Podcasts about Shahnameh

Born under the Samanid dyansty and living through the rule of the Ghaznavid dynasty in Tus located north Iran, Ferdowsi is author of the epic Shahnameh (“The Book of Kings”) of 50,000 lines taking 30 years to compose. The work is of central importance in Persian heritage. Q1. Ferdowsi was born in 940CE and died around 1019CE at around 80 years old. He lived under the Ghaznavid dynasty who at their height ruled territory spanning modern day Iran, Afghanistan and Pakistan. Tell us about the cultural context in which he was born. Q2. Ferdowsi was born into a family of dehqan landowners. He has an elegy to an adult son inserted into the Shahnameh. He is characterised as both a Shia Muslim but also a deist. What else do we know about his life? Q3. Ferdowsi began work on the Shahnameh around 977 and received patronage from sultan Mahmud of the Ghaznavid dynasty. Give us an overview of the Shahnameh and how readers in translation should approach it. There are also many beautifully illustrated editions too. Tell us about those too. Q4. If people want to learn more about Ferdowsi and his Shahnameh, what resources and translations would you recommend. Q5 Finally before we end, give us a sample of the Shahnameh in the original Persian and translation. Ali Hammoud: https://x.com/AliHammoud7777 https://alihammoud7.substack.com/ 

Donald Trump and Kamala Harris are campaigning in swing states, with just two days to go before America decides its next president. Newshour's James Coomarasamy is in Milwaulkee, a swing state and visits a food bank in Wisconsin. We also hear what issues are important to people. Also on the programme, Angry residents are hostile towards King Felipe of Spain as he arrives in Valencia badly hit by recent floods. And we hear about the deal that saw one of the greatest treasures in Persian art brought back to Tehran: The Book of King, Shahnameh, exchanged for a de Kooning painting.(Photo: Voters participate in early voting at Fulton County's C.T. Martin Natatorium advance voting polling location in Atlanta, Georgia, USA, 31 October 2024. Credit: Erik S Lesser/EPA-EFE/REX/Shutterstock)

London based Middle Eastern progressive doom band Lowen have released their sophomore album, ‘Do Not Go to War with The Demons of Mazandaran' via Church Road Records. One of the many fables of the Shahnameh, the Persian book of Kings, concerns the folly of rulers who jealously extend their empires despite the warnings of their own people. It is during this tale that he is warned not to go to war with the demons of Mazandaran. This chapter of the book forms the concept of the album. Helmed by vocalist and multi-instrumentalist Nina Saeidi, who was born into exile from Iran in the UK as there, playing metal is illegal and women singing unaccompanied risk execution. This cruel oppression has served to inspire Lowen to create glorious intense progressive doom. Mixing fantastical stories with deep dives into history and shining a light on important modern issues across six epic listens. The epitome of focus, Lowen have packed out each track with an implausible amount of instrumental detail and ensured that Nina Saeidi's immense range is always in play and on show. It is an unforgettable experience. You can read our full review of the album here: https://www.gbhbl.com/album-review-lowen-do-not-go-to-war-with-the-demons-of-mazandaran-church-road-records/ We spoke to vocalist Nina Saeidi about the new album. Diving into the concept and the marrying of the past and present. Discussing the challenges that come with making music infused with so much culture, as well as the joy it can bring. We talk about Nina's lyrics and vocals on this album, how this body of work will translate to the stage, and so much more. Find out more here: https://lowen.bandcamp.com/album/do-not-go-to-war-with-the-demons-of-mazandaran-2 Website: https://gbhbl.com/ LinkTree: https://linktr.ee/gbhbl Ko-Fi (Buy us a coffee): https://ko-fi.com/gbhbl Facebook: https://www.facebook.com/GBHBL Twitter: https://twitter.com/GBHBL_Official Instagram: https://www.instagram.com/gbhbl/ Threads: https://www.threads.net/@gbhbl TikTok: https://www.tiktok.com/@gbhbl Contact: gbhblofficial@gmail.com Soundcloud: https://soundcloud.com/gbhbl Spotify: https://open.spotify.com/show/5A4toGR0qap5zfoR4cIIBo Apple Podcasts: https://podcasts.apple.com/hr/podcast/the-gbhbl-podcasts/id1350465865 Intro/Outro music created by HexedRiffsStudios. YouTube: https://www.youtube.com/channel/UCKSpZ6roX36WaFWwQ73Cbbg Instagram: https://www.instagram.com/hexedriffsstudio

Enjoy a nearly three thousand year exploration of Persian food, culture and inventions that made our culinary pleasures, even more pleasurable!Info if you want to find out about yakhtchal, the ancient Persian refrigerators check here;https://en.wikipedia.org/wiki/Yakhch%C4%81lThe Shahnameh (“Book of Kings”) By Ferdowsi -the Persian epic poemhttps://sdbiblestudy.org/wp-content/uploads/2020/04/The-Shahnameh.pdfMedieval Persian Cookbook"A Baghdad Cookery Book"https://www.amazon.co.uk/Baghdad-Cookery-Book-Al-oTabaikh-Culinaires/dp/1903018420/ref=pd_bxgy_d_sccl_1/258-4486056-9939464?pd_rd_w=h0uD7&content-id=amzn1.sym.46f507f3-7fc1-4bf4-9492-ed026d6e4f68&pf_rd_p=46f507f3-7fc1-4bf4-9492-ed026d6e4f68&pf_rd_r=CY9W5FDBRDZ88YJH8B8J&pd_rd_wg=jGw6S&pd_rd_r=287bc114-87a3-4bc4-bc48-174d24e4ac0b&pd_rd_i=1903018420&psc=1-How Persian Kings and the Imperial Court was drinking wine from rhyton:https://www.youtube.com/watch?v=5yJCay1_CA4Food of Life: Ancient Persian and Modern Iranian Cooking and Ceremonies by Najmieh Khalili Batmanglij https://www.najmieh.com/book/food-of-life-ancient-persian-and-modern-iranian-cooking-and-ceremonies/I hope you will enjoy this episode as much as I did!Much love,Thom & The Delicious LegacySupport this show http://supporter.acast.com/the-delicious-legacy. If you love to time-travel through food and history why not join us at https://plus.acast.com/s/the-delicious-legacy. Hosted on Acast. See acast.com/privacy for more information.

How did the mythical kings of ancient Persia live? In this podcast, we delve into the Shahnameh, also known as the Book of Kings. A marvelous epic with countless spin-offs. That, in a nutshell, is the Shahnameh, the Persian Book of Kings. Some of these historical books are kept in the Leiden University Libraries' special collections. In this episode of the UBLpodcast, we examine some of those books, while Gabrielle van den Berg tells us about the brilliant stories they contain and their intricate histories. As a Leiden professor of cultural history of Iran and Central Asia, she has spent most of her career studying this part of history. Leiden University is currently working on a new Middle Eastern Library. In this and subsequent episodes of the UBLpodcast, we will also highlight some special documents from the Middle East. Learn more about the Middle Eastern Library and our Middle Eastern collections and follow us on Instagram @melibraryleiden and Twitter/X @MELibraryNL.

After the Arab conquest, Persia was turned upside down. Patronage went to Islam as opposed to Zoroastrianism. The official language of state was now Arabic. Even the very nature of the state changed; for 1,000 years Persia had been the centre of imperial power, dominating those around it. Now it was ruled by others. But, what it was to be Persian was not lost. The language, the art, the civilisation survived. And then the turn of the 10th century Ferdowsi revived it with his mighty epic poem, the Shahnameh. Listen as William and Anita are once again joined by Vesta Sarkosh Curtis to discuss Ferdowsi and the Shahnameh. For bonus episodes, ad-free listening, reading lists, book discounts, a weekly newsletter, and a chat community. Sign up at https://empirepod.supportingcast.fm/ Twitter: @Empirepoduk Email: empirepoduk@gmail.com Goalhangerpodcasts.com Producer: Callum Hill Exec Producer: Jack Davenport + Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

Get ready for an enriching journey as we take you through the significance and celebration of the ancient Persian festival, Mehregan. Listen in as we discuss how this autumnal harvest celebration is all about embracing love, kindness, friendship, and nature. We share our plans on commemorating this timeless tradition, from partnering with an Orange County organization for a live event to creating a Sofreh - a traditional Persian table setting. We explore how these ancient festivals, celebrated for thousands of years, are gaining popularity once again and are helping people appreciate the earth and the changing seasons.    Moving into the specifics of Mehregan, we chat about the beautiful aspects of this festival. From the warmth of the autumn season, the joy of harvest, to the tradition of showering each other with kindness and love, Mehregan is truly a celebration of harmony and the gifts of nature. We describe the symbolic table setting for Mehregan, the significance of each element placed on it, and the traditional foods and drinks associated with this celebration. As you tune in, you'll also learn about the crossover similarities with American Thanksgiving, the role of gratitude in the celebration, and our excitement to incorporate this beautiful tradition into our lives. Also, stick around for our Ask the Beat segment where we answer a fun question about our favorite Persian sweets!   Reference to illustrated copy of the Shahnameh by Hamid Rahmanian at: https://kingorama.com   Podcast Episode 128 - Setting Sofreh    All Modern Persian Food podcast episodes can be found at: Episodes   Sign up for the email newsletter here!   Check us out on YouTube   Subscribe+ to the Modern Persian Food podcast on your favorite podcast player, and share this episode with a friend.   Opening and closing music composed by Amir Etemadzadeh, www.amirschoolofmusic.com Podcast production by Alvarez Audio

There's a feeling, I think, in English poetry that you have to be original. That feeling isn't really there in Persian poetry until the very modern period. Then it is. But before then, there's a kind of sense that there's this vast treasury of possibilities in poetry which everybody has used—and you can use them too.Dick Davis is an award-winning poet and translator, famous for his translations of medieval Persian poetry. He has translated Attar's The Conference of the Birds and Nezami's Layli and Majnun (both covered on The Spouter-Inn), as well as Ferdowsi's Shahnameh, and his most recent translation is The Mirror of My Heart: A Thousand Years of Persian Poetry by Women.He joins Chris and Suzanne to talk about reading and translating Persian poetry, how his work in translation has influenced his own poetry, and the specific challenges in translating Layli and Majnun.Show Notes.Dick Davis's translations include Layli and Majnun, The Conference of the Birds, and others listed below.Our episodes on Layli and Majnun and Conference of the Birds.Fakhraddin Gorgani: Vis and Ramin (trans. Dick Davis).The Mirror of My Heart: A Thousand Years of Persian Poetry by Women (trans. Dick Davis): hardcover bilingual edition by Mage and English-only paperback by PenguinJahan Khatun.Hafez.Faces of Love: Hafez and the Poets of Shiraz (trans. Dick Davis): originally published by Mage, paperback reprint by Penguin, bilingual edition by Mage.Mughal empire.Our bonus episodes with Emily Wilson and Sassan Tabatabai.Nezami: Khosrow and Shirin.“Seek a Poet who your way do's bend, / And chuse an Author as you chuse a Friend” (Wentworth Dillon, Earl of Roscomon, in An Essay on Translated Verse).Chapman's Homer.John Keats: On First Looking into Chapman's Homer.Nizami's Khamsa.On Ferdowsi's Shahnameh.Ferdowsi: Shahnameh (trans. Dick Davis): magnificent hardcover in three volumes, illustrated, published by Mage, paperback single volume by Penguin.Support The Spouter-Inn on Patreon to help us research and record the show, and you can hang out with us on a friendly little Discord.

It's amazing that art historians like Robert Hillenbrand got to study the “Great Mongol Shahnama” at all. 500 pages of Firahdosi's epic poem, with 300 illustrations, in a manuscript whose leaves are as wide as an ordinary person's arms. Never completed, never bound, smuggled out of Iran by corrupt dignitaries, and separated and padded out by an unsavory Belgian art dealer. Robert Hillenbrand's work collects all these disparate illustrations and puts them together in one book, which puts “The Great Mongol Shahnama” back at the center of a sprawling 14th-century Mongol empire. Robert Hillenbrand is an honorary professorial fellow in the Department of Islamic and Middle Eastern Studies at the University of Edinburgh. In this interview, Robert and I talk about the Shahnama—and what makes the “Great Mongol Shahnama” unique—and how the Mongol empire gave this masterpiece's illustrations recognizable Western and Chinese influences. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Great Mongol Shahnama. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

It's amazing that art historians like Robert Hillenbrand got to study the “Great Mongol Shahnama” at all. 500 pages of Firahdosi's epic poem, with 300 illustrations, in a manuscript whose leaves are as wide as an ordinary person's arms. Never completed, never bound, smuggled out of Iran by corrupt dignitaries, and separated and padded out by an unsavory Belgian art dealer. Robert Hillenbrand's work collects all these disparate illustrations and puts them together in one book, which puts “The Great Mongol Shahnama” back at the center of a sprawling 14th-century Mongol empire. Robert Hillenbrand is an honorary professorial fellow in the Department of Islamic and Middle Eastern Studies at the University of Edinburgh. In this interview, Robert and I talk about the Shahnama—and what makes the “Great Mongol Shahnama” unique—and how the Mongol empire gave this masterpiece's illustrations recognizable Western and Chinese influences. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Great Mongol Shahnama. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

It's amazing that art historians like Robert Hillenbrand got to study the “Great Mongol Shahnama” at all. 500 pages of Firahdosi's epic poem, with 300 illustrations, in a manuscript whose leaves are as wide as an ordinary person's arms. Never completed, never bound, smuggled out of Iran by corrupt dignitaries, and separated and padded out by an unsavory Belgian art dealer. Robert Hillenbrand's work collects all these disparate illustrations and puts them together in one book, which puts “The Great Mongol Shahnama” back at the center of a sprawling 14th-century Mongol empire. Robert Hillenbrand is an honorary professorial fellow in the Department of Islamic and Middle Eastern Studies at the University of Edinburgh. In this interview, Robert and I talk about the Shahnama—and what makes the “Great Mongol Shahnama” unique—and how the Mongol empire gave this masterpiece's illustrations recognizable Western and Chinese influences. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Great Mongol Shahnama. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

It's amazing that art historians like Robert Hillenbrand got to study the “Great Mongol Shahnama” at all. 500 pages of Firahdosi's epic poem, with 300 illustrations, in a manuscript whose leaves are as wide as an ordinary person's arms. Never completed, never bound, smuggled out of Iran by corrupt dignitaries, and separated and padded out by an unsavory Belgian art dealer. Robert Hillenbrand's work collects all these disparate illustrations and puts them together in one book, which puts “The Great Mongol Shahnama” back at the center of a sprawling 14th-century Mongol empire. Robert Hillenbrand is an honorary professorial fellow in the Department of Islamic and Middle Eastern Studies at the University of Edinburgh. In this interview, Robert and I talk about the Shahnama—and what makes the “Great Mongol Shahnama” unique—and how the Mongol empire gave this masterpiece's illustrations recognizable Western and Chinese influences. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Great Mongol Shahnama. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It's amazing that art historians like Robert Hillenbrand got to study the “Great Mongol Shahnama” at all. 500 pages of Firahdosi's epic poem, with 300 illustrations, in a manuscript whose leaves are as wide as an ordinary person's arms. Never completed, never bound, smuggled out of Iran by corrupt dignitaries, and separated and padded out by an unsavory Belgian art dealer. Robert Hillenbrand's work collects all these disparate illustrations and puts them together in one book, which puts “The Great Mongol Shahnama” back at the center of a sprawling 14th-century Mongol empire. Robert Hillenbrand is an honorary professorial fellow in the Department of Islamic and Middle Eastern Studies at the University of Edinburgh. In this interview, Robert and I talk about the Shahnama—and what makes the “Great Mongol Shahnama” unique—and how the Mongol empire gave this masterpiece's illustrations recognizable Western and Chinese influences. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Great Mongol Shahnama. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's amazing that art historians like Robert Hillenbrand got to study the “Great Mongol Shahnama” at all. 500 pages of Firahdosi's epic poem, with 300 illustrations, in a manuscript whose leaves are as wide as an ordinary person's arms. Never completed, never bound, smuggled out of Iran by corrupt dignitaries, and separated and padded out by an unsavory Belgian art dealer. Robert Hillenbrand's work collects all these disparate illustrations and puts them together in one book, which puts “The Great Mongol Shahnama” back at the center of a sprawling 14th-century Mongol empire. Robert Hillenbrand is an honorary professorial fellow in the Department of Islamic and Middle Eastern Studies at the University of Edinburgh. In this interview, Robert and I talk about the Shahnama—and what makes the “Great Mongol Shahnama” unique—and how the Mongol empire gave this masterpiece's illustrations recognizable Western and Chinese influences. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Great Mongol Shahnama. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

Una live insieme ad uno dei maggiori esperti e divulgatori di Persia ed Iran per parlare della mitologia di questo popolo meraviglioso e strabordante di culturaSe vuoi conoscere meglio Antonello Sacchetti, visita: il suo sito: https://www.diruz.it/qui la sua pagina Facebook: https://www.facebook.com/diruziranintalianoInstagram: https://www.instagram.com/anto_sacchetti/e Youtube: https://www.youtube.com/c/AntonelloSacchettiTrovate tutti i link qui: https://linktr.ee/mediorientedintorni, ma, andando un po' nel dettaglio: -tutti gli aggiornamenti sulla pagina instagram @medioorienteedintorni -per articoli visitate il sito https://mediorientedintorni.com/ trovate anche la "versione articolo" di questo video. - podcast su tutte le principali piattaforme in Italia e del mondo-Vuoi tutte le uscite in tempo reale? Iscriviti al gruppo Telegram: https://t.me/mediorientedintorniOgni like, condivisione o supporto è ben accetto e mi aiuta a dedicarmi sempre di più alla mia passione: raccontare il Medio Oriente

In today's episode, Isabelle Imbert welcomes Dr Firuza Melville, director of research of Cambridge Shahnama centre for Persian Studies and eminent specialist of the Persian poet Firdausi (c. 933-1020) and his Shahnama, the book of kings telling the epic history of Iran before Islam. The text was illustrated many times, including under the reign of Safavid ruler Shah Tahmasp (r. 1524-76). His manuscript was finished around 1535 and is considered by most as the pinnacle of Persian painting. Pages of the manuscript sometimes appear on the market, and one page will be sold at Sotheby's on the 26th October, so it is a perfect time to invite a great specialist to talk about the text, the manuscript and its history. Firuza's computer made some impromptu interventions at different points of the recording, which I couldn't remove. I apologize for the inconvenience and hope it won't be too distracting.  If you've liked this episode and want to support, buy me a coffee! Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and Twitter Follow Firuza on Instagram and AcademiaThe Cambridge Shahnama Centre for Persian StudiesDatabase of the Shahnama project in Cambridge Digital Library Florentine Shahnama, oldest surviving manuscript of the Shahnama, dated 614 H./ 1217Sotheby's catalogue: Rustam recovers Rakhsh from Afrasiyab's herd, Shahnameh of Shah Tahmasp, attributed to Mirza 'Ali, Persia, Tabriz, Royal Atelier, circa 1525-35Pages of Shah Tahmasp's Shahnama in the Metropolitan Museum Click here for more episodes of the ART Informant.  Click here to see the reproductions of artefacts discussed in the episode. 

"Aren't these daughters of Persia retelling that myth [Shahnameh] as we speak - they put their hair down, Rudabeh put her hair down. This time maybe from this union there will now be a baby girl that will be born. This new epic female hero will transform this land. Something has happened - it's an event, and whether we like it or not there is going to be a before and after. We observe the best of Rudabeh's daughter in every single one of these girls. We know in psychoanalysis that these things are not something that can just happen - that the birth of the subject is a process and this birth of Rudabeh's daughter has been long overdue. It has been a long time in the making, and I am sorry…I get very emotional, but I look forward to her becoming."       Episode Description: We begin by acknowledging the political turmoil currently surrounding and impacting our conversation about psychoanalysis in Iran. We discuss the nature of foreignness both as a geographical entity and an intrapsychic experience. Gohar recognizes the essential subversive spirit of discovering one's authentic voice and challenges efforts to homogenize one's identity in an artificial search for sameness. Tolerating discomfort is for her a hallmark of analytic maturation. We discuss the Blues which contain sorrow and promise -"it lives on the edge of falling into melancholy." We learn that Freud was translated into Farsi as early as 1906 and that Gohar was a founder of the Freudian Group of Tehran. We close with hopes for a future inspired by the courage of the young women of today with conversations freed from concerns about safety.    Our Guest: Gohar Homayounpour, PsyD is a psychoanalyst and author. She is a member of the International Psychoanalytic Association, the American Psychoanalytic Association, the Italian Psychoanalytical society, and the National Association for the Advancement of Psychoanalysis. She is a Training and Supervising psychoanalyst of the Freudian Group of Tehran, of which she is also the founder and past president. She is also a member of the scientific board at the Freud Museum in Vienna, and of the IPA group Geographies of Psychoanalysis.  Her first book, Doing Psychoanalysis in Tehran (2012) won the Gradiva award and has been translated into many languages including French, German, Italian, Turkish, and Spanish. Her latest book is titled Persian Blues, Psychoanalysis and Mourning (2022).    Recommended Readings:    Homayounpour, Gohar.  Doing Psychoanalysis in Tehran, (Cambridge, Mass.: MIT Press,2012).    Dislocated Subject, edited by Preta, Lorena (ed.), Geographies of Psychoanalysis, Mimesis International, 2018    Geographies of Psychoanalysis (Encounters Between Cultures In Tehran), edited by Preta, Lorena (ed.), Mimesis International, 2015.    Busch, Fred. A Fresh Look at Psychoanalytic Technique, selected papers on Psychoanalysis, Routledge, 2021.    Bolognini, Stefano. Vital Flows between the Self and Non-Self: The Interpsychic. Routledge, 2022. 

This is the second podcast in a series of podcasts in which I read from the Epic of Kings, or Shahnameh. In the episode, I tell the story of Zohak. This is the story of humanity's first revolution, the first true uprising against tyranny, and the story of a nation yearning for freedom and justice. Standup Historian

After listening to the Shahnameh trilogy, make sure to drop in and listen to our Five Fantastic Finds! Today we cover Zal's "protagonist" hair, Daddy (and monarch) issues, the cool horse trope, literary psychoanalysis of Rostam's dreamlike state and the overconfident sidekick trope! 

The Shahnameh is an epic poem of over 50,000 couplets written in Early New Persian. It is based mainly on a prose work of the same name compiled in Ferdowsi's earlier life in his native Tus. For Persians, Shahnameh is like their identity papers, their conclusive evidence that they have lived. Against the brutality of time and politics, against the threat of constant invasions and destructions imposed on them by enemies alien and domestic, against a reality they had little or no control over, they created magnificent monuments in words, they reasserted both their own worth and the best achievements of mankind through work like Shahnameh, the golden thread that links one Persian to the other, connecting the past to the present. The epic of Kings is not just a poetry book from one thousand years ago, it's not just about mythology. Shahnameh is the record of humanity's past lest to learn from it to build a brighter future and avoid enslavement.

In our final episode on the Shahnameh, we dive into the tragedy of Rostam and his son, Sohrab. Family, loyalty, and death highlight the main themes of our Shahnameh special trilogy. The fall of the Epic hero begins and ends with Rostam!    You can find our detailed show notes, on our fantastic website! Or chat with us on Twitter @FromEnchanted You can also find us on: Instagram   TikTok

Often likened to the great Greek Heroes, Rostam quickly turns from a mammoth baby to a warrior and hero. To prove himself as the child of prophecy, he adventures out to save a king-in-distress and overcome his seven labours. Special shoutout to his saviour, steed, and sidekick: Rakhsh! For being the true hero during Rostam's power naps. Episode Image: "Rustam and Rakhsh in the Third Trial" 891/1486, Turkman/Timurid style.   You can find our detailed show notes, on our fantastic Website! Or chat with us on Twitter @FromEnchanted You can also find us on: Instagram   TikTok

The Shahnameh is an epic chronology of Kings and Heroes, none greater than the line of Nariman which descends through the generations. Join us as we explore this generation of heroes starting with Sam and Zal, a story featuring the mythical Simurgh, letting down your hair, lots of passive-aggressive letter writing, and daddy issues. We retell the story using a variety of both Farsi and English sources to recreate the essence of the story. Episode image: "Zal is sighted by a Caravan' attributed to Abdul Aziz   You can find our detailed show notes, on our fantastic Website! Or Chat with us on Twitter @FromEnchanted You can also find us on: Instagram   TikTok

سلسله نشستهای شاهنامه خوانی در باشگاه ادب پارسی در کلاب هاوسShahnameh khan in clubhouse.the Battles of Iran and Tooran.battle of Rostam and Kamoos.

نشست ۲۱ جنگ هاماوران۲

نشست ۲۰ جنگ هاماوران

ادامه داستان زال و رودابه از زیباترین عشق‌های شاهنامه.

نشست ۴ ضحاک بخش دوم

نشست ۵ فریدون بخش یکم

.داستان زال و رودابه از زیباترین عشق‌های شاهنامه دعوت میکنیم که به البوم زیبای سیمرغ نیز گوش دهید https://open.spotify.com/album/6hj5OJx4Qklrwnd2lpSEKv?si=mc67PUTISCilGWfxTLuj2Q

نشست ۳ ضحاک بخش یکم

نشست ۶ فریدون ۲ یکی نامه بنوشت شاه زمینبه خاور خدای و به سالار چینسر نامه کرد آفرین خدایکجا هست و باشد همیشه به جایچنین گفت کاین نامهٔ پندمندبه نزد دو خورشید گشته بلنددو سنگی دو جنگی دو شاه زمینمیان کیان چون درخشان نگیناز آنکو ز هر گونه دیده جهانشده آشکارا برو بر نهانگرایندهٔ تیغ و گرز گرانفروزندهٔ نامدار افسراننمایندهٔ شب به روز سپیدگشایندهٔ گنج پیش امیدهمه رنجها گشته آسان بدویبرو روشنی اندر آورده روینخواهم همی خویشتن را کلاهنه آگنده گنج و نه تاج و نه گاهسه فرزند را خواهم آرام و نازاز آن پس که دیدیم رنج درازبرادر کزو بود دلتان به دردوگر چند هرگز نزد باد سرددوان آمد از بهر آزارتانکه بود آرزومند دیدارتانبیفگند شاهی شما را گزیدچنان کز ره نامداران سزیدز تخت اندر آمد به زین برنشستبرفت و میان بندگی را ببستبدان کو به سال از شما کهترستنوازیدن کهتر اندر خورستگرامیش دارید و نوشه خوریدچو پرورده شد تن روان پروریدچو از بودنش بگذرد روز چندفرستید با زی منش ارجمندنهادند بر نامه بر مهر شاهز ایوان بر ایرج گزین کرد راهبشد با تنی چند برنا و پیرچنان چون بود راه را ناگریز

شست ۷ فریدون ۳

John J. Miller is joined by Lloyd Llewellym-Jones of Cardiff University to discuss Ferdowsi's 'The Shahnameh.'

Sohrab and Rustom is a narrative poem with strong tragic themes first published in 1853 by Matthew Arnold. The poem retells a famous episode from Ferdowsi's Persian epic Shahnameh relating how the great warrior Rustum unknowingly slew his long-lost son Sohrab in single combat. I narrate the story in today's podcast. Don't forget to subscribe to this podcast. Visit www.kalampedia.org to know more.

8 Tháng 3 Là Ngày Gì? Hôm Nay Là Ngày Quốc Tế Phụ Nữ SỰ KIỆN 1010 – Thi nhân Ba Tư Ferdowsi hoàn thành sử thi Shahnameh sau 33 năm. 1618 – Nhà toán học và thiên văn học người Đức Johannes Kepler khám phá ra định luật thứ ba về chuyển động thiên thể. 1817 – Sở giao dịch chứng khoán New York thành lập. Đây là sàn giao dịch lớn nhất thế giới về giá trị vốn hóa thị trường bằng đô la Mỹ và lớn nhì thế giới về số lượng công ty niêm yết. 1957 – Ai Cập mở cửa lại kênh đào Suez sau Khủng hoảng Kênh đào Suez. 2014 - Chuyến bay MH370 của Malaysia Airlines đột ngột mất tích. 1910 - Phi công người Pháp Raymonde de Laroche trở thành người phụ nữ đầu tiên nhận bằng phi công . [16] Ngày lễ và kỷ niệm Ngày quốc tế phụ nữ Sinh 1977 – Thanh Thảo, ca sĩ người Việt Nam 1822 - Ignacy Łukasiewicz , nhà phát minh và doanh nhân người Ba Lan, phát minh ra đèn Dầu (mất năm 1882) [47] 1977 - James Van Der Beek , diễn viên người Mỹ Mất 1935 – Hachiko, chú chó giống Akita nổi tiếng về lòng trung thành của Nhật Bản Chương trình "Hôm nay ngày gì" hiện đã có mặt trên Youtube, Facebook và Spotify: Facebook: https://www.facebook.com/aweektv - Youtube: https://www.youtube.com/c/AWeekTV - Spotify: https://open.spotify.com/show/6rC4CgZNV6tJpX2RIcbK0J - Apple Podcast: https://podcasts.apple.com/.../h%C3%B4m-nay.../id1586073418 #aweektv #8thang3 #quotephunu #MH370 #Ferdowsi #JamesVanDerBeek #thanhthao Các video đều thuộc quyền sở hữu của Adwell jsc (adwell.vn), mọi hành động sử dụng lại nội dung của chúng tôi đều không được phép. --- Send in a voice message: https://anchor.fm/aweek-tv/message

In our ninth episode, we explore Shahnameh: The Book of Kings by Ferdowsi. This national epic is the longest poem written by a single poet more than a thousand years ago! With more than 50,000 verses, Shahnameh is four times longer than Homer's Iliad and Odyssey combined. It is a book full of love stories, tragedies, battles, and life lessons and one of the main reasons that Iranians still speak Persian to this day. Join us on this fun journey to find out more about Shahnameh and its many stories, heroes, demons, fairies, and magical creatures!Hamid Rahmanian is an award-winning artist whose work centers on theater, moving image, and graphic arts. Since 2008, his work has focused on revitalizing Iran's epic tale, Shahnameh, for a modern audience. Visit www.kingorama.com for more information.

In Episode #51, co-hosts Beata and Bita share about an old Persian (and Zorastrian) holiday they did not grow up celebrating personally but are excited and interested in sharing about and starting to participate in.   Main tenets of Mehregan Celebrated in the fall as a Persian Festival of Autumn - anywhere falling between early to mid October...this year it will be on Oct. 2nd or 3rd, 2021 in the U.S. Thankfulness, gratitude, abundance - Give to nature and it will give back to you A time to shower each other with kindness and with love Light over darkness; good over evil   Sofreh items for Mehregan A purple or violet fabric used as a table cloth or place setting for the symbolic items Mirror Candles Fruit  Apples, pomegranate, grapes Nuts Esfand Holy book or other book of poetry Sweets   Traditions Gather around the sofreh and drink Tokhmeh sharbat (drink made with water and basil seeds) Shower each other with lotus seeds or marjoram - symbolic for showering each other with love and kindness   Resources and recipes from this episode:   Cover image of Sofre Mehregan used with permission from the book Mehregan with my Grandmother by Anahita Tamaddon available at: https://www.amazon.com/Mehregan-My-Grandma-English-Persian/dp/B09DJ3L97S   Reference to illustrated copy of the Shahnameh by Hamid Rahmanian at: https://kingorama.com   All Modern Persian Food episodes can be found at: Episodes Co-host Beata Nazem Kelley blog: BeatsEats – Persian Girl Desperately Addicted to Food! Co-host Bita Arabian blog: Oven Hug - Healthy Persian Recipes | Modern Persian Recipes   Podcast production by Alvarez Audio

Iran in Shahnameh

Iran in Shahnameh

An exploration of the Naqqali storytelling tradition of Iran, with Morshed Saghi and Arash Ali Farhadipour.

Story of Zahak that my friend Malihe reads for us and i explained the hard words in the end, Zahak was a king who had 2 snakes coming out of his shoulders

Story of Zahak that my friend Malihe reads for us and i explained the hard words in the end , Zahak was a king who had 2 snakes coming out of his shoulders

Upon any discussion on the elaboration of “death” in Iran, one inevitably comes face to face with the often argued and examined notion that Iranians symptomatically suffer within a culture that is obsessed with the celebration of death, nostalgia and mourning. Many interdisciplinary scholars in recent decades have examined and provided data which proves such tendencies and their disastrous consequences for Iranians. Here, Gohar Homayounpour attempts to delve deeper into the various palettes of the “Persian Blues”, in the name of integration and a continuous re-examination of our comfortably established notions, she attempts to add a but, referring to the various derivatives of Eros's footsteps upon the Persepolis of Persia, dreaming that this but might become a possibility for “linking”, a sense of orientation, inspiration, out of these particularly destructive and melancholic aspects of the Iranian culture, orienting us towards a voyage from melancholia to mourning.     Dr. Gohar. Homayounpour is an author and psychoanalyst and member of the International Psychoanalytic Society, American Psychoanalytic Association, the Italian Psychoanalytic Society and the National Association for the Advancement of Psychoanalysis. She is the Training and Supervising psychoanalyst of the Freudian Group of Tehran, where she is also founder and former director. Homayounpour has published various psychoanalytic articles, including in the International and Canadian Journals of Psychoanalysis. Her book, Doing Psychoanalysis in Tehran, published by MIT Press in August 2012, won the Gradiva award and has been translated into many languages. Homayounpour is a member of the scientific board at the Freud Museum in Vienna and a board member of the IPA group Geographies of psychoanalysis.   The first thing that comes to mind when one is asked to elaborate on “death” in my geography is the often discussed and examined notion that Iranians symptomatically suffer within a culture that is obsessed with the celebration of death, nostalgia and mourning. Many scholars in recent decades have examined and provided data which proves such tendencies and their disastrous consequences for Iranians. I have also written about this exact notion in my book Doing Psychoanalysis in Tehran, with reference to our famous myth, “Rustam and Sohrab”, from Ferdousi's Book of Kings (Shahnameh, the most celebrated Iranian source of mythology), which has a storyline quite similar to that of Oedipus Rex, the main difference being that it is the father who unknowingly kills his son in the end. My extensive research shows that Greek mythologies appear to be populated with myths about the actual killing of fathers, while it is impossible to escape the common patterns of killing sons right across Iranian mythology. The wish to kill each other between fathers and sons is common across both mythologies, but who actually gets killed at the end and who gets rescued and is granted the right to life, is where the culturally specific element can be observed across these mythologies. I am convinced of the universality of the Oedipus complex, and the struggle for power and control it represents while embodying within it the universal fear of castration; the culturally specific element seems to be the reaction to this fear. My premise is that the Iranian collective fantasy is anchored in an anxiety of disobedience that wishes for an absolute obedience. The son desiring to rebel knows unconsciously that if he does so he might be killed, and so, in a way, he settles for the fear of castration. Is this not also seen in the differences between Catholicism and Islam? Islam means submission and demands absolute obedience to God the father, while in Christianity the demarcation between God the father and Christ the son is not quite as clear. This is clearly a very complicated and nuanced discourse, beyond the scope of this podcast. However, it appears that religions were socially constructed to fulfill the collective fantasies of these differing cultures. An analysis of Iranian history reveals it has always been a one-man show, while democracy was born within and is the essence of Greek society. In Iran one can observe a moment of discontinuity from the past, and also from the future, because we have killed our sons, our future. Ferdousi's discourse communicates a great deal of pain, tragedy and mourning. We symbolically killed our sons, became alienated and thus became a culture of mourning, for we have destroyed and killed the best part of ourselves. We destroyed our future and imprisoned ourselves in the past, eroticizing pain and suffering, and celebrating nothing that is not past. Could we say that Ferdousi's discourse provides a diagnosis of the Iranian society? He is trying to warn us, awaken us; his discourse is often that of a depressive. Daryoush Shaygan, the late famous Iranian philosopher, informs us that the Iranian past is full of the myths and epics represented in the Shahnameh, in which there are continual allusions to the good attitudes of our ancestors, the beliefs and actions of our heroes and the myths of our great kings. This is a very nostalgic recollection: in a sense a very nostalgic collective unconscious. One has to bear in mind that in countries like Iran the past is everything, and unfortunately we do indeed breathe in the air of regrets, as Shaygan puts it. I still think all of the above assertions are significant, true and noteworthy, but… This but becomes significant, for in the name of a continuous re-examination and integration, or, as Lorena Preta puts it as the raison d'être of the Geographies of Psychoanalysis project: to put psychoanalysis to work in different geographies in the wish for a reciprocal contamination, not in the name of cultural relativism where we are categorizing, naming and therefore identifying the other but in the name of a non-humanitarian hospitality, to use Derrida's term, in the name of a de-territorializing where borders are delineated as barely visible lines. Within this discourse and above it, this but becomes a necessary act. A but that for me has only become visible after more than a decade of living in Iran and doing psychoanalysis in Tehran, certainly not mutually exclusive to the above assertions, but as an attempt to thicken the plot. To just provide a few examples for the aforementioned but, can we escape the resilience that we observe when working with Iranian patients under an excruciating socio/political climate? Can we forget that this is inherently a culture of storytelling and is bestowed with a magical ability to play with language, encapsulated within Scheherazade and the Thousand And One Nights? Can we also remember that this is a culture of an exceptional cinema, of hospitality, breathtaking architecture, of marvelous poetry and of wine, yes of the best of Shiraz wine, of pleasure, of Sufism, Zarathustra and of the alluring, quintessential Persian Garden, an uncanny ability for humor and a hierarchy of friendship, just to name a few derivatives of Eros's footsteps upon the Persepolis of Persia? This is masterfully elaborated in Abbas Kiarostami's film “Where Is The Friend's Home?” The title is taken from a poem by the celebrated contemporary Iranian poet Sohrab Sepehri. To return to my ideas at the beginning of the paper on absolute obedience and authoritarianism, possibly anchored in the Iranian collective unconscious, well, the Kiarostami film is about a little boy, Ahmed, who accidentally takes his friend's notebook home. Upon realizing his mistake, he becomes terrified of the punishment that might await his friend from their severely punitive and cruel teacher if his friend isn't able to complete his homework due to the missing notebook. Our protagonist spends the rest of his day after school unsuccessfully trying to find his friend's house. The next morning, we the audience anxiously join Ahmed in his classroom, hurriedly returning Reza's notebook under our horrified gaze. We are terrified to see the punishment that awaits Reza, only to discover that Reza's homework has been completed by his friend. The movie ends here, with Reza flipping through the pages of his finished homework and finding a lovely dried flower, also left there by Ahmed. We can speculate that to find one's friend's home metaphorically to be an investment of the psychic apparatus's search and re-search for the linking process, or, to put it in Andre Green's terms, the “objectilizing function of the drive”. This desire for linking indeed prevalent within the very being of the Iranian culture is an antidote to authoritarianisms and the death-oriented-ness of my geography. A binding that comes along as a cure to the unbinding of the death drive. All I want to convey within this but is that inherent within the Iranian culture is also the desire and the courage to search for a friend's home. In short, just as we cannot speak of pure destructiveness or creativeness, attempting to stay away from such binaries, in Iran we clearly don't even have any exclusivity to Thanatos, as such a thing would be an impossibility in any case. We all have an internal compass (Eros) that could be our guide out of these particularly destructive aspects of this culture into the true meaning of the Orient, Eshragh, which in the etymology of the word means both inspiration and the place where the sun rises. In short, perhaps in the Orient there is still a sense of orientation to be discovered for all of us, as we put psychoanalysis to work, even if, like Ahmed, we don't find our friend's house, perhaps the road we take will indeed lead us to his home. Over the years I have attempted to delve deeper into the Persian Blues; a word associated with melancholia, a mysterious Persian color, and indeed a genre of music which is as much a representation of life as death, encapsulating triumphs and laments, loss, love, friendships, loyalties, betrayals, joys, and fears. Just like my beloved tunes of the blues from the Deep South; the sound of the slaves, the lyrics of the laments of the formerly enslaved and their descendants; Persian Blues is associated with depression, melancholia, misfortune, betrayal, pain and regrets. But we should not forget that inherent within Persian Blues, as it is within the tunes of the Blues, there is also a sense of orientation to be re-discovered, possibly not only for my geography but for yours as well, where pleasure, passion, humor, dreams, and friendships are celebrated. Central to the idea of blues performance is the concept that, by performing or listening to the Blues, one is able to overcome one's sadness: to lose the “Blues”. It is precisely this inherent duality of life and death, Eros and Thanatos, that makes the Blues such a joy to hear. Persian Blues is not about merely eroticizing sadness; it is not about drowning in it; it is about transforming it, feeling it, making music with it. Ultimately, it means going beyond the “Blues”.Like Abbas Kiarostami, I have a hunch that in getting us to this beyond, from melancholia to mourning, a newly discovered sense of orientation/inspiration will be instrumental; towards a linking inherent within the project of geographies of psychoanalysis.   Bibliography   Ferdowsi, A. (2016). Shahnameh: The Persian book of kings. UK: Penguin Press. Green, A. (1999). The work of the negative, Weller A, translator. London: Free Association Books. [(1993). Le travail du négatif. Paris: Minuit.] Homayounpour, G. (2012). Doing psychoanalysis in Tehran. Cambridge: MIT Press. Derrida, J., & Dufourmantelle, A. (2000). Of hospitality. California: Stanford University Press. Kiarostami, A. (1987). “Where Is The Friend's Home?”[Film]. Home for the intellectual development of children and adolescents Productions. Shaygan, D. (2005, 12 Dec). The depth of ordinary. Tehran: Shargh magazine, 294(20). [In Persian] Sepehri, S. (2008). Eight books. Tehran: Tahoori publication. [In Persian]. Hezaar va Yek Shan (Thousand nights and a night) (2011). Translated by Mirza Abd-al Latif Tasuji Tabrizi. Reprinted of Kolaale Khaavar Publications (1936): Tehran   Definitions and the symbol of Eshragh. (2018, 6 Jan). Tehran: Eshragh Institute of higher education. Link: https://eshragh.ac.ir/index.php/en/eshragh-at-a-glance/introducing-eshragh/279-terminology-and-symbol    

On this episode of ‘Mehmooni' I speak with the author of Shahnameh for Kids Arsia Rozgar. His credits include Marvel's Iron Man, The Hulk, and more! @Shahnamehforkids is a children's book retelling ancient Persian myths and legends. We talk about the significance of the Shahnameh in Iranian culture as well as the heritage it has helped preserve. Make sure to follow: @ShahnamehForKids On Instagram, Facebook, Twitter. https://shahnamehforkids.com Tune in to ‘Mehmooni' every Friday available to listen to on: @applepodcasts @spotifypodcasts Google Podcast Raadio Public Pocket Casts Breaker ________________________ Mehmooni is a podcast series where I speak with professional Iranians & hyphenated-Iranians about their journeys. @MehmooniPodcast @Banni_Adam_ Host: @fvrro #podcasts #podcast #podcasting #podcastlife #podcastersofinstagram #podcaster #podcasters #podcastshow #spotify #applepodcasts #youtube #itunes #music #podcastinglife #podcastaddict #radio #newpodcast #podcastlove #applepodcast #spotifypodcast #podcastsofinstagram #podcastmovement #podcasthost #Mehmooni #podcastnetwork #podernfamily #Persian #Iranian #Shahnameh #ShahnamehforKids

La storia del Tagikistan vede unirsi culture estremamente varie e diversificate come quella greca, persiana e turca, plasmando così un paese da sempre al centro del mondoSeguite tutti gli aggiornamenti sulla pagina instagram @medioorienteedintorni , per articoli e podcast visitate il nostro sito https://mediorientedintorni.com/ trovate anche la "versione articolo". Vuoi avere tutto in unico posto? Iscriviti al gruppo Telegram: https://t.me/mediorientedintorni Ogni like, condivisione o supporto è ben accetto e ci aiuta a dedicarci sempre di più alla nostra passione: raccontare il Medio Oriente

Tonight we give you the conclusion to the story of Manucher and his quest for vengeance against his grand uncles, Salm and Tur, as well as the conclusion to the story of Fereydun.  Don't miss this amazing episode where I make my wife cry.Art:https://www.lorrainelin.com/Music:Desert of Lost Souls Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0http://creativecommons.org/licenses/b...Follow Us:https://twitter.com/MazanderCastMazanderCast@gmail.comFollow Along with us in the Shahnameh:http://www.heritageinstitute.com/zoroastrianism/shahnameh/page08.htm

Today I am joined by medievalist Kelly Williams for a conversation on medieval literature. Kelly is a PhD candidate in Medieval English Literature at the University of Illinois Urbana-Champaign, and she's also a close friend whom I've known for many years. So when I thought about doing a show on medieval lit, I knew she'd be the perfect person to go to.One thing that has been a goal of this show since the beginning has been to talk about writing and art in a way that takes people beyond the most dominant or readily accessible popular culture. Or, at other times, to find connections between popular culture and less mainstream work. With medieval lit, we can do both of those things. While I'm sure my audience knows the legends of King Arthur or The Canterbury Tales, how well do you know The Vinland Sagas or Irish epic The Tain? And since “medieval” can be a vague and often Eurocentric term, what about what the rest of the world was writing in that very long period that loosely spans the middle of the first millennium to the middle of the second? To help us all expand our awareness of the world's great epics, romances, poetry, and more, Kelly is here with a huge list of recommendations, and whether you're used to reading older writing or not, chances are you'll hear something that piques your interest. We also spend a little time discussing some of the current issues in the medieval studies world, one of which is the work to make it more inclusive. For example, one of the largest scholarly associations in the field, the International Society of Anglo-Saxonists, recently voted to change its name in an effort to thwart internal racism and sexism. (For more information on that, you can listen to this episode of Remixing the Humanities.) This conversation also comes at a time when white supremacists are increasingly adopting symbols from the Middle Ages as signs of a supposed (and historically-inaccurate) "white" heritage. In this kind of climate, what is the role of a medieval scholar when it comes to helping the public stay informed and combating those who try to twist history to promote narratives of hate and violence? We didn't get a chance to go in depth on this subject, but it's worth noting that part of the reason reading older texts is so important is for how they keep us culturally literate and undo both stereotypes and more malicious rewritings of the past. Oh, and we also talk about Spider-Man and his connection to medieval stories, too. How so? Well, you'll have to listen to find out, but be warned that there are some spoilers for the film Spider-Man: Into the Spider-Verse when we get to that point.---And here's a list of all the texts recommended in this episode:JulianaAndreasVis and RaminThe MabinogianThe TainThe Vinland SagasIbn Fadlan and the Land of DarknessThe Travels of Marco PoloShahnamehThe Mirror of My Heart: A Thousand Years of Persian Poetry by WomenThe Arabian NightsSunjataCaravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan AfricanPoems of the MastersThe Tale of GenjiThe Confessions of Lady NijoPopol VuhThe Secret of KellsFollow:Kelly Williams@MediaevalMuseThe Vault of CultureBlog: Shield MaidensThe Plot@ThePlotPodcast@_SeanDouglass_

Nuevo viaje en el tiempo de El Libro Rojo, en este caso a conocer los mitos y leyendas, pero también la historia, de la Antigua Persia. Todo ello a través de las páginas del Shahnameh, el Libro de los Reyes, y de la mano de Laura Castro (Las Plumas de Simurgh), quien nos acompaña y nos guía durante todo el recorrido con una impagable mezcla de pasión y simpatía.

Melvyn Bragg and his guests discuss the epic poem the Shahnameh of Ferdowsi, the 'Book of Kings', which has been at the heart of Persian culture for the past thousand years. The poem recounts a legendary history of Iran from the dawn of time to the fall of the Persian Empire in the 7th century and serves, in a sense, as a creation myth for the Persian nation. The Shahnameh took Ferdowsi thirty years to write and, consisting of over 50,000 verses, is said to be the longest poem ever written by a single author. Laced with tragedy, Ferdowsi's epic chronicles battles, romances, family rifts and Man's interior struggle with himself. Although the stories may not always be true they have a profound resonance with Iranians even today, and the poem has been referred to as both the 'encyclopaedia of Iranian culture' and the identity card of the Persian people. With:Narguess Farzad Senior Fellow in Persian at SOAS, University of LondonCharles Melville Professor of Persian History at Pembroke College at the University of CambridgeVesta Sarkhosh Curtis Curator of Middle Eastern Coins at the British Museum Producer: Natalia Fernandez.