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Orientalistica
The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the In... more The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the Indian classic poet Mirza Ghalib (1797–1869). Ghalib wrote in two languages – Urdu and Persian, but it was the completion of the Urdu Divan that made him a great poet. The article presents the history of the creation and publication of the Divan, as well as discusses its sources. The authors focus on the complexity of the style and the richness of poetic themes, images and writing techniques. They also discuss the Sufi component of the first ghazal of the Divan, thus highlighting the poetics of the ghazal. The “opening” ghazal, which is placed at the beginning of a divan usually takes over the function of the hamd, i.e. the eulogy to the Creator, which is typical for a traditional introduction to a large poetic form. However, in Ghalib’s ghazal, this praise comes in a paradoxical form, which is caused by Ghalib`s high criteria of humanism and dignity. The analysis of the first ghazal helps...
Rumi Teaching/ Seyed Ghahreman Safavi/ London Academy of Iranian Studies, 2008
In this paper I'd like to discuss some questions of Iqbal's poetic and philosophical terminology ... more In this paper I'd like to discuss some questions of Iqbal's poetic and philosophical terminology in its connection with Rumi's philosophy of Love/ The purpose is to study some fundamental notions of the poetic philosophy of Iqbal and to answer the following question: to wyich extent are the same terms and notions used by both authors authentic? In other words, can we say that the notions used by both poets is borrowed by Iqbal from Rumi while keeping the semantics and terminological connotationa of the original.
Orientalistica
The article deals with matla‘ (first she‘r – two-line couplet – in a ghazal) of the first ghazal ... more The article deals with matla‘ (first she‘r – two-line couplet – in a ghazal) of the first ghazal in the Divan by Mirza Asadulla-khan Ghalib (1792–1869) written in Urdu. One of the items usually commented there is the garment made of paper (kāġhażī peirahan). It used to be worn in ancient times by the complainers who appealed to the ruler. The range of complaints in the poetry of Ghalib as well as by other Urdu and Persian poets was wide, however, stable. “Wearing paper clothes”, the petitioner complained about the Almighty, the ill fate, a cruel girl, a lack of understanding of the petitioner’s poetry and the poor remuneration, and finally, about the poet himself, who “dressed” his poems in the paper. Тhese diverse situations form the elements of the literary motif as well as its context and are common in the Persian verses by the predecessors of Ghalib and also himself. Its analysis helps to understand all levels of meaning inherent in one of the most difficult-to-interpret texts b...
Orientalistica
The article is a publication of the first commented translation into Russian of a large part of t... more The article is a publication of the first commented translation into Russian of a large part of the philosophical and didactic poem (masnavi) Raušanāī-nāmeh – “The Book of Enlightenment” by the great Tajik-Persian poet and philosopher Nāṣir-i Xusrav (Nasir-i Khusrav). Nāṣir-i Xusrav (b. 1004 AD Kobadian d. 1072 AD Yumgan) later in his life adopted the teachings of Isma’ilism (a branch of Shi`a Islam). After traveling to the Middle East, he returned to Khorasan as da’i or Khujjat (the official preacher of Isma‘ilism). He had to hide from persecution in the mountain village of Yumgan. There he spent the last years of his life and wrote his main poetic and philosophical works, viz. Zād al-musāfirīn, Jāmi‘ al-ḥikmatayn and (masnavi) Raušanāī-nāmeh. The latter although comprises the main ideas of the two previous treatises, however, conveys them in a popular form. Nāṣir-i Xusrav’s mostly poetical heritage has already received sufficient attention of the Russian scholars of the 20th cent...
Orientalistica
The article comprises an analysis of the famous ghazal by the 14th cent. Iranian poet Shams al-Di... more The article comprises an analysis of the famous ghazal by the 14th cent. Iranian poet Shams al-Din Hafiz. Traditionally it has been considered as a response to a poem by his late contemporary Shah Ni‘matullah Vali. This poetic dialogue is rather remarkable since it reveals both the literary and the personal polemics. The juxtaposing of the two texts opens in their research further hermeneutic perspectives. The ideal images of the ghazals’ lyrical characters can be projected onto the personalities of the two poets and their relationships, which provides the poem by Hafiz with a new semantic dimension.The authors declares that there is no conflict of interest.
Orientalistica
The article deals with the poetical heritage of Abulqasim Lahuti, more precisely his poetical wor... more The article deals with the poetical heritage of Abulqasim Lahuti, more precisely his poetical works of an early period, which constitute a special section in his collection of poems, the Divan. It was published in Teheran as early as in 1979 by 'Ali Bashiri under the title As'ar-e mazhabi va 'erfani («Religious and Sufi verses»). The revolutionary, patriotic and lyrical poetical works by A. Lahuti published since 1909 are well-known. However, his early poetry, which reflects the time when he was in contact with various Sufi brotherhoods remains almost a terra incognita for most scholars who have been studying his poetry ever since. Moreover, the existence of such poetry of his was hardly even accounted for, at least by the Soviet scholars who made attempts to reconstruct Lahuti’s biography as a poet. Usually, it is difficult to link an author of a poetical piece (ghazal) with a certain Sufi brotherhood or school unless there is a direct indication left by his biographers...
Orientalistica
Контент доступен под лицензией Creative Commons Attribution 4.0 License. This work is licensed un... more Контент доступен под лицензией Creative Commons Attribution 4.0 License. This work is licensed under a Creative Commons Attribution 4.0 License.
Orientalistica
the "Persian miniature" was the gift by A. A. Akhmatova to her son after his return from the conc... more the "Persian miniature" was the gift by A. A. Akhmatova to her son after his return from the concentration camp. The sheet includes the painting and the textual decor placed around it. There is no documentary evidence of the history of the present, a donator or the symbolical meaning of the donation. This article discusses the problem of the textual decor and its connection with the content of the picture. The textual decor is presented by extended cartouches with oriental inscriptions. The most frequent are the quotations from Jami's "Yusuf and Zuleikha". This helps to correlate the textual decor with the meaning of the scene presented in the picture. Since professor A. Boldyrev was invited to interpret the textual decor of the picture on Akhmatova's request, there might be a hypothetical connection between Akhmatova's awareness of the meaning of the text and her donation of the miniature to her son.
Orientalistica
Резюме: перевод и герменевтика классической персидской газели принадлежат к числу актуальных проб... more Резюме: перевод и герменевтика классической персидской газели принадлежат к числу актуальных проблем иранской филологии. Статья включает филологические переводы двух газелей Шамс ад-Дина Мухаммада Хафиза (XIV в.) в сопровождении детального поэтологического комментария. Во введении к публикации кратко изложена концепция, лежащая в основе проекта полного перевода «Дивана» газелей Хафиза на русский язык.
Orientalistica
Рима и Торонто. Все они были посвящены изучению классического наследия Востока-рукописей и предме... more Рима и Торонто. Все они были посвящены изучению классического наследия Востока-рукописей и предметов изобразительного искусства, фольклора, религии и мифологии. Этим объясняется растущая популярность ежегодно проводимой в Москве конференции, расширение ее тематического спектра и круга участников. Как и в предыдущие годы, организатором конференции стал Институт востоковедения РАН (Отдел памятников письменности народов Востока).
Orientalistica
The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the In... more The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the Indian classic poet Mirza Ghalib (1797–1869). Ghalib wrote in two languages – Urdu and Persian, but it was the completion of the Urdu Divan that made him a great poet. The article presents the history of the creation and publication of the Divan, as well as discusses its sources. The authors focus on the complexity of the style and the richness of poetic themes, images and writing techniques. They also discuss the Sufi component of the first ghazal of the Divan, thus highlighting the poetics of the ghazal. The “opening” ghazal, which is placed at the beginning of a divan usually takes over the function of the hamd, i.e. the eulogy to the Creator, which is typical for a traditional introduction to a large poetic form. However, in Ghalib’s ghazal, this praise comes in a paradoxical form, which is caused by Ghalib`s high criteria of humanism and dignity. The analysis of the first ghazal helps...
Rumi Teaching/ Seyed Ghahreman Safavi/ London Academy of Iranian Studies, 2008
In this paper I'd like to discuss some questions of Iqbal's poetic and philosophical terminology ... more In this paper I'd like to discuss some questions of Iqbal's poetic and philosophical terminology in its connection with Rumi's philosophy of Love/ The purpose is to study some fundamental notions of the poetic philosophy of Iqbal and to answer the following question: to wyich extent are the same terms and notions used by both authors authentic? In other words, can we say that the notions used by both poets is borrowed by Iqbal from Rumi while keeping the semantics and terminological connotationa of the original.
Orientalistica
The article deals with matla‘ (first she‘r – two-line couplet – in a ghazal) of the first ghazal ... more The article deals with matla‘ (first she‘r – two-line couplet – in a ghazal) of the first ghazal in the Divan by Mirza Asadulla-khan Ghalib (1792–1869) written in Urdu. One of the items usually commented there is the garment made of paper (kāġhażī peirahan). It used to be worn in ancient times by the complainers who appealed to the ruler. The range of complaints in the poetry of Ghalib as well as by other Urdu and Persian poets was wide, however, stable. “Wearing paper clothes”, the petitioner complained about the Almighty, the ill fate, a cruel girl, a lack of understanding of the petitioner’s poetry and the poor remuneration, and finally, about the poet himself, who “dressed” his poems in the paper. Тhese diverse situations form the elements of the literary motif as well as its context and are common in the Persian verses by the predecessors of Ghalib and also himself. Its analysis helps to understand all levels of meaning inherent in one of the most difficult-to-interpret texts b...
Orientalistica
The article is a publication of the first commented translation into Russian of a large part of t... more The article is a publication of the first commented translation into Russian of a large part of the philosophical and didactic poem (masnavi) Raušanāī-nāmeh – “The Book of Enlightenment” by the great Tajik-Persian poet and philosopher Nāṣir-i Xusrav (Nasir-i Khusrav). Nāṣir-i Xusrav (b. 1004 AD Kobadian d. 1072 AD Yumgan) later in his life adopted the teachings of Isma’ilism (a branch of Shi`a Islam). After traveling to the Middle East, he returned to Khorasan as da’i or Khujjat (the official preacher of Isma‘ilism). He had to hide from persecution in the mountain village of Yumgan. There he spent the last years of his life and wrote his main poetic and philosophical works, viz. Zād al-musāfirīn, Jāmi‘ al-ḥikmatayn and (masnavi) Raušanāī-nāmeh. The latter although comprises the main ideas of the two previous treatises, however, conveys them in a popular form. Nāṣir-i Xusrav’s mostly poetical heritage has already received sufficient attention of the Russian scholars of the 20th cent...
Orientalistica
The article comprises an analysis of the famous ghazal by the 14th cent. Iranian poet Shams al-Di... more The article comprises an analysis of the famous ghazal by the 14th cent. Iranian poet Shams al-Din Hafiz. Traditionally it has been considered as a response to a poem by his late contemporary Shah Ni‘matullah Vali. This poetic dialogue is rather remarkable since it reveals both the literary and the personal polemics. The juxtaposing of the two texts opens in their research further hermeneutic perspectives. The ideal images of the ghazals’ lyrical characters can be projected onto the personalities of the two poets and their relationships, which provides the poem by Hafiz with a new semantic dimension.The authors declares that there is no conflict of interest.
Orientalistica
The article deals with the poetical heritage of Abulqasim Lahuti, more precisely his poetical wor... more The article deals with the poetical heritage of Abulqasim Lahuti, more precisely his poetical works of an early period, which constitute a special section in his collection of poems, the Divan. It was published in Teheran as early as in 1979 by 'Ali Bashiri under the title As'ar-e mazhabi va 'erfani («Religious and Sufi verses»). The revolutionary, patriotic and lyrical poetical works by A. Lahuti published since 1909 are well-known. However, his early poetry, which reflects the time when he was in contact with various Sufi brotherhoods remains almost a terra incognita for most scholars who have been studying his poetry ever since. Moreover, the existence of such poetry of his was hardly even accounted for, at least by the Soviet scholars who made attempts to reconstruct Lahuti’s biography as a poet. Usually, it is difficult to link an author of a poetical piece (ghazal) with a certain Sufi brotherhood or school unless there is a direct indication left by his biographers...
Orientalistica
Контент доступен под лицензией Creative Commons Attribution 4.0 License. This work is licensed un... more Контент доступен под лицензией Creative Commons Attribution 4.0 License. This work is licensed under a Creative Commons Attribution 4.0 License.
Orientalistica
the "Persian miniature" was the gift by A. A. Akhmatova to her son after his return from the conc... more the "Persian miniature" was the gift by A. A. Akhmatova to her son after his return from the concentration camp. The sheet includes the painting and the textual decor placed around it. There is no documentary evidence of the history of the present, a donator or the symbolical meaning of the donation. This article discusses the problem of the textual decor and its connection with the content of the picture. The textual decor is presented by extended cartouches with oriental inscriptions. The most frequent are the quotations from Jami's "Yusuf and Zuleikha". This helps to correlate the textual decor with the meaning of the scene presented in the picture. Since professor A. Boldyrev was invited to interpret the textual decor of the picture on Akhmatova's request, there might be a hypothetical connection between Akhmatova's awareness of the meaning of the text and her donation of the miniature to her son.
Orientalistica
Резюме: перевод и герменевтика классической персидской газели принадлежат к числу актуальных проб... more Резюме: перевод и герменевтика классической персидской газели принадлежат к числу актуальных проблем иранской филологии. Статья включает филологические переводы двух газелей Шамс ад-Дина Мухаммада Хафиза (XIV в.) в сопровождении детального поэтологического комментария. Во введении к публикации кратко изложена концепция, лежащая в основе проекта полного перевода «Дивана» газелей Хафиза на русский язык.
Orientalistica
Рима и Торонто. Все они были посвящены изучению классического наследия Востока-рукописей и предме... more Рима и Торонто. Все они были посвящены изучению классического наследия Востока-рукописей и предметов изобразительного искусства, фольклора, религии и мифологии. Этим объясняется растущая популярность ежегодно проводимой в Москве конференции, расширение ее тематического спектра и круга участников. Как и в предыдущие годы, организатором конференции стал Институт востоковедения РАН (Отдел памятников письменности народов Востока).