Relevant bibliographies by topics / Persian Love poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Persian Love poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Persian Love poetry"

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Armani, David, and Louise Gormley. "Persian Love Poetry." American Journal of Islam and Society 25, no. 1 (January 1, 2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.

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This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...
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Karshenas Najafabadi, Hosna, and Juana Isabel Marín Arrese. "The conceptualization of love in Persian creative and communicative language." Cognitive Linguistic Studies 2, no. 2 (December 31, 2015): 289–302. http://dx.doi.org/10.1075/cogls.2.2.04kar.

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This paper is an attempt to study Kövecses’s (2000a) claim on the stability of emotion metaphors during time with regard to love metaphors in Persian language. In other words, the aim is to see whether love metaphorical expressions in Persian everyday language underlie the same conceptual metaphors in Persian creative language such as poetry. At the same time, we aim to see if similar conceptualization of love exists in English everyday language. Also the paper seeks to find the cognitive grounding of love metaphors in Persian according to Kövecses’s (2012) cognitive experiential basis of metaphors. The results of study indicate that both literary and ordinary love Persian expressions are built upon the same conceptual metaphors that account for love expressions in English everyday language too. Also, it was discovered that among four suggested ways of grounding conceptual metaphors, two of them were more likely to motivate love metaphors in Persian.
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Mahmoud, Pakhshan Muhammad. "A Study of the Themes of Love in Ghased Persian Lyric Poems." Journal of University of Raparin 9, no. 4 (September 29, 2022): 188–99. http://dx.doi.org/10.26750/vol(9).no(4).paper9.

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Love is one of the main themes of poetry and its earthly and heavenly types are seen in the poems of poets and have created great themes and beautiful interpretations. Ghased is one of the poets who has a great skill in using words, depicting the image of love in various forms. The messenger has tried to express his pure love for his beloved in various images of his sonnets, although sometimes he has made love seem virtual or real. In his opinion, the place of love is undisputed, although in this painful way, you have endured the suffering of Versailles. The characteristics of love and its attributes in poetry are often similar to the themes of the poets before him and the status of love in his poetry is very high. Even its earthly type can be considered as the shadow of heavenly love. This research examines love and its place in the messenger's sonnets.
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Vali-Zadeh, Mahdieh. "Agency of the Self and the Uncertain Nature of the Beloved in Persian Love Mysticism: Earthly, Ethereal, Masculine, or Feminine?" Teosofi: Jurnal Tasawuf dan Pemikiran Islam 12, no. 1 (May 11, 2022): 22–42. http://dx.doi.org/10.15642/teosofi.2022.12.1.22-42.

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It seems that the controversies over the nature of the beloved in classical Persian mystic poetry (also known as Sufi poetry) as an earthly or ethereal phenomenon would never end. Those in favor of the celestial reading of it consider their counterparts to be narrow-minded. The adherents of terrestrial love, though, see mystical readings dogmatic and outdated, prevailed by traditionalists. The topic gets even more complicated when one takes into account the attitudes in the medieval Muslim world toward pederasty, shāhid-bāzī, on the one hand, and the Divine Feminine /Masculine Beloved, on the other hand, and, thus, the gender of this beloved. The present article explores the beloved in Persian classical mystical poetry via five different but related approaches: historical, philosophical, translational and comparative, linguistic and poetic, and, ultimately, developmental. The study concludes that an essentialist reading of the beloved in Persian love mystic poetry would create numerous problems, and that the spirit of Persian classical poetry in this regard is the spirit of uncertainty with a certain purpose: it is the manifestation of the self-poet’s agency, choosing one’s object of desire without explicitly revealing it and, thus, living one’s own life of choice without fearing the threads of religious fundamentalism.
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Sykes, Patrick. "Love Letters: Letter Symbolism in Ḥāfiẓ’s Poetry." International Journal of Persian Literature 5, no. 1 (September 2020): 2–20. http://dx.doi.org/10.5325/intejperslite.5.1.0002.

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Abstract Persian poets since Rūdakī have drawn on the letter symbolism of the Perso-Arabic alphabet. Visually, its characters have attracted poets who find the likeness of the beloved in their shapes. Spiritually, it enjoys a special status as the language of the Koran and therefore, in the eyes of some, God. Classical Persian lyric poetry combined these aesthetic and religious connotations, and as one of the foremost voices in that tradition, Ḥāfiẓ was no exception. But a review of the extant literature shows that, as a trope, letter symbolism has been largely overlooked when compared with wine, the moth, or the candle. Through a comprehensive study of the letters’ use in Ḥāfiẓ’s dīvān, this article argues that, by playing with particular letters’ connotations, or punning on their physical shapes and homographs, Ḥāfiẓ invokes disparate meanings, only to then reveal their underlying unity, in the process affirming the affinity between love and language, the beloved and the divine.
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Saddam, Widad Allawi, and Zainab Ibrahim Abbas. "Love that Binds." Al-Adab Journal 1, no. 132 (March 15, 2020): 105–12. http://dx.doi.org/10.31973/aj.v1i132.608.

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Rumi is endorsed for being one of the most famous Persian Sufi poets. He is considered a poet of love for all creation. In his poetry, one finds a close admiration of natural world that comes from love and results in even a greater love for the creator of the natural forces. This study aims to analyze selected poems of Rumi to inspect his views on environment and nature knitted closely with love and spirituality. Ecospirituality, a rather new approach to inspect the relationship of the environment and literary works from a spiritual point of view was employed to comment on Rumi’s dealing with creation and love for God in his poetry.
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Saadia Irshad. "Commemoration of Prophet (SAWW) in Ghalib's Poetry." Tasdiqتصدیق۔ 2, no. 1 (January 20, 2021): 82–90. http://dx.doi.org/10.56276/tasdiq.v2i1.30.

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Mirza Ghalib, a poet of Urdu and Persian, spent most of his life, refining his Persian poetry. In the field of praise and adoration of Mohammad (PBUH), his Persian poetry is the mirror of his creative endeavors. In his Persian Poetry, Ghalib kept on mentioning Prophet (PBUH) at the quatrains, odes, qitas, qasaids, and masnavis in praise of the Holy Prophet (PBUH). A study of Ghalib’s Persian kalam (word) mentions the prophet (PBUH) and shows all of his poems that have been written in the praise of the Holy Prophet (Peace be upon him) are key topics in the articles. There secondary subjects such as the embodiment of Rasool (PBUH), Faraq-e-Madinah, and worldly demands are not mentioned. On the contrary, by describing the greatness of the Holy Prophet (PBUH) everywhere he has entrusted this gift of love to Allah in a very beautiful way.
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Bangha, Imre. "Lover and Saint The Early Development of Ānandghan's Reputation." Journal of the Royal Asiatic Society of Great Britain & Ireland 11, no. 2 (July 2001): 175–90. http://dx.doi.org/10.1017/s1356186301000220.

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AbstractThe article examines the material relating to the early reception of the eighteenth century Hindi poet Ānandghan (Ghanānand). Ānandghan's poetic ideas were not far from those expressed in Persian literature, popular at that time in India. Apart from an abundance of idiomatic usage and paradoxes his approach to love reflects his taste for Persian poetry: the beloved can be either a woman or an undefined God, or even Krishna. Ānandghan's ‘openness’ towards Persian poetry earned him disrepute. In this article three early schools of criticism of his quatrains are distinguished: those of his opponents, of his fellow-devotees and of Brajnāth, the secular connoisseur. All three parties expressed their views on Ānandghan through poetry sometimes employing bitter or pungent language.
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Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.

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This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as well as efforts in Pakistan Movement. Daim Iqbal wrote on multifaceted in poetry including Naat, Poem, Ghazal, Songs, Kafi, C-Harfi, Translation, Elegy and storytelling.
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Taher-Kermani, Reza. "The Rubáiyát: A Labour of Love." Victoriographies 7, no. 1 (March 2017): 76–80. http://dx.doi.org/10.3366/vic.2017.0261.

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This is an essay on the genesis of the Rubáiyát of Omar Khayyám. The contention is that the Rubáiyát ensued, at least, partly from the affection that Edward FitzGerald had for his friend and mentor in Persian, Edward Byles Cowell. FitzGerald used Omar Khayyám as an excuse to stay in touch with his dear friend Cowell, who left England after introducing him to Khayyám and his poetry. But FitzGerald soon fell in love with ‘Omar’, his new Persian mentor, and replaced the love that he had for Cowell with the one he developed for ‘Omar’. The result of this love was the Rubáiyát of Omar Khayyám.
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Dissertations / Theses on the topic "Persian Love poetry"

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Noorani, Yaseen. "Estrangement and Selfhood in the Classical Concept of Waṭan." BRILL ACADEMIC PUBLISHERS, 2016. http://hdl.handle.net/10150/621297.

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The modern Arabic term for national homeland, waṭan, derives its sense from the related yet semantically different usage of this term in classical Arabic, particularly in classical Arabic poetry. In modern usage, waṭan refers to a politically defined, visually memorialized territory whose expanse is cognized abstractly rather than through personal experience. The modern waṭan is the geopolitical locus of national identity. The classical notion of waṭan, however, is rarely given much geographical content, although it usually designates a relatively localized area on the scale of a neighborhood, town, or village. More important than geographical content is the subjective meaning of the waṭan, in the sense of its essential place in the psyche of an individual. The waṭan (also mawṭin, awṭān), both in poetry and other types of classical writing, is strongly associated with the childhood/youth and primary love attachments of the speaker. This sense of waṭan is thus temporally defined as much as spatially, and as such can be seen as an archetypal instance of the Bakhtinian chronotope, one intrinsically associated with nostalgia and estrangement. The waṭan, as the site of the classical self’s former plenitude, is by definition lost or transfigured and unrecoverable, becoming an attachment that must be relinquished for the sake of virtue and glory. This paper argues that the bivalency of the classical waṭan chronotope, recoverable through analysis of poetic and literary texts, allows us to understand the space and time of the self in classical Arabic literature and how this self differs from that presupposed by modern ideals of patriotism.
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Säll, Ellen. "Att älska högt och på avstånd : En komparativ analys av kärleksuttrycket inom hövisk kärlek och klassisk persisk poesi av Jalal al-din Rumi och Fakhr al-din Araqi." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-183001.

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This essay aims to examine the expressions of love in classical Persian poetry and the European, medieval courtly love. The main focus is to analyze the Persian divine love using a selection of poems from Jalal al-din Rumis Vassflöjtens sång and Fakhr al-din Araqis Gnistornas bok, both translated and commented by Ashk Dahlén. The method used for this study is to analyze the Persian divine love with the perspective of the courtly love using the questions how the love in the poems are expressed and how it relates to the rules of courtly love. The knowledge behind the Persian poetry is mostly provided by Ashk Dahlén, Bo Utas and Simon Sorgenfrei with Kärleken begär att detta tal skall fram. The divine love is in the analysis compared with different expressions of medieval courtly love throughout the century supported by Anders Cullheds chapter about courtly love in Tidens guld: essayer om kanon, liv, poesi and Carin Franzéns Jag gav honom inte min kärlek: Om hövisk kärlek som kvinnlig strategi. I do a comparative analysis between the Persian poetry and different examples from the courtly love highlighting mostly the similarities but also some important differences. It also examines the use of eros and agape with the help of Anders Johanssons Kärleksförklaring: Subjektiveringens dialektik for a more in depth analyze. In conclusion, I found that there are a lot of similarities in the expression of both worldly and divine contexts but that it is built on different foundations. The essay ends by discussing the predominant similarities and why it might be similar but also problematizes and highlights a few differences like the use of eros and agape and the use of motives. The intention of this essay is to open up for further research regarding the subject and examine why it is possible to find such similarities at the same historical time but in two different parts of the world.
Denna uppsats ämnar jämföra kärleksuttrycket i klassisk persisk poesi med den europeiska, medeltida höviska kärleken. Syftet med denna uppsats är att utifrån ett höviskt kärleksperspektiv analysera hur kärleken kommer till uttryck hos två namn inom den klassiska persiska poesin, Jalal al-din Rumi och Fakhr al-din Araqi. Den gudomliga kärleken har analyserats med hjälp av Rumis samling Vassflöjtens sång och Araqis Gnistornas bok, båda översatta och kommenterade av Ashk Dahlén. Metoden för denna uppsats är att analysera den persiska poesin med hjälp av den höviska kärleken som ett verktyg. Detta kommer att göras med hjälp av frågorna hur kärleken i poesin tar sig uttryck och hur den förhåller sig till den höviska kärleksmodellen. Vetskapen om den persiska poesin tillhandahålls av bland annat Ashk Dahlén, Bo Utas och Simon Sorgenfrei med antologin Kärleken begär att detta tal skall fram. Den gudomliga kärleken jämförs i analysen med olika uttryck av höviska kärlek genom århundradet med hjälp av Anders Cullheds kapitel om hövisk kärlek i Tidens guld: essay om kanon, liv, poesi och Carin Franzéns Jag gav honom inte min kärlek: Om hövisk kärlek som kvinnlig strategi. Jag gör en komparativ analys mellan den persiska poesin och diverse exempel från den höviska kärleken och framhäver framförallt dess likheter men också en del större olikheter. Uppsatsen undersöker också användningen av eros och agape med hjälp av Anders Johanssons Kärleksförklaring: Subjektiveringens dialektik för en djupare analys. Sammanfattningsvis visar analysen en rad likheter i uttrycket inom både värdsliga och andliga sammanhang men också att dessa likheter grundar sig på olika utgångspunkter. Uppsatsen avslutas med att diskutera de övervägande likheterna och varför dessa går att finna men problematiserar och framhäver även de olikheter som går att finna som användadet av eros och agape samt användningen av motiv. Intentionen med denna uppsats är att öppna upp för mer forskning inom området och att undersöka varför det är möjligt att finna dessa likheter under samma tidsperiod i olika delar av världen.
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Klein, Kaitlyn Marie. "Literary Love(r)s: Recognizing the Female Outline and its implications in Roman Verse Satire." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2825.

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The existence of a metaphoric female standing in for poetic style was only plainly discussed in a paper from 1987 concerned with Roman elegiac poetry. This figure is given the title of scripta puella or written woman, since her existence depends solely on the writings of an author. These females often appear to have basis in reality; however there is insufficient evidence to allow them to cross out of the realm of fantasy. The term scripta puella in poetry refers to a perfected poetic form, one the author prefers over all others, and a human form creates the illusion of a mistress. Using this form, usually described in basic terms which create an outline of a woman, a poet easily expresses his inclination towards specific poetic styles and elements. While other scholars recognize the scripta puella in elegiac poetry, little research has been done into other genres. For this thesis, the focus is on the genre called Latin verse satire. The genre contains four recognized authors: Lucilius, Horace, Persius, and Juvenal. In order to prove her existence, each collection of satires is examined in its original language and analyzed with heavy emphasis on recognizing key phrases and attributes of scriptae puellae. Her appearances can be difficult to determine, as some examples will show, yet the existence of scriptae puellae enrich modern understanding of ancient texts. In addition to the four authors, articles and books dealing with women, satire, and women in satire are consulted to aid in explanation and support. With this body of proof, scriptae puellae are shown to exist within the Latin verse satirists' texts; they act as a link between the four authors and as a link to Greek poetry, which has been considered a possible predecessor for satire. This knowledge allows for a better explanation of satire as a genre and opens up the possibilities for further study in other genres which contain women of various forms.
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Rothfuss, David Alexander. "Fireworks and Sex! A field study guide to America's shiniest religion." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1304805353.

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Ransley, Ambrose Allan Digby. "The refining crucible : Shakespeare and lyric sequences in Victorian England." Thesis, 1985. https://eprints.utas.edu.au/21318/1/whole_RansleyAmbroseAllanDigby1986_thesis.pdf.

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Since the early years of the Victorian era, Shakespeare's pre-eminence as a dramatist has itself prompted much of the attention paid to his Sonnets, because their celebrated biographical 'hints' suggest knowledge of the 'real life' of this most universal of English creative geniuses. Indeed it was simply the fact that Shakespeare was the author of these poems that induced several influential Victorians to read them at all. Five of the major poets of Victorian England wrote lyric sequences which have suffered a like fate. Tennyson's In Memoriam, Elizabeth Barrett Browning's Sonnets from the Portuguese, Christina Rossetti's Manna Innominata, Dante Gabriel Rossetti's The ttouse of Life and George Meredith's Modern Love - all of these have been read as autobiography, as thinly disguised, or even transparent, confessions of actual experience.. This dissertation takes the view that poetry must stand on its own, independent of the poets' biographies. It con tends that what makes Shakespeare's sonnets and these Victorian sequences lastingly valuable is the central consciousness of each one, regarded as an artistic creation, not as an autobiographical sketch of the poet. This central consciousness, this poetic protagonist, I call the 'sequence persona'. To demonstrate the presence of a persona proper to each of these five Victorian sequences, I have adopted a quite new critical approach. Chapter I demonstrates the existence in Shakespeare's Sonnets of what I call the Shakespearean persona. This involves close textual analysis of a number of the poems and includes some differentiation of Shakespeare's methods from (vi) those of other Elizabethans such as Sir Philip Sidney and Edmund Spenser. Out of this comes a thesis to the effect that Shakespeare's sonnets are unconventional in their content and language because they cumulatively create an individual rather than a Petrarchan sensibility. Chapter I offers, in itself, a contribution to the study of Shakespeare's Sonnets, but its main purpose in the dissertation is to locate a crucible in which the poetic emotions of the Victorians were refined to produce a new yield of artistic gold. Chapters II-V demonstrate the existence of an equally distinct persona, akin to that of Shakespeare's Sonnets, in each of the named Victorian sequences. I accompany this analysis with, and indeed often conduct it through, a comparison of individual Victorian poems and particular Shakespearean sonnets. The Conclusion codifies, clear of poetic analysis, the usefulness of reading these major nineteenth-century sequences with the Shakespearean model in mind, and suggests that the method adopted in this dissertation might well be used for fresh study of other less unified and less important examples of Vi~torian love poetry.
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Books on the topic "Persian Love poetry"

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Saʻdī. The book of love. North Fitzroy, Vic: New Humanity Books, 1990.

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editor, Anvar Laylī translator, Ringgenberg Patrick illustrator editor, and Okada Amina illustrator editor, eds. Leyli et Majnûn de Jâmi: Illustré par les miniatures d'Orient. Paris: Éditions Diane de Selliers, 2021.

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Mahmood, Karimi-Hakak, ed. Love emergencies: Poems in English and Persian. Merrick, NY: Cross-Cultural Communications, 2010.

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Kalīdar, rumān-i ḥamāsah va ʻishq. Tihrān: Gulʹāz̲īn, 2004.

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1928-, Ergin Nevit Oguz, and Johnson Will 1946-, eds. The rubais of Rumi: Insane with love. Rochester, Vt: Inner Traditions, 2007.

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Armutlu, Sadık. Klâsik Fars ve Türk edebiyatında Şem'ü pervâne mesnevileri. Erzurum: Fenomen Yayıncılık, 2018.

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Bih shīvah-yi khūdishān ʻāshiq mīʹshavand: ʻāshiqānahʹhā (1370-1391). Tihrān: Intishārāt-i Murvārīd, 2013.

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Nader, Khalili, and Furūzānfar Badīʻ al-Zamān, eds. Rumi, dancing the flame: A celebration of life and love. Hesperia, Calif: Cal-Earth Press, 2001.

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Partaw-i zībā-yi ʻishq va ʻirfān: Majmūʻah-ʼi ashʻār va maṭālib-i ʻirfānī az shuʻarā va ʻurafā-yi Īrānī. Shīrāz: Intishārāt-i Navīd-i Shīrāz, 2005.

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Zandiyān, Māndānā. An eyeful of earth, an eyeful of ocean: Selected love poems of Mandana Zandian. Bethesda, Maryland: Ibex Publishers, 2014.

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Book chapters on the topic "Persian Love poetry"

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Talattof, Kamran. "Nizami’s Unlikely Heroines: A Study of the Characterizations of Women in Classical Persian Literature." In The Poetry of Nizami Ganjavi: Knowledge, Love, and Rhetoric, 51–81. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-137-09836-8_4.

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Kugle, Scott, and Aditya Behl. "Haqiqat al-Fuqara: Poetic Biography of “Madho Lal” Hussayn (Persian)." In Same-Sex Love in India, 145–56. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-349-62183-5_19.

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Kugle, Scott, and Aditya Behl. "Haqiqat al-Fuqara: Poetic Biography of “Madho Lal” Hussayn (Persian)." In Same-Sex Love in India, 145–56. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-137-05480-7_19.

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Shatova, Irina. "Тема війни і миру в сучасній українській поезії." In Biblioteca di Studi Slavistici, 289–309. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.25.

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The Perception of War and Peace in Modern Ukrainian Poetry. Ukrainians are going through a very difficult, traumatic, catastrophic experience. Contemporary Ukrainian poetry about the war, for instance, is closely connected with the themes of women and childhood during the war. The tragedy of mothers who stayed with their children in Ukraine or went abroad to save their children is sometimes depicted in a folk-poetic style or acquires an interpretation close to the biblical one. There is a tragic, mythologized, figure of a warrior woman, and a widow. There are also poems that express the feelings and experiences of Ukrainians during the war, their psychological trauma and transformation, and the horrific experience of being physically present at war. Like most Ukrainians after February 24, 2022, the poets are acutely aware of the war against Ukrainian identity and language. The invasion of Ukraine has greatly accelerated the process of national self-identification, as evidenced by the poetry. Most Ukrainian authors are not interested in the war as such, but in the human being at war: at the front and in the rear. An individual person, his or her suffering, pain, trials, emotions, feelings, traumas, struggle, love, and death have become the main object of depiction. The heroes of Ukrainian contemporary poetry are ordinary people who were destined to defend their homeland and become warriors; they are also civilians in the rear and evacuated, suffering from the cruel burden of war but finding the strength to resist stress and fatigue.
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Tahmasebian, Kayvan, and Rebecca Ruth Gould. "8. The Translatability of Love." In Prismatic Jane Eyre, 420–55. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0319.12.

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This essay examines how twentieth century Iranian readers situated Jane Eyre within the classical genre of romance literature (adabiyāt-i ʿāshiqāna), originating from the tradition of love narratives in verse (ʿishq-nāma) pioneered by the twelfth century Persian poet Nizami Ganjevi. While romance is only one among several of the original Jane Eyre’s modes of generic belonging, the translation and reception of Jane Eyre into Persian facilitated the novel’s generic recalibration. We show how the prohibition on romance literature following the 1979 Iranian revolution paved the way for foreign classics such as Jane Eyre to be read as romances in the classical sense of the term.
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"Poetry o f Love." In Persian Sufi Poetry, 57–89. Routledge, 2014. http://dx.doi.org/10.4324/9781315026237-8.

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"VI. Ghazal: The Ideals of Love." In Medieval Persian Court Poetry, 237–98. Princeton University Press, 1987. http://dx.doi.org/10.1515/9781400858781.237.

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"4 Love in Persian War Poetry." In Martyrdom, Mysticism and Dissent, 99–130. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110748734-008.

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"Love and the Metaphors of Wine and Drunkenness in Persian Sufi Poetry." In Metaphor and Imagery in Persian Poetry, 125–36. BRILL, 2012. http://dx.doi.org/10.1163/9789004217645_006.

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Hedayat Munroe, Nazanin. "Weaving Stories, Weaving Self: Layla and Majnun as Sufi Icons." In Sufi Lovers, Safavid Silks and Early Modern Identity. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721738_ch03.

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Silks depicting Layla and Majnun are examined with the corresponding narrative in the Khamsa of Nizami Ganjavi. The tale is summarized and analyzed as an allegory of the Sufi concept of the evolution of humankind through love, as Majnun is transformed by Nizami from a love-struck madman into the prototype for Sufi mystic practice. Two silk designs are signed by Ghiyath al-Din illustrating Layla visiting Majnun in the wilderness, a scene not found in Nizami’s Khamsa. The concept of javab-gui (‘literary response’) is presented as the foundation of Persian epic poetry. Amir Khusrau (d. 1325), the Sufi Turco-Indian poet laureate of Delhi, is discussed as the author upon whose Khamsa the scenes are derived. The relationship between poetry and textile weaving is analyzed through passages from Persian poetry.
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Conference papers on the topic "Persian Love poetry"

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Pandulcheva, Daniela, and Dancho Pandulchev. "Theo-anthropological aspects of paneurhythmy in physical education." In Antropološki i teoantropološki pogled na fizičke aktivnosti (10). University of Priština – Faculty of Sport and Physical Education in Leposavić, 2024. http://dx.doi.org/10.5937/atavpa24038p.

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We analyze Paneurhythmy through the perspective of the theo-anthropological approach to physical education. This psycho-physical system of exercises combines rhythmic movements with ideas, music, and poetry, performed in a group, with specific space organization, in the open. The author, Beinsa Douno, is a founder of a Christian philosophy for a life in harmony with nature, where exercising is important for personality development. We analyze: 1. Constituent elements: movements, music, and poetic text; 2. Performance: person, pairs, and group; 3. Education: relations and personality development. Conclusions: The movements are functional and suitable for all: multi-planar and multi-joint movements involving symmetrically the left and right parts of the body, with full range of motion in the joints, exercised in upright position, in walking, for coordination, balance and functional strength; the music is classical type for inspirational concentration and the poetic text is dominated by the notions for positive emotions, love and joy, and light, including the notion of God in non-religious context. During performance of Paneurhythmy the full potential of a person is activated, physical and spiritual, and social ethics develops by coordinating one's performance with the partner and the group around a unifying center. The educational process is founded on mutual respect and discussions focused on personality development and character qualities in a non-profit activity. Paneurhythmy exercises can be considered food for the body encouraging the creation of a harmonious exercising community. It can be an example a physical education practice in line with the theo-anthropological approach.
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Андреев, Дмитрий Андреевич, and Андрей Евгеньевич Крашенинников. "THE CREATIVE PATH OF TILL LINDEMANN." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Май 2021). Crossref, 2021. http://dx.doi.org/10.37539/may316.2021.87.93.005.

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В статье рассматривается становление немецкого рокмена Тилля Линдеманна как творческой личности. Он входит в число известных немецких музыкантов, но не всем известно, что Т. Линдеманн еще и поэт. Его произведения написаны в традиционном для Германии стиле экспрессионизма. В своих стихотворениях Т. Линдеманн поднимает темы любви, творчества, жизни и смерти. Чувства у Т. Линдманна обычно преподносятся от лица лирического героя, носят характер исповеди и наполнены трагизмом. The article examines the formation of the German rockman Till Lindemann as a creative person. He is one of the famous German musicians, but not everyone knows that T. Lindemann is also a poet. His works are written in the traditional style of expressionism in Germany. In his poems, T. Lindemann raises the themes of love, creativity, life and death. Feelings in T. Lindmann are usually presented from the perspective of a lyrical hero, have the character of confession and are filled with tragedy.
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