In our modern world, a signifi cant number of traditional values have been dramatically manipulated, taking on new meanings and definitions quite diff erent from their original or natural signifi cance. Moreover, these traditional values are being replaced by new ones deemed more suitable to today’s world. Ideas such as selfl essness, humility, and longing, among others, have seemingly lost value as a consequence of the frantic pace of modern life and replaced by self-centredness, greed,aridity, exteriority, which will have a direct impact on our surrounding environment. Let’s imagine a land in which selfi shness is not a priority. Instead, replace it with a society driven by humane preferences. Would the architecture of that society still look like ours does today? Would it be as unsociable as it is in our so-called advanced civilization? This thesis investigates this query through a juxtaposition of the traditional values of a Persian art with the demands of modern life. It is a study of the calligraphic art of Iran as a transcendental practice, highly intertwined with strong emotions, wherein the intention of the research is to discover the relationship between Persian calligraphy and architecture. Presenting calligraphy as a context for understanding architecture has the potential to get beyond ourselves in the spaces we author. This research aims to allow the essence of Persian calligraphy into modern space as a means to revive the true essence of architecture: reunion of feeling and space, a concept that is given too little attention in our current architecture.

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Thesis (Ph.D.)--University of Adelaide, Dept. of Electrical and Electronic Engineering, 1997. / Bibliography: leaves 146-159.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 115-122). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 115-122). Also available on the Internet.

No description available.

No description available.

This thesis is primarily concerned with the literary aspects of the Islamic Republic of Iran. Its immediate focus rests on the evolution of the Islamic republican poetic trend, encompassing both the disillusioned and conformist voices that rose to prominence in the course of the 1979 Revolution and their on-going engagement with the ruling political power. In this vein, this thesis investigates the various cultural policies of the state, as well as select political transformations of the past three decades, all of which played a pivotal role in this literary evolution. The thesis shows how the official poets that emerged during the 1979 Revolution, and which proved significantly active throughout the immediate history subsequent to that event (war with Iraq, the death of Ayatollah Khomeini and the rise and fall of the reform movement), evolved over time and thereby either received political support for their commitment to the state ideology or became gradually excluded from official cultural institutions. Finally, this thesis reviews the manner in which state strategies have shaped an institutionalised form of poetry that is monitored and reinforced by the Supreme Leader of the Islamic Republic and official cultural authorities. It demonstrates how an innate linking of the project of Islamic republican literature to underlying ideologically defined notions such as 'religious verse', 'legitimate poetry' and 'commitment' was and continues to be an intrinsic part of the literary foundations of the ideological apparatus of the Islamic Republic.

Thesis (DPhil (Ancient Studies)--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: Various opinions on the nature of Aphrahat‟s interactions with the Jews have essentially revolved around either accepting or rejecting the claim that the Persian Sage had contact with (Rabbinic) Jews and/or may have been influenced by them. While some significant research went into determining the precise nature of these relationships, the issue was never settled. This dissertation contributes to this ongoing discussion by posing and attempting to answer two primary research questions: 1) Did Aphrahat encounter actual Jews during his own lifetime or did he Simply project/imagine them into his Demonstrations from reading the New Testament collection? If the first question is answered in the affirmative, the focus of the dissertation becomes the following question: 2) Were the Jews whom Aphrahat encountered Rabbinic/Para-Rabbinic or not? To provide answers to these questions the author uses a textual comparative methodology, juxtaposing texts from both sources and then seeking to analyze them in relation to each other. Every section that deals with such comparison is organized into three sub-sections: 1) agreement, 2) disagreement by omission; and 3) disagreement by confrontation (this pattern is consistently followed throughout the study). The author concludes that the answer to both of these questions can be given in the affirmative. First, Aphrahat did not imagine nor project the Jews in his Demonstrations from his reading of the New Testament, but he (and his community) encountered the Jews on the streets of Ancient Northern Mesopotamia. Second, Aphrahat (and his community, sometimes only via his community) indeed had interactions with Rabbinic (or more accurately Para-Rabbinic) Jews. / AFRIKAANSE OSOMMING: Verskeie menings oor die aard van Afrahates se interaksies met die Jode het in hoofsaak gedraai om óf aanvaarding óf verwerping van die aanspraak dat die Persiese wysgeer kontak gehad het met (Rabbynse) Jode en/of deur hulle beïnvloed kon gewees het. Terwyl sekere beduidende navorsing ondersoek ingestel het na bepaling van die presiese aard van hierdie verhoudings, is die aangeleentheid nooit die hoof gebied nie. Hierdie verhandeling dra by tot hierdie voortgaande bespreking en poog om twee primêre navorsingsvrae te vra en te probeer beantwoord: 1) Het Afrahates werklike Jode gedurende sy eie leeftyd teëgekom of het hy hulle eenvoudig in sy “Demonstrationes” na aanleiding van die lees van die Nuwe Testament-versameling geprojekteer/gewaan? Indien die eerste vraag bevestigend beantwoord word, raak die fokus van die verhandeling die volgende vraag: 2) Was die Jode wat Afrahates teëgekom het, Rabbyns/Para-Rabbyns of nie? Om antwoorde op hierdie vrae te kan gee, gebruik die skrywer ʼn tekstueel vergelykende metodologie, deur tekste van beide bronne langs mekaar te plaas en hulle dan in verhouding tot mekaar te probeer analiseer. Elke afdeling wat met sodanige vergelyking te make het, word in drie onderafdelings georden: 1) ooreenkoms, 2) verskil deur weglating, en 3) verskil deur konfrontasie (hierdie patroon word konsekwent dwarsdeur die studie gevolg). Die skrywer kom tot die gevolgtrekking dat albei hierdie vrae bevestigend beantwoord kan word. Eerstens, Afrahates het nie die Jode in sy “Demonstrationes” na aanleiding van sy lees van die Nuwe Testament gewaan of geprojekteer nie, maar hy (en sy gemeenskap) het die Jode in die strate van Antieke Noord-Mesopotamië teëgekom. Tweedens, Afrahates (en sy gemeenskap, partymaal slegs via sy gemeenskap) het inderdaad interaksies met Rabbynse (of meer presies Para-Rabbynse) Jode gehad.

This thesis examines the Persian ghazal poetry of Mirza Ghalib. It does so in the light of the corpus of critical literature in Urdu, Persian, and English that concerns both the poetry of Ghalib as well as the poetry of the so-called “Indian Style” of Persian poetry. Poems by Ghalib and his literary forebears, including Fighani, Naziri, ‘Urfi, Zuhuri, Sa’ib, and Bedil are offered in translation; critical commentary follows each text. The thesis explicates the ways in which each of these authors engaged in an intertextual dialogue, here called javaab-go’ii, or appropriative response-writing, with his forebears, and argues that the dynamics of this intertextual dialogue contribute significantly to the poetry’s aesthetics. These “aesthetics of appropriation” are discussed, analyzed, and evaluated both in the light of Ghalib’s writings on literary influence and Persian poetics, as well as in the light of the aforementioned corpus of critical literature. / text