Representation of Zahâk in Ottoman Critical Literature

Name: Representation of Zahâk in Ottoman Critical Literature
Author: Tooran Toolabi

İsim	Representation of Zahâk in Ottoman Critical Literature
Yazar	Tooran Toolabi
Konu	Iran, Ottoman Empire
Tür	Kitap
Dil	Farsça
Dijital	Evet
Yazma	Hayır
Kütüphane:	Danimarka Kraliyet Kütüphanesi
Demirbaş Numarası	ISSN: 2008-8841, EISSN: 2538-3507, DOI: 10.22051/hph.2024.46429.1711
Kayıt Numarası	cdi_doaj_primary_oai_doaj_org_article_f74036db47c84f9e86ae0b8cd903fff5
Lokasyon	DOAJ Directory of Open Access Journals
Notlar	From the classical era until the 19th century, Iranian literary texts occasionally served as a source of inspiration in the Ottoman Empire. One such example is Zahâk, a myth from Ferdowsi’s Shâhnâmeh, which was used to criticize the political situation in the Ottoman Empire. As Ottoman thinkers became familiar with the intellectual works of the West and the political structure of Europe, they began to criticize the governance of their declining empire. The prominent writer Şemseddin Sami, for instance, protested against despotism in various works, including plays such as Kāveh. This play not only exemplifies modern literature but also serves as a critical work by a Turkish thinker, expressing political issues in literary language. In Iran, Kâveh was translated by Mirzâ Ebrâhimkhan Amir Toumân as Zahâk, aiming to convey a different political context. This essay, inspired by “New Historicism” as a functional approach, illuminates the intended concepts of both the author and the Iranian translator. It reveals that both Iran and the Ottoman Empire had similar political experiences. Moreover, it shows that both the writer and the translator were aware of political despotism as a problem in their “homeland”. However, the political situation in Iran appears to be more complex. Understanding the political structure and the distinct experiences of monarchy in these contexts simplifies the question: why was Kâveh translated as Zahâk in Iran? Additionally, this play reflects social issues in Kâveh’s life, which adds another dimension to the work.
Görüntüle	تاریخ نگری و تاریخ نگاری, 2022-10, Vol.32 (30), p.227-252

Kaynağa git Danimarka Kraliyet Kütüphanesi Royal Danish Library

Aramaya Dön

Danimarka Kraliyet Kütüphanesi

Kaynağa git

Representation of Zahâk in Ottoman Critical Literature

Yazar Tooran Toolabi

Konu Iran, Ottoman Empire

Tür Kitap

Dil Farsça

Dijital Evet

Yazma Hayır

Kütüphane Danimarka Kraliyet Kütüphanesi

Demirbaş Numarası ISSN: 2008-8841, EISSN: 2538-3507, DOI: 10.22051/hph.2024.46429.1711

Kayıt Numarası cdi_doaj_primary_oai_doaj_org_article_f74036db47c84f9e86ae0b8cd903fff5

Lokasyon DOAJ Directory of Open Access Journals

Notlar From the classical era until the 19th century, Iranian literary texts occasionally served as a source of inspiration in the Ottoman Empire. One such example is Zahâk, a myth from Ferdowsi’s Shâhnâmeh, which was used to criticize the political situation in the Ottoman Empire. As Ottoman thinkers became familiar with the intellectual works of the West and the political structure of Europe, they began to criticize the governance of their declining empire. The prominent writer Şemseddin Sami, for instance, protested against despotism in various works, including plays such as Kāveh. This play not only exemplifies modern literature but also serves as a critical work by a Turkish thinker, expressing political issues in literary language. In Iran, Kâveh was translated by Mirzâ Ebrâhimkhan Amir Toumân as Zahâk, aiming to convey a different political context. This essay, inspired by “New Historicism” as a functional approach, illuminates the intended concepts of both the author and the Iranian translator. It reveals that both Iran and the Ottoman Empire had similar political experiences. Moreover, it shows that both the writer and the translator were aware of political despotism as a problem in their “homeland”. However, the political situation in Iran appears to be more complex. Understanding the political structure and the distinct experiences of monarchy in these contexts simplifies the question: why was Kâveh translated as Zahâk in Iran? Additionally, this play reflects social issues in Kâveh’s life, which adds another dimension to the work.

Görüntüle تاریخ نگری و تاریخ نگاری, 2022-10, Vol.32 (30), p.227-252