Bibliografías temáticas / Bahram Beyzaie

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Literatura académica sobre el tema "Bahram Beyzaie"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Bahram Beyzaie"

1

Pak-Shiraz, Nacim. "Exploring the City in the Cinema of Bahram Beyzaie." Iranian Studies 46, no. 5 (2013): 811–28. http://dx.doi.org/10.1080/00210862.2013.789745.

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Ghanoonparvar, M. R. "Collective Identity and Despotism: Lessons in Two Plays by Bahram Beyzaie." Iranian Studies 46, no. 5 (2013): 753–64. http://dx.doi.org/10.1080/00210862.2013.789741.

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Mahmoodi-Bakhtiari, Behrooz, and Mahsa Manavi. "The Mongol Invasion in Iranian Drama: The Case of Bahram Beyzaie." Iranian Studies 46, no. 5 (2013): 765–89. http://dx.doi.org/10.1080/00210862.2013.789742.

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Mirmasoomi, Mahshid. "Hamartia and Catharsis in Shakespeare’s King Lear and Bahram Beyzaie’s Death of Yazdgerd." International Letters of Social and Humanistic Sciences 74 (November 2016): 16–25. http://dx.doi.org/10.18052/www.scipress.com/ilshs.74.16.

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King Lear(1606) is one of the political tragedies of Shakespeare in which the playwright censures Lear's hamartia wrecking havoc not only upon people's lives but bringing devastation on his own kindred. Shakespeare castigates Lear's wrath, sense of superiority, and misjudgments which lead to catastrophic consequences. InDeath ofYazdgerd(1979), an anti-authoritarian play, Bahram Beyzayie, the well-known Persiaian tragedian, also depicts the hamartia of King Yazdgerd III whose pride and unjust treatment of people end in devastation. By demonstrating such defective and reprehensible tragic heroes
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5

Shahraki, Alireza, Mohammad Ali Khosravi, and Seyed Esmaeil Hoseini Goli. "Cultural Policies of the Islamic Republic and Their Impact on the Works of Bahram Beyzaie and Mahmoud Dowlatabadi." Journal of Social-Political Studies of Iran's Culture and History 3, no. 5 (2024): 194–209. https://doi.org/10.61838/kman.jspsich.3.5.11.

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With the victory of the Islamic Revolution in Iran, a regime was established that, based on its nature and the roots of its emergence, perceives culture as a structured framework and the driving force of socio-political life. This form of government is defined as an ideological state, which, by its nature, arises from ideological revolutions and enforces non-negotiable directives in the cultural domain. In this study, the statistical population was first determined to include the plays of Bahram Beyzaie and Mahmoud Dowlatabadi. This research initially designs categories, and their face validit
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6

Amjad, Hamid. "From the Land of the Pure, in Search of the Lost Origin: An Interview with Bahram Beyzaie onSiyavush-Khani(Siyavush Recitation) and its Mythological and Literary Roots." Iranian Studies 46, no. 5 (2013): 721–36. http://dx.doi.org/10.1080/00210862.2013.789739.

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Talajooy, Saeed. "Reformulation ofShahnamehLegends in Bahram Beyzaie's Plays." Iranian Studies 46, no. 5 (2013): 695–719. http://dx.doi.org/10.1080/00210862.2013.789735.

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Farhadi, Ramin, and Mohammad Amin Mozaheb. "History, Aporia and Politics in Bahram Beyzaie’s Death of Yazdgerd." Annals of Language and Literature 2, no. 2 (2018): 19–25. http://dx.doi.org/10.22259/2637-5869.0202004.

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Rutherford, Anne. "Film, trauma és az enunciatív jelen." Apertura 15, no. 3 (2020): 1–24. http://dx.doi.org/10.31176/apertura.2019.15.3.1.

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A traumakutatások azon kísérlete, hogy az atrocitásokról részletes beszámolót adjon, kudarcra van ítélve a trauma kimondhatatlan és elképzelhetetlen jellege miatt, ami a tapasztalat és a nyelv közti szakadékra is rámutat. Ez a megközelítés ugyanakkor a túlélők fájdalma iránt is érzéketlen, akiket a közönség tagjaiként újra traumatizálhat a beszámoló. A tanulmány a traumával való munka alternatív lehetőségeire mutat rá, melyeknek alapja az etikai megközelítés, a túlélők iránti törődés, a reprezentáció többszólamú formái és az érzéki és affektív eszközökön keresztül a karakterekhez való érzelmi
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Forouzani, Farzaneh, Narges Mohammadi Badr, Mostafa Gorji, and Shahin Haghighi. "The Role of Language in Processing Various Characters in Bahram Beyzai’s Play: One Thousand and First Night." Journal of History Culture and Art Research 6, no. 1 (2017): 8. http://dx.doi.org/10.7596/taksad.v6i1.698.

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Tesis sobre el tema "Bahram Beyzaie"

1

Emad, Mona. "Les oeuvres théâtrales de Bahram Beyzaie : la forme traditionnelle du théâtre et sa modernisation." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30073.

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Bahram Beyzaie, né en 1938 en Iran, est considéré comme un très grand cinéaste et auteur dramatique de sa génération. Si certains de ses films sont bien connus, son théâtre est moins célèbre à l’étranger parce qu’il a été peu traduit et peu joué. Pour lui le théâtre est le lieu par excellence où renouer avec les formes traditionnelles de spectacle non pas pour les reconstituer mais pour parler au public d’aujourd’hui et lutter contre l’amnésie. Il nourrit donc ses pièces de théâtre, ses films, ses contes et ses narrations de l’héritage culturel oublié de son pays. Cette thèse propose d’examine
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2

Talajooy, Saeed Reza. "Mythologizing the transition : a comparative study of Bahram Beyzaee and Wolfe Soyinka." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/406/.

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Bahram Beyzaee, the Iranian playwright, screenwriter and filmmaker, and Wole Soyinka, the Nigerian poet, playwright, and novelist have produced artistic works that transcend the limitations of time and locality to become powerful comments on human life and socio-political and cultural institutions. This research study examines the major themes and dramatic techniques of these two writers to demonstrate how, in two very different cultural settings, traditional modes and themes appear in modem art forms to renegotiate cultural identity. I argue that both writers place themselves in a post postco
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3

Sheikhi, Shoustari Masoud. "An investigation into representations of women in Iranian New Wave cinema." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10150.

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In an analytical look into the history of the formation of Iranian New Wave cinema, this research explores the key elements that constitute integration between the women representation and the evolution of New Wave visual narrative. The paper will preliminarily examine the public’s response to the early representation of women in classic Iranian cinema and discusses the impact of the socio-political modifications, imposed by the process of modernisation, on the reception of the early representation by the Iranian public. The paper then discuss aspects of the philosophical framework in relation
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4

Najmi, Fahimeh. "L'identite nationale et le théâtre en Iran (sous le règne des Pahlavi)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030053.

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A l’opposé des spectacles traditionnels iraniens qui sont un sujet exploré depuis des années par la recherche théâtrale notamment à l’extérieur des frontières iraniennes, l’étude du« théâtre en Iran » est encore à ses balbutiements. La présente étude se concentre sur une période cruciale de l’histoire contemporaine iranienne où dans un contexte très agité les efforts sincères de trois initiés : Mir Seyfeddin Kermanshahi, Abdolhossein Noushin et Shahin Sarkissian parviennent au lancement d’un théâtre qui se réclamant de l’art, dépasse le cadre du simple divertissement ou de la pure propagande e
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Libros sobre el tema "Bahram Beyzaie"

1

Kāvah, ʻAlī Riz̤ā. Bahram Beyzaie va "Vaqtī hamah khvābīm": Bahram Beyzaie and When we are all asleep. Intishārāt-i Nīlā, 2019.

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2

Zāvin, Qūkāsiyān, ed. Dar bārah-i musāfirān: Sākhtah-yi Bahram Beyzaie. Intishārāt-i Rawshangarān, 1992.

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3

Gholipour, Farshid, ed. Divan-e dialogue-e Bahram Beyzaie. dayere-ye sefid, 2021.

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4

Tarniyān, Riz̤ā. Bahram Beyzaie ; zabān, huvīyat va qudrat. Intishārāt-i Rawzanah, 2019.

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Qūkāsiyān, Zāvin. Bahram Beyzaie va padīdah-ʼi Sagʹkushī. Intishārāt-i Khujastah, 2002.

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6

Shahlā, Shamīm. Mafhūm-i taʻziyah az nigāh-i Bahram Beyzaie: Muṭālaʻah-i taṭbīqī-i mafhūm-i taʻziyah az nigāh-i Bahrām Bayz̤āyī va safarnāmahʹhā-yi gharbī. Roshangaran & Women Studies Publishing, 2020.

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7

Afshārī, Maryam. Taḥlīlī bar bāztāb-i usṭūrah dar sīnamā-yi Bahram Beyzaie. Intishārāti Rawshangarān va Muṭālaʻāt-i Zanān, 2015.

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8

Ghookasian, Zaven, ред. Guftugū, naqd va naẓar va fīlmnāmah-ʼi Guftugū bā bād-i Bahram Beyzaie. Nashr-i Dīdār, 2000.

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9

Mihrābī, Āẕar. Qudrat-i nūstāluzhī: Darūnmāyahʹhā-yi nūstāluzhīk dar ās̲ār-i namāyishī-i Bahram Beyzaie. Intishārāt-i Shabāhang, 2020.

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10

Hūshang, Allāhʹvardī Amīr, ред. Khīrah bih fānūs-i khayāl: Justārī dar namādʹhā va usṭūrahʹhā-yi chahār fīlm-i Bahram Beyzaie (Ragbār, Gharībah va mih, Kulāgh, Marg-i Yazdagird). Naqsh-i Khvurshīd, 2001.

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Capítulos de libros sobre el tema "Bahram Beyzaie"

1

"Bahram Beyzaie." In Iranian Cinema Uncensored. I.B.Tauris, 2016. http://dx.doi.org/10.5040/9780755609185.ch-002.

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Beyzaie, Bahram, and Amir Roshan. "‘At the END of A Century’ (1996)." In Counter-Memories in Iranian Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479752.003.0013.

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Written on the occasion of the 100-year anniversary of cinema and first published in Persian in Iran Nameh (1996), Bahram Beyzaie’s article »At the End of a Century« (»Pas az sad sāl«) is now accessible to a wider readership, thanks to the translation by Amir Roshan. Beyzaie traces back the struggle with censorship and with what he calls ‘absolutism’ to the cultural history of Iran and Persia. Absolutism according to Beyzaie is not a political system as in the classic definition of political philosophy; it is a worldview which horizontally determines the relation between subjects, and between th
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3

Talajooy, Saeed. "History and Iranian drama: The case of Bahram Beyzaie." In Preceptions of Iran. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755611621.ch-011.

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"Bahram Beyzaie’s contour in time." In Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0005.

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"The Journey (1972)." In Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0009.

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"Uncle Moustache (1970)." In Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0007.

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"The Puppet Trilogy (1962–3)." In Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0006.

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"Conclusion." In Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0012.

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"Notes." In Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0013.

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"Downpour (1971–2)." In Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0008.

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