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Olfati Savoji and Rawaih Gulshan Qutbshahi
No full textOlfati Savoji was an 11th-century Shiite poet who served at the court of Abdullah Qutbshah. In addition to composing poetry in celebration of him, Savoji also authored two treatises, namely "Riyaz al-Sana'i Qutbshahi" and "Rawaih Gulshan Qutbshahi," as a tribute to Abdullah Qutbshah. The novels of Gulshan Qutbshahi have been erroneously attributed to Olfati Yazdi by most tazkira writers. However, based on historical and stylistic data, it is clear that these works actually belong to Muslim Olfati Savoji. Therefore, the attribution to Olfati Yazdi is false. Rawaih Golshan is a concise work that includes an introduction, seven fragrances, and a conclusion. It employs a combination of prose and structured language, reminiscent of artificial and technical texts. The treatise provides a detailed account of Abdullah Qutbshah, his military forces, servants, royal palaces, renowned festivities, and holidays, as well as the enchanting aspects of Hyderabad. Olfati authored the document in the year 1051. Olfati has directed his endeavors towards ensuring the phonetic equilibrium of the text and the cadence of the words. Hence, the utilization of various puns, rhyming prose, and other verbal devices, such as the employment of sequential additions and repetition throughout the entire piece, is truly remarkable. In addition, he has employed arrays, such as similes and contrasts, to establish proportionality and semantic equilibrium within phrases.IntroductionThe influx of Muslim Iranians to India commenced under the reign of Sultan Mahmud in the late 7th century, leading to the establishment of indigenous administrations in the southern and central regions of India. Sultan Qoli founded the Qutbshah dynasty. Abdullah Qutbshah, the fifth monarch of the Qutbshah dynasty, was born in 1023 AH and became king in 1035 AH. He remained alive until the year 1083 AH and held the throne for approximately 48 years. The reign of Abdullah was a highly prosperous and successful phase of Qutbshahi control in India. During this time, numerous poets, writers, and scientists from Iran migrated there and enjoyed a life of abundance and contentment. Among them was Olfati Savoji.Olfati Savoji was a prominent Shia poet during the 11th century of the Hijri calendar. He served as a poet and writer in the court for approximately 38 years, starting from 1045 Hijri until the end of Abdullah Qutbshah's reign in 1083. He authored two treatises, "Riyaz al-Sana'i Qutbshahi" and "Rowaih Golshan Qutbshahi," as well as several poems. Olfati Savoji arrived in Isfahan upon the demise of Sultan Abdullah and passed away somewhere between 1087 and 1090. The same city likely laid him to rest.Literature ReviewWhile discussing the state of Olfati Savoji, Nasrabadi, Khoshgo, Arzoo, and Mohammad Mozafar Hossein Saba neglected to mention the passing of Golshan Qutbshahi. In his Tazkira Mahbub al-Zalaman, Sufi Malkapuri reported the spirits of Golshan Qutbshehi; however, he attributed this information to Alfati Yazdi. Ahmed Golchin Ma'ani identified the erroneous nature of Sufi's statements regarding the attribution of Golshan Qutbshahi's customs to Olfati Yazdi and highlighted this discrepancy. Sufi's error has also influenced other publications. In his book "Mir Muhammad Momin Aster Abadi, the Promoter of Shi'ism in South India," Mohiuddin Qadri accurately quotes the statements of Golshan Qutbshahi but acknowledges that he has not personally read Golshan Qutbshahi's memoirs. In the book "Looking at the History of Hyderabad Deccan," on page 84, Mojtabi Karmi and in the article "Persian Language and Literature in India," Amir Hasan Abedi have both made the same error. They mistakenly assigned Riyad al-Sana'i and Ravaih Golshan to Olfati Yazdi and Fereshteh Koshki. Additionally, Olfati Yazdi edited and published Gulshan Qutbshehi's memoirs under the name Fereshte Koshki. Nabi has presented Olfati Savoji as a significant figure in the realms of Indian and Persian literature, based on the testimony of Nasrabadi.MethodologyThis article will begin by presenting the framework of Golshan Qutbshehi's novels. We will then conduct an analysis to explore the linguistic (phonetic, lexical, and syntactic) and literary characteristics of Golshan Qutbshehi's novels. I shall refrain from discussing the intellectual aspect of al-Fati's work, as it lacks logical ideas and instead focuses solely on the visual depiction of buildings, flowers, fruits, and similar subjects.ConclusionOlfati Savoji, not Olfati Yazdi, is the author of Golshan Qutbshahi's novel. This is due to Olfati Yazdi's service under Ali Qali Khan of Zaman, an Akbari commander who met his demise in 974 AH. Olfati Yazdi passed away either in the same year or the following year, which was 48 or 49 years before Abdullah Qutbshah was born and 76 or 77 years before Golshan Qutbshahi, the author of Rawaih (1051), was born. Moreover, stylistic similarities and historical evidence point to the same individual as the author of both Golshan's books and Riyad al-Sana'i. The Ravih of Golshan Qutbshehi consists of an introductory section, seven Ravihs, and a concluding section.A) Olfati commenced the book by uttering a couple of phrases in admiration of Hazrat Bari Ta'ala, followed by the recitation of a naat in honor of the Holy Prophet (PBUH). Subsequently, he referenced a quotation from Ali Ibn Abi Talib (PBUH). Subsequently, he commended Abdullah Qutbshah for his benevolence towards Ali (a.s.) and the family of Rasoolullah, as well as for his efforts in advancing Shiism in Telangana. He then bestowed the title "Rowaih Golshan Qutbshahi" on his work, which was penned in the year 1051 Hijri.B) The content of the book: In the initial publication, Olfati describes Abdullah Qutbshah as exceptional and remarkable in the global context due to five distinct qualities: The following qualities are: 1. justice; 2. dignity; 3. good nature; 4. generosity; and 5. courage.In the second Raiha, the author begins by describing the royal palaces, buildings, and significant resorts. Next, he introduces three government officials from Abdullah's court. The first is Nawab Allami Ibn Khatun, who achieved the position of Peshwai, or Nawabi, in 1038. The second is Nawab Madar Ilhami, Mir Mohammad Saeed Ardestani, who became Mir Jamalgi, or Minister, in 1047. Lastly, there is Mr. Debir al-Mulk Olfati did not explicitly identify the secretary; however, it is possible that Mullah Muhammad Ali is the individual in question.In the third stanza, he depicts Hyderabad; in the fourth verse, it portrays the regal gathering and festivities. The fifth smell depicts the vast number of warriors and the courage of the soldiers, as well as the war elephants, greyhound horses, and the weaponry used by Abdullah Qutbshah's cavalry.Olfati composed a poem consisting of 59 verses in the Masnavi genre, depicting the festive gathering of Abdullah, the bartender, in the sixth stanza.In the seventh chapter, Golshan's flavors are introduced, and he receives overwhelming appreciation for his novel.The book's completion date, which coincides with its start date, is 1051 Hijri.c) Conclusion: Golshan's poems conclude with a concluding note named "Latifa Ghaibi" and five verses in Mamdouh's supplication. Latifah Ghaibi provides an elucidation of the numerical correlation between the number of letters in the name "Sultan Abdullah" and his nickname "Qutabshahan Zaman," both of which consist of 12 letters, in reference to his religious affiliation, which is Twelve Imam Shia.The book's stylistic characteristics: Olfati Savoji has composed Golshan's novels in a manner reminiscent of artificial and technical literature, with the exception that he employed straightforward and commonly used vocabulary, refraining from including Arabic phrases and poetry except on three occasions. Furthermore, he abstained from utilizing unfamiliar similes, metaphors, and complex expressions.Some of its primary stylistic characteristics include the following: Olfati’s primary focus in the phonetic segment lies in the melodic qualities of words and the cadence of sentences. In order to achieve phonetic equilibrium, he has extensively employed the technique of double assurance, wherein certain sections of the text bear resemblance to the lines of a poem. Occasionally, certain lengthy and brief lines have converged in a manner resembling structures like Mastzad and Rabai. Within the syntactic segment, Olfati places particular emphasis on composition and frequently employs similes and metaphors in supplementary structures. Olfati has employed similes and metaphors and subsequently incorporated sarcasm as part of their expressive repertoire. He has focused more on achieving harmony by utilizing similes and contrasts among the original spiritual arrays
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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