Diss. : Fachbereich Sprachen und Kulturen des Mittelmeerraumes und Osteuropa : Giessen : 1980. - Bibliogr. p. 291-300. -

Texte remanié de: Doct. diss.--Harvard University, 1996. / Bibliogr. p. 418-432. Index.

In this dissertation, I examine the work of an important yet insufficiently studied Iranian novelist and short-story writer, Ahmad Mahmud. Because of his early affiliation with leftist socialist groups, Mahmud's work has been subject to various, sometimes contradictory, interpretations by critics. Such readings of Mahmud's work have resulted in making him a controversial literary figure. Hence, this project aims to re-examine the critics' current viewpoint of Mahmud's works, which they regard as "ideologically driven" and "Marxist and/or political writing." Although Mahmud's ideology played a significant role in creating his stories, particularly in his early works, I argue that storytelling is the predominant concern for Mahmud. In fact, a large portion of his writing depicts his own life and his own development as a person and a writer. Mahmud's portrayal of the main protagonist of his stories, Khaled, who goes through various stages of transformation, indeed reflects his own evolution and development. In other words, I contend that Mahmud's literary output is essentially "autobiographical." In addition, I argue that Mahmud's autobiographical fiction helps to shape and articulate his emerging role as a novelist as he strives to record decades of turbulent social and political upheaval and change in the post-1950s era, as the Iranian nation undergoes various stages of transformation and growth in search of a new identity and political autonomy. With an analysis of a select number of Mahmud's novels, furthermore, I discuss the social and historical nature of this transformation of the author/protagonist/nation and argue that from early on Mahmud was determined to depict the linear socio-political movement that took place in the modern history of Iran in the character of his memorable hero, Khaled, who appears in various guises and matures both as a person and a social entity from one novel to the next. / text

Este estudo consiste em apresentar aspectos da poesia de Mahmud Darwich e também em propor uma tradução, do árabe ao português brasileiro, de seu livro Ars (Bodas). Para tal, descrevemos a vida do autor, seu contexto histórico-cultural, sua linguagem e seu fazer poético, coletando as imagens e metáforas mais recorrentes na sua obra. / This study aims at presenting aspects of the poetry of Mahmoud Darwish. It also proposes a translation, from Arabic to Brazilian Portuguese, of his book Aras (Weddings). We describe the author\'s life, his historical and cultural context, his language and his poetry making, collecting images and recurring metaphors in his work.

Este estudo consiste em apresentar aspectos da poesia de Mahmud Darwich e também em propor uma tradução, do árabe ao português brasileiro, de seu livro Ars (Bodas). Para tal, descrevemos a vida do autor, seu contexto histórico-cultural, sua linguagem e seu fazer poético, coletando as imagens e metáforas mais recorrentes na sua obra. / This study aims at presenting aspects of the poetry of Mahmoud Darwish. It also proposes a translation, from Arabic to Brazilian Portuguese, of his book Aras (Weddings). We describe the author\'s life, his historical and cultural context, his language and his poetry making, collecting images and recurring metaphors in his work.

This dissertation examines the portraits of the Ottoman sultan Mahmud II (r. 1808–1839) as part of a campaign launched by the ruler and his propagandists to support sweeping reform efforts in military and civil spheres. The paintings and prints at the center of this study – to which I refer collectively as the “portraiture campaign” – are bound together by their shared use of the sultan’s idealized visage, direct gaze, and modern military uniform. I use the campaign as an acutely focused lens through which to view larger questions of shifting Ottoman imperial identity, legitimation ideology, and the role of visual diplomacy within the dynamic politics of the early nineteenth century. Chapter 1 approaches the campaign through its formal continuities with the established conventions of sultans’ portraiture. In it, I argue that it was in part the coexistence of various forms of Mahmud II’s image – dispersed through readily transportable and reproducible media on paper support – that facilitated the successful adaptation of foreign portrait conventions into the service of the Ottoman court. Chapter 2 discusses the bestowal ceremonies of the taṣvīr-i hümāyūn nişānı, a small-scale, medallion-format imperial portrait awarded in the style of a military decoration. I show how this portrait-object functioned in a manner new to the Ottoman context by evoking the memory of the sultan’s physical and spiritual presence across spectrums of viewing practice, ranging from the prescribed, semi-public setting of the bestowal ceremony itself to more intimate forms of viewing. Chapter 3 examines common programmatic elements and hierarchical protocol frequently repeated in the elaborate portrait-inauguration ceremonies held for the display of the large-format, wall-hanging taṣvīr-i hümāyūn (imperial portrait) in barracks, schools, and government offices. Chapter 4 considers a group of Ottoman-Balkan princely portraits in which the sitters wear the taṣvīr-i hümāyūn nişānı, framing it as an embedded object with the power to associate local, semi-autonomous provincial actors at the courts of Belgrade, Bucharest, and Iași with the sovereign power of the sultan in Istanbul. This dissertation provides the first examination of the component parts of Mahmud II’s portraiture campaign – the medallion-format, large-scale, and printed taṣvīr-i hümāyūn – with attention to their individual material and functional differences. It draws a significant connection between these works and related Ottoman-Balkan princely portraits, which have never before been considered within the context of the centralized campaign. By scrutinizing the archival records of new ceremonial forms in which the sultan’s portrait was bestowed or inaugurated, I show that these portraits were understood by contemporary audiences in their role as imperial propaganda supporting the sultan’s reform program. My methodology integrates the examination of ideologies of power and kingship tied to the Persianate and Ottoman-Islamic courtly traditions with art historical theories of vision popularized in the Western-European context in order to gain greater insight into how different strategies for the reception and use of portraiture were appropriated, adapted, and deployed. This new approach, which considers both established Ottoman and newly-integrated models of the visual representation of power, mirrors the blended strategies used by the sultan and his propagandists in their attempts to recentralize imperial control.