The Rose and the Wine: Dispute as a Literary Device in Classical Persian Literature

As everyone knows, alcoholic drinks, including wine, are forbidden by Islam. Readers of Persian poetry often wonder how is it possible that Persian wine literature is one of the richest in the world and whether the poets and authors ever address the illicitness of the wine in their works. This article examines how one author, Zangī Bukhārī, presents a catalogue of positive and negative qualities of wine in his Gul u mul (“The Rose and the Wine”). Through the genre of debate (munāzara), he shows how a courtly audience may have tried to justify the drinking of wine. The article examines the formal generic characteristics of such debates, showing how the form of the debate is rather appropriate to let forbidden objects or ideas, in this case the wine, speak for themselves thus defending their position in an Islamic society. entertaining in is richness in metaphors and imagery used by the wine and the rose to voice their superiority to each other, but it also addresses a rather controversial topic in an uncontroversial style.     

中国现代文坛对谷崎润一郎的翻译与接受

谷崎润一郎是日本唯美主义文学流派最著名的代表作家,其文学创作对中国现代文学产生了深远的影响。本文将结合中日文学交流史的相关知识,以前期创造社为典型案例,梳理谷崎润一郎及其作品在中国的翻译与接受的轨迹,并在此基础上分析其在我国现代文坛的影响及接受情况。     

“人文主义”的兴起-一个有关史学认识的个案分析

本文考察了 1 8世纪以来“人文主义”概念的演变 ,认为这种变化恰恰反映出不同时代研究者各自的现实要求。文章指出 ,人们为了使历史便于理解 ,对历史现象进行分类、对历史时间进行分期而使用某些术语。以“人文主义”概念的演变作为例证 ,可以说明传统史学意义上那种客观历史是如何被不同时代的研究者赋予不同的面貌和意义 ,并藉此来解决研究者现实生活中遭遇的问题。     

The Village in Contemporary Persian Poetry

This paper explores the ever-shifting symbiosis between the village motif, social justice and populist politics in Iran over the past three decades. The village has remained a recurring motif in Persian literature, employed by a variety of writers and state institutions for a range of means. As a symbol, it has been a conduit into which any ideology can be poured; the village allegory can be manipulated to both condemn and support the official policies of the state. A comparison of Iran’s pre- and post-revolutionary literature sheds light on the ways the state literati perpetuated an idealized picture of the village as an authentic, sacred space, increasingly associated with religious nationalism during the 1980s. The paper examines the key socio-political influences on the evolution of the pastoral motif, the work of state-sponsored official poets, and the impact of the village on the cultural doctrine of the Islamic Republic.     

文艺的,过于文艺的曼谷

<正>有人问我为什么热爱曼谷,这个问题就如同"我为什么去过那么多次曼谷"一样既难以回答又显而易见。泰国旅业局内人pim对我说曼谷变了,庞大、拥堵、人多,"已经不是我以前熟悉的那个曼谷了";海外置业地产商王先生发给我的消息里只有两个字"售罄",那栋位于湄南河左岸的楼盘里没有一个人会说泰语;在落地签     

Muhammad Ghaffari: The Persian Painter of Modern Life

In the late nineteenth century, Qajar Iran, like its neighbor the Ottoman Empire, faced the dual challenges of colonialism and modernity. This paper considers the role of art education and art production in its response to these forces, focusing on the leading court painter of the late Qajar period, Mirza Muhammad Ghaffari, Kamal al-Mulk (1848–1941), whose career bridged the late Qajar period and the early twentieth century. Early in his career, Ghaffari was recognized as the leading exponent of academic painting, yet by the constitutional period his art had evolved into a style representing contemporary Persian life, a style which was informed by nationalistic discourses current in intellectual and political circles. This paper's consideration of the evolution of his style from a European modernism to an authentic Iranian modernism includes Ghaffari's training as a painter, the role of photography in the development of his style, his travel to Europe, and parallels with the art and career of the Ottoman painter Osman Hamdi.