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Olga M. Davidson applies comparative literary approaches to classical Persian traditions of composing and performing poetry and song. She focuses on the eleventh-century ce epic Shahnama and its relationship to other genres embedded in it, including forms of verbal art originally composed without the aid of writing, such as women's laments.
A masterpiece of Persian Classical epic, the Shahnama or Book of Kings was composed by Abu'l-Qasem Ferdowsi at the beginning of the eleventh century. Because the Shahnama presents itself as a chronicle of the reigns of the shahs from the primordial founders to the Sasanian dynasty which ended in 651, scholarly attention has centered on the question of its historical accuracy. Addressing the literary as well as the historical and mythological aspects of the Shahnama, Olga M. Davidson makes this centerpiece of Iranian culture accessible to Western readers. Drawing on recent work in epic studies and oral poetics, Davidson considers analogies with Classical and medieval European narratives as she investigates the poem's social contexts. Her interpretation of the Shahnama focuses on both the figure of the poet himself and on his protagonists-the superhuman hero Rostam and the historical or historicized shahs. Exploring the Shahnama as an example of court poetry designed to glorify the idea of empire, Davidson identifies as a driving force of Ferdowsi's narrative a strong current of antagonism between king and hero. Ironically, she shows, it is the epic hero himself who poses the greatest threat to the concept of kingship that he is sworn to defend. Poet and Hero in the Persian Book of Kings will be welcomed by readers working in such fields as comparative literature, Middle Eastern Studies, folklore, literary theory, and comparative religion.
Articles in this volume focus on theories and histories of comparative literature and the field of comparative cultural studies. Contributors are Kwaku Asante-Darko on African postcolonial literature; Hendrik Birus on Goethe's concept of world literature; Amiya Dev on comparative literature in India; Marian Galik on interliterariness; Ernst Grabovszki on globalization, new media, and world literature; Jan Walsh Hokenson on the culture of the context; Marko Juvan on literariness; Karl S.Y. Kao on metaphor; Kristof Jacek Kozak on comparative literature in Slovenia; Manuela Mourao on comparative literature in the USA; Jola Skulj on cultural identity; Slobodan Sucur on period styles and theory; Peter Swirski on popular and highbrow literature; Antony Tatlow on textual anthropology; William H. Thornton on East/West power politics in cultural studies; Steven Totosy on comparative cultural studies; and Xiaoyi Zhou and Q.S. Tong on comparative literature in China. The papers are followed by an index and a bibliography of scholarship in comparative literature and cultural studies compiled by Steven Totosy, Steven Aoun, and Wendy C. Nielsen.
In Beholding Beauty: Saʿdi of Shiraz and the Aesthetics of Desire in Medieval Persian Poetry, Domenico Ingenito explores the unstudied connections between eroticism, spirituality, and politics in the lyric poetry of 13th-century literary master Sa‘di Shirazi.
Humanism has mostly considered the question “What does it mean to be human?” from a Western perspective. Dabashi asks it anew from a non-European perspective, in a groundbreaking study of 1,400 years of Persian literary humanism. He presents the unfolding of this vast tradition as the creative and subversive subconscious of Islamic civilization.
What makes language beautiful? Arabic Poetics offers an answer to what this pertinent question looked like at the height of the Islamic civilization. In this novel argument, Lara Harb suggests that literary quality depended on the ability of linguistic expression to produce an experience of discovery and wonder in the listener. Analysing theories of how rhetorical figures, simile, metaphor, and sentence construction are able to achieve this effect of wonder, Harb shows how this aesthetic theory, first articulated at the turn of the 11th century CE, represented a major paradigm shift from earlier Arabic criticism which based its judgement on criteria of truthfulness and naturalness. In doing so, this study poses a major challenge to the misconception in modern scholarship that Arabic criticism was "traditionalist" or "static," exposing an elegant widespread conceptual framework of literary beauty in the post-10th-century Islamicate world which is central to poetic criticism, the interpretation of Aristotle's Poetics in Arabic philosophy and the rationale underlying discussions about the inimitability of the Quran.
The Routledge Handbook of Ancient, Classical, and Late Classical Persian Literature contains scholarly essays and sample texts related to Persian literature from 650 BCE through the 16th century CE. It includes analyses of some seminal ancient texts and the works of numerous authors of the classical period. The chapters apply a disciplinary or interdisciplinary approach to the many movements, genres, and works of the long and evolving body of Persian literature produced in the Persianate World. These collections of scholarly essays and samples of Persian literary texts provide facts (general information), instructions (ways to understand, analyze, and appreciate this body of works), and the field’s state-of-the-art research (the problematics of the topics) regarding one of the most important and oldest literary traditions in the world. Thus, the Handbook’s chapters and related texts provide scholars, students, and admirers of Persian poetry and prose with practical and direct access to the intricacies of the Persian literary world through a chronological account of key moments in the formation of this enduring literary tradition. The related Handbook (also edited by Kamran Talattof ), Routledge Handbook of Post Classical and Contemporary Persian Literature, covers Persian literary works from the 17th century to the present.
Employing contemporary literary theory, eight members of the "Chicago school" of Arabic and Persian literature reorient the critical approach to classical Middle Eastern literature. The authors analyze a broad spectrum of poetry, ranging from the pre-Islamic ode of the sixth century to seventeenth-century Persian Safavid Moghul verse. Among issues considered are the ritual and sacrificial aspects of literature, the transition from orality to literacy, the iconographical and mythic dimensions of philology, and imitation as a form of creation. The inclusion of contemporary translations of all the poems discussed is an important feature for students of Middle Eastern literature and comparative poetics.
This book proposes a set of criteria for determining the extent to which oral tradition influences written Persian epics. The criteria are applied to Persian epics, the Shah-name (c. 1000) and the Garshasp-name (c. 1064-66).