316 research outputs found
"Qadr" in the Poetry of Hafiz
No full textThe present paper deals with the way Hafiz makes use of the term "Shab-e Qhadr in his poetry. The author is intended to draw the intention of the readership to this significant point, that "Qadr" from the viewpoint of Hafiz is "HJ" and not" Qhl". The Paper is intended to describe the etymological background of this term, together with the importance of its descendence . To do this , other valid mystic sources such as "Sharh-e Shathiyyt-e Ruzbehn" and "Estelht-e Sufiyye "have been use
A PERSIAN – TURKISH VERSE DICTIONARY: TUHFETU’L- HAFIZ
No full textVerse dictionary writing tradition in the Ottomans has created to teach Persian and Arabic words and grammar rules easier and quickly to students in Sibyan School (Primary School). One of the works that copyrighted in this tradition is Tuhfetu’l-Hafiz. As it described by Hafiz Abdullah b. Halil in prose preface, Tuhfetu’l-Hafiz is a Persian – Turkish verse dictionary which written for hope of a remembrance for the children and youth who newly begin to learn the Persian. The author says that he wrote his work choosing words which seem necessary to him in the “Tuhfe-i Şahidi” by İbrahim Şahidi. (B.106) The feature which varies this masnavi and stanza verse dictionary is that it has been classified according to subjects in the content. In the Tuhfetu'l-Hafiz, along with different forms of verbs, approximately means of 1600 Persian words given as Turkish. The only known copy of the work registered with the asset number 3191 in the Suleymaniye Manuscripts Library Esad Efendi department. In this study, the work Tuhfetu’l-Hafiz which is one of the verse dictionaries has analysed in the aspect of the form and content, after the analyse, transcription of work and its original were given
Statistical approaches in literature: Comparing and clustering the alternatives of love in Divan of Hafiz
No full textHafiz is one of the finest lyric poets of Iran. He learnt a lot from scholars and writers. This research deals with the alternatives of the word 'Love' in Divan of Hafiz. First, these words are determined and their counts are computed. Then, we classify them into sixteen categories. Finally, the counts of the words and the categories are compared using chi-square test and cluster analysis. The clustering results showed that the word 'Way' and the category 'Human' have the most applications as the alternatives of the word 'Love' in Divan of Hafiz. © The Author(s) 2019. Published by Oxford University Press on behalf of EADH. All rights reserved
Adapting authoritarianism: institutions and co-optation in Egypt and Syria
No full textThis PhD thesis compares Egypt and Syria’s authoritarian political systems. While the tendency in social science political research treats Egypt and Syria as similarly authoritarian, this research emphasizes differences between the two systems with special reference to institutions and co-optation. Rather than reducibly understanding Egypt and Syria as sharing similar histories, institutional arrangements, or ascribing to the oft-repeated convention that “Syria is Egypt but 10 years behind,” this thesis focuses on how events and individual histories shaped each states current institutional strengthens and weaknesses. Specifically, it explains the how varying institutional politicization or de-politicization affects each state’s capabilities for co-opting elite and non-elite individuals.
Beginning with a theoretical framework that considers the limited utility of democratization and transition theoretical approaches, the work underscores the persistence and durability of authoritarianism. Chapter two details the politicized institutional divergence between Egypt and Syria that began in the 1970s. Chapter three and four examines how institutional politicization or de-politicization affects elite and non-elite individual co-optation in Egypt and Syria. Chapter five discusses the study’s general conclusions and theoretical implications.
This thesis’s argument is that Egypt and Syria co-opt elites and non-elites differently because of the varying degrees of institutional politicization in each governance system. Rather than view one country as more politically developed than the other, this work argues that Syria’s political institutions are more politicized than their Egyptian counterparts. Syria’s political arena is, thus, described as politicized-patrimonialism. Syria’s politicized-patrimonial arena produces uneven co-optation of elites and non-elites as they are diffused through competing institutions. Conversely, the Egyptian political arena remains highly personalized as weak institutions and individuals are manipulated and molded according to the president’s ruling clique. This is referred to as personalized-patrimonialism. As a consequence, Egypt’s political establishment demonstrates more flexibility in ad hoc altering and adapting its arena depending on the emergence of crises.
This study’s theoretical implications suggest that, contrary to modernization and democratization theory’s adage that institutions lead to a political development, politicized institutions within a patrimonial order actually hinder regime adaptation because consensus is harder to achieve and maintain. It is within this context that Egypt’s de-politicized institutional framework advantages its top political elite. In this reading of Egyptian and Syrian politics, Egypt’s personalized political arena is more adaptable than Syria’s. These conclusions do not indicate that political reform is a process underway in either state
Illustrated Divans of Hafiz: Persian aesthetics at the intersection of art and ghazal literature, 1450-1550
No full text2018This dissertation examines illustrated Divans (collections of poetry of a single author) of the Persian poet Hafiz (d. 1388-89) made in Iran and Central Asia during the fifteenth and sixteenth centuries and collected by the cultural elite. Celebrated for their multivalent potential, Hafiz’s ghazals (lyric poems) resist narrative interpretation and employ ambiguity as a rhetorical gesture. Sensuous visual and figurative materials familiar from the Persian manuscript tradition began to appear in Divans of Hafiz in the late fifteenth century. Combined with non-narrative and interpretively difficult poetry these images defy typical iconographic interpretations common to Islamic arts of the book. The visual arts’ inextricable conceptual linkages to the Persian poetic tradition, which are celebrated but rarely examined directly, form the core of this dissertation. Visual and material features of decorated Divans of Hafiz are examined alongside the accompanying literature, refining scholarly understanding of social and intellectual Persian court culture. Illustrated Divans of Hafiz visually and materially reflect contemporaneous primary texts that establish concepts of image making and its history in early modern Persian culture, drawing their images and rhetorical language directly from the poetic tradition and at times from the verses collected in Hafiz’s Divan. Chapter one discusses fifteenth- and sixteenth-century Persian poetic performance and considers the Divan manuscripts’ active engagement in this performance context. Chapter two establishes the first Divan of Hafiz to pair Hafiz’s ghazals with visual imagery. Copied on recycled Chinese papers, this Divan materializes aesthetic principles expressed by the poetry and writings on the visual arts. Chapters three and four examine the earliest paintings to be included in Hafiz’s Divan. Familiar and seemingly repetitive, these paintings draw their rules and methods of production from poetry and exemplify the interconnections of word and image. Chapter five analyzes paintings from the dispersed Safavid Divan of Hafiz (ca.1530) in light of the visual and verbal allusions from other manuscripts circulating in the same court context. This manuscript represents concepts of image making and creativity as they stem from the Persian poetic tradition and therefore demonstrates the combined representational potential of the visual and verbal arts
Aesop's Fables in Persian: Luqman Hakim
No full textThis is a print-on-demand paperback of 216 pages, 5½" x 8½", featuring a picture of its author on the back cover, with a link to his website. There are frequent very simple black-and-white illustrations throughout the book. Here is Amazon's comment: "Aesop's Fables in Persian is translation work of Dr. Hafiz Sahar, Professor of Journalism and Chief Editor of major newspaper in Afghanistan in the early 1970s. The stories are timeless teacher of truth that has endured the test of time in every major language since 6th century BC, when it was first composed by Aesop. There are over 250 captivating short stories, each to teach children and adults about philosophy, ethics, morals and a clear view of humanity's nature. Dr. Sahar's deep commitment to free speech/press and love of philosophy and social justice were driving force for this work. "Language note: PersianHafiz Saha
Kullanıcı Arayüzlerinin Kullanıcılara Olan Etkisi Üzerine Bir Çalışma
No full textKullanıcı deneyimi (UX) ve kullanıcı arayüzü (UI) tasarımı, dijital ürünlerin başarısını doğrudan etkileyen kritik unsurlardır. Bir web sitesinin ya da mobil uygulamanın kullanıcı dostu bir arayüze sahip olması, kullanıcıların sistemi etkin bir şekilde kullanabilmesini sağlar ve genel memnuniyeti artırır. UI tasarımı, görsel unsurların düzenlenmesi ve kullanıcıya sunulma biçimini içerirken; UX tasarımı, kullanıcının deneyimini optimize etmeyi hedefler.
Teknolojinin hızla gelişmesiyle birlikte, kullanıcıların dijital platformlardan beklentileri de değişmekte ve artmaktadır. Modern UI ve UX tasarımlarının temel amacı, kullanıcıların hızlı, verimli ve keyifli bir deneyim yaşamasını sağlamaktır. Bu bağlamda, renk psikolojisi, ısı haritası analizleri, mikro animasyonlar ve kullanılabilirlik testleri gibi farklı kriterler, kullanıcı deneyimini ölçmek ve geliştirmek adına önemli rol oynamaktadır.
Bu çalışmada, kullanıcı arayüzü ve kullanıcı deneyimi tasarımına yönelik analiz gerçekleştirilmiştir. Ayrıca, masaüstü platformlardaki farklılıklar göz önünde bulundurularak kullanılabilirlik açısından en ideal tasarım kriterleri belirlenmeye çalışılmıştır. Elde edilen veriler, kullanıcıların arayüz tasarımlarına yönelik algılarını anlamaya yardımcı olacak ve geliştiricilere yol gösterecek öneriler sunacaktır.
Yapılan analizler sonucunda, kullanıcıların en çok etkileşime geçtiği UI öğeleri, renk seçimlerinin psikolojik etkileri, mikro animasyonların kullanıcı deneyimine katkısı gibi önemli konular ele alınacaktır. Böylece, dijital ürün geliştiricilerine ve tasarımcılara rehber niteliğinde bir çalışma sunulması hedeflenmektedir
Hafiz Ali Ulqinaku, jeta dhe vepra
No full textSome times ago, the well-known scholar, the late Faik Luli and Islam Dizdari published a worthy edition on the life and work of Ali Ulqinaku. This patriotic clerical was decorated in distinguished 1978 with the medal "For patriotic activities and as a activists and fighter of the Albanian League of Prizren", and in 1994 he was bestowed the title "People's Teacher". The whole activity of H. Ali Ulqinaku is summarized in the motivation "Distinguished cleric and teacher, appassionato researcher, honored teacher and educationist of youth and popular masses, compiler and translator of scientific-religious works". A lot has been written about this figure even previously, but up to the present, a complete and authentic work on Hafiz Ali Ulqinaku has not been published yet.Ali Ulqinaku was born, raised up and carried out a part of his activity in this Albanian environment. This patriot, whose activity belongs to the period of our National Renaissance, migrated from Ulqin to Shkoder, with the fall of town in the hands of Montenegrins in 1913 and later moved to Lezha, where he died in 1913, soon after it was declared the Independence of Albania from the long-lasting Ottoman rule, but he was buried in Shkodra.F. Luli and I. Dizdari have included also evaluations about H. Aliu accentuating the fact that three towns were proud of him: Ulqini, Shkodra and Lezha. They have recorded all the evaluations about this author: publications, scientific sessions, ceremonies etc. The monograph ends with the conclusions and bibliography. The monography "Hafiz Ali Ulqinaku, life and work" by Faik Luli and Islam Dizdari is an accomplished and successful work. It provides information of interest that is likeable and necessary not only to the researchers, but also to the simple readers. The publication of the Primer carries a special value since it is the first one introduced to the Albanian reader in the current alphabet transcriptionThe authors have exploited a rich literature, which is reflected not only in the 131 books, but also in numerous articles published by the scientific and periodical press, libraries, archives etc. the work is written in a simple and rich language. For all this worthy and admirable work, competently written and at the same time a worthy contribution dedicated to the past's creations, the authors deserve our congratulations.Disa kohë më parë, studiuesit e njohur, i ndjeri Faik Luli dhe Islam Dizdari, botuan një vepër të denjë mbi jetën dhe veprën e Hafiz Ali Ulqinakut. Ky klerik atdhetar u dekorua në vitin 1978 me medaljen "Për veprimtari patriotike dhe si veprimtar e luftëtar i Lidhjes Shqiptare të Prizrenit", ndërsa në vitin 1994 iu dha titulli "Mësues i Popullit". Tërë veprimtaria e H. Ali Ulqinakut përmblidhet në motivacionin: "klerik dhe mësues i shquar, studiues i pasionuar, mësues i nderuar dhe edukator i rinisë dhe masave popullore, përpilues dhe përkthyes i veprave shkencore-fetare." Për këtë figurë është shkruar shumë edhe më parë, por deri më sot nuk është botuar një vepër e plotë dhe autentike për Hafiz Ali Ulqinakun.Ali Ulqinaku lindi, u rrit dhe kreu një pjesë të veprimtarisë së tij në këtë mjedis shqiptar. Ky patriot, veprimtaria e të cilit i përket periudhës së Rilindjes Kombëtare, migroi nga Ulqini në Shkodër pas rënies së qytetit në duart e malazezëve në vitin 1913 dhe më vonë u transferua në Lezhë, ku vdiq po në vitin 1913, menjëherë pas shpalljes së Pavarësisë së Shqipërisë nga sundimi i gjatë osman. Ai u varros në Shkodër.F. Luli dhe I. Dizdari kanë përfshirë edhe vlerësimet për H. Aliun, duke theksuar se tre qytete ndihen krenare për të: Ulqini, Shkodra dhe Lezha. Ata kanë regjistruar të gjitha vlerësimet për këtë autor, përfshirë botime, sesione shkencore, ceremoni etj. Monografia përfundon me konkluzionet dhe bibliografinë. Monografia Hafiz Ali Ulqinaku, jeta dhe vepra e Faik Lulit dhe Islam Dizdarit është një vepër e realizuar me sukses. Ajo siguron informacion të vlefshëm, i cili është i dobishëm dhe i nevojshëm jo vetëm për studiuesit, por edhe për lexuesit e thjeshtë. Botimi i Abetares mbart një vlerë të veçantë, pasi është i pari që i prezantohet lexuesit shqiptar me transkriptimin e tij aktual në alfabetin modern.Autorët kanë shfrytëzuar një literaturë të pasur, e cila përfshin jo vetëm 131 libra, por edhe artikuj të shumtë të botuar nga shtypi shkencor dhe periodik, biblioteka, arkiva etj. Vepra është shkruar në një gjuhë të thjeshtë dhe të pasur. Për këtë vepër të denjë dhe të admirueshme, të shkruar me kompetencë dhe njëkohësisht si një kontribut i vlefshëm kushtuar trashëgimisë së së kaluarës, autorët meritojnë urimet tona
Norwid’s way to Hafiz
No full textW twórczości Norwida odnaleźć można dalekie echa koncepcji sufickich. Jedną z nici wiążących tego polskiego poetę z nurtem muzułmańskiego mistycyzmu jest manifestująca się w Pismach wszystkich fascynacja Dywanem Hafiza (drugą – osoba Abd el-Kadera). Perski poeta-mistyk jest wspominany w dziełach polskiego autora pięć razy (dwa razy w listach oraz trzy razy w poematach: Assunta, Emil na Gozdawiu oraz A Dorio ad Phrygium).
Jest dość wątpliwe, by w okresie przedemigracyjnym (warszawskim) Norwid zapoznał się z filareckimi przekładami gazelów Hafiza (Sękowski, Wiernikowski, Chodźko). Bramy do świata Hafizowskiego otworzyły przed nim raczej dopiero pełne niemieckie tłumaczenia Dywanu (Purgstall i inni) oraz liczne nawiązania tematyczne w utworach niemieckich romantyków (Goethe, Heine). Okazją do zetknięcia z nimi był pobyt Norwida w Berlinie w roku 1846 i kwerendy w tamtejszej Bibliotece Uniwersyteckiej. Niewykluczone, że rolę bodźca odegrała też amerykańska (i późniejsza) lektura dzieł Emersona. Świat liryki Hafizowskiej otwierały przed autorem Assunty także przekłady francuskie, choć tym przypaść musiała raczej rola drugorzędna, gdyż w wieku XIX były one stosunkowo nieliczne (przełożono zaledwie 32 utwory do śmierci Norwida).
Lata emigracji paryskiej dostarczyły wielu nowych okazji, by pogłębić wiedzę o literaturze i kulturze Persji. Sprzyjał temu nie tylko sam pobyt w Paryżu, ale i obecność w gronie polskich emigrantów, wybitych iranologów, z którymi Norwid się stykał: Aleksandra Chodźki i Wojciecha Biberstein-Kazimirskiego (ten pracował z kuzynem Norwida – Michałem Kleczkowskim we francuskim MSZ).
Apogeum fascynacji Norwida Hafizem przypadło na lata 70., choć wiele poszlak zdaje się wskazywać na Hafizowski patronat już nad Promethidionem. Suficka „alchemia miłości”, przenikająca strofy Dywanu Hafiza, znalazła odblask przede wszystkim w Assuncie. Motto do tego poematu zaczerpnął Norwid zapewne z francuskiego przekładu A Grammar of the Persian Language Williama Jonesa (tłum. Garciana de Tassy z 1845 r.), w której dwuwiersz ów znalazł się pośród przykładów perskiej składni (gazel, z którego pochodzi ów dystych, nie był jeszcze wówczas w całości przetłumaczony na francuski). Z kolei motto do Emila na Gozdawiu jest prawdopodobnie parafrazą gazelu przełożonego na język francuski przez tegoż Jonesa i zamieszczonego w jego Traktacie o poezji orientalnej jako Oda V. Wybór motta do Emila… świadczy o przynależności Norwida do elitarnej grupy XIX-wiecznych erudytów, którzy umieli dotrzeć do religijnego wymiaru poezji Hafiza, umykającego na ogół ówczesnym europejskim czytelnikom Dywanu. Szczególnie oryginalnym pomysłem polskiego poety było przywołanie tekstu z obszaru kulturowego islamu (a nie chrześcijaństwa!) dla potrzeb polemiki z russowskim laickim modelem wychowania oraz przeciwstawienie zsekularyzowanej mentalności europejskiej głębokiego, niewzruszonego zmysłu religijnego Orientu.In Norwid’s works one can find distant echoes of the Sufi concepts. One of the threads linking this Polish poet to the current of Muslim mysticism is his fascination with Hafiz’s Divan (and secondly – the person of Abd el-Kader) manifesting it self in Pisma wszystkie. The Persian poet and mystic is mentioned in the works of the Polish author five times (twice in letters and three times in poems: Assunta, Emil na Gozdawiu and A Dorio ad Phrygium).
It is quite doubtful that Norwid became acquainted with philarete’s translations of Hafiz’sghazals (Sękowski, Wiernikowski, Chodźko) in his pre-emigration (Warsaw) period. It was rather the full German translations of Divan (Purgstall and others) and numerous thematic references in the works of German Romantics (Goethe, Heine) that opened to him the gates to Hafiz’s world. Norwid could have been exposed to these during his stay in Berlin in 1846 while attending a query at the University Library there. It cannot be ruled out that also the reading of Emerson’s works during his American period (and later) was a kind of stimulus. The world of Hafiz’s lyric poetry could also spread open before Norwid owing to French translations, although their role was rather secondary, since in the 19th century they were relatively few (only 32 works were translated before Norwid’s death).
The years of Parisian emigration provided many new opportunities to advance the know-ledge of Persian literature and culture. This was favoured not only by the stay in Paris, but also by the presence among Polish emigrants of eminent iranologists with whom Norwid was in touch: Aleksander Chodźko and Wojciech Biberstein-Kazimirski (he worked together with Norwid’s cousin Michał Kleczkowski at the French Ministry of Foreign Affairs).
The height of Norwid fascination with Hafiz was in the 1870s, although many facts indicate that Promethidion could already be inspired by Hafiz. The Sufi “alchemy of love” permeating the stanzas of Hafiz’s Divan found its reflection primarily in Assunta. Norwid took the motto for this poem probably from the French translation of A Grammar of the Persian Language by William Jones (translated by Garcin de Tassyin 1845), in which the couplet was among the examples of Persian syntax (the ghazelin which this couplet originated, was still not fully translated into French). In turn, the motto for Emil na Gozdawie is probably a paraphrase of the ghazel translated into French by the same Jones and included in his Treaty on Oriental Poetry as Ode V. The choice of the motto to Emil... testifies to Norwid’s affiliation with an elite group of 19th-century erudites who were able to get access to the religious dimension of the poetry by Hafiz, which generally remained hidden for the European readers of Divan at that time. A particularly original idea of the Polish poet was the evocation of a text from the area of cultural Islam (and not Christianity!) for the needs of polemics with the Rousseau eansecular model of upbringing, and the juxtaposition of the secularised European mentality with the deep, unshakable religious sense of the Orient
Hafizët shkodranë në monografinë e Prof. Dr. Feti Mehdiut
No full textThis article sheds light on some Shkodra hafiz reflected in the work of Akad. Feti Mehdi “Albanian Huffaz Throughout history”. The data collected by the author on the number and geographical distribution of the hafiz in Albanian lands are summarized statistically. The authors in the article highlight some of the hafiz who the author listed in his monograph as the most representative among the 101 Hafiz from Shkodra starting from Hafiz Abas Golemi, born in Shkodra in 1870 and venerated after 1990, by the President of the Republic, with the title “Teacher of the People”, under the dedication: “Teacher and director, who worked passionately all his life for the moral and civic education of the students, who founded and led authoritatively the Parruca school at the dawn of our national education”. Hafiz Sabri Koçi, born on May 14, 1921, imprisoned in June 1966, serving his sentence until October 22, 1986. In February 1991, he led the revival of the Muslim Community of Albania until 2003. He was awarded several titles of gratitude in Albania by the President of Albania and the Albanian Diaspora. Hafiz Xhevdet Zylaj, born in 1905, Hafiz Adem Kazazi born on 12 August 1880 and Hafiz Qamil Tresi born in Tetovo on 06.12.1922.Prof. Dr. Feti Mehdiu, i diplomuar për Filologji Orientale në Fakultetin e Filologjisë, Beograd, dhe i specializuar për gjuhë arabe, në Universitetit e Kajros, 1975-’76, ka punuar për një kohë të gjatë si pedagog në Departamentin e Orientalistikës në Fakultetin e Filologjisë të Universitetit të Prishtinës (UP). Përveç artikujve të shumtë, ai ka botuar rreth 28 libra në fusha të ndryshme, midis të cilëve edhe veprën me titull “Hafizët tanë gjatë historisë. Leksikon”. Kjo monografi paraqet përmbledhtazi biografitë e hafizëve më të shquar shqiptarë në periudhë kohore nga shekulli XVIII deri në vitin 2010
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