripsikan dengan interpretasi. Kata Kunci: kajian bandingan, psikologi sastra, salah asuhan, layla majnun

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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 (January 20, 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 (February 20, 2015): 81. http://dx.doi.org/10.17719/jisr.2015369490.

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20

Gould, Rebecca Ruth, and Kayvan Tahmasebian. "The Temporality of Desire in Ḥasan Dihlavī’s ʿIshqnāma." Journal of Medieval Worlds 2, no. 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 of the death drive in relation to the pleasure principle in Beyond the Pleasure Principle (1921). This article initiates a dialogue between Freud and Ḥasan Dihlavī in order to suggest that desire for another may be the self’s only means of reckoning with its contingency.

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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 (September 15, 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 of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.

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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 (December 29, 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 righteous caliph ‘Umar, Majnun (in love with Layli), Sultan Mahmud and his beloved slave Ayaz, as well as nameless ones, including a collector of the poll tax from the Jews, a beautiful youth and an old man in love with him, a fox caught in a trap, a rogue salesman and a thief at the foot of the gallows. These stories are used to discuss and illustrate the key issues of Sufism. Among them: the desires of the nafs (“lower self” or “animal soul”), material and spiritual immortality, independence of divine actions from material causes, love, which requires the renunciation of one’s “self”, and knowledge as the true water of life. The stories are not related to each other, however, the set of Sufi ideas illustrated forms a conceptual unity.

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25

Arndt, Susan. "Trans*textuality in William Shakespeare’s Othello: Italian, West African, and English Encounters." Anglia 136, no. 3 (September 6, 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 involved, thus complementing earlier comparative readings of “Un Capitano Moro” and Othello. This postcolonial comparative reading will finally embrace Ahmed Yerima’s adaptation of Othello, entitled Otaelo (2002). In doing so, the article will discuss striking parallels among all four texts, as well as differences and diversions. The latter are, however, not read as counter arguments to the possibility of an encounter; rather, discursive diversions are contextualised historically and trans*textually. Before delving into this analysis, the article will explore both historical probabilities and methodological challenges of reading African oral literature as possible sources of Shakespeare’s Othello, as well as theorise trans*textuality (as related to and yet distinct from Kristeva’s intertextuality and Genette’s transtextuality).This article has developed from two papers, one held in 2015 at a symposium dedicated to Michael Steppat in Bayreuth, who, ever since, accompanied this project with most helpful critical input; I owe him my sincerest gratitude. A second workshop on this topic was held in 2016 in Berlin in the presence of Shankar Raman, Christopher Joseph Odhiambo, and a student research group from Bayreuth with Taghrid Elhanafy, Weeraya Donsomsakulkij, Samira Paraschiv, and Mingqing Yuan. Taghrid Elhanafy dedicates her MA and PhD thesis to comparing Romeo and Juliet with several Arabic and Farsi versions of Layla and Majnun (Cf. Elhanafy 2018). Moreover, this article owes sincere gratitude to a most challenging and expert editing by Shirin Assa, PhD candidate at Bayreuth University, as well as Omid Soltani. Moreover, I wish to thank Dilan Zoe Smida and especially Samira Paraschiv for supporting me while doing research and working on notes and bibliography.

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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 (July 22, 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 technique uses the content analysis method. The findings of this study indicate that the novel Layla Majnun contains da'wah messages, namely the message of the creed, the message of preaching sharia, the message of preaching mua'malah, and the message of da’wah morals.

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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 deserves special study. One such image is Jamshid. The name of Shah Jamshid is often found in Navoi's "Khamsa" epics.

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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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