Relevant bibliographies by topics / Persian poetry

Contents

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

Academic literature on the topic 'Persian poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Persian poetry"

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Farhad Ahmad and Dr.Gohar Noshahi. "Ahmed Shamlo: Introductory Study." Dareecha-e-Tahqeeq 2, no. 1 (March 21, 2022): 1–11. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i1.12.

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Persian literature is very rich literature of the world. Persian poets introduced a special identification in the world. Ahmed Shamlo one of the v renowned poet in persia. He bears a significant position in modern Persian poets. He is especially known due to his restive writing style in Persian poetry . This is an initial and interdictory essay pertaining to Ahmed Shamlo
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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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Zulyeno, Bastian. "Sastra Sufistik Persia; Citra Kehidupan dalam Masnawi Maknawi Karya Jalaluddin Rumi." EDUCULTURAL: International Journal of Education, Culture and Humanities 1, no. 1 (August 21, 2018): 40–45. http://dx.doi.org/10.33121/educultur.v1i1.28.

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Persian literature has been developing since hundreds of years BC, this can be seen from the Zoroastrian or "Avesta" holy books. This book contains mostly about the praise and greatness of the Lord "Ahuramazda" written in the form of poetry. The name Avesta itself comes from the name of the writing and the language used in this book, therefore the researchers named this holy book with the name Avesta. Avesta is the root of ancient Persian before Parthi, Soghdi and Pahlavi. One of the scientific traditions inherited by the Persians is the science of Tasawwuf and Sufistic literature is the biological child born of him. Persian land has long been fertile with Sufism thought with its typical eastern imagination. One of the Persian maestros whose thinking was global was Jalaluddin Muhammad ibn Sultan al Ulama Bahauddin Muhammad ibn Huasain ibn khatibi Bakri Balkhi who was better known as Rumi and all the works he left behind used Persian. Sufistic or mystical literature is a work produced by Sufi poets or a wise person whose poetry is based on his Sufistic experience. This paper discusses the main theme based on several verses of poetry contained in the Masnawi Maknawi of the great works of the great Persian Sufi of the 13th century.
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Khan Khattak, Dr Satar. "Comparative Study of Allama Iqbal’s Urdu and Persian Composition of ode." DARYAFT 14, no. 01 (October 31, 2022): 87–110. http://dx.doi.org/10.52015/daryaft.v14i01.213.

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Allama Muhammad Iqbal started his poetry from Urdu ode or amatory verses. But very soon he started his poetry in Persian. Iqbal realized that the skirt of Urdu language is very narrow for his ideas and thoughts. He recognized that Urdu is a young inexperienced language. Urdu is spoken, written and reading in a limited part of the subcontinent. On the other hand person is an old and experienced language of the world and is spoken, written and reading in a vast part of the Muslim world. Persian language keeps the most valuable assets of poetry and prose. The Persians odes of Allama Iqbal are found in Piyam-e-mashriq and Zaboor-e-Ajam. Some Urdu odes of Iqbal are found in Bang-e-Dara and Zarb-e-kaleem, but the most important odes are found in his famous book of Urdu poetry named as Bal-e-jibreel. This collection of poems by Allama Iqbal is very important, because what is clearly stated in his Persian odes, is what is indicated in Bal-e-Jibreel. The first part of Bal-e-Jibreel consists of ghazals. Essentially, these ghazals portray the same meaning that the Persian ghazals imply. However, the experimental writing of these ghazals, the sheer talent employed in this book are as climactic in terms of poetry.
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Ramazani, Jahan. "Persian Poetry, World Poetry, and Translatability." University of Toronto Quarterly 88, no. 2 (August 2019): 210–28. http://dx.doi.org/10.3138/utq.88.2.09.

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Kurbanov, M. M. "HISTORICAL INFLUENCE OF THE CREATIVE TRADITIONS OF PERSIAN CULTURE ON THE DEVELOPMENT OF FOLKLORE IN SOUTHERN DAGESTAN." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 392–97. http://dx.doi.org/10.35634/2412-9534-2021-31-2-392-397.

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The article highlights the problems related to how ancient Persian culture in the Middle Ages had a powerful influence on the formation and development of folklore of the peoples of South Dagestan. Regional, ethnic, linguistic and cultural symbiosis was formed In the Derbent region, Tabasaran and Lezgistan in the V-XVIII centuries, which led the folklore of the Tabasarans, Lezgins, Azerbaijanis, resettled here Iranian-speaking Tats, Persians and Arabs to mutual enrichment and intensive development. Domestic, cultural and commercial relations led to the fact that most residents began to freely speak the “old Turkic”, Persian, Lezgin and Tabasaran languages, which ethnic groups used in communication, trade and in everyday life. The result of the influence of Persian folk and Ashug poetry on the development of the creativity of the peoples of the region can be considered the formation of a single form of genre varieties of extra-ritual lyrics and wedding poetry in the folklore of Tabasarans, Lezghins, Agulians in the form of band-quatrains. Fairy tales of the peoples of the region were also positively influenced, they were enriched by Eastern plots, themes, ideas, colorful images, Persian toponymy and vibrant poetry of genres.
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Muhtadi, Dr Hussein. "Manifestations of Persian civilization among the Arabs before Islam from Islamic poetry telescope." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, no. 1 (December 1, 2017): 57–76. http://dx.doi.org/10.36473/ujhss.v223i1.319.

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The Arab and Persian peoples since the old Testament neighbors, some of whom have contacted the other is better communication, particularly in the pre-Islamic and pre-Islamic times. The question that comes to mind is: What are the components that saved us pre-Islamic poetry manifestations of Persian civilization among the Arabs before Islam? Is poetry managed to convey the image of Persian culture that were common in the Arabian Peninsula? This article has addresses through poems ignorance manifestations of Persian culture in the lives of the Arabs before Islam. And it is designed to detect a relationship gallop capacity Arabs before Islam. Have we come to that Arabs were not Bmnazl events neighbor sophisticated, they even Aguetpsoa many landmarks his or her own and used it in all walks of life. The importance of this research look like when we did not find any source for the study of Persian civilization and culture of ancient pre-Islam, but rarely. As this study has shown us how civilizational and cultural friction between the Persians and the Arabs, they are extracted from the belly of the history of literature. The pre-Islamic poetry Kdioan Arabs keeping us through history tells us about the relationship between people of the Persian Bjarhm in ignorance. Researcher has adopted in his study on the descriptive approach of this article and will go on the descriptive and analytical.
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Dr Ali Kavousi Nejad. "Prose Translations of Ghalib’s Persian Poetry." Tasdiqتصدیق۔ 3, no. 01 (September 27, 2021): 1–19. http://dx.doi.org/10.56276/tasdiq.v3i01.56.

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Mirza Asadullah Khan Ghalib is amongst the most eminent poets & writers of India. His poetry & letters, both in Persian & Urdu, remain a significant part of India’s literary history. Ghalib not only proved his command in Urdu poetry but also showed his abilities and mastery in Persian verse. He was proud of his Persian poetry and is rightfully considered amongst the most prominent Persian poets of his time. Many translators and critics have attempted to translate & write commentaries on his Persian poetry, both in prose and versified. Amongst these critics & translators, several individuals had the potential of taking forward the translations of Ghalib’s Persian Poetry into Urdu and produced many notable translations. In This study, we shall first introduce their translations and then present a comparative analysis of their prose translations to determine which translator was more successful in terms of considering all the minute textual details.
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Najafova, F. F. "MODERNISM IN PERSIAN POETRY." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 5 (2021): 61–67. http://dx.doi.org/10.32838/2710-4656/2021.5-2/10.

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Davis, Dick, and Julie Scott Meisami. "Medieval Persian Court Poetry." Journal of the American Oriental Society 110, no. 1 (January 1990): 141. http://dx.doi.org/10.2307/603944.

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Dissertations / Theses on the topic "Persian poetry"

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Taher-Kermani, Reza. "The Persian 'presence' in nineteenth-century English poetry." Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658568.

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This thesis examines the 'presence' of Persia' in nineteenth-century English poetry. The focus is not on translations of Persian poetry as such, but on the ways in which knowledge of Persia, derived from a variety of sources including classical and biblical texts, history, and travel-writing, entered into English poetry in the period. Such knowledge may shape the structure of a poem, or Its verbal texture, and may do so at different levels of intensity and significance. This complex phenomenon cannot fully be covered by the term 'influence'; the term 'presence' encompasses a variety of . literary engagements including translation, imitation, interpretation, representation, conscious allusion, and indirect borrowing. The methodology of the thesis is neither that of conventional literary history, in which questions of influence and intertextuality are of primary concern, nor of cultural history, in which literature is seen as part of a broader analysis of the history of ideas. While recognising the importance of recent cross-cultural theories, notably Edward Said's Orientalism, it does not follow ,any theoretical model in its analysis of the poetic adaptation and appropriation of Persian stories, themes, and tropes. The poems themselves, whether considered in categories or as individual works, are the object of attention; particular emphasis is laid on elements that might be less 'visible' to English readers who lack knowledge of Persian literature in its original forms. The aim is to define the nature, and degree, of 'Persian-ness' in nineteenth-century English poetry. The term itself has multiple and shifting associations, but one strong connecting thread may be discerned in the poems discussed: the persistence, through a period in which British encounters with 'modem' Persia were increasing in the areas of diplomacy and trade, and in which knowledge of the country's history, language, and culture was becoming more exact and more detailed, of a fantasised 'Persia', or Persian 'imaginary', compounded of ancient and in some cases mythic elements. Structurally the thesis moves from context to text, and from general to specific: it begins with the provision of necessary contextual information about Anglo-Persian contacts before the nineteenth century, moves on to survey and classify the 'Persian tendency' in poetry of the period, and then offers case-studies of three central works: Matthew Arnold's Sohrab and Rustum (1853), Edward FitzGerald's Rubaiyat ofOmar Khayyam (1859), and Robert Browning's Ferishtah's Fancies (1884).
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Yamamoto, Kumiko. "The oral background of Persian Epics : storytelling and poetry /." Leiden : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb38998044f.

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Einboden, Jeffrey Matthew. "Ralph Waldo Emerson, Persian poetry and the German critical tradition." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615029.

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Hamidifard-Graber, Fatemeh. "Von Ackerwinde bis Zypresse das Pflanzenreich im "Königsbuch" des Ferdousī." Berlin Schwarz, 2006. http://d-nb.info/995593868/04.

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Yamamoto, Kumiko. "From storytelling to poetry : the oral background of the Persian epics." Thesis, SOAS, University of London, 2000. http://eprints.soas.ac.uk/29473/.

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The present work examines the role played by oral tradition in the evolution of the Persian (written) epic tradition, which virtually began with the Shadhname of Ferdowsi (ShNF). The text is also the culmination of a long development that stretches back into ancient times. In the process of transmission of narratives, both writing and oral tradition are assumed to have played a role. While Ferdowsi's written sources have been studied, the influence of oral tradition on his work remains largely unexplored. In order to explore oral influence on the ShNF, the thesis suggests a new approach. Based on formal characteristics of naqqali (the Persian storytelling tradition as it is known from later times), a set of criteria is proposed to demonstrate the extent to which a written text shows structures which could be explained as deriving from oral composition, here called "Oral Performance Model" (OPM). The OPM consists of formal and thematic criteria. The former consider whether a text can be divided into a sequence of instalments, and the latter examine how instalment divisions affect the thematic organisation of the story. By applying the OPM to the ShNF, it becomes clear that Ferdowsi used techniques associated with oral storytelling. Such findings on the ShNF throw new light on the later epics, which are not only influenced by the ShNF as a model but are also influenced by oral performance. To demonstrate this, the OPM is applied to the Garshaspname of Asadi (GN). While oral performance continues to influence the structure of the text, it is also clear that literary elements play a greater role in the GN than in the ShNF. Despite his literary ambitions, Asadi displays his implicit dependence on oral performance, which seems to have fundamentally shaped his perception and appreciabon of heroic stories.
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Ghomi, Haideh. "The fragrance of the rose : the transmission of religion, culture and tradition through the translation of Persian poetry /." Göteborg : Dept. of Religious Studies, University of Göteborg, 1993. http://books.google.com/books?id=zutjAAAAMAAJ.

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Tetley, Gillies. "Panegyric poetry in Persian as evidence for political and social history : the poetry of Farrukhī Sīstanī adn Amīr Mu#izzī." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273435.

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Nilchian, Elham. "Sufi-romantic self loss : the study of the influence of Persian sufism on English romantic poetry." Thesis, University of Leicester, 2011. http://hdl.handle.net/2381/9909.

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This PhD thesis explores the influence of Persian Sufi Literature on the development of the concepts of self and Other in English Romantic-period prose and poetry. The thesis considers the notions of self, idealisation, and annihilation in the poetry of Percy Bysshe Shelley and George Gordon Byron as well as the Persian Sufi literature from which these Romantic poets have drawn their inspiration and influences. The Persian poets discussed include Hafez, Maulavi, and Nezami, whose works were translated and adapted by the eighteenth-century scholars such as William Jones and Isaac D‘Israeli. The thesis presents a comparison between the two schools of thought, Lacanianism and Sufism, in order to pave the way for a comparative analysis of Sufi and Romantic conceptions of the self and Other. The thesis then goes on to discuss a range of representations of the Orient in the pre-Romantic era, including the translations and adaptations rendered by eighteenth-century Oriental scholars such as Jones and D‘Israeli. Finally the thesis focuses on the influence of Persian literature on the works of Shelley and Byron. An attempt is made in these chapters to explore the extent to which the Romantic subject‘s desire for union with the ideal Other is made possible through idealisation of and dissolution in the Other, first in the literary historical context of the Sufi tradition, and secondly in the framework of the theoretical models in Lacanian psychoanalysis. In order to analyse the concepts of self and Other in their Romantic and Sufi contexts the thesis invokes Lacan‘s discussion of supplementary jouissance and sublimation. These Lacanian formulae prove helpful in analysing the path the Romantic subject pursues toward perfection and his desire for a return to the primal state of unity which is possible through dissolution in the ideal(ised) Other.
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Shams-Esmaeili, Fatemeh. "Official voices of a revolution : a social history of Islamic republican poetry." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:b6f2561b-fd26-4064-88b8-f365d7abf2e4.

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This thesis is primarily concerned with the literary aspects of the Islamic Republic of Iran. Its immediate focus rests on the evolution of the Islamic republican poetic trend, encompassing both the disillusioned and conformist voices that rose to prominence in the course of the 1979 Revolution and their on-going engagement with the ruling political power. In this vein, this thesis investigates the various cultural policies of the state, as well as select political transformations of the past three decades, all of which played a pivotal role in this literary evolution. The thesis shows how the official poets that emerged during the 1979 Revolution, and which proved significantly active throughout the immediate history subsequent to that event (war with Iraq, the death of Ayatollah Khomeini and the rise and fall of the reform movement), evolved over time and thereby either received political support for their commitment to the state ideology or became gradually excluded from official cultural institutions. Finally, this thesis reviews the manner in which state strategies have shaped an institutionalised form of poetry that is monitored and reinforced by the Supreme Leader of the Islamic Republic and official cultural authorities. It demonstrates how an innate linking of the project of Islamic republican literature to underlying ideologically defined notions such as 'religious verse', 'legitimate poetry' and 'commitment' was and continues to be an intrinsic part of the literary foundations of the ideological apparatus of the Islamic Republic.
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Ahmad, M. "A comparative study of English and Persian mystical poetry : With particular reference to Vaughan, Rumi and Hafiz." Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372701.

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Books on the topic "Persian poetry"

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Mahmud, Kianush, ed. Modern Persian poetry. Ware, Herts: Rockingham Press, 1996.

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1964-, Morley David, ed. Persian miniatures. Huddersfield: Smith/Doorstop, 1990.

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Khan, Shehzad Ahmad. Studies in Persian poetry. Karachi, Pakistan: Royal Book Co., 1994.

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Pinckney, Stetkevych Suzanne, ed. Reorientations: Arabic and Persian poetry. Bloomington: Indiana University Press, 1994.

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Shafi, Shauq, ed. Persian poetry of Mirza Ghalib. Srinagar: Pen Productions, 2000.

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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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1941-, Saberi Reza, ed. An invitation to Persian poetry: A bilingual text, Persian-English. Los Angeles: Ketab Corp., 2006.

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Soroudi, Sorour. Persian poetry in transition 1900-1925. Ann Arbor, Mich: UMI, 1995.

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Dehqani-Tafti, H. B. Christ and Christianity in Persian poetry. Basingstoke: Sohrab, 1990.

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Poṭah, ʻUmaru bin Muḥammadu Dāʼūd. The influence of Arabic poetry on the development of Persian poetry. 2nd ed. Karachi: Sindhi Adabi Society, 1988.

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Book chapters on the topic "Persian poetry"

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Bausani, A. "Ghalib's Persian Poetry." In Ghalib, 70–104. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003373551-4.

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Pirnazar, Nahid. "Vernacular Poetry." In Judeo-Persian Writings, 79–95. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-10.

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Pirnazar, Nahid. "Mystic Poetry." In Judeo-Persian Writings, 95–100. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-11.

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Pirnazar, Nahid. "Didactic Poetry." In Judeo-Persian Writings, 100–102. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-12.

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Pirnazar, Nahid. "Panegyric Poetry." In Judeo-Persian Writings, 102–6. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-13.

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Pirnazar, Nahid. "Satirical Poetry." In Judeo-Persian Writings, 106–7. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-14.

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Pirnazar, Nahid. "Historical Poetry." In Judeo-Persian Writings, 65–72. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-8.

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Pirnazar, Nahid. "Lyric Poetry." In Judeo-Persian Writings, 72–78. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-9.

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Pirnazar, Nahid. "Biblical Epic Poetry." In Judeo-Persian Writings, 48–64. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-7.

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Chang, H. K. "Persian Poetry and Painting." In Mapping Civilizations Across Eurasia, 315–26. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-7641-6_24.

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Conference papers on the topic "Persian poetry"

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Jumaxo'ja, Nusratullo. "THE ARTISTRY OF BABUR’S PERSIAN POETRY." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/bfis9820.

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It is known that Zahirad-Din Muhammad Babur was a great poet who wrote in two languages –Turkish and Persian. However, Babur’s Persian poetry hadnot been published in its entirety. In 2021, 6 volumes of his works called “Kullyot”were published. Babur's Persian poems werefullypublished for the first time in the 1st volumeof “Kullyot”in “Devan”. So, this article is about the art of Babur's Persian poetry.
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"Symbolism In Contemporary Persian Poetry." In International Conference on Humanities, Literature and Economics. International Centre of Economics, Humanities and Management, 2014. http://dx.doi.org/10.15242/icehm.ed0114011.

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Bazoeva, Nina Igorevna. "Reference to Persian Poets in Russian Lyrics of the 19th-20th Centuries." In All-Russian Scientific Conference with International Participation, chair Oksana Sergeevna Kravchuk. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-97820.

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Reysner, M. L. "Nauruz as a measure of perfection: spring calendar vocabulary of Persian poetry (ethical and aesthetic aspects)." In International scientific conference " Readings in memory of B.B. Lashkarbekov dedicated to the 70th anniversary of his birth". Yazyki Narodov Mira, 2020. http://dx.doi.org/10.37892/978-5-89191-092-8-2020-0-0-225-230.

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Sarikose, Mehmet. "PERSONAGES IN THE DIVAN OF BABUR." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/hryx7126.

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Classical Turkish literature is a literary tradition of approximately six centuries, within the general development of Turkish literature, whose theoretical and aesthetic principles were formed within the circle of Islamic civilization and shaped especially by the influence of Arabic and Persian literature. Classical Turkish literature, which is based on religious, historical, mythological and folklore foundations, also serves as a historical source with the "human" element it contains. Its’ statesmen, scholars, philosophers, poets, religious and sufi elders, legendary heroes and similar figures who left their mark on the culture and history of the society in which they lived are the most important sources of Classical Turkish Literature. Starting from this point, in this study, the names of the individuals mentioned in the Divan of Babur, one of the most important works of Chagatai Turkish, were examined and it was aimed at revealing the influence of the individuals within Babur's poetry world.
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Esmaeili, Nooshin, and Dr Brian Robert Sinclair. "Wisdom of Persian Architecture: Exploring the Design of the M.T.O. Sufi Centres in Search for the ‘Spirit of Place’." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15239.

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The field of architecture and design has changed and been impacted by advanced technology over the past few decades. Our world, which was already experiencing drastic change, has recently encountered accelerated upheaval due to the global pandemic. Enamored by virtual reality (VR), 3D printing, global positioning, and the proliferation of robots, we are arguably too often surrounded by resultant superficial, meaningless, and soulless spaces to which we can neither relate nor connect. The sense of delight, serenity, poetry, and beauty that we inherently desire and yearn for, is becoming increasingly rare -- and at times even lost -- in today’s architecture. It can be argued that contemporary architecture risks becoming more a tool and product than a work of art that mirrors society and self. As architects, we are responsible to humanity through our quest to design spaces that reunite us with our inner selves and foster a sense of being. Considering recent challenges, crises, and catastrophes, designers are continuously researching the well-known traditional and aged architecture of the past for novel approaches that can enlighten future works. Architects are beginning to more assertively seek factors that propel transcendental experience in space. The present paper considers the case of Persian architecture - one of the richest and most eminent architectural styles in the world. Most buildings of this genre were designed by individuals who were most notably spiritual masters, mystics, astronomers, mathematicians, philosophers, and then architects. This paper interrogates architecture to critically delineate Persian architecture’s role in enhancing contemplation and provoking reflection while highlighting spaces that poetically respond to and nurture our soul. Deploying a literature review and analysis of recently built Sufi Centers in the United States, the research then builds an argument for linking the wisdom of Persian architecture with the spirit of place focusing on the encounter of transcendental moments in space. All these Sufi centers are affiliated with the Maktab Tarighat Oveysi (M.T.O.) Shahamaghsoudi School of Islamic Sufism. Analysis of case studies culls out qualities of space that give rise to sacred (non-religious) experiences including connection with self, balance/ harmony, and most important of all, unity, and oneness internally and externally. Persian architecture, as one of history’s most celebrated building traditions, considers the intense relationship between the sacred and profane, between mortal and immortal, and between the physical and the non-physical. The analysis of these exceptional case studies serves as the foundation for an anticipated and thought-provoking guide to ‘transcendental design,’ introducing a novel approach for designers that encourages advancing beyond the physical form to pursue and optimize the vital intersection of wisdom, space, place, and self.
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7

Mitkina, Evgenia. "QIU XIAOLONG’S NOVELS: AMERICAN DETECTIVE STORIES WITH CHINESE ROOTS." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.23.

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Qiu Xiaolong is an American writer born in China, but he has been living in the United States since 1988. He wrote eleven novels about Inspector Chen, who lives in Shanghai and investigates crimes committed in that city. One of the features of Qiu Xiaolong’s work is insertions of poetry. Its main character is an educated person, he writes poetry himself, translates and actively uses the Chinese poetic heritage to express feelings. The author uses the form of a detective novel to show the various problems of modern China (the period covered is from the 1990s to the present day).
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GÜZEL, bdurrahman. "THE INFLUENCE OF ALI SHIR NAVOI ON Mughal NORTH INDIA." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/bzai2996.

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India, which has been a long-time ally of Turkic states throughout history, has had a dense Turkish population, especially as a result of the expeditions made by the Ghaznels, Timur and Baburls to North India. During the campaigns of Mahmud of Ghazni, many families with the surname Türkîolan can be found even today in Muradâbâd, Sambhal and Rampurgibi regions in Northern India, where the Turkish population settled. It is known that a significant Turkish population settled here during Timur's expeditions to Kabul, Punjab, Sind and Delhi after Ghazni. As a matter of fact, the Kutbils (1206-1266), Balabans (1266-1290), Kalach Sultanate (1290-1320), Tughluqs (1320-1414), Seyyids (1414-1451) and Lods (1451) ruled in North India from the 13th century. -1526) were able to gain power by taking advantage of the power of the Turkish population that had settled here before. Babur's defeat of Lûdîler in 1526 and the conquest of North India, unlike other expeditions, means the beginning of a permanent rule in this region. During the period when Babur sat on the throne for about five years, the importance he gave to Turkish in this region, along with Persian and Hindi, ensured that Turkish was spoken in the palace and that Turkish developed as a language of poetry. In this respect, Chagatai Turkish is a "new field"52 where the Timur literary tradition continues in North India, and it also represents a symbol of cultural dominance. This issue will be addressed in our work.
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Davronova, Zarnigor. "CHARACTERISTICS OF THE ANTHROPONYMS MENTIONED IN "BABURNAMA"." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/uubs9677.

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It is known from history that Central Asia has given the world many thinkers, poets and generals. Zahiriddin Muhammad Babur Mirza, one of the most complex, most attractive and greatest figures of our history, a unique person, took a proud place in world history during his short life of only forty-seven years. What Zahiriddin Muhammad Babur saw and experienced from the day he ascended the throne to his death is "Vaqoye" (this work is also called "Vaqeoti Baburiy", "Tuzuki Baburiy", "Tawarikhi Baburiy", "Baburiyya" in other sources. Later it was called "Baburnoma" saying is written in ) which has become a picture. His elegant ghazals and rubai are the rarest masterpieces of Turkish poetry, and his treatise on "Mubayyin" ("Declared"), "Hatti Baburiy", "Harb ishi" and Aruz became a worthy contribution to the fields of Islamic jurisprudence, poetry and linguistic theory.
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MEHMETALI, Bekir. "THE ARAB-TURKISH BROTHERHOOD IN MODERN ARABIC POETRY." In VI. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress6-3.

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Since ancient times, Arabic poetry has been a depiction of everything that is happening in the Arab environment that surrounds the poet wherever he is, and his igniting flame has not been extinguished in their souls, despite the subjugation of the Arab world to the rule of non-Arabs after Islam. It is known that the Arab Muslims set out from the Arabian Peninsula as conquerors and heralds of the serious Islamic religion, and as a result of this the entry of nonArabs into Islam that enlightened the darkness of their hearts, so the Persians, Romans, Copts, Abyssinians, Turks, and others will be enlightened by his guidance... Muslim rulers will succeed in ruling the Islamic state Arabs and non-Arabs, such as Persians, Turks, Kurds, and others. And when the Turkish Ottoman state was established on an Islamic religious basis, the Turkish Muslims carried the banner of Islam, so they defended it, relying on Muslims of all nations, from the Turks, the Laz, the Arabs, and others, so the Islamic Ottoman rule extended over common areas that included almost the entire Arab lands, and they did not differentiate between Muslim and another in view of his race, color or geography. However, this matter did not satisfy the lurking enemies who wanted sedition and division between the Arabs and the Turks, so they stirred up the winds of nationalism that some Arab poets sought in the modern era, such as Ibrahim al-Yaziji and Khalil Mutran. Herein lies the importance of the research, its objective, and its value. The research uses the descriptive and analytical approaches in order to highlight the manifestations of this brotherhood, which received sufficient attention from Arab poets in the modern era.
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Reports on the topic "Persian poetry"

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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