Academic literature on the topic 'Moghol Literature'

This article explores the artistic relationship between Western European Renaissance art and Mughal painting ca. 1630s at the ateliers in North India. A central theme is the employment of European painterly modes in the Mughal visual tradition that expressed male-male intimacy, carnal desire, and emotional attachment. In particular, the article focuses on the work of the Mughal painter Govardhan, who illustrated the opening scene of Sa‘dī’s Gulistan (Rose Garden). Govardhan built upon sixteenth-century European compositional elements and the themes of Noli me tangere and the Doubting Thomas to form subtle yet unmistakable allusions to male-male sexuality. Cet article explore les relations artistiques entre l’art de la Renaissance européenne et la peinture moghole des années 1630 dans les ateliers du nord de l’Inde. On y traite de l’utilisation de motifs de la peinture européenne dans la tradition visuelle moghole exprimant l’intimité masculine, le désir charnel et l’attachement affectif. Cet article se penche en particulier sur l’œuvre du peintre mogol Govardhan qui a illustré la scène d’ouverture du Gulistan (Rose Garden) de Sa‘dī. Govardhan y a construit son illustration à l’aide l’élément de composition de l’Europe du XVIe siècle, ainsi que sur les thèmes Noli me tangere et du Thomas incrédule, afin de créer une évocation subtile mais univoque de la sexualité homosexuelle masculine.

Bizenta Antonia Mogel Elgezabal (1772-1854) fue la primera mujer que publicó un libro en euskera y, a la vez, la autora del primer libro perteneciente al género de la literatura infantil en el idioma vasco. Su libro Ipui onac, publicado en 1804, es una traducción de las fábulas de Esopo acompañada por los comentarios de Mogel que refuerzan el importe didáctico de la obra. El éxito que tuvo en la época el libro de Mogel se puede considerar como el punto de partida de la tradición en la literatura vasca de las mujeres creándose un renombre a través de escribir literatura dirigida a los niños. Mariasun Landa Etxebeste (1949) es hoy en día una de las escritoras de Euskadi que más se traducen a otros idiomas. Tal como Mogel, Landa se conoce más que nada por su literatura infantil y juvenil. Como muchas escritoras vascas, Mogel y Landa han tenido que enfrentar las limitaciones patriarcales que dificultan la expresión artística de la mujer creadora. El hecho de contribuir a la literatura infantil les ha permitido a estas autoras crear un espacio para la escritura femenina dentro de las letras vascas.

Introduction. There is an emerging interest in the literature about MOGHE (Mild Malformation of Cortical Development with Oligodendroglial Hyperplasia and Epilepsy). We report the case of an epileptic patient with MOGHE. Case Report. A 33-year-old male patient was suffering from refractory focal epilepsy since adolescence. MRI demonstrated increased T2/FLAIR signal intensity of right frontal lobe. Presurgical evaluation led to definition of epileptogenic network in a specific area of right frontal lobe. The resected specimen revealed MOGHE. Discussion. MOGHE appears to be a brain entity which shares some unique histopathological features. Review of the literature is in accordance with our patient’s findings. The major neuropathological finding consists of areas with blurred gray-white matter boundaries due to heterotopic neurons in white matter and increased numbers of subcortical oligodendroglial cells with increased proliferation. MR abnormalities are present in T2/FLAIR sequences. It concerns patients with refractory frontal lobe epilepsy and appears to associate with unfavourable postsurgical outcome in seizure control. Conclusion. More cases are needed in order to establish more data about this distinct entity in frontal lobe epilepsy. This could be valuable knowledge to patients and doctors concerning expectations or management of undesirable outcome in frontal lobe epilepsy surgery.

U članku se uspoređuju prikazi slavenskih naroda i prostora iz Stokerova romana Drakula i iz Dnevnika putovanja iz Carigrada u Poljsku Ruđera Boškovića. Usporedba je metodološki opravdana stoga što su opisi nekih prostora (Bukovine, Moldavije, Transilvanije, Dobruđe i dr.) zajednički i romanu i Dnevniku pa su i razni Slaveni i vidovi njihova života prikazani u obama djelima. No na tome se u članku ne ostaje, već se pretpostavlja da je građu za svoj roman taj irski pisac fantastike mogao uzimati, ne samo iz beletrističke i iz znanstvene, etnološke, povijesne i slične literature, već i iz putopisa po balkanskim zemljama, po Karpatima itd. Točnije, pretpostavlja se da Bram Stoker jest poznavao Boškovićev putopis i koristio se nekim podatcima iz njega. Tu pretpostavku omogućuju sljedeća polazišta: 1) Stoker je opis Drakulina lika preuzeo od jednoga hrvatskog pisca, biskupa Nikole Modruškoga. 2) Stokerovo je pripovijedanje o putu prema Drakulinu zamku moglo biti u stanovitu odnosu s romanom Srce tame engleskoga pisca slavenskoga porijekla, Josepha Conrada. 3) I Bošković i Conrad djelovali su u Londonu kao i Stoker. 4) Vlad Ţepeş Drakulea vojevao je po Bosni zajedno s hrvatskim članovima Reda Zmaja. 5) Vampir je mitski lik i termin, vjeruje se, slavenskoga porijekla. 6) Vlad Ţepeş Draculea bio je u raznovrsnim odnosima sa slavenskim jezicima i kulturama, što Bram Stoker zna.

Tujuaan penelitian ini untuk mengetahui dan menganalisis penyebab dan cara menangani anak mengalami mogok sekolah. Metode yang digunakan dalam penelitian ini ialah Literature Review. Dalam artikel ini data diperoleh dari mengkaji beberapa sumber teori terkait mogok sekolah dan pengembangan kecerdasan anak usia dini serta pengamatan langsung di TKIT Alief Mardhiyah. Kemudian dianalisis melalui beberapa tahapan yaitu perencanaan, pengorganisasian, Drafting, Editting dan Redrafting. Berdasarkan hasil kajian literatur, diketahui ada beberapa hal yang dapat dilakukan untuk dapat menangani anak yang mengalami mogok sekolah antara lain perhatikan kondisi anak-anak sebelum tidur, pahami minat-bakat anak, memotivasi anak dengan hal-hal yang disukainya, orang tua tidak mengomel berkepanjangan, ciptakan rasa aman pada anak serta meningkatkan kerjasama antara orang tua dan sekolah.

La relation entre la peinture et la littérature persane était étroitement liée pendant toute l'histoire del'Iran après la conquête de l'Islam. Ce sont souvent les sujets mystiques qui dominent la littérature persane et ils se manifestent également dans la peinture par l'illustration des divans et des ouvrages soufis. C'est ainsi que la peinture persane est le grand témoin de l'approche gnostique et elle possède une dimension mystique transcendante. Les éléments et les symboles, inspirés des métaphores sublimes de la littérature soufie persane, nous orientent vers des interprétations mystiques dont on trouve la manifestation explicite dans la plupart des suppléments de la peinture persane. Les conceptions soufies se sont manifestées également dans la peinture des écoles dérivées de la peinture persane comme l'école de la peinture inde-persane et l'école de la peinture moghole. Il faut souligner que la circulation de la langue persane avait un rôle remarquable dans ce parcours. Notamment, d'une part le persan était la langue officielle de l'Inde sous le règne d'Akbar, l'empereur moghole passionnée de la culture persane, et de l'autre part les vagues d'émigrations des poètes et des peintres iraniens vers l'Inde, sous la pression des docteurs religieux safavides développaient l'influence de la culture persane dans le sous-continent indien.Les deux raisons essentielles qui préparaient la base d'un grand mouvement artistique. L'affection des rois moghols envers les confréries soufies, hérité de leur grand ancêtre Tamerlan, se manifestait par le respect qu'ils avaient pour les soufies et, en particulier, pour les Sheikh (s) naqšbandî
Persian painting and Persian literature were closely linked during the history of Iran after the conquest of Islam. lt is often the mystical topics of Persian literature, which have an effect on the Persian painting. During the Timurid dynasty, Sufism has occupied a central place in the society of Iran. The Sufism ideology, in particular the naqsbandî beliefs, has brought a transcendent mystical dimension to the illustrations of this period of history of Persian art. We can find the explicit mystical influence of the big naqshbandî master and the last great medieval mystic, Jami, on the painting of Kamâl al-Dîn Bihzâd. Obviously, the success of Bihzâd disciples, who were under his influence, gave birth to the lndo-Persian painting in Mughal court.Moreover, Akbar (1542-1605) and his great passion for the Persian language and culture had adecisive role in the development of the Persian mystical thoughts in lndia. The Persian language became the official language of the lndian Mughal Empire du ring his reign.The devotion of Akbar for the Sufism was particularly manifested in his special respect toward naqsbandî Sheikhs. At the same time, under the religious pressure of the Safavid dynasty some of the lranians were obliged to leave their country. The big passion of Akbar in one hand and the immigration waves of lranians, especially Sufis, poets and artists to the lndia, on the other hand,prepared the society for intellectual and artistic movements.ln fact, the naqsbandî traditions and ideas have travelled from Iran to the northern lndia. Bokhara played a great role in the circulation of beliefs and ethics of the naqsbandî order between Persia and India

Orientador: Vilma Sant'Anna Areas
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho é um complemento à nossa pesquisa de mestrado sobre o contista mineiro Murilo Eugênio Rubião (1916-1991). Na ocasião, estudamos os seus Contos reunidos (1998), edição com todas as narrativas publicadas em livro, pelo autor, mais um trabalho póstumo. E, pelo fato de o estudo interpretativo sobre a obra muriliana ter sido apresentado apenas como hipótese, na conclusão de nossa dissertação, fomos aconselhados, pela banca examinadora do mestrado, a dar continuidade à pesquisa sobre Murilo em nosso doutorado. Tendo aceitado a sugestão da banca, esta tese busca desenvolver nossa hipótese interpretativa, baseada no ensaio de José Paulo Paes (1990), que aponta o agnosticismo do contista mineiro como a concepção de mundo por trás de sua obra. Desta vez, nossa argumentação se apóia sobre um estudo comparativo entre os Contos reunidos (1998) e as narrativas esparsas de Murilo - conjunto de textos, publicados em jornais e revistas da década de 1940, e jamais republicados em livros do autor. Essa escolha se justifica pelos seguintes motivos: em primeiro lugar, porque as narrativas esparsas são mais ingênuas e, sendo assim, apresentam a concepção de mundo do autor de modo mais explícito; em segundo, porque a edição das narrativas esparsas acaba representando uma contribuição original, mesmo no caso de a nossa argumentação ser considerada pouco convincente; por fim, porque temos consciência de que a interpretação defendida aqui não representa uma novidade absoluta para a crítica muriliana. Esta tese, portanto, é composta pela edição dos esparsos do escritor, intitulada aqui de Histórias do Grão Mogol, e de um estudo crítico desses textos, em comparação com os Contos reunidos (1998)
Abstract: The present work is an addition to our research elaborated for our Master's Degree on the short story writer from the Minas Gerais Murilo Eugênio Rubião (1916-1991). On that occasion, we studied his Contos reunidos (1998), volume containing all narratives published by the author and one posthumous work. Because, in the conclusion of our dissertation the interpretative study of Murilo's work was presented as a hypothesis, we have been advised by the examining committee to continue our research on Murilo in our Doctor's Degree pursuit. Accepting the committee's suggestion, the present thesis aims to develop our first interpretative hypothesis, which was based on the essay by José Paulo Paes (1990) that presents the writer's agnosticism as the conception of world behind his work. Our present argumentation is based on the comparative study between Contos reunidos (1998) and Murilo's scattered writings - texts published in newspapers and magazines, in the 1940's, and never republished in books by the author. This choice is justified for the following reasons: first, the scattered writings are more less refined and present the author's conception of world more explicitly; second, the publication of Murilo's scattered narratives represent an original contribution by itself, even for those who may disagree with our argumentation; finally, we are conscious that the interpretation given here does not represent an absolute novelty to the literary criticism on Murilo's work. Thus, the present thesis is composed of the publication of the autor's scattered writings, titled Histórias do Grão Mogol, and of a critic study of such texts compared with Contos reunidos (1998)
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária

Dissertação de Mestrado em Estudos do Património apresentada à Universidade Aberta
A partir das descrições sobre os portugueses de S. Tomé de Meliapor por Niccolao Manucci na sua Storia do Mogor, reimpressa em 1981 depois de uma primeira publicação em 1907, fizemos uma leitura mais aprofundada da sua obra que nos permitiu recolher alguns dos seus testemunhos não só sobre os portugueses desta cidade, mas também sobre os portugueses da Índia em geral, no período de fim de Seiscentos e princípio de Setecentos, em vários locais por onde Manucci passou, desde Baçaim, Goa, Damão, Hugli, até nos sítios mais diversos da Índia onde os encontrou como comerciantes, religiosos, ou militares e aventureiros ao serviço dos mugores, por vezes seus companheiros de armas e de viagens. Acompanhamos também o trabalho de William Irvine, o investigador que seguiu a pista dos manuscritos de Manucci, os descobriu e traduziu para a língua inglesa já que foram escritos em português, francês e italiano, e que aferiu muitos dos acontecimentos descritos por Manucci com a investigação histórica ao longo de sete a dez anos da sua vida e verificou a sua credibilidade. Aprofundamos também o conhecimento da história dos portugueses na Índia através da pesquisa em fontes dispersas e sobretudo a do urbanismo e da arquitectura que levaram consigo e deu forma às cidades portuárias que fundaram ou desenvolveram, como foi o caso de S. Tomé de Meliapor, cidade Portuguesa que cresceu à beira do suposto túmulo do Apóstolo Tomé, na costa do Coromandel. Procuramos na obra de Manucci descobrir os indícios e as omissões sobre como seria a cidade dos portugueses, hoje um pequeno bairro da metrópole de Chennay, durante muitos anos conhecida como Madras. Tentamos completar este conhecimento da cidade com uma reconstituição histórica do seu passado e, partindo de alguns pressupostos a que alguns trabalhos recentes de investigação sobre o urbanismo e a arquitectura portuguesa na Ásia e no Mundo nos levaram a formular, procuramos pistas para futura investigação sobre este património urbanístico e cultural dos portugueses na Índia, em S. Tomé de Meliapor, esquecido e quase ignorado, excepto por algumas igrejas bem conservadas e ainda existentes, visíveis, e que constituem hoje património arquitectónico e cultural da Índia.
Reading some descriptions about the portuguese in S. Thomé de Meliapor made by Niccolao Mannuci in his Storia do Mogor, reprinted in 1981 from its first publication in 1907, we did a more detailed reading of his work that allowed us to collect his witness on the portuguese habitants of this town but also on the portuguese in India in general, in the end of the Six Hundreds and beginning of the Seven Hundreds, in many places where Manucci has been, since Bassain, Goa, Daman, Hugli, or in the most diverse places in India where he found them as trade people, religious or military and adventurers at mughal service, as his comrades in arms or as travel companions only. We looked also to the work of William Irvine the researcher who followed the trail of Manucci manuscripts, who discovered and translated them into English since they were produced in portuguese, french and italian languages. Irvine also checked many of the events described by Manucci conducting seven to ten years of historical research to assess them and the credibility of his writings. We tried to bring up a better knowledge of the history of the portuguese in India at that time through different and sparse sources, and we looked for, mainly, the urbanization and architecture that they brought with them and materialized in the harbour towns they founded or developed as it was the case of S. Thomé de Meliapor, a portuguese town that grew up on the verge of the supposed tomb of the apostle Thomas, in the Coromandel Coast, oriental India. In Manucci work, we looked for the evidences and omissions about how it would look like, the town of the portuguese, today a small neighbourhood of the Chennay metropolis, for many years known as Madras. We tried also to complete this knowledge of the town with an historical reconstitution of its past and, departing from a few assumptions drawn from late research on portuguese urbanism and architecture in Asia and in the World, we were driven to open clues for further research on this particular urban and cultural heritage of the portuguese in India, forgotten and almost ignored, except for some well kept churches that still exist, well visible, and which are today Indian architectural and cultural heritage.