The novel The Secret Life of Said: The Pessoptimist is the most famous literary work of the Palestinian novelist, Emile Habibi. The book has been written in the form of letters sent from narrator of the story to the author. These letters, either in satiric or serious la More
The novel The Secret Life of Said: The Pessoptimist is the most famous literary work of the Palestinian novelist, Emile Habibi. The book has been written in the form of letters sent from narrator of the story to the author. These letters, either in satiric or serious language, have been written using different rhetorical styles. Their principal content is an attempt to portray the Israeli – Palestinian conflict in Palestine, dealing with Israeli characters as one of the conflict sides and elements who have occupied “my” Palestinian land. The reason for selection of the Israeli “the other” character in the present paper is thesignificant role of this element in conflicts of the occupied lands, who also serves as one of the main characters of the novel. With aid of a descriptive – analytical method, the paper investigates portrayal of Jewish Israeli the other in the novel The Pessoptimist as resistance novel of Palestine and illustrates the characteristics mentioned for Israeli the Other in the novel. Using a symbolic and humorous language and relying on elements such as verbal, physical and spatial descriptions, the author has portrayed a negative image of Israeli the Other.
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Garden carpets are a type of rug that gained popularity during the late Safavid period. One prominent example of this type is a carpet housed in the Astan Quds Museum. One notable feature of this carpet, which serves the function of Sajdah, is the inclusion of 'Sajdah' More
Garden carpets are a type of rug that gained popularity during the late Safavid period. One prominent example of this type is a carpet housed in the Astan Quds Museum. One notable feature of this carpet, which serves the function of Sajdah, is the inclusion of 'Sajdah' written on the front of the altar. The motifs employed in these carpets, in addition to the mihrab and a zikr on the front of the mihrab, include flying birds and thirteen fish inside the mihrab. Given that animal designs are less common in prayer mats, the question arises: What is the relationship between these designs and the rug's function? The research method employed is descriptive-analytical, and the information is gathered through library research. To unravel the meaning of the rug according to its function, it becomes necessary to understand the icons and the concealed codes within them. Hence, the Iconography method developed by Emil Male has been employed to analyze the carpet. The research findings reveal that the carpet incorporates visual symbols of Iranian ascension and excellence along with verbal symbols of Islamic excellence. Consequently, the combination of visual and verbal elements creates a new narrative that underscores Islamic-Iranian excellence.
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In archaeological terminology, small portable objects made of stone, mud, bone, and metal, usually 1-5 cm in diameter, with carved patterns are called seals. This tool probably had different functions in prehistoric times, but the economic function of the seal is more i More
In archaeological terminology, small portable objects made of stone, mud, bone, and metal, usually 1-5 cm in diameter, with carved patterns are called seals. This tool probably had different functions in prehistoric times, but the economic function of the seal is more important. The greatest variety of cylindrical and metal mesh seals can be seen in the Bronze Age. The present article seeks to answer the following questions: What are the characteristics of Tepe Hissar seals in terms of typology and iconography? Are the typological and iconographical changes of the seals of Tepe Hissar related to the arrival of other cultures in this region? Have the cultural and religious evolutions of the native people of the region caused the changes in seals? This research is of documentary type and based on the descriptive-analytical method, which was carried out with the aim of typology and iconography of the seals discovered from Tepe Hissar, Damghan. The seals of the Hissar I and II periods have been often discovered from grave contexts and the seals of the Hissar III period have been often discovered from architectural contexts. This study shows that most of the seals are of the stamp type and most of the engraved patterns are geometric. The seals of Tepe Hissar were made of various stones and materials, some of which were local and some imported from other regions. This shows the extent of commercial and economic activities in Tepe Hissar.
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The examination of religious texts is based on traditions and myths that play a significant role in the formation of visual culture of societies؛ The culture that is displayed in the form of symbols in works of art has led to the transmission of the message throug More
The examination of religious texts is based on traditions and myths that play a significant role in the formation of visual culture of societies؛ The culture that is displayed in the form of symbols in works of art has led to the transmission of the message through the image. By examining symbolic images, one can understand the ideology that governs societies. One of the symbolic images in ancient iranian art is the role of plants. The purpose of this research is to identify,interrogate and interpret plant paintings in order to identify their place in religious and mythological beliefs and their continuity and in the historical period of ancient iran. This qualitative research was done with descriptive-analytical approach and library-field method. The statistical population studied includes eighty seals of achaemenid period,two hundred and fifty parthian coins and six hundred and ninety sasanian coins, which were investigated with an emphasis on plant motifs.The statistical population studied includes eighty seals of achaemenid period,two hundred and fifty parthian coins and six hundred and ninety sasanian coins, which were investigated with an emphasis on plant motifs. The results show that there is a significant connection between plant motifs used in the seals and coins of ancient iran and the religious beliefs and myths of iranians. Palm,rosette,lily,pomegranate,oak and grape motifs are repeated motifs that are also discussed in avesta and bandhashen religious text.
Manuscript profile
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