The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria
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| 245 | 1 | 0 | |a The interpretation of Nizami's cultural heritage in the contemporary period |b shared past and cultural legacy in the transition from the prism of national literature criteria |c Rahilya Geybullayeva, Christine van Ruymbeke (eds.) |
| 264 | 1 | |a Berlin ; Bern ; Bruxelles ; New York ; Oxford ; Warszawa ; Wien |b Peter Lang |c [2020] | |
| 264 | 4 | |c © 2020 | |
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| adam_text | CONTENTS
ACKNOWLEDGMENTS
......................................................................................
5
PREFACE
................................................................................................................
7
CONTENTS
............................................................................................................
9
PART
I:
NIZAMI
AND
THEORIES
OF
IDENTITY
FOR
THE
LITERARY-CULTURAL
HERITAGE
IN
A
DISCOURSE
OF
COLLAPSING
IDENTITIES
RAHILYA
GEYBULLAYEVA
MODERN
INTERPRETATIONS
OF
NIZAMI
OR
MOULDS
WITHOUT
MOULDS:
NATIONAL
LITERATURE
CRITERIA,
SHARED
PAST
AND
IRREDENTA
..................................
27
INTRODUCTION
........................................................................................................
28
PART
1.
AN
EXCURSION
INTO
THE
CRITERIA
OF
NATIONAL
LITERATURE:
ILL-FITTING
MOULDS
OR
CHANGING
DOMINANT
ELEMENTS
..........................................................
29
PART
2.
HISTORICAL
SEMANTICS
RELATED
TO
MEDIEVAL
LITERATURE:
LITERATURE/SDSBIYYAT
-
BETWEEN
RULES
FOR
WRITING
AND
MORAL
RULES
....
33
HISTORICAL
SEMANTICS:
LITERATURE/
SDSBIYYAT
-RULES
FOR
WRITING
OR
MORALITY?
....
34
HISTORICAL
SEMANTICS:
DDABIYY
AT/FOLKLORE
-
LITERATURE/FOLKLORE?
.....................
35
LANGUAGE
OF
THE
TEXT:
BETWEEN
CLASSICAL
LITERATURE
AND
LOCAL
TRADITION
............
38
PART
3.
NIZAMI
IN
THE
CONCEPT
OF
*
NATIONAL
LITERATURE
CRITERIA
*
......................
38
PART
4.
NATIONAL
IDENTITY
THROUGH
THE PRISM
OF
EMPIRE/PERIPHERY:
THE
EXAMPLE
OF
SOVIET
LITERATURE
................................................................................
41
PART
5.
SHARED
PAST
AND
LITERATURE
IN
TRANSITION:
ETHNOS
AND
TERRITORY,
NATIONAL
LITERATURE
AND
IRREDENTA
.......................................................................
42
NATIONAL
LITERATURE
AND
CULTURE
THROUGH
THE
PRISM
OF
IRREDENTA
OR
METROPOLIS/PERIPHERY
.........................................................................................
47
THE
*
START
DATE
CRITERION
*
OF
NATIONAL
HISTORY
IN IRREDENTIST
CLAIMS-
THE
SUPPOSED
ANCESTORS
OF
MODERN
PEOPLES
............................................................
48
10
CONTENTS
EERO
TARASTI
THEORIES
OF
IRREDENTISM
IN
THE/EASTERN
AND
WESTERN
CULTURES
THROUGH
THEIR
HISTORY:
A
POSTCOLONIAL
AND
EXISTENTIAL
SEMIOTIC
APPROACH
..................
51
INTRODUCTION
........................................................................................................
51
AZERBAIJANI
MUGHAM
FOR
THE
TRANSMISSION
OF
A
CLASSICAL
POETRY
.....................
52
POSTCOLONIAL
IDEAS
...............................................................................................
53
PERSIAN
AND
ARABIC
PHILOSOPHY:
MYSTICISM
WITHIN
SUFISM
..............................
58
ORIENTAL
PHILOSOPHY
............................................................................................
59
THE
PHILOSOPHY
OF
IBN-ARABI
.............................................................................
62
AVICENNA
(IBN-SINA)
............................................................................................
63
ANUAR
GALIYEV
THE
CONSTRUCTION
OF
NATIONS
FROM
NIZAMI
TO
MAHMOOD
KASHQARI
...............
69
INTRODUCTION:
MAP,
MUSEUM
AND
*
THE
IMAGINED
COMMUNITY
*
.....................
69
*
WAR
OF
MEMORY
*
AS
THE
RIGHT
TO
TERRITORY
........................................................
71
MAHMOOD
KASHQARI
AND
YOUSIF
BALASAQUNLU
BETWEEN
TURKIC
PEOPLE
.............
74
PARALLELS
BETWEEN
BALASAQUN
AND
KAHSQARI
WITH
NAVOI
IN
THE
CONTEXT
OF
NATIONAL
IDENTITY
STRUGGLES
..................................................................................
76
STRUGGLE
FOR
CULTURAL
HERITAGE
IN
THE
CAUCASUS:
NIZAMI
AND
SHOTA
RUSTAVELI
..78
CHRISTINE
VAN
RUYMBEKE
NEZAMI
*
S
ESKANDAR
NAMA
AS
HISTORICAL
FICTION
AND
CONDEMNING
IRREDENTISM
..........................................................................................................
85
HISTORICALLY
REFERENCED
ACTIONS
AND
FACTS
AS
BACKGROUND
FOR
HIS
LITERARY
AGENDA
..................................................................................................................
86
SOURCES
BY
NIZAMI:
INTEGRATING
DATA
FOUND
IN
*
ALL
*
AVAILABLE
ALEXANDER
CYCLES,
IN
ALL
KINDS
OF
LANGUAGES?
.......................................................................
88
STRESSING
THE
GREEK-MACEDONIAN
HEREDITY
OF
ESKANDER
BY
NIZAMI
VS.
FERDOWSI
*
S
ATTRIBUTION
TO
ESKANDER
OF
AN
IRANIAN
LINEAGE
.................................
89
SHAH-NAMA
IN
SASANIAN
ELITE
CONTEXT:
SASANIAN
HISTORIOGRAPHER:
A
PROMOTER
OF
THE
SOCIAL
AND
POLITICAL
VALUE
INSTEAD
OF
AN
INVESTIGATOR
OF
FACTS
.
92
BETWEEN
PHILOSOPHICAL
NECESSITY
FOR
TRUTH,
HISTORICAL
FICTION
AND
HISTORICAL
ACCURACY
..............................................................................................
93
CONTENTS
11
EVA-MARIA
AUCH
NIZAMI
AND
GOETHE
*
S
*
ORIENTALISM
*
..................................................................
95
NIZAMI
IN
THE
CONTEXT
OF
EARLY
GERMAN
ORIENTAL
STUDIES
.................................
96
SO
HOW
DID
NIZAMI
S
WORK
MAKE
IT
INTO
THE
GERMAN
SCHOLARLY
WORLD
AND
ARCHIVES?
...............................................................................................................
98
NIZAMI
AND
GOETHE
AS
REPRESENTATIVES
OF
AN
*
IDEA
OF
WORLD
LITERATURE
*
.........
100
CAN
GOETHES
WORKS BE
SEEN
AS
A
FORM
OF
ORIENTALISM?
..................................
105
JONATHAN
LOCKE
HART
THE
CULTURAL
HERITAGE
AND
IRREDENTA
OF
POETRY:
HOW
THE
PERSIAN
POETRY
OF
OMAR
KHAYYAM,
NIZAMI
GANJAVI,
RUMI
AND
HAFEZ
ENRICHED
AND
REDEEMED
THE
UNACKNOWLEDGED
SPACE
OF
ENGLISH
POETRY
.............................
ILL
INTRODUCTION
......................................................................................................
ILL
DEFENDIN^POETRY
IN
ENGLISH
............................................................................
ILL
PART
II:
CONCEPTS,
CHARACTERS
AND
VALUES
OF
NIZAMI
ISMAIL
SERAGELDIN
WISE
WORDS
FROM
NIZAMI,
THE
SAGE
OF
GANJA
.................................................
123
PART
1.
GLOBAL
ETHICS
TODAY
...............................................................................
123
FIVE
FUNDAMENTAL
GOALS:
PEACE,
FREEDOM,
JUSTICE,
EQUALITY,
STAINABILITY
PEACE
..................................................................................................................
124
FREEDOM
.............................................................................................................
125
JUSTICE
.................................................................................................................
126
EQUALITY
..............................................................................................................
126
SUSTAINABILITY
.....................................................................................................
127
PART
2.
ON
GOVERNANCE
AND
VALUES
...................................................................
127
GOVERNANCE
.......................................................................................................
127
VALUES
................................................................................................................
127
PART
3.
WHAT
NIZAMI
SAID
..................................................................................
128
POWER
AND
INTRIGUE
...........................................................................................
128
12
CONTENTS
PEACE
...................................................................................................................
129
ON
PLURALISM
.....................................................................................................
130
NIZAMI
*
S
DEPICTION
OF
WOMEN
..........................................................................
130
ON
BEHAVIOR
AND
REFORMING
SOCIETY
.................................................................
131
THE
PATH
TO
WISDOM
...........................................................................................
132
KAMRAN
TALATTOF
THE
WORDSMITH:
FURTHER
REFLECTION
ON
THE
SOURCE
OF
NEZAMI
GANJAVI
*
S
CREATIVITY
...........................................................................................................
135
TAHIRE
MAMMED
TURKIC
LITERARY
IMAGE
IN
NIZAMI
GANJAVI
*
S
WORKS
.........................................
151
INTRODUCTION
......................................................................................................
151
TURKIC
BEAUTY,
OR
TURKI-PARIZAD,
IN
NIZAMI
*
SOEUVRE
.......................................
152
WISE
TURKIC
WOMEN
WHO
GUIDE
ROYALTY
...........................................................
154
NASIB
GOYUSHOV
KHAMSA:
THE
SOURCE
OF
WISDOM
AND
CIVILIZATION
.........................................
161
INTRODUCTION
......................................................................................................
161
EXPLANATION
OF
THE
TOPIC
...................................................................................
165
MAIL
YAQUB
JUSTICE
IN
NIZAMI
GANJAVI
*
S
PHILOSOPHICAL
HERITAGE
........................................
187
INTRODUCTION
......................................................................................................
188
NIZAMI
GANJAVI
AND
PHILOSOPHY
......................................................................
189
HUMAN
BEING
AND
HIS
POSITION
IN
NIZAMI
GANJAVI
*
S
PHILOSOPHY
...................
191
KING
AND
THE
CONCEPT
OF
JUSTICE
.......................................................................
192
NIZAMI
AND
UTOPIA
............................................................................................
194
ZOHRA
ALIYEVA
KHAMSA
QUINTET
AS
A
COLLECTION
OF
SHARED
VALUES
OF
THE
ORIENTAL
RENAISSANCE:
A
CONTEMPORARY
TAKE
ON
THE
NIZAMI
AND
NAVA
*
I
QUESTION
....
197
INTRODUCTION
......................................................................................................
197
CONTENTS
13
THE
KHAMSA
TRADITION
IN
CLASSICAL
ISLAMIC
POETRY
AND
ALI
SHIR
NAVA
I
..........
198
COMMON
MORAL
VALUES
IN
NIZAMI
AND
NAVAL
*
S
WORKS:
DIGNITY
AND
HONOR
...
199
COMMON
MORAL
VALUES
IN
NIZAMI
AND
NAVA
*
I
*
S
WORKS:
POETIC
WORD
AND
ITS
POWER
...........................................................................................................
199
COMMON
MORAL
VALUES
IN
NIZAMI
AND
NAVA
*
I
*
S
WORKS:
MOTIF
AND
PLOT
..........
200
BELLA
SIRAJGIZI
MUSAYEVA
NIZAMI
GANJAVI
*
S
WORKS
AS
THE
INSPIRATION
FOR
AZERBAIJAN
*
S
PRESENT-DAY
PROMOTION
OF
MULTICULTURALISM
.......................................................................
205
INTRODUCTION
......................................................................................................
205
TOLERANCE
IN
NIZAMI
*
S
CREATIVITY
AND
YEAR
OF
MULTICULTURALISM
IN
AZERBAIJAN
........................................................................................................
206
LOVE
AND
4
OTHERNESS
*
........................................................................................
207
COEXISTENCE
OF
DIFFERENT
CULTURES
IN
THE
MIRROR
OF
NIZAMI
*
S
TEXTS
.................
208
PART
III:
NIZAMI
*
S
HERITAGE
IN
THE
DISCOURSE
OF
MEDIEVAL
SYMBOLS
AND
REGIONAL
CONCEPTS
HAMLET
ISAKHANLI
NIZAMI
ON
ALCHEMY
.........................................................................................
215
INTRODUCTION
......................................................................................................
215
IMMORTALITY.
THE
LEGEND
OF
ALEXANDER
OF
MACEDONIA
(BY
NIZAMI
GANJAVI)
..218
NIZAMI
*
S
CHARACTER
OF
THE
ALCHEMIST
MARY
THE
COPT
......................................
220
HERMES,
BALINUS
...
AND
NIZAMI
.....................................................................
221
ALCHEMICAL
METAPHOR
IN
NIZAMI
.....................................................................
223
NIZAMI,
ALCHEMICAL
MERCURY
AND
COLOURS
.......................................................
228
NIZAMI
*
S
FERDOWSI
AND
ALCHEMY
......................................................................
229
PARVANA
ISAYEVA
BEKIR
THE
MOTIF
OF
JOURNEYTO
THE
UNDERWORLD
IN
NIZAMI
GANJAVI
*
S
ISKANDAR-
NAMA
.................................................................................................................
235
INTRODUCTION:
JOURNEY
TO
THE
UNDERWORLD
.......................................................
235
14
CONTENTS
THE
MOTIF
OF
JOURNEY
TO
THE
UNDERWORLD
TO
FIND
THE
WATER
OF
LIFE
IN
NIZAMI
GANJAVI
*
S
ISKANDAR-NAMAHAND
ITS
PARALLEL
WITH
SUMERIAN
AND
OGHUZ
EPICS
........................................................................................................
237
SYMBOLS
OF
THE
UNDERWORLD
MOTIF
IN
ISKANDAR-NAMA:
OLD
MAN,
KHIZR,
ILYAS,
AND
ZOOMORPHIC
CREATURES
......................................................................
239
NASRIN
FAGHIH,
MALEK
MARZBAN
AN
ANALYSIS
OF
THE
CONFLICT
BETWEEN
IRANIAN
AND
GREEK
DISCOURSES,
CONSIDERING
ALEXANDER
*
S
CHARACTER
IN
NIZAMI
*
S
ISKANDAR-NAMA
.................
245
INTRODUCTION
.......................................................................................................
245
SHARAF-NAMA
AND
IGBAL-NAMA
..........................................................................
246
IRANIAN
CIVILIZATION
DISCOURSE
AND
GREEK
CIVILIZATION
DISCOURSE
....................
247
ERNESTO
LACLAU
AND
CHANTAL
MOUFFE
*
S
DISCOURSE
THEORY
.................................
247
ALEXANDER
IN
WESTERN
AND
IRANIAN
SOURCES
......................................................
249
ALEXANDER
IN
NIZAMI
*
S
ISGANDZR-NAMA
.............................................................
251
THE
CONFLICT
BETWEEN
IRANIAN
AND
NON-IRANIAN
DISCOURSES
IN
NIZAMI
*
S
ISKANDAR-NAMA
..................................................................................................
252
TEYMUR
KERIMLI
THE
FIGHT
AGAINST
EVIL
IN
NIZAMI
AND
SHAKESPEARE:
A
TYPOLOGY
OF
THE
DEVELOPMENT
OF
LITERARY
CHARACTERS
(MAJNUN,
BAHRAM,
AND
HAMLET)
.........
255
INTRODUCTION
.......................................................................................................
255
*
GENIUSES
ARE
THE
ORPHANS
OF
THEIR
EPOCH...
*
...................................................
256
*
THAT
WHICH
IS
NEW
AND
ALSO
OLD
IS
SPEECH,
AND
ON
THIS
SPEECH
SOME
SPEECH
IS
TO
BE
USED...
*
(NIZAMI)
*
WORDS,
WORDS,
WORDS...
*
(SHAKESPEARE)
....
256
THE
LESS
SPEAKING
BEAUTY
...................................................................................
256
THE
FIGHT
AGAINST
WORDS
AND
EVIL:
MAJNUN,
BAHRAM,
AND
HAMLET
..................
258
EVIL,
MAJNUN,
AND
*
MAJNUNISM
*
AS
THE
PHILOSOPHY
OF
INSANITY
.....................
262
SUDABE
AGHABALAYEVA
NIZAMI
GANJAVI:
DIALOGUE
AS
A
MODE
OF
THINKING
..........................................
267
INTRODUCTION
......................................................................................................
267
NIZAMI
AND
HIS
DIDACTIC
STYLE
...........................................................................
268
CONTENTS
15
NIZAMI
AND
THE
UNIVERSAL
CONCEPT
OF
LOVE
.......................................................
269
DIALOGUE
MODE
OF
THINKING
AS
A
PATH
TO
WISDOM
...........................................
270
RUSTAM
KAMAL
POETICS
OF
NONVERBAL
BEHAVIOR
IN
NIZAMI
GANJAVI
*
S
EPIC
POEM
KHOSROW
AND
SHIRIN
.........................................................................................................
273
INTRODUCTION
......................................................................................................
273
NONVERBAL
BEHAVIOR
PATTERNS
AND
MEANS
ACCOMPANIED
BY
EMOTIONAL
AND
PSYCHOLOGICAL
STATES
OF
HEROES
IN
KHOSROW
AND
SHIRIN
....................................
275
PUTTING
A
HAND
ON
ONE
*
S
EYE
AS
A
GESTURE
.........................................................
276
PALACE
ETIQUETTE
RULES
........................................................................................
277
BITING
ONE
*
S
FINGER
AND
TOUCHING
ONE
*
S
NOSE
WITH
A
FINGER,
AND
THE
MEANING
OF
SURPRISE
.........................................................................................
278
PART
IV:
ARCHETYPES
CONSIDERED
AS
REGIONAL
MOTIFS
THROUGH
THE
CAUCASUS,
THE
MIDDLE
EAST,
AND
EUROPE
MEHMET
KALPAKLI
LEYLA
AS
THE
IMAGE
OF
BELOVED:
AN
ARCHEOLOGY
TRIAL,
FROM
NIZAMI
TO
ERIC
CLAPTON
......................................................................................................
283
RAFIK
NOVRUZOV
*
SEVEN
BEAUTIES
*
IN
TRANSLATION
OF
YAN
RYPKA
................................................
291
INTRODUCTION
......................................................................................................
291
PROLOGUE
OF
THE
POEM
.......................................................................................
292
STORIES
................................................................................................................
295
KHALIL
YUSIFII
ANALYSES
OF
*
SEVEN
BEAUTIES
*
ACCORDING
TO
MAYKL
*
S
BERN
*
S
INTERPRETATION
....
303
INTRODUCTION
.....................................................................................................
303
CRITIQUE
OF
MICHAEL
BARRY
*
S
VIEWS
ON
NIZAMI
*
S
ETHNIC
ORIGIN
........................
304
MICHAEL
BARRY
ABOUT
SHIRIN
*
S
ETHNIC
ORIGIN
.....................................................
308
THE
PROBLEM
IN
THE
LOGIC
OF
MICHAEL
BARRY
*
S
*
TURKISH
OR
PERSIAN
*
DILEMMA
....
310
16
CONTENTS
IRAKLI
KENCHOSHVILI
REGIONAL
LITERARY
TRADITION
FROM
NIZAMI
TO
VAGIF:
MILESTONES
IN THE
DEVELOPMENT
AND
TRANSFORMATION
OF
AZERBAIJANI
ASHUG
SONG
LYRICS
IN
GEORGIAN
POETRY
................................................................................................
315
ROLE
OF
PERSIAN
AND
AZERBAIJANI
POETIC
SCHOOL
...............................................
315
REASONS
BEHIND
THE
INFLUENCE
OF
AZERBAIJANI
POETRY
ON
THE
FORMATION
AND
DEVELOPMENT
OF
GEORGIAN
POETRY
OF
THE
18TH
CENTURIES
..........................
317
THE
TRADITION
OF
ICONOGRAPHY
OF
THE
ASHIQ
(BELOVED)
AND
SOME
ECHOES
OF
*
LAYLA
AND
MAJNUN
*
IN
GEORGIAN
LITERATURE
.....................................................
319
THE
ASHUG
SONG
LYRICS
AND
CHANGE
OF
CULTURAL
VECTOR:
FOCUS
ON
THE
WEST
320
ASHUG
POETRY
IN
GEORGIA:
FROM
ELITE
LITERATURE
TO
POPULAR
CULTURE
...............
321
EARLY
20TH
CENTURY:
THE
SYNTHESIS
OF
THE
WEST
AND
EAST
IN
GEORGIAN
POETRY
.................................................................................................................
322
FIDANA
MUSAYEVA
FARHAD:
MYTHICAL
CHARACTER
OR
HISTORICAL
FIGURE?
.........................................
327
INTRODUCTION
......................................................................................................
327
TRACES
OF
FARHAD
IN
HISTORY?
.............................................................................
329
FARHAD
AS
A
MYTHOLOGICAL
CHARACTER
..................................................................
331
FARHAD
IN
THE
WORKS
OF
POETS
WHO
CAME
BEFORE
AND
AFTER
NIZAMI
................
334
NIZAMI
*
S
EPIC:
FARHAD
*
S
AND
SHIRIN
*
S
LOVE
OR
FARHAD
*
S
LOVE?
.............................
335
RAHILYA
GEYBULLAYEVA
IDENTITIES
OF
NIZAMI
*
S
HEROES
IN
MODERN
INTERPRETATION:
FOLLOWING
THE
TRACES
OF
SHIRIN
*
S
CHARACTER
..............................................................................
339
INTRODUCTION
......................................................................................................
339
NIZAMI
*
S
ROLE
IN
THE
SHIRIN
ARCHETYPE
...............................................................
340
SHIRIN
IN
HISTORICAL
CHRONICLES:
TURKISH,
ARMENIAN,
ARAMAEAN?
..................
342
ARAMAEAN
PROTOTYPES:
SHIRIN
-
SIRA
-
SEIREM
-
SIREN
-
ROSAPHA
.................
344
ARAMAEAN
TRIBE
BEFORE
BIBLE,
IN
BIBLE,
AND
MODERN
ARAMEAN-CHRISTIANS
....
347
CONTENTS
17
PART
V:
LOVE
AND
LOVE
ALLEGORY
IN
MEDIEVAL
MUSLIM
LITERARY
REPRESENTATION
AZADA
RUSTAMOVA
PHILOSOPHY
OF
LOVE
IN
NIZAMI
GANJAVI
*
S
KHAMSA
IN THE
CONTEXT
OF
SUFISM
...........................................................................................................
353
INTRODUCTION
OR
SYMBOLISM
AND
ALLEGORY
OF
UNVEILED
IN
NIZAMI
*
S
WORKS
......
353
THE
TEACHING
OF
WAHDAT
AL-WUJUD
DOCTRINE
..................................................
355
UZRI
LOVE
IN
NIZAMI
*
S
WORKS:
SPIRITUAL
UNION
BETWEEN
THE
LOVER
AND
THE
BELOVED
..............................................................................................................
357
DIFFERENCES
BETWEEN
THE
SUFI
DIVINE
LOVE
AND
UZRI
LOVE
CONCEPT
...................
358
*
TURKISH
POEM
ISN
*
T
WORTHY
OF
HIM?
*
..............................................................
359
AYDIN
TALIBZADEH
REAL
BEAUTIES
OR
MYTHICAL
HOURIS?
..................................................................
363
BAHRAM
GUR,
FROM
BIRTH
TO
DEATH,
AND
HIS
REAL
AGE
........................................
363
SEVEN
BEAUTIES
AND
THE
CASTLE
OF
KHAVARNAQ
..................................................
365
SEVEN
BEAUTIES:
REAL
HUMANS
OR
MYTHICAL
HOURIS
IN
ISLAMIC
FAITH?
...............
367
POSSIBLE
SIMILARITIES
BETWEEN
ISLAMIC
HOURIS
AND
GREEK
HARPIES?
.................
368
TRANSFORMATION
OF
BLACK
INTO
WHITE:
COLORS,
DOMES
AND
THEIR
SYMBOLS
........
369
ABSTINENCE
STRENGTHENS
THE
SPIRIT
....................................................................
371
EMADEDDIN
NAGHIPOUR
EXPERIENCES
OF
PROHIBITION
AND
TRANSGRESSION
IN
NIZAMI
*
S
PORTRAYAL
OF
KHOSROW
AND
SHIRIN
...........................................................................................
375
INTRODUCTION
......................................................................................................
375
DICHOTOMY
OF
WORK/SEXUAL
TABOO
....................................................................
376
DUAL
EXPERIENCE:
OF
PROHIBITIONS
AND
OF
TRANSGRESSIONS
................................
376
ECONOMY
OF
IMAGERY
AND
ECONOMY
OF
CHARACTERIZATION
.................................
378
NIZAMI
*
S
INCORPORATION
OF
ART
AND
FOUCAULT
ON
PAINTING
................................
380
18
CONTENTS
PART
VI:
ARCHETYPES FROM
THE
CAUCASUS
AND
THE
INDIAN
SUBCONTINENT
SUDHA
SWARNAKAR
LAYLI
O
MAJNUN
FROM
NIZAMI
*
S
CLASSIC
TO
BOLLYWOOD
SCREEN:
INFLUENCE
AND
ADAPTATION
IN
COMPARATIVE
THEORY
.........................................................
389
INTRODUCTION
OR
COMPARATIVE
LITERATURE
MOVES
FROM
ITS
EUROPEAN
FRONTIERS
....
389
A
SUFI
FLAVOR
IN
NIZAMI
*
S
LAYLI
O
MAJNUN
.........................................................
391
ILL-FATED
LOVERS
THEME
IN
INDIAN
REGION
AND
AMIR
KHUSRAU
...........................
393
ADAPTATIONS
OF
*
LAILA
AND
MAJNU
*
AS
CINEMATIC
TRADITION
IN
INDIA
...............
398
STYLISTIC
ELEMENTS
*
VISUALITY
OF
NIZAMI
*
S
AND
AMIR
KHUSROW
*
S
VERSES
IN
INDIAN
CINEMA
...................................................................................................
403
NASEEM
AHMAD
SHAH
THE
POETRY
OF
NIZAMI
GANJAVI
AND
ITS
INTERFACE
WITH
INDIAN
POETIC
TRADITION:
A
STUDY
OF
THE
MATHNAWIS
OF
AMIR
KHUSRAW
................................
407
INTRODUCTION
......................................................................................................
407
NIZAMI
*
S
KHAMSA
...............................................................................................
408
IMITATORS
OF
NIZAMI
*
S
POETRY
IN
PERSIAN
...........................................................
412
IMPACT
OF
NIZAMI
ON
KHUSRAW
.........................................................................
413
THE
DISCOVERY
OF
THE
MURAQA
*
-I-AKBARI
OF
KHAMSA
.........................................
414
RAFAEL
B.
HUSEYNOV
CROSSROAD
POINTS
GENERATED
BY
NIZAMI
GANJAVI
*
S
LITERARY
MODEL
BUILDING
IN
EASTERN
AND
WESTERN
LITERATURE
...................................................
421
THE
MAIN
PARAMETERS
OF
NIZAMI
*
S
INFLUENCE
....................................................
421
THE
TRADITION
OF
NAZIRA
IN
EASTERN
LITERATURE
AND
FEATURES
OF
THE
CANONIZATION
OF
NIZAMI
*
S
HERITAGE
...................................................................
422
THE
SAQI
NAMA
GENRE,
CREATED
BY
NIZAMI
........................................................
423
THE
ADOPTION
OF
THIS LITERARY
FORM
IN
WESTERN
LITERATURE
................................
423
TRANSLATIONS
OF
NIZAMI
*
S
LITERARY
WORKS
INTO
EUROPEAN
LANGUAGES
AND
THE
TRANSITION
OF
THE
KHAMSA
MODEL
TO
THE
WEST
..................................................
427
FEATURES
OF
THE
TRANSFER
OF
NIZAMI
*
S
PLOTS
INTO
THE
FRENCH
CULTURAL
ENVIRONMENT
......................................................................................................
428
CONTENTS
19
AFAG
YUSIFLI
NIZAMI
AS
THE
CREATOR
OF
LITERARY
LEGENDS
.....................................................
435
METAPHORICAL
CHARACTERISTICS
OF
NIZAMIS
LEY//
AND
MAJ
NUN
..........................
435
THE
CONNECTION
OF
LEYLI
AND
MAJNUN
S
PLOT
WITH
NIZAMI
*
S
BIOGRAPHY
............
438
THE
SYMBOLIC
NATURE
OF
SALIM
AMIRI
*
S
CHARACTER
.............................................
440
PART
VII:
REGIONAL
ARCHETYPES
AND
RECYCLING
MOTIFS
IN
NIZAMI
*
S
AND
RUSTAVELI
*
S
CREATIVITY
IRMA
RATIANI,
MAKA
ELBAKIDZE
RUSTAVELI,
NIZAMI
*
S
CONTEMPORARY.
REVISITING
SOME
POETICAL
AND
AESTHETICAL
PRINCIPLES
.......................................................................................
447
INTRODUCTION
..................................................
447
*
IDEAL
REALITY
*
OR
THE
RUSTAVELI
CANON
AS
A
NEW
STAGE
IN
GEORGIAN
LITERATURE
.
449
ORIENTAL
POETIC
PARALLELS
OF
THE
AREA:
RUSTAVELI
*
S
WORK
AND
ORIENTAL
POETIC
MIJNURI
MOTIF
....................................................................................................
452
GAGA
LOMIDZE
TWO
STORIES
FROM
THE
MIDDLE
AGES
AND
THE
BAROQUE
PERIOD:
NIZAM
AND
GURAMISHVILI
....................................................................................................
455
COMPARING
*
THE
SEVEN
BEAUTIES
*
AND
*
THE
GAY
SUMMER
*
...........................
456
RENAISSANCE
VS.
CLASSICAL
RATIONALISM
..............................................................
458
PART
VIII;
NIZAMI
*
S
HERITAGE
IN
MUSICAL
INTERPRETATION
AND
APPLIED
ARTS
MARIA
TERESA
GIAVERI
NIZAMI
AND
THE
WESTERN
ARTS
..........................................................................
463
*
TOURANDOCTE
*
,
ORIENTALISME
AND
TURQUERIES
IN
THE
WEST:
ANONYMOUS
IN
NIZAMI
*
S
POEM,
IN
THE
FRENCHMAN
*
S
VERSION
ADOPTS
A
NAME
..........
T
...............
463
LA
PRINCESSE
DE
LA
CHINE,
TURANDOT,
DAUGHTER
OF
TURAN,
ON
THE
WESTERN
STAGE:
DISAPPEARANCE
AND
REVIVAL
.....................................................................
464
TURANDOT
IN
OPERA
.............................................................................................
465
TURANDOT
IN
THE
THEATRICAL
TRADITION
AFTER
MILLE
ET
UN
JOUR
..............................
467
20
CONTENTS
BACK
FOR
THE
FOUNDATION
TEXT,
THE
POEM
BY
NIZAMI
*
HAFT-
PEYKAR
*
:
ORIGINAL
PAGES
AND
THE
SUBSEQUENT
METAMORPHOSES
OF
THE
STORY
....
468
ASLI
SAMADOVA
NIZAMI
GANJAVI
*
S
OEUVRES
AS
A
SOURCE
OF
INSPIRATION
FOR
CONTEMPORARY
ART,
DANCE
AND
CINEMA
AND
A
MEANS
OF
BUILDING
SUCCESSFUL
CULTURAL
DIPLOMACY
.........................................................................................................
473
INTRODUCTION
......................................................................................................
473
THE
STORY
OF
CONTINUITY:
FROM
NIZAMI
TO
PUCCINI.
ORIGINS
............................
474
PRINCESS
TURANDOT
BY
NIZAMI
AND
PUCCINI
......................................................
476
SEVEN
BEAUTIES
POEM.
VERTIGO
SOUND
INSTALLATION
AT
SHIRVANSHAKHS
PALACE
..
477
JAMILA
YUSIF
HASANZADEH
THREE
ROYAL
COPIES
OF
NIZAMI
*
S
KHAMSA
FROM
THE
TABRIZ
SCHOOL
OF
ART
AS
A
REFLECTION
OF
A
THREE-CENTURY-LONG
TRADITION
........................................
483
MANUSCRIPT
FROM
1405-1410:
BEGINNINGS
OF
THE
TABRIZ-STYLE KHAMSA
TRADITION
.............................................................................................................
483
TABRIZ
MINIATURE
ART
IN
NIZAMIS
KHAMSA
DURING
THE
REIGN
OF
TWO
AZERBAIJANI
RULERS:
SULTAN
YAQUB
AK KOYUNLU
AND
SHAH
ISMAIL
....................
485
SHAH
TAHMASIB
*
S
KHAMSA:
THE
PINNACLE
OF
SAFAVID
MINIATURE
PAINTING
........
489
PROF
EM.
J.
CHRISTOPH
BUERGEL
THE
FINE
ARTS
IN
NIZAMI
*
S
EPICS
........................................................................
493
*
LOVE
AT
FIRST
SIGHT
OF
PICTURE
*
AND
OTHERS
........................................................
493
BAHRAM
GUR
AND
THE
SEVEN
BEAUTIES
...............................................................
495
MUSIC
..................................................................................................................
498
HEALING
POWER
OF
MUSIC
....................................................................................
499
|
| adam_txt |
CONTENTS
ACKNOWLEDGMENTS
.
5
PREFACE
.
7
CONTENTS
.
9
PART
I:
NIZAMI
AND
THEORIES
OF
IDENTITY
FOR
THE
LITERARY-CULTURAL
HERITAGE
IN
A
DISCOURSE
OF
COLLAPSING
IDENTITIES
RAHILYA
GEYBULLAYEVA
MODERN
INTERPRETATIONS
OF
NIZAMI
OR
MOULDS
WITHOUT
MOULDS:
NATIONAL
LITERATURE
CRITERIA,
SHARED
PAST
AND
IRREDENTA
.
27
INTRODUCTION
.
28
PART
1.
AN
EXCURSION
INTO
THE
CRITERIA
OF
NATIONAL
LITERATURE:
ILL-FITTING
MOULDS
OR
CHANGING
DOMINANT
ELEMENTS
.
29
PART
2.
HISTORICAL
SEMANTICS
RELATED
TO
MEDIEVAL
LITERATURE:
LITERATURE/SDSBIYYAT
-
BETWEEN
RULES
FOR
WRITING
AND
MORAL
RULES
.
33
HISTORICAL
SEMANTICS:
LITERATURE/
SDSBIYYAT
-RULES
FOR
WRITING
OR
MORALITY?
.
34
HISTORICAL
SEMANTICS:
DDABIYY
AT/FOLKLORE
-
LITERATURE/FOLKLORE?
.
35
LANGUAGE
OF
THE
TEXT:
BETWEEN
CLASSICAL
LITERATURE
AND
LOCAL
TRADITION
.
38
PART
3.
NIZAMI
IN
THE
CONCEPT
OF
*
NATIONAL
LITERATURE
CRITERIA
*
.
38
PART
4.
NATIONAL
IDENTITY
THROUGH
THE PRISM
OF
EMPIRE/PERIPHERY:
THE
EXAMPLE
OF
SOVIET
LITERATURE
.
41
PART
5.
SHARED
PAST
AND
LITERATURE
IN
TRANSITION:
ETHNOS
AND
TERRITORY,
NATIONAL
LITERATURE
AND
IRREDENTA
.
42
NATIONAL
LITERATURE
AND
CULTURE
THROUGH
THE
PRISM
OF
IRREDENTA
OR
METROPOLIS/PERIPHERY
.
47
THE
*
START
DATE
CRITERION
*
OF
NATIONAL
HISTORY
IN IRREDENTIST
CLAIMS-
THE
SUPPOSED
ANCESTORS
OF
MODERN
PEOPLES
.
48
10
CONTENTS
EERO
TARASTI
THEORIES
OF
IRREDENTISM
IN
THE/EASTERN
AND
WESTERN
CULTURES
THROUGH
THEIR
HISTORY:
A
POSTCOLONIAL
AND
EXISTENTIAL
SEMIOTIC
APPROACH
.
51
INTRODUCTION
.
51
AZERBAIJANI
MUGHAM
FOR
THE
TRANSMISSION
OF
A
CLASSICAL
POETRY
.
52
POSTCOLONIAL
IDEAS
.
53
PERSIAN
AND
ARABIC
PHILOSOPHY:
MYSTICISM
WITHIN
SUFISM
.
58
ORIENTAL
PHILOSOPHY
.
59
THE
PHILOSOPHY
OF
IBN-ARABI
.
62
AVICENNA
(IBN-SINA)
.
63
ANUAR
GALIYEV
THE
CONSTRUCTION
OF
NATIONS
FROM
NIZAMI
TO
MAHMOOD
KASHQARI
.
69
INTRODUCTION:
MAP,
MUSEUM
AND
*
THE
IMAGINED
COMMUNITY
*
.
69
*
WAR
OF
MEMORY
*
AS
THE
RIGHT
TO
TERRITORY
.
71
MAHMOOD
KASHQARI
AND
YOUSIF
BALASAQUNLU
BETWEEN
TURKIC
PEOPLE
.
74
PARALLELS
BETWEEN
BALASAQUN
AND
KAHSQARI
WITH
NAVOI
IN
THE
CONTEXT
OF
NATIONAL
IDENTITY
STRUGGLES
.
76
STRUGGLE
FOR
CULTURAL
HERITAGE
IN
THE
CAUCASUS:
NIZAMI
AND
SHOTA
RUSTAVELI
.78
CHRISTINE
VAN
RUYMBEKE
NEZAMI
*
S
ESKANDAR
NAMA
AS
HISTORICAL
FICTION
AND
CONDEMNING
IRREDENTISM
.
85
HISTORICALLY
REFERENCED
ACTIONS
AND
FACTS
AS
BACKGROUND
FOR
HIS
LITERARY
AGENDA
.
86
SOURCES
BY
NIZAMI:
INTEGRATING
DATA
FOUND
IN
*
ALL
*
AVAILABLE
ALEXANDER
CYCLES,
IN
ALL
KINDS
OF
LANGUAGES?
.
88
STRESSING
THE
GREEK-MACEDONIAN
HEREDITY
OF
ESKANDER
BY
NIZAMI
VS.
FERDOWSI
*
S
ATTRIBUTION
TO
ESKANDER
OF
AN
IRANIAN
LINEAGE
.
89
SHAH-NAMA
IN
SASANIAN
ELITE
CONTEXT:
SASANIAN
HISTORIOGRAPHER:
A
PROMOTER
OF
THE
SOCIAL
AND
POLITICAL
VALUE
INSTEAD
OF
AN
INVESTIGATOR
OF
FACTS
.
92
BETWEEN
PHILOSOPHICAL
NECESSITY
FOR
TRUTH,
HISTORICAL
FICTION
AND
HISTORICAL
ACCURACY
.
93
CONTENTS
11
EVA-MARIA
AUCH
NIZAMI
AND
GOETHE
*
S
*
ORIENTALISM
*
.
95
NIZAMI
IN
THE
CONTEXT
OF
EARLY
GERMAN
ORIENTAL
STUDIES
.
96
SO
HOW
DID
NIZAMI
S
WORK
MAKE
IT
INTO
THE
GERMAN
SCHOLARLY
WORLD
AND
ARCHIVES?
.
98
NIZAMI
AND
GOETHE
AS
REPRESENTATIVES
OF
AN
*
IDEA
OF
WORLD
LITERATURE
*
.
100
CAN
GOETHES
WORKS BE
SEEN
AS
A
FORM
OF
ORIENTALISM?
.
105
JONATHAN
LOCKE
HART
THE
CULTURAL
HERITAGE
AND
IRREDENTA
OF
POETRY:
HOW
THE
PERSIAN
POETRY
OF
OMAR
KHAYYAM,
NIZAMI
GANJAVI,
RUMI
AND
HAFEZ
ENRICHED
AND
REDEEMED
THE
UNACKNOWLEDGED
SPACE
OF
ENGLISH
POETRY
.
ILL
INTRODUCTION
.
ILL
DEFENDIN^POETRY
IN
ENGLISH
.
ILL
PART
II:
CONCEPTS,
CHARACTERS
AND
VALUES
OF
NIZAMI
ISMAIL
SERAGELDIN
WISE
WORDS
FROM
NIZAMI,
THE
SAGE
OF
GANJA
.
123
PART
1.
GLOBAL
ETHICS
TODAY
.
123
FIVE
FUNDAMENTAL
GOALS:
PEACE,
FREEDOM,
JUSTICE,
EQUALITY,
STAINABILITY
PEACE
.
124
FREEDOM
.
125
JUSTICE
.
126
EQUALITY
.
126
SUSTAINABILITY
.
127
PART
2.
ON
GOVERNANCE
AND
VALUES
.
127
GOVERNANCE
.
127
VALUES
.
127
PART
3.
WHAT
NIZAMI
SAID
.
128
POWER
AND
INTRIGUE
.
128
12
CONTENTS
PEACE
.
129
ON
PLURALISM
.
130
NIZAMI
*
S
DEPICTION
OF
WOMEN
.
130
ON
BEHAVIOR
AND
REFORMING
SOCIETY
.
131
THE
PATH
TO
WISDOM
.
132
KAMRAN
TALATTOF
THE
WORDSMITH:
FURTHER
REFLECTION
ON
THE
SOURCE
OF
NEZAMI
GANJAVI
*
S
CREATIVITY
.
135
TAHIRE
MAMMED
TURKIC
LITERARY
IMAGE
IN
NIZAMI
GANJAVI
*
S
WORKS
.
151
INTRODUCTION
.
151
TURKIC
BEAUTY,
OR
TURKI-PARIZAD,
IN
NIZAMI
*
SOEUVRE
.
152
WISE
TURKIC
WOMEN
WHO
GUIDE
ROYALTY
.
154
NASIB
GOYUSHOV
KHAMSA:
THE
SOURCE
OF
WISDOM
AND
CIVILIZATION
.
161
INTRODUCTION
.
161
EXPLANATION
OF
THE
TOPIC
.
165
MAIL
YAQUB
JUSTICE
IN
NIZAMI
GANJAVI
*
S
PHILOSOPHICAL
HERITAGE
.
187
INTRODUCTION
.
188
NIZAMI
GANJAVI
AND
PHILOSOPHY
.
189
HUMAN
BEING
AND
HIS
POSITION
IN
NIZAMI
GANJAVI
*
S
PHILOSOPHY
.
191
KING
AND
THE
CONCEPT
OF
JUSTICE
.
192
NIZAMI
AND
UTOPIA
.
194
ZOHRA
ALIYEVA
KHAMSA
QUINTET
AS
A
COLLECTION
OF
SHARED
VALUES
OF
THE
ORIENTAL
RENAISSANCE:
A
CONTEMPORARY
TAKE
ON
THE
NIZAMI
AND
NAVA
*
I
QUESTION
.
197
INTRODUCTION
.
197
CONTENTS
13
THE
KHAMSA
TRADITION
IN
CLASSICAL
ISLAMIC
POETRY
AND
ALI
SHIR
NAVA
I
.
198
COMMON
MORAL
VALUES
IN
NIZAMI
AND
NAVAL
*
S
WORKS:
DIGNITY
AND
HONOR
.
199
COMMON
MORAL
VALUES
IN
NIZAMI
AND
NAVA
*
I
*
S
WORKS:
POETIC
WORD
AND
ITS
POWER
.
199
COMMON
MORAL
VALUES
IN
NIZAMI
AND
NAVA
*
I
*
S
WORKS:
MOTIF
AND
PLOT
.
200
BELLA
SIRAJGIZI
MUSAYEVA
NIZAMI
GANJAVI
*
S
WORKS
AS
THE
INSPIRATION
FOR
AZERBAIJAN
*
S
PRESENT-DAY
PROMOTION
OF
MULTICULTURALISM
.
205
INTRODUCTION
.
205
TOLERANCE
IN
NIZAMI
*
S
CREATIVITY
AND
YEAR
OF
MULTICULTURALISM
IN
AZERBAIJAN
.
206
LOVE
AND
4
OTHERNESS
*
.
207
COEXISTENCE
OF
DIFFERENT
CULTURES
IN
THE
MIRROR
OF
NIZAMI
*
S
TEXTS
.
208
PART
III:
NIZAMI
*
S
HERITAGE
IN
THE
DISCOURSE
OF
MEDIEVAL
SYMBOLS
AND
REGIONAL
CONCEPTS
HAMLET
ISAKHANLI
NIZAMI
ON
ALCHEMY
.
215
INTRODUCTION
.
215
IMMORTALITY.
THE
LEGEND
OF
ALEXANDER
OF
MACEDONIA
(BY
NIZAMI
GANJAVI)
.218
NIZAMI
*
S
CHARACTER
OF
THE
ALCHEMIST
MARY
THE
COPT
.
220
HERMES,
BALINUS
.
AND
NIZAMI
.
221
ALCHEMICAL
METAPHOR
IN
NIZAMI
.
223
NIZAMI,
ALCHEMICAL
MERCURY
AND
COLOURS
.
228
NIZAMI
*
S
FERDOWSI
AND
ALCHEMY
.
229
PARVANA
ISAYEVA
BEKIR
THE
MOTIF
OF
JOURNEYTO
THE
UNDERWORLD
IN
NIZAMI
GANJAVI
*
S
ISKANDAR-
NAMA
.
235
INTRODUCTION:
JOURNEY
TO
THE
UNDERWORLD
.
235
14
CONTENTS
THE
MOTIF
OF
JOURNEY
TO
THE
UNDERWORLD
TO
FIND
THE
WATER
OF
LIFE
IN
NIZAMI
GANJAVI
*
S
ISKANDAR-NAMAHAND
ITS
PARALLEL
WITH
SUMERIAN
AND
OGHUZ
EPICS
.
237
SYMBOLS
OF
THE
UNDERWORLD
MOTIF
IN
ISKANDAR-NAMA:
OLD
MAN,
KHIZR,
ILYAS,
AND
ZOOMORPHIC
CREATURES
.
239
NASRIN
FAGHIH,
MALEK
MARZBAN
AN
ANALYSIS
OF
THE
CONFLICT
BETWEEN
IRANIAN
AND
GREEK
DISCOURSES,
CONSIDERING
ALEXANDER
*
S
CHARACTER
IN
NIZAMI
*
S
ISKANDAR-NAMA
.
245
INTRODUCTION
.
245
SHARAF-NAMA
AND
IGBAL-NAMA
.
246
IRANIAN
CIVILIZATION
DISCOURSE
AND
GREEK
CIVILIZATION
DISCOURSE
.
247
ERNESTO
LACLAU
AND
CHANTAL
MOUFFE
*
S
DISCOURSE
THEORY
.
247
ALEXANDER
IN
WESTERN
AND
IRANIAN
SOURCES
.
249
ALEXANDER
IN
NIZAMI
*
S
ISGANDZR-NAMA
.
251
THE
CONFLICT
BETWEEN
IRANIAN
AND
NON-IRANIAN
DISCOURSES
IN
NIZAMI
*
S
ISKANDAR-NAMA
.
252
TEYMUR
KERIMLI
THE
FIGHT
AGAINST
EVIL
IN
NIZAMI
AND
SHAKESPEARE:
A
TYPOLOGY
OF
THE
DEVELOPMENT
OF
LITERARY
CHARACTERS
(MAJNUN,
BAHRAM,
AND
HAMLET)
.
255
INTRODUCTION
.
255
*
GENIUSES
ARE
THE
ORPHANS
OF
THEIR
EPOCH.
*
.
256
*
THAT
WHICH
IS
NEW
AND
ALSO
OLD
IS
SPEECH,
AND
ON
THIS
SPEECH
SOME
SPEECH
IS
TO
BE
USED.
*
(NIZAMI)
*
WORDS,
WORDS,
WORDS.
*
(SHAKESPEARE)
.
256
THE
LESS
SPEAKING
BEAUTY
.
256
THE
FIGHT
AGAINST
WORDS
AND
EVIL:
MAJNUN,
BAHRAM,
AND
HAMLET
.
258
EVIL,
MAJNUN,
AND
*
MAJNUNISM
*
AS
THE
PHILOSOPHY
OF
INSANITY
.
262
SUDABE
AGHABALAYEVA
NIZAMI
GANJAVI:
DIALOGUE
AS
A
MODE
OF
THINKING
.
267
INTRODUCTION
.
267
NIZAMI
AND
HIS
DIDACTIC
STYLE
.
268
CONTENTS
15
NIZAMI
AND
THE
UNIVERSAL
CONCEPT
OF
LOVE
.
269
DIALOGUE
MODE
OF
THINKING
AS
A
PATH
TO
WISDOM
.
270
RUSTAM
KAMAL
POETICS
OF
NONVERBAL
BEHAVIOR
IN
NIZAMI
GANJAVI
*
S
EPIC
POEM
KHOSROW
AND
SHIRIN
.
273
INTRODUCTION
.
273
NONVERBAL
BEHAVIOR
PATTERNS
AND
MEANS
ACCOMPANIED
BY
EMOTIONAL
AND
PSYCHOLOGICAL
STATES
OF
HEROES
IN
KHOSROW
AND
SHIRIN
.
275
PUTTING
A
HAND
ON
ONE
*
S
EYE
AS
A
GESTURE
.
276
PALACE
ETIQUETTE
RULES
.
277
BITING
ONE
*
S
FINGER
AND
TOUCHING
ONE
*
S
NOSE
WITH
A
FINGER,
AND
THE
MEANING
OF
SURPRISE
.
278
PART
IV:
ARCHETYPES
CONSIDERED
AS
REGIONAL
MOTIFS
THROUGH
THE
CAUCASUS,
THE
MIDDLE
EAST,
AND
EUROPE
MEHMET
KALPAKLI
LEYLA
AS
THE
IMAGE
OF
BELOVED:
AN
ARCHEOLOGY
TRIAL,
FROM
NIZAMI
TO
ERIC
CLAPTON
.
283
RAFIK
NOVRUZOV
*
SEVEN
BEAUTIES
*
IN
TRANSLATION
OF
YAN
RYPKA
.
291
INTRODUCTION
.
291
PROLOGUE
OF
THE
POEM
.
292
STORIES
.
295
KHALIL
YUSIFII
ANALYSES
OF
*
SEVEN
BEAUTIES
*
ACCORDING
TO
MAYKL
*
S
BERN
*
S
INTERPRETATION
.
303
INTRODUCTION
.
303
CRITIQUE
OF
MICHAEL
BARRY
*
S
VIEWS
ON
NIZAMI
*
S
ETHNIC
ORIGIN
.
304
MICHAEL
BARRY
ABOUT
SHIRIN
*
S
ETHNIC
ORIGIN
.
308
THE
PROBLEM
IN
THE
LOGIC
OF
MICHAEL
BARRY
*
S
*
TURKISH
OR
PERSIAN
*
DILEMMA
.
310
16
CONTENTS
IRAKLI
KENCHOSHVILI
REGIONAL
LITERARY
TRADITION
FROM
NIZAMI
TO
VAGIF:
MILESTONES
IN THE
DEVELOPMENT
AND
TRANSFORMATION
OF
AZERBAIJANI
ASHUG
SONG
LYRICS
IN
GEORGIAN
POETRY
.
315
ROLE
OF
PERSIAN
AND
AZERBAIJANI
POETIC
SCHOOL
.
315
REASONS
BEHIND
THE
INFLUENCE
OF
AZERBAIJANI
POETRY
ON
THE
FORMATION
AND
DEVELOPMENT
OF
GEORGIAN
POETRY
OF
THE
18TH
CENTURIES
.
317
THE
TRADITION
OF
ICONOGRAPHY
OF
THE
ASHIQ
(BELOVED)
AND
SOME
ECHOES
OF
*
LAYLA
AND
MAJNUN
*
IN
GEORGIAN
LITERATURE
.
319
THE
ASHUG
SONG
LYRICS
AND
CHANGE
OF
CULTURAL
VECTOR:
FOCUS
ON
THE
WEST
320
ASHUG
POETRY
IN
GEORGIA:
FROM
ELITE
LITERATURE
TO
POPULAR
CULTURE
.
321
EARLY
20TH
CENTURY:
THE
SYNTHESIS
OF
THE
WEST
AND
EAST
IN
GEORGIAN
POETRY
.
322
FIDANA
MUSAYEVA
FARHAD:
MYTHICAL
CHARACTER
OR
HISTORICAL
FIGURE?
.
327
INTRODUCTION
.
327
TRACES
OF
FARHAD
IN
HISTORY?
.
329
FARHAD
AS
A
MYTHOLOGICAL
CHARACTER
.
331
FARHAD
IN
THE
WORKS
OF
POETS
WHO
CAME
BEFORE
AND
AFTER
NIZAMI
.
334
NIZAMI
*
S
EPIC:
FARHAD
*
S
AND
SHIRIN
*
S
LOVE
OR
FARHAD
*
S
LOVE?
.
335
RAHILYA
GEYBULLAYEVA
IDENTITIES
OF
NIZAMI
*
S
HEROES
IN
MODERN
INTERPRETATION:
FOLLOWING
THE
TRACES
OF
SHIRIN
*
S
CHARACTER
.
339
INTRODUCTION
.
339
NIZAMI
*
S
ROLE
IN
THE
SHIRIN
ARCHETYPE
.
340
SHIRIN
IN
HISTORICAL
CHRONICLES:
TURKISH,
ARMENIAN,
ARAMAEAN?
.
342
ARAMAEAN
PROTOTYPES:
SHIRIN
-
SIRA
-
SEIREM
-
SIREN
-
ROSAPHA
.
344
ARAMAEAN
TRIBE
BEFORE
BIBLE,
IN
BIBLE,
AND
MODERN
ARAMEAN-CHRISTIANS
.
347
CONTENTS
17
PART
V:
LOVE
AND
LOVE
ALLEGORY
IN
MEDIEVAL
MUSLIM
LITERARY
REPRESENTATION
AZADA
RUSTAMOVA
PHILOSOPHY
OF
LOVE
IN
NIZAMI
GANJAVI
*
S
KHAMSA
IN THE
CONTEXT
OF
SUFISM
.
353
INTRODUCTION
OR
SYMBOLISM
AND
ALLEGORY
OF
UNVEILED
IN
NIZAMI
*
S
WORKS
.
353
THE
TEACHING
OF
WAHDAT
AL-WUJUD
DOCTRINE
.
355
UZRI
LOVE
IN
NIZAMI
*
S
WORKS:
SPIRITUAL
UNION
BETWEEN
THE
LOVER
AND
THE
BELOVED
.
357
DIFFERENCES
BETWEEN
THE
SUFI
DIVINE
LOVE
AND
UZRI
LOVE
CONCEPT
.
358
*
TURKISH
POEM
ISN
*
T
WORTHY
OF
HIM?
*
.
359
AYDIN
TALIBZADEH
REAL
BEAUTIES
OR
MYTHICAL
HOURIS?
.
363
BAHRAM
GUR,
FROM
BIRTH
TO
DEATH,
AND
HIS
REAL
AGE
.
363
SEVEN
BEAUTIES
AND
THE
CASTLE
OF
KHAVARNAQ
.
365
SEVEN
BEAUTIES:
REAL
HUMANS
OR
MYTHICAL
HOURIS
IN
ISLAMIC
FAITH?
.
367
POSSIBLE
SIMILARITIES
BETWEEN
ISLAMIC
HOURIS
AND
GREEK
HARPIES?
.
368
TRANSFORMATION
OF
BLACK
INTO
WHITE:
COLORS,
DOMES
AND
THEIR
SYMBOLS
.
369
ABSTINENCE
STRENGTHENS
THE
SPIRIT
.
371
EMADEDDIN
NAGHIPOUR
EXPERIENCES
OF
PROHIBITION
AND
TRANSGRESSION
IN
NIZAMI
*
S
PORTRAYAL
OF
KHOSROW
AND
SHIRIN
.
375
INTRODUCTION
.
375
DICHOTOMY
OF
WORK/SEXUAL
TABOO
.
376
DUAL
EXPERIENCE:
OF
PROHIBITIONS
AND
OF
TRANSGRESSIONS
.
376
ECONOMY
OF
IMAGERY
AND
ECONOMY
OF
CHARACTERIZATION
.
378
NIZAMI
*
S
INCORPORATION
OF
ART
AND
FOUCAULT
ON
PAINTING
.
380
18
CONTENTS
PART
VI:
ARCHETYPES FROM
THE
CAUCASUS
AND
THE
INDIAN
SUBCONTINENT
SUDHA
SWARNAKAR
LAYLI
O
MAJNUN
FROM
NIZAMI
*
S
CLASSIC
TO
BOLLYWOOD
SCREEN:
INFLUENCE
AND
ADAPTATION
IN
COMPARATIVE
THEORY
.
389
INTRODUCTION
OR
COMPARATIVE
LITERATURE
MOVES
FROM
ITS
EUROPEAN
FRONTIERS
.
389
A
SUFI
FLAVOR
IN
NIZAMI
*
S
LAYLI
O
MAJNUN
.
391
ILL-FATED
LOVERS
THEME
IN
INDIAN
REGION
AND
AMIR
KHUSRAU
.
393
ADAPTATIONS
OF
*
LAILA
AND
MAJNU
*
AS
CINEMATIC
TRADITION
IN
INDIA
.
398
STYLISTIC
ELEMENTS
*
VISUALITY
OF
NIZAMI
*
S
AND
AMIR
KHUSROW
*
S
VERSES
IN
INDIAN
CINEMA
.
403
NASEEM
AHMAD
SHAH
THE
POETRY
OF
NIZAMI
GANJAVI
AND
ITS
INTERFACE
WITH
INDIAN
POETIC
TRADITION:
A
STUDY
OF
THE
MATHNAWIS
OF
AMIR
KHUSRAW
.
407
INTRODUCTION
.
407
NIZAMI
*
S
KHAMSA
.
408
IMITATORS
OF
NIZAMI
*
S
POETRY
IN
PERSIAN
.
412
IMPACT
OF
NIZAMI
ON
KHUSRAW
.
413
THE
DISCOVERY
OF
THE
MURAQA
*
-I-AKBARI
OF
KHAMSA
.
414
RAFAEL
B.
HUSEYNOV
CROSSROAD
POINTS
GENERATED
BY
NIZAMI
GANJAVI
*
S
LITERARY
MODEL
BUILDING
IN
EASTERN
AND
WESTERN
LITERATURE
.
421
THE
MAIN
PARAMETERS
OF
NIZAMI
*
S
INFLUENCE
.
421
THE
TRADITION
OF
NAZIRA
IN
EASTERN
LITERATURE
AND
FEATURES
OF
THE
CANONIZATION
OF
NIZAMI
*
S
HERITAGE
.
422
THE
SAQI
NAMA
GENRE,
CREATED
BY
NIZAMI
.
423
THE
ADOPTION
OF
THIS LITERARY
FORM
IN
WESTERN
LITERATURE
.
423
TRANSLATIONS
OF
NIZAMI
*
S
LITERARY
WORKS
INTO
EUROPEAN
LANGUAGES
AND
THE
TRANSITION
OF
THE
KHAMSA
MODEL
TO
THE
WEST
.
427
FEATURES
OF
THE
TRANSFER
OF
NIZAMI
*
S
PLOTS
INTO
THE
FRENCH
CULTURAL
ENVIRONMENT
.
428
CONTENTS
19
AFAG
YUSIFLI
NIZAMI
AS
THE
CREATOR
OF
LITERARY
LEGENDS
.
435
METAPHORICAL
CHARACTERISTICS
OF
NIZAMIS
LEY//
AND
MAJ
NUN
.
435
THE
CONNECTION
OF
LEYLI
AND
MAJNUN
S
PLOT
WITH
NIZAMI
*
S
BIOGRAPHY
.
438
THE
SYMBOLIC
NATURE
OF
SALIM
AMIRI
*
S
CHARACTER
.
440
PART
VII:
REGIONAL
ARCHETYPES
AND
RECYCLING
MOTIFS
IN
NIZAMI
*
S
AND
RUSTAVELI
*
S
CREATIVITY
IRMA
RATIANI,
MAKA
ELBAKIDZE
RUSTAVELI,
NIZAMI
*
S
CONTEMPORARY.
REVISITING
SOME
POETICAL
AND
AESTHETICAL
PRINCIPLES
.
447
INTRODUCTION
.
447
*
IDEAL
REALITY
*
OR
THE
RUSTAVELI
CANON
AS
A
NEW
STAGE
IN
GEORGIAN
LITERATURE
.
449
ORIENTAL
POETIC
PARALLELS
OF
THE
AREA:
RUSTAVELI
*
S
WORK
AND
ORIENTAL
POETIC
MIJNURI
MOTIF
.
452
GAGA
LOMIDZE
TWO
STORIES
FROM
THE
MIDDLE
AGES
AND
THE
BAROQUE
PERIOD:
NIZAM
AND
GURAMISHVILI
.
455
COMPARING
*
THE
SEVEN
BEAUTIES
*
AND
*
THE
GAY
SUMMER
*
.
456
RENAISSANCE
VS.
CLASSICAL
RATIONALISM
.
458
PART
VIII;
NIZAMI
*
S
HERITAGE
IN
MUSICAL
INTERPRETATION
AND
APPLIED
ARTS
MARIA
TERESA
GIAVERI
NIZAMI
AND
THE
WESTERN
ARTS
.
463
*
TOURANDOCTE
*
,
ORIENTALISME
AND
TURQUERIES
IN
THE
WEST:
ANONYMOUS
IN
NIZAMI
*
S
POEM,
IN
THE
FRENCHMAN
*
S
VERSION
ADOPTS
A
NAME
.
T
.
463
LA
PRINCESSE
DE
LA
CHINE,
TURANDOT,
DAUGHTER
OF
TURAN,
ON
THE
WESTERN
STAGE:
DISAPPEARANCE
AND
REVIVAL
.
464
TURANDOT
IN
OPERA
.
465
TURANDOT
IN
THE
THEATRICAL
TRADITION
AFTER
MILLE
ET
UN
JOUR
.
467
20
CONTENTS
BACK
FOR
THE
FOUNDATION
TEXT,
THE
POEM
BY
NIZAMI
*
HAFT-
PEYKAR
*
:
ORIGINAL
PAGES
AND
THE
SUBSEQUENT
METAMORPHOSES
OF
THE
STORY
.
468
ASLI
SAMADOVA
NIZAMI
GANJAVI
*
S
OEUVRES
AS
A
SOURCE
OF
INSPIRATION
FOR
CONTEMPORARY
ART,
DANCE
AND
CINEMA
AND
A
MEANS
OF
BUILDING
SUCCESSFUL
CULTURAL
DIPLOMACY
.
473
INTRODUCTION
.
473
THE
STORY
OF
CONTINUITY:
FROM
NIZAMI
TO
PUCCINI.
ORIGINS
.
474
PRINCESS
TURANDOT
BY
NIZAMI
AND
PUCCINI
.
476
SEVEN
BEAUTIES
POEM.
VERTIGO
SOUND
INSTALLATION
AT
SHIRVANSHAKHS
PALACE
.
477
JAMILA
YUSIF
HASANZADEH
THREE
ROYAL
COPIES
OF
NIZAMI
*
S
KHAMSA
FROM
THE
TABRIZ
SCHOOL
OF
ART
AS
A
REFLECTION
OF
A
THREE-CENTURY-LONG
TRADITION
.
483
MANUSCRIPT
FROM
1405-1410:
BEGINNINGS
OF
THE
TABRIZ-STYLE KHAMSA
TRADITION
.
483
TABRIZ
MINIATURE
ART
IN
NIZAMIS
KHAMSA
DURING
THE
REIGN
OF
TWO
AZERBAIJANI
RULERS:
SULTAN
YAQUB
AK KOYUNLU
AND
SHAH
ISMAIL
.
485
SHAH
TAHMASIB
*
S
KHAMSA:
THE
PINNACLE
OF
SAFAVID
MINIATURE
PAINTING
.
489
PROF
EM.
J.
CHRISTOPH
BUERGEL
THE
FINE
ARTS
IN
NIZAMI
*
S
EPICS
.
493
*
LOVE
AT
FIRST
SIGHT
OF
PICTURE
*
AND
OTHERS
.
493
BAHRAM
GUR
AND
THE
SEVEN
BEAUTIES
.
495
MUSIC
.
498
HEALING
POWER
OF
MUSIC
.
499 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author2 | Qeybullayeva, Rähilä 1961- Ruymbeke, Christine van |
| author2_role | edt edt |
| author2_variant | r q rq c v r cv cvr |
| author_GND | (DE-588)141227648 (DE-588)111975013X |
| author_corporate | The interpretation of Nizami's Cultural Heritage in the Modern Period (Veranstaltung) Baku |
| author_corporate_role | aut |
| author_facet | Qeybullayeva, Rähilä 1961- Ruymbeke, Christine van The interpretation of Nizami's Cultural Heritage in the Modern Period (Veranstaltung) Baku |
| author_sort | The interpretation of Nizami's Cultural Heritage in the Modern Period (Veranstaltung) Baku |
| building | Verbundindex |
| bvnumber | BV047178392 |
| classification_rvk | EV 5375 |
| ctrlnum | (OCoLC)1245342561 (DE-599)DNB1220617733 |
| dewey-full | 891.5511 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 891 - East Indo-European and Celtic literatures |
| dewey-raw | 891.5511 |
| dewey-search | 891.5511 |
| dewey-sort | 3891.5511 |
| dewey-tens | 890 - Literatures of other languages |
| discipline | Indoiranistik Literaturwissenschaft |
| discipline_str_mv | Indoiranistik Literaturwissenschaft |
| format | Conference Proceeding Book |
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| genre_facet | Konferenzschrift 14.03.2018-15.03.2018 Baku |
| id | DE-604.BV047178392 |
| illustrated | Illustrated |
| index_date | 2024-07-03T16:45:11Z |
| indexdate | 2024-09-27T16:47:09Z |
| institution | BVB |
| institution_GND | (DE-588)1231549629 (DE-588)1065711506 |
| isbn | 9783631817148 3631817142 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032583729 |
| oclc_num | 1245342561 |
| open_access_boolean | |
| owner | DE-473 DE-BY-UBG DE-12 |
| owner_facet | DE-473 DE-BY-UBG DE-12 |
| physical | 502 Seiten Illustrationen 21 cm, 649 g |
| psigel | BSB_NED_20210420 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Peter Lang |
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| spellingShingle | The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria Niẓāmī Ganǧawī, Ilyās Ibn-Yūsuf 1141-1209 (DE-588)118785958 gnd |
| subject_GND | (DE-588)118785958 (DE-588)1071861417 |
| title | The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria |
| title_auth | The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria |
| title_exact_search | The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria |
| title_exact_search_txtP | The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria |
| title_full | The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria Rahilya Geybullayeva, Christine van Ruymbeke (eds.) |
| title_fullStr | The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria Rahilya Geybullayeva, Christine van Ruymbeke (eds.) |
| title_full_unstemmed | The interpretation of Nizami's cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria Rahilya Geybullayeva, Christine van Ruymbeke (eds.) |
| title_short | The interpretation of Nizami's cultural heritage in the contemporary period |
| title_sort | the interpretation of nizami s cultural heritage in the contemporary period shared past and cultural legacy in the transition from the prism of national literature criteria |
| title_sub | shared past and cultural legacy in the transition from the prism of national literature criteria |
| topic | Niẓāmī Ganǧawī, Ilyās Ibn-Yūsuf 1141-1209 (DE-588)118785958 gnd |
| topic_facet | Niẓāmī Ganǧawī, Ilyās Ibn-Yūsuf 1141-1209 Konferenzschrift 14.03.2018-15.03.2018 Baku |
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