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Untersuchung zur Rezeption persischer Lyrik in der europäischen Kunstmusik

Untersuchung zur Rezeption persischer Lyrik in der europäischen Kunstmusik am Beispiel der Werke von Saʿdī, Ḥāfeẓ und ʿOmar Ḫayyām. Elgaz Pegah. Heidelberg : Universitätsbibliothek Heidelberg, 2024.

Summary
Betrachtet man das breite Spektrum musikalischer Werke basierend auf persischer Lyrik und ihre daraus resultierende enorme Bedeutung für die europäische Kunstmusik, ist es verwunderlich, wie wenig dieses Thema bislang erforscht ist. Während zur literarischen Rezeption der persischen Lyrik in europäischen Sprachen zahlreiche Studien vorliegen, ist es bei deren musikalischer Rezeption nicht der Fall.

Taal als delicatesse

Taal als delicatesse. De invloed van Omar Khayyam en andere Perzische dichters op de Nederlands poëzie. Kees Fens
In: De Volkskrant, 21-4-2006

Meer dan gedichtjes lezen. De invloed van Perzische dichters op de Nederlandse literatuur

Meer dan gedichtjes lezen. De invloed van Perzische dichters op de Nederlandse literatuur. Christiaan Weijts
In: Mare 29 16-3-2006, p. 13

Mark Twain had tot op zijn sterfbed altijd een bundeltje van Omar Khayyam op zak. Ook Nederlandse auteurs zijn dol op Perzische poëzie. Van Bilderdijk tot Jan Wolkers. Vrijdag 17 maart 2006 verschijnt voor het eerst een monografie over de invloed van Perzische poëzie op de Nederlandse literatuur.

 

D’Omar Khayyam à Fernando Pessoa et à Pierre Seghers

D’Omar Khayyam à Fernando Pessoa et à Pierre Seghers : traduction, recréation, transfert? Ana Maria Binet
In: Synergies Portugal, (2020), 8, pp. 83-95,165-166

The constant attraction for Eastern world on the part of Western world became particularly relevant in the XIXth century, bringing about a special interest for oriental poetry, which was abundantly translated, mainly to English and French. Omar Khayyam, a great Persian medieval poet, was one of the objects of this fascination, having been translated, among others, by Edward FitzGerald, in 1859, which made him famous through English speaking world. Fernando Pessoa used this translation to adapt Khayyam’s poetry to his own inspiration. In 1982, Pierre Seghers published his French translation, which is perhaps, among those we present here, the only one we can consider as being one.

 

FitzGerald’s Anglo-Persian Rubáiyát

FitzGerald’s Anglo-Persian Rubáiyát. R. Taher-Kermani.
Translation and Literature, 23 (2014), nr. 3 (324-335)

This article examines Edward FitzGerald’s translation practice and the poetics of his Rubáiyát of Omar Khayyám (1859) in order to to enrich and supplement previous critiques. FitzGerald succeeded in ‘Persianising’ his re-writing of the rubáiyát by importing matter of peculiar Persian significance. In order to identify it, his translation of Khayyám needs to be read with, so to speak, a Persian eye; it has to be scrutinized as a native critic would read and analyse the poetry of, for example, Hāfiz. This is the fundamental approach of this essay.

Strategies of appropriation: Khayyam and Rumi

Strategies of appropriation: Khayyam and Rumi. F. Farahzad.
In: Translation Studies 4 (2006), pp. 44-52.

This paper attempts to explore the issue of representation by focusing on two major translations of Persian poetry and literature, one produced in mid 19th century and the other produced in late 20th century.