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The Rubáiyát by the Persian poet 'Umar Khayyaem (1048-1131) is used in contemporary Iran as a resistance literature, symbolizing the secularist voice in cultural debates. While Islamic fundamentalists criticize Khayyaem as an atheist and materialist philosopher who questions God's creation and the promise of reward or punishment in the hereafter, secularist intellectuals see in him an example of a scientist who scrutinizes the mysteries of the world. Others see a spiritual master, a Sufi, who guides people to the truth. This volume collects eighteen essays on the history of the reception of 'Umar Khayyaem in various literary traditions, exploring how his philosophy of doubt, carpe diem, hedonism, and in vino veritas has inspired generations of poets, novelists, painters, musicians, calligraphers and film-makers.

Ramaz ̄an ̄i, Muhsin. --- Quatrains, Persian --- Languages & Literatures --- Germanic Languages --- Indo-Iranian Languages & Literatures --- Quatrains, Persian. --- Omar Khayyam. --- Persian quatrains --- Omar Khayyam --- Criticism and interpretation. --- Influence. --- Persian poetry

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The chapters in this volume explore the philosophical underpinnings and cinematic techniques characteristic of Iranian film. Collectively, they show how the pervasive themes of Iranian cinema, such as martyrdom and war, gender roles, and social policy issues have been addressed, and how directors have approached them using a variety of techniques. Some chapters outline the poetic and mystical dimensions of Abbas Kiarostami's movies. Other chapters describe the effects of the Islamic Revolution on codes of morality and their expression in film as well as on directors' tactics in response to the new theocratic system.

Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Iran, film, cinematic techniques, Abbas Kiarostami, Islamic Revolution.

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Gog and Magog, as archetypes of evil, have dwelt in our consciousness since their threatening appearance in the Bible and Quran. Maps, literature and texts ranging from Medieval Europe, the Byzantine and Arab world, in Berber, Persian and Indonesian traditions, to contemporary internet texts: all use these imaginary monstrous creatures. The figures are constantly reinterpreted as the enemies of order change. This volume reveals in eight essays the images of the 'Other' in genres ranging from contemporary folk religion on the internet to the rich literary heritage of Alexander romances.

Good and evil in literature. --- End of the world --- End of the world (Islam) --- Apocalyptic literature. --- Eschatology. --- Other (Philosophy) in literature. --- Biblical teaching.

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Gog and Magog, as archetypes of evil, have dwelt in our consciousness since their threatening appearance in the Bible and Quran. Maps, literature and texts ranging from Medieval Europe, the Byzantine and Arab world, in Berber, Persian and Indonesian traditions, to contemporary internet texts: all use these imaginary monstrous creatures. The figures are constantly reinterpreted as the enemies of order change. Gog and Magog have been represented with dog heads, snake tongues. On the covers of contemporary Arab apocalyptic literature they may be giants or half-humans.This volume Embodiments of Evil: Gog and Magog reveals in eight essays the images of the ‘Other’ in genres ranging from contemporary folk religion on the internet to the rich literary heritage of Alexander romances.

Apocalyptic literature. --- End of the world (Islam) --- End of the world (Islam). --- End of the world --- Eschatology. --- Gog en Magog --- Good and evil in literature. --- Other (Philosophy) in literature. --- LITERARY CRITICISM / Middle Eastern. --- Biblical teaching. --- gtt. --- Literary Criticism, Culture Studies, Gog and Magog. --- Last things (Theology) --- Religious thought --- Theology, Doctrinal --- Evil in literature --- Good in literature --- Islamic eschatology --- Literature, Apocalyptic --- Literature