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Artículos de revistas sobre el tema "Bahram Beyzaie"

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

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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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2

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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3

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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4

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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7

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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8

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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9

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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10

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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11

Khalili Kolahian, Shiva. "An analytical study of the ritual ceremonies in Iranian performing arts, a case study of Travellers." CINEJ Cinema Journal 8, no. 2 (2020): 217–46. http://dx.doi.org/10.5195/cinej.2020.260.

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Rites and myths are important parts of the identity and the culture of every nation. Iranian rites and performing arts, as a part of Iranian art and culture, which has always got attention throughout history, can help us recognize ancient Iranian culture and history. Cinema, among other interactive arts, has sometimes been able to portray ritual arts well. Travellers movie, made by Bahram Beyzai, is one of the most prominent examples of the visualization of ritual arts in Iran, because the movie consists of three parts, like the three theaters, in which the rites are portrayed as the main stor
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12

Rajabi, Farhad. "Chahar Sandough by Bahram Beyzai and Al-Malek Hova Al-Malek by Saadallah Wannous: A Comparative Study on the Function of the Protagonist’s Character." Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi / Journal of Theatre Criticism and Dramaturgy, no. 39 (December 31, 2024): 14–23. https://doi.org/10.26650/jtcd.2024.3902.

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13

Ghanoonparvar, M. R. "The Marionettes, Bahram Beyza'i; Jodi-Anne George, Parvin Loloi, and Glyn Pursglove, eds., Salzburg, Austria: Poetry Salzburg at the University of Salzburg, SACS Salzburg Anglophone Critical Studies 2, 2005, 112 pp., photographs." Iranian Studies 40, no. 2 (2007): 290–92. http://dx.doi.org/10.1017/s0021086200024956.

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14

Ghoreishi, Seyed Aria. "The Collapse of the Male Gaze in the Cinema of Bahram Beyzaie: The Crow and Maybe Some Other Time." Iranian Studies, October 28, 2024, 1–21. http://dx.doi.org/10.1017/irn.2024.24.

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Abstract This article explores the correlation between two of Bahram Beyzaie's films and Laura Mulvey's theories on the male gaze. The films in question are The Crow (Kalāgh, 1977) and Maybe Some Other Time (Shāyad Vaqti Digar, 1987). This article delves into the films’ narrative structures, revealing a subtle yet significant shift in the dynamics of power and gaze. Initially, both films appear to conform to conventional representations of male dominance, establishing a seemingly patriarchal landscape. However, as the narratives unfold, a gradual transformation occurs, subverting conventions o
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15

Shams, Fatemeh. "The One Thousand and First Night: A Play by Bahram Beyzaie Translated and Critical Analysis by Saeed Talajooy (San Francisco, USA: Bisheh Publishing, 2023). 162 pp. Paperback, $20. ISBN 9781735568676." Iranian Studies, October 2, 2023, 1–3. http://dx.doi.org/10.1017/irn.2023.58.

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16

Bledstein, Max. "Saeed Talajooy. Iranian Culture in Bahram Beyzaie’s Cinema and Theatre: Paradigms of Being and Belonging (1959-1979)." Abstracta Iranica Volume 45 (2023). https://doi.org/10.4000/14b66.

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