1,356,081 research outputs found
Anvari, a master of obscene verse
No full textL’articolo descrive e analizza l’attitudine polemica di Anvari nel contesto dell’attività poetica che si svolgeva a corte. Vengono tradotti numerosi versi del poeta rivolti criticamente ai suoi interlocutori e si fornisce il relativo quadro critico e letterario
Anvari speaking of poetry in his qet'es
No full textIl contributo si propone di individuare la relazione poeta - poesia per come si evidenzia dallo studio delle qet'e di Anvari. Questo importantissimo poeta di epoca selgiuchide utilizza infatti le composizioni 'estemporanee' del genere qet'e per rappresentare in modo non sempre rigidamente convenzionale il suo concetto di poesia e la sua idea di poeta. Lo studio di tutte le composizioni o dei singoli versi dedicati a questo tema inquesta settore del suo canzoniere, permettono di configurare con ricchezza di elementi il rapporto di questo autore con la pratica poetica
Modifying the explanation of Anvari Abivardi’s literary theory
No full textAbstract In the first place, the literary theory is about finding an answer to the question on what makes a verbal message into a work of art . This is related to the particular distinction of Lingual arts from other arts, and other types of Lingual behaviors . That is why literary theory is in the first position among literary studies. (Ahmadi, 1996: 1st volume/77) One of the fundamental aspects of literary studies is interpreting ancient texts from the perspective of the poet or writer’s own literary theory . On this basis, this article aims to discuss the literary theory and poetry structure of Anvari . Indisputably, Anvari’s structure is special and it is certainly based on the perspective, insight and cultural and social conditions in which it grew and formed. Each poet is the composer of their poetry and oratory and Anvary, himself, is the most informed person about his elocution method. He mentioned the elocution method in several places in his Divan: However, you looking into poetry styles All taken into account the best style is mine (Anvari, 1958: 1st volume/85) Accordingly, his Divan has been subjected to scrutiny, and judgment criteria have been derived from the verses of the poet . Anvari believed that poetry is the result of integrating content with discourse whose output is captured hearts . He called poets the granters of speech and in composing poetry, he believed content is prior to discourse. He has an opinion that the container of discourse does accommodate content that on this basis he approached the ideas of " modern hermeneutics ”. He praised original meaning- which was not adopted by other poems- and he described proper poetry using graceful and delicate characteristic. In fact, in his viewpoint, a poem which has original meaning and graceful and delicate verse is a literary discourse which influences the reader . From his viewpoint: 1- Improvisation and spontaneity 2- Composing in any literary style 3- Composing in all prosody meters 4- Proper use of rhyme They are the most important criteria according to which the poetry capability of a poet is measured , In his view, the poet can benefit from techniques which make poetry more musical in order to be more effective, Including the use of a narrator that reflects that music promotes the rhetorical aspect of a work of art. Anvari believed that composing Ghazals is rooted in lust , eulogy is rooted in greed and epigram comes from wrath. His goal of writing poetry was to make a living out of it , and in this way he attributes the worst labels to poetry, Of course, it depends on the level of reward which the appraised person bestows that sometimes it was timely and exactly the amount which the poet wanted, but sometimes he was given little reward or even no reward. As a result of the degree of magnitude of the poetry from his perspective swings according to whether the poet received a reward. Finally Anvari believed that as long as a poem is written for noble objectives including praisi ng religious figures, it is the the result of divine inspiration and approval and it is a twin of wisdom and it is the best benignity of God towards people. He is fascinated by this kind of poetry . The ultimate aim of art is to affect hearts, its reader revel in it and it sticks to memories and it would not be removed from minds and language after artist's death. Anvari art is no exception to this, too. Anvari poems were renowned among friends, poets and intellectuals in his life time and long after his death. Some of his couplets are still etched in memories which show his poetry power and skills. Anvari interpreted taste, mind, science , and art as poetry tools ; as a result he considered poetry as a simultaneous try and ebullition, he studied the divans of poets and writers contemporary with him , and before that. He is aware of all the principles of prosody and rhyme ; he had an honor not to commit plagiarizing former or contemporary poetry. And quoting great poets is permitted only in order to revive the tradition of great figures . Furthermore, he tries to take full advantage of all the existing cultural capacities
Palestra-performance - O poder do clichê
No full textANVARI, Haleh. Power of a Cliché. Performance lecture, 2006. Disponível em: <https://vimeo.com/61602790>. Acesso em: 10 maio 2016. (21 min.).ANVARI, Haleh. Power of a Cliché. Performance lecture, 2006. Disponível em: <https://vimeo.com/61602790>. Acesso em: 10 maio 2016. (21 min.).ANVARI, Haleh. Power of a Cliché. Performance lecture, 2006. Disponível em: <https://vimeo.com/61602790>. Acesso em: 10 maio 2016. (21 min.)
Risk-involved optimal operating strategy of a hybrid power generation company: A mixed interval-CVaR model
No full textIn this paper, a hybrid power generation company consisting of a concentrated solar power unit, wind turbines, a battery system, and a demand response provider is established to take part in electricity markets. The operating strategy of the hybrid power generation company in day-ahead and adjustment (intraday) markets is determined based on their coordinated operation. To tackle the intrinsic uncertainties, for the first time, a mixed stochastic-interval model is proposed which addresses the uncertainty in demand response and solar energy via interval optimization. The examined problem is formulated as a multi-objective optimization problem in which the risk of both stochastic and interval parameters can be involved. On this basis, the proposed operating strategy covers three objective functions, namely, expected radius and midpoint of the hybrid power generation company's profit together with the conditional value-at-risk. Accordingly, the normal boundary intersection and lexicographic optimization techniques are utilized to derive feasible solutions. Lastly, numerical results are presented and the performance of the proposed framework is investigated. The results indicate that the suggested model can be efficiently used to handle the decision-maker's preference over interval and stochastic parameters, and the risk criterion associated with interval parameters becomes larger as the forecasting errors increase
A new microscopic model for the simulation of shared space schemes
No full textShared space is an innovative streetscape design which seeks minimum separation
between vehicle traffic and pedestrians. Urban design is moving towards
space sharing as a means of increasing the community texture of street surroundings.
Its unique features aim to balance priorities and allow cars and pedestrians
to co-exist harmoniously without the need to dictate behaviour. There is, however,
a need for a simulation tool to model future shared space schemes and to
help judge if they might represent suitable alternatives to traditional street layouts.
This thesis presents a microscopic mathematical model to simulate pedestrians
and 4-wheeled motorised vehicles in shared space schemes. The complete development
of the model is addressed: mathematical formulation of three interrelated
layers based on the Social Force Model (SFM), software implementation,
calibration and validation using the case studies from New Road (Brighton) and
Exhibition Road (London).
Microscopic pedestrian, vehicle and mixed traffic models are reviewed and evaluated
with respect to their ability to reproduce behavioural phenomena, resulting
in the SFM being adopted as the most suitable basis for this thesis. The behavioural patterns of shared space users are analysed to identify specific manoeuvres
that need consideration. These patterns are realised in a three-layer
model: The first layer introduces the flood fill algorithm to define intermediate
destinations for agent’s path around obstacles to the final destination. The second
layer explains how the SFM is modified for pedestrians and vehicles. The third
layer describes conflict avoidance with minimal change of speed and direction.
The new mathematical model is calibrated and validated according to defined
performance indicators using real data from the two case study sites. The results
show that this model is suitable to simulate shared space users but that the physical
parameters depend on how a shared space scheme is realised compared to
the original philosophy. The achievements of this thesis can be beneficial to urban
planners and councils considering the implementation of a new shared space
scheme.Open Acces
Modifying the explanation of Anvari Abivardiâs literary theory
No full text Abstract  In the first place, the literary theory is about finding an answer to the question on what makes a verbal message into a work of art . This is related to the particular distinction of Lingual arts from other arts, and other types of Lingual behaviors . That is why literary theory is in the first position among literary studies. (Ahmadi, 1996: 1st volume/77) One of the fundamental aspects of literary studies is interpreting ancient texts from the perspective of the poet or writerâs own literary theory . On this basis, this article aims to discuss the literary theory and poetry structure of Anvari . Indisputably, Anvariâs structure is special and it is certainly based on the perspective, insight and cultural and social conditions in which it grew and formed. Each poet is the composer of their poetry and oratory and Anvary, himself, is the most informed person about his elocution method. He mentioned the elocution method in several places in his Divan:  However, you looking into poetry styles  All taken into account the best style is mine (Anvari, 1958: 1st volume/85)  Accordingly, his Divan has been subjected to scrutiny, and judgment criteria have been derived from the verses of the poet .  Anvari believed that poetry is the result of integrating content with discourse whose output is captured hearts . He called poets the granters of speech and in composing poetry, he believed content is prior to discourse. He has an opinion that the container of discourse does accommodate content that on this basis he approached the ideas of " modern hermeneutics â. He praised original meaning- which was not adopted by other poems- and he described proper poetry using graceful and delicate characteristic. In fact, in his viewpoint, a poem which has original meaning and graceful and delicate verse is a literary discourse which influences the reader .  From his viewpoint: 1- Improvisation and spontaneity  2- Composing in any literary style  3- Composing in all prosody meters  4- Proper use of rhyme  They are the most important criteria according to which the poetry capability of a poet is measured , In his view, the poet can benefit from techniques which make poetry more musical in order to be more effective, Including the use of a narrator that reflects that music promotes the rhetorical aspect of a work of art. Anvari believed that composing Ghazals is rooted in lust , eulogy is rooted in greed and epigram comes from wrath. His goal of writing poetry was to make a living out of it , and in this way he attributes the worst labels to poetry, Of course, it depends on the level of reward which the appraised person bestows that sometimes it was timely and exactly the amount which the poet wanted, but sometimes he was given little reward or even no reward. As a result of the degree of magnitude of the poetry from his perspective swings according to whether the poet received a reward. Finally Anvari believed that as long as a poem is written for noble objectives including praisi ng religious figures, it is the the result of divine inspiration and approval and it is a twin of wisdom and it is the best benignity of God towards people. He is fascinated by this kind of poetry . The ultimate aim of art is to affect hearts, its reader revel in it and it sticks to memories and it would not be removed from minds and language after artist's death. Anvari art is no exception to this, too. Anvari poems were renowned among friends, poets and intellectuals in his life time and long after his death. Some of his couplets are still etched in memories which show his poetry power and skills. Anvari interpreted taste, mind, science , and art as poetry tools ; as a result he considered poetry as a simultaneous try and ebullition, he studied the divans of poets and writers contemporary with him , and before that. He is aware of all the principles of prosody and rhyme ; he had an honor not to commit plagiarizing former or contemporary poetry. And quoting great poets is permitted only in order to revive the tradition of great figures . Furthermore, he tries to take full advantage of all the existing cultural capacities
Anvari's qasides as letters and the problem of identifying the addressee
No full textAnalisi dei poemi panegiristici del poeta persiano Anvari (XII secolo) in base a un’accurata identificazione dei personaggi lodati, nell’ottica di ricostruire l’occasione e il contesto da cui tali poemi sono stati originati, e alla luce della tradizione epistolografica persiana. Analysis of the laudatory poems of the Persian poet Anvari (twelfth century) on the basis of a careful identification of the praised persons, in order to reconstruct the occasion and context in which these poems were originated, and in light of the Persian epistolographic tradition
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