1,733,394 research outputs found
Bahram
No full textAfter a government collapse in 1992, Bahram and his family emigrated to Pakistan where they faced child marriage pressures. They eventually fled to Turkey, leaving their daughter to live secretly in Kabul.https://scholarsarchive.byu.edu/tsos_photography/1326/thumbnail.jp
Bahram
No full textAfter a government collapse in 1992, Bahram and his family emigrated to Pakistan where they faced child marriage pressures. They eventually fled to Turkey, leaving their daughter to live secretly in Kabul.https://scholarsarchive.byu.edu/tsos_photography/1325/thumbnail.jp
Intellectuals as sacrificial heroes : a comparative study of Bahram Beyzaie and Wole Soyinka
No full textA study of Bahram Beyzaie and Wole Soyinka’s works reveals how in two disparate cultural settings, traditional structures and themes appear in modern forms to renegotiate people’s cultural identity. Both writers demythologize the ancient and modern superstitious beliefs that haunt their peoples, depict the fallacy of hybrid obsessions that distort everyday life in their countries, and mythologize the positive aspects of history to redefine cultural identity with the best their cultures offer. One aspect of this process is their depiction of creative intellectuals as sacrificial heroes. The form reveals their concern with the question of leadership and citizenship, the victimization of the educated people, and the resulting brain drain in their countries. In the paper that follows, I will compare Beyzaie and Soyinka’s depictions of intellectuals as sacrificial heroes. I will first study the dramatic origins of their forms and their approach to tragedy, myth, history, and sacrificial heroism, and explore the sociopolitical and personal reasons for the development of their forms. My intention is to discover how these forms evolved and why they reflect similar paradigms. I will then compare Beyzaie’s Parchment of Master Sharzin with Soyinka’s Madmen and Specialists to provide textual examples of these similarities and differences.Peer reviewe
Bahram & Camila
No full textBahram tells the story of the Afghanistan\u27s 1992 government collapse and subsequent civil wars that destroyed the city of Kabul. There was war in every alley, every house, every area and every village. 60,000 people were killed. Their family emigrated to Pakistan and after living there for some time, some relatives of a friend from their village travelled to Pakistan and required lodging so they stayed with Bahram\u27s family. In some developing and under-developed countries, the custom of arranged marriage to child and infant daughters is practiced. These house guests demanded their one-year-old daughter be given in marriage to a man in the guest\u27s family who has close ties to Jihadist commanders and continued to pressure the family with hostility. It continued for years. They sent her to India in order to hide her but she was discovered and threatened. Then they fled to Turkey to escape the demands, leaving the daughter to live in secret in Kabul She has been hiding for five or six years. Bahram had been a police officer in the Ministry of Interior, in the journalism section and because of this and the family enemy situation with his daughter, they cannot return to Afghanistan. They cut women\u27s noses. They cut their noses and their tongues. We were forced to come here.https://scholarsarchive.byu.edu/tsos_interviews/1055/thumbnail.jp
Mythologizing the transition : a comparative study of Bahram Beyzaee and Wolfe Soyinka
No full textBahram Beyzaee, the Iranian playwright, screenwriter and filmmaker, and Wole Soyinka, the Nigerian poet, playwright, and novelist have produced artistic works that transcend the limitations of time and locality to become powerful comments on human life and socio-political and cultural institutions. This research study examines the major themes and dramatic techniques of these two writers to demonstrate how, in two very different cultural settings, traditional modes and themes appear in modem art forms to renegotiate cultural identity. I argue that both writers place themselves in a post postcolonial position which rather than being concerned about 'writing back against the centre' reflects on the cultural shortcomings that leaves their people at the mercy of vicious internal and external forces. I also demonstrate how they demythologize the traditional superstitious beliefs that haunt the present, foreground the inauthenticity of the modern hybrid obsessions that distort everyday life in their countries and mythologize and glorify the positive aspects of history and contemporary life to redefine cultural identity in terms of the best their cultures can offer. The first two chapters give an account of the history of Iranian and Nigerian performance forms in the context of socio-political, cultural, literary and artistic movements and traditions. The third chapter proceeds to present a short discussion of the theatrical vision and themes of Beyzaee and Soyinka and embarks on a general comparison of the two writers. Chapter four is focused on Beyzaee and Soyinka's depiction of the intellectuals as sacrificial heroes whose death may initiate social purgation and cultural regeneration and liberation. Chapter five is less mythical and more sociopolitical. It is a reflection on the writers' portrayal of women in their works and their success or failure in transcending literary and cultural stereotypes in a world where the means of production and socio-economic facts and the cultural developments associated with them demand a rapid movement away from patriarchal values. Chapter six is devoted to the study of another major issue in the process of cultural transition, namely, redefining the position of ethnic minorities in the myth of nationhood. This last chapter is followed by a brief conclusion, discussing the results and the future possibilities of drama in the context of rapid transition
The Case of Bahram Gur
No full textThe Seljuqs are a tribe from Oguz origins who came into Central Asia from the Eurasian Steppe1. The Turkic dynasty ruled over the area from 1040 to 11942. They were known for their warfare skills, and eventually their rule spread westward through the Atabegs3. Between the 11th and 13th centuries, the region witnessed political unrest. However, art production under the Seljuqs thrived4. One of the materials of which many objects survived is metalwork. The surfaces of these objects are adorned with various decorative schemes which include, enthronement scenes, court entertainment scenes, hunting scenes, astrological symbols, vegetal motifs, and geometry. Figural representation was widespread, however the appearance of the narrative scene of Bahram Gur and Azadeh on metalwork is unprecedented. Three reasons could be attributed to this occurrence. First, the Seljuqs associated with the story of a heroic Persian King. The Seljuq military men decided to include the story of a heroic King on their metalwork as a resemblance to them. Bahram Gur is a ruler from the Sassanian period5. He is known for his hunting prowess, strength against wild animals, and military power. Second, oral traditions, and the widespread of the story of Bahram Gur facilitated the appearance of the narrative scenes on metalwork from this period. The traveling scholars, poets, artists were part of the Muslim culture, which enhanced exchange of knowledge and information. And the stories of Bahram Gur were widespread in Iran which triggered a high image production in the area6. Consequently, the oral traditions lead to the widespread of the stories of Persian Kings. Third, the appreciation of the Seljuqs of the Persian culture, may have triggered the rendering of the narrative scene of Bahram Gur and Azadeh on their metalwork. The Seljuqs were military commanders who came into Persia to defend territory7. The art produced under their rule reflected the culture of Persia. Moreover, the representation of Bahram Gur on their metalwork could indicate the appreciation of some rulers to the story of a heroic Persian Sassanian King.1 online resource (xiii, 66 leaves): col. ill.Bibliography: leaves 60-64
Presentazione
No full textPresentazione della prima traduzione integrale italiana (e in una lingua europea) del volume di Bahram Bayzai, Namayesh dar Iran, uscito nel 1965,e tuttora opera di riferimento per lo studio del teatro tradizionale persiano.Presentation of the first full Italian translation (and in a European language) of the book by Bahram Bayzai, Namayesh dar Iran, published in 1965, and still a reference work for the study of traditional Persian theatre
Konfliktbearbeitung in Afghanistan : die systemische Konflikttransformation im praktischen Einsatz bei einem Großgruppenkonflikt
No full textMarco de Carvalho; Jörgen Klußmann; Bahram Rahma
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