Showing 10 results for Khayyam
Volume 2, Issue 2 (10-2014)
Abstract
Hakim Omar Khayyam, the famous Persian poet, is always regarded by many scholars and poets. Khayam has always been preoccupied with issues such as complex secret of existence, life, death, predetermination, and authority, and these issues have wandered him. Sometimes, these issues have drawn him to skeptisism and pessimism, and sometimes, have invited him to gain the opportunity. Mahmud Sami Albarudi, the Egyptian politician and poet, has been inspired by Khayam in such issues as skeptisism to the time, invitation to gain opportunity and enjoyment, and has discussed them. The difference between his philosophy is much narrower than that of Khayam so that he cannot be known as master of a philosophy school. The present study aimed to investigate the roots and signs of Albarudiˊs influence in a comparative view with Khayam.
Volume 3, Issue 3 (10-2012)
Abstract
Death, existence and creation’s mystery are among of the most important subjects in literature and philosophy. Paul Valery and Khayyam, in spite of difference in their historical periods, have the same idea about death and existence.
In his poem, Valery describes a marine vista, which is the symbol of boundless soul. However, in this sight, by passage of the time, the soul is worn-out and destroyed.
Khayyam in his Rubaiyat considers fruitless thinking about the existence and the creation’s mystery.
In this article, we try to survey the concept of death and existence in Paul Valery’s “The Graveyard by the Sea” and Khayyam’s Rubaiyat, Finally, these questions would be replied: “Why Paul Valery and Khayyam feared from death?” “Whether this fear arouses from their pessimistic and narrow minded view or it has existentialism fundamental?” and “How does the poetical imagination change to be a scene for speaking of the depth of poet’s philosophical vision about death?”
Volume 4, Issue 1 (9-2016)
Abstract
With no doubt, the newly founded discipline of Comparative Literature has a very close relationship with translation and translations studies. If we accept the fact that Comparative Literature, at least in one of its school, deals with influence studies, then, we are in the realm of translation studies. Translation can serve as a force for literary renewal and innovation. This is one of the ways in which translation studies research has served comparative literature well. Now it is acknowledged that translation has played a vital role in literary history and that great periods of literary innovation are preceded by periods of intense translation activity. The significance of FitzGerald’s Rubaiyat of Omar Khayyam lies in how the poem was read when it appeared and in the precise historical moment when it was published. The impact of FitzGerald’s Rubaiyat was such that on the one hand it could serve as models for a new generation of poets struggling to make the skepticism and pessimism a proper subject for poetry, while on the other hand it established a benchmark for future translators because they set the parameters in the minds of English-language readers of what Persian poetry could do. The present study tries to show that FitzGerald’s Rubaiyat had a role in forming pre-modern English poetry, notably Housman’s poetry, in terms of form and content.
Volume 4, Issue 3 (12-2023)
Abstract
Problem: The concept of urban public art and its emergence in the public sphere is one of the most important factors in strengthening and accelerating the process of the creative city. Street music as an urban public art, is an influential event in urban communities that seeks to improve the quality of social life, strengthen collective memories, increase the level of vitality and dynamism of the city and achieve creative urban development.
Target: The authors try to redefine the importance and significance of the urban public arts event in urban spaces, identify the feasibility of performing street music in social environments. The green corridor of Shahrchai and the Khayyam Jonubi sidewalk of Urmia city have been studied.
Method: In this regard, in the present study, information has been collected with the aim of application and descriptive-analytical nature and by using documentary-library methods, questionnaire and interview tools. The statistical population and sample size consist of two groups of experts, thinkers and university professors and active members of street music, which includes 60 samples including stratified or group sampling method. For quantitative analysis, the methods of Kolmogorov-Smirnov, Spearman Correlation, Swara and Cocoso have been used.
Result: According to the findings, the social, cultural and environmental dimensions and the indicators of "possibility of live music performance" and "quality of environmental design" have gained the highest and lowest levels of importance, respectively. Also, the green corridor of Shahrchai has more favorable conditions than the performance of urban Public arts (street music) compared to the Khayyam Jonubi sidewalk of Urmia.
Volume 4, Issue 4 (2-2024)
Abstract
Urban art, as a fluid event in the city, seeks to reduce vitality due to not paying attention to creating a vibrant urban space and creating changes in social and cultural behaviors. In the urban place, different types of arts can be seen, among which music has received less attention so that the physical-spatial scene of the city does not have a suitable place for performing music. Nowadays, in the urban space, a different kind of street musicology has been formed, playing and singing mostly as a solo or two-person performance.
This study aims to investigate creating a sense of belonging and vitality to the urban space and music audiences and the effect of music on the audience in the urban space.
The research method in this article is based on the preparing a questionnaire and selecting three different statistical populations, considering the effect of music on different sections of society. The current study is a case study of Khayyam Street in Urmia.
The results of the research indicate that, from the point of view of businessmen, passers-by, and music teachers, street music as a street art has a significant impact on urban space, music cultural as well as urban vitality and audience attraction, giving the audience a sense of belonging to the urban space.
Volume 5, Issue 4 (12-2014)
Abstract
Metaphor and its cultural specific attributes in translation is one of the main challenges in translatology. Translatability of metaphor is reduced due to its cultural impediments. This paper aims to investigate the relationship of metaphor to cultural models in translation. Three quatrains by Khayyam and their English and Kurdish translations were investigated. The results showed that the translators have succeeded in achieving equivalency when the metaphors are based on common cultural models, while the metaphors of uncommon cultural models are not properly transmitted. So the same mapping condition of Mandelblit’s theory is due to common cultural models, and different mapping condition is due to uncommon cultural models.
Mostafa Hosseini,
Volume 9, Issue 33 (5-2016)
Abstract
Up to now many bilingual editions, English-Persian, of Rubaiyat of Omar Khayyam has been published in Iran. The latest one has been done by Rooshank Bahreini which has been published by Hermes Publishers in bilingual series, and has run three printings. This is based upon A. J. Arberry's Romance of the Rubaiyat (1859). A. J. Arberry's Romance of the Rubaiyat elaborates on Edward FitzGerald's first edition of Rubaiyat of Omar Khayyam (1859, congaing 75 quatrains), and tries to find the Persian equivalent for each quatrain. It is worth noting that A. J. Arberry's book is based upon the seminal book of Edward Heron Allen's book Edward FitzGerald’s Rubâ’iyât of Omar Khayyâm with Their Original Persian Sources, Collated from his Own MSS.( London, 1899). Miss. Bahreini has added an introduction to the A. J. Arberry's book which has some stark mistakes and sometimes is misleading. The present paper tries to make amends them.
Abbas Jahedjah, Leila Rezaei,
Volume 10, Issue 38 (8-2017)
Abstract
There have been disagreements on the number of original Khayyam’s Quatrains (rubaiyat). Stylistics approaches can help to distinguish the original Quatrains. The prosody has the ability to show some stylistic characteristics. Although the main goal of this study is to find the prosodic style of Khayyam’s Quatrains by determining the Frequency of prosodic factors, there was no way to study prosody of Quatrains in general. The history of finding the main meter of Quatrain is studied in critical view. The results show that the frequencies of prosodic factors is effective and useful in realizing Khayyam’s personal style. Some prosodic factors have high frequencies and others have low frequencies: three long syllables is not used as the first foot generally; In the second foot, two short syllables are not substituted with one long syllable. %95 of Quatrains have composed in just 4 meters. 256 prosodic patterns could be distinguished on the whole.
Naghi (sina) Jahandide Koodehi, Alireza Nikouei,
Volume 11, Issue 43 (12-2018)
Abstract
Khayyamiyat as a discourse was gradually formed in the course of three decades (from the seventh to the ninth centuries) and was signified through local and historical landmarks. This discourse has been formed through a dialogical and dialectic construct. the Shariah- holders’ harsh reaction against the argument, inquiry, and metaphors of the famous quatrain “Tarkibe Tabaye” indicates that Khayyamiyat began with philosophical inquiries in the rising hegemony of theological discourse. The formation of the quatrain “Tarkib-e Pialeh” followed by “Tarkib-e Tabaye” (replacing Koozeh / Pialeh with Tabaye / Badan and Charkhe Koozehgari with Charkhe Falak) indicate a metaphorical movement that struggles to change philosophical-theological inquiries into aesthetic issues. With the inauguration of this groundbreaking metaphor, many quatrains were produced throughout centuries. With this perspective, it is also possible to differently analyze the issue of “wandering quatrains” and the search for “original quatrains” that are emerging discussions and the outcome of contemporary ideologies as well as modern man’s mind. In fact, the displaced quatrains as defense mechanism turn to discursive author by ignoring the work’s author, and they foretell the workings of signifiers in the two contending discourses. The present research tries to discuss the three centuries of discontinuities and evolutions in Khayyamiyat through tracing the course of the two quatrains “Tarkibe Tabaye and Tarkibe Pialeh” as a metaphorical movement and through a report of the encounter of the four groups of the Shariah- holders and theologians, historians, poets and editors, and anthologists of the quatrains with the two quatrains.
Volume 12, Issue 47 (6-2015)
Abstract
Mohammad Hosein Nikdar Asl. PH.D
Zabihollah Fathi
Abstract
The acclaimed Iranian poet, philosopher, and mathematician, Khayyam, has presented his views on the universe and mankind in the few quatrains which he has left behind. Some of his remarks and thoughts are rooted in ancient culture of Iran. Topics such as time, and the impact of the sky and stars on human life, which have been mentioned in Khayyam’s quatrains, reflect on that culture. Zarvan is an Iranian tradition, which considers the universe to be based and rooted in time. In this tradition, the sky and constellations leave an irrefutable impact on man’s life and mankind has no authority in the fate which has been registered for him. Obviously, such teachings had captured the attention of a thinker life Khayyam. In this article, topics such as destination and its functions, and fate, and return to infinity in Khayyam’s quatrains, and the works that have remained from Zarvan tradition, have been compared, and the impact of such beliefs on this poet have been manifested.
