Mashhad, Iran
..بغلم کن که من از همه خستم
RMH
trying on a metaphor

Andulka

❣ Chile in a Photography ❣

★
untitled

bliss lane
Aqua Utopia|海の底で記憶を紡ぐ

oozey mess
ojovivo
I'd rather be in outer space 🛸
Not today Justin
Keni
YOU ARE THE REASON

pixel skylines
sheepfilms
Sade Olutola

Kiana Khansmith

Origami Around
Game of Thrones Daily

seen from Canada
seen from Indonesia
seen from United States
seen from United States

seen from United States
seen from Ireland
seen from Czechia

seen from United States

seen from Austria

seen from Malaysia
seen from Brazil

seen from Bangladesh

seen from France
seen from Germany

seen from Türkiye

seen from Germany

seen from Türkiye

seen from Germany

seen from Norway

seen from Austria
@tita-44
Mashhad, Iran
..بغلم کن که من از همه خستم
!دوست ایرانیام گفت کوبیده را میشه توی ایر فرایر درست کرد، ولی برای من اصلاً نگرفت
We have NAD here in Sydney, and I swear, this is my way to go if I ever get a terminal prognosis.
I'm three years ahead of my classmates in Persian, and because of that, and the fact the conveners are confident in my abilities (my grade thus far is 99.10% in all areas of language learning), I'm allowed to progress from where I am in class despite the class not having been formally taught what I am speaking and writing so basically when I speak in class and before class starts (I am the only one in class that converses with the lecturer in Persian, well, I am the only student who speaks Persian at all besides when answering questions) - nobody knows what I am saying lol. They will easily catch up by the end of next semester.
It's a little embarrassing when the lecturer applauds my abilities in front of everyone, (I actually believe they even ascribe more than I believe there is), but I always share the resources I have used in self study with my classmates. I even try to engage them by posting songs and poems I enjoy in Persian with the original Persian script, a transliteration, and English translation. Only had one classmate respond, but at the end of the day, it's kindness and more practise for me!
I share my resources and encourage language input because, realistically, at uni we only have 11 hours of oral practice per semester. So split those 11 hours between 20 students. We don't even get that time to speak if being realistic.
So, if it is stated by the experts that it takes 100 hours for tourist language skills, 200-300 hours for conversational foothold, 500-700 hours for more automatic conversing, and 1000 hours where you reach that point where you pretty much 'stop translating', you can see that if my classmates are thinking "I'm at ANU and I'm taking Persian, I'll be fluent by the end of it!" - they are way off. I already can see the students self-studying along with their uni course; it's obvious. But a lot do not and it shows in how much extra attention they need in class.
My study hours, so far, are between 300-500 with one language system I have been using from day dot accruing 240 hours alone, and that is just one resource. I'm not even counting all the hours of Persian music I listen to, films, series, vlogs, educational videos I watch, nor the chatting and texting I have with friends. I even speak Persian to Aude and the cats to drum in fixed phrases and practise pronunciation.
I'm now reading short stories in Persian script alone which is my 'happy place.' I'd like to go as far as I can with Persian as I love it more than Italian or Spanish (where my ability is only elementary), so I will keep on doing what I have been, and I guess that means I need to bloody pick up a pen and start writing in Persian too. Which I have not been doing as my handwriting is already bad in English.
Hmm, not much contemporary Persian poetry is available in an interlinear fashion. Maybe it's just me, but I find beauty in the transliteration and it allows people who cannot read Persian script the chance to at least to 'hear' the music of Persian poetry as well as read it. It's a bit of a dream to translate and present in all ways Persian poetry so I dunno, maybe that's what I'm striving for. Maybe even write a little poetry myself.
.رویای زیبایی با پدرم در آن بود
.یک بار به جای اینکه مضطرب از خواب بیدار شم، خوشحال بیدار شدم
Finalmente contatto con gli amici in Iran!
یک عمر به کودکی به استادی شدیم یک عمر ز استادیِ خود شاد شدیم افسوس ندانیم که ما را چه رسید از خاک برآمدیم و بر باد شدیم
yek omr be koodaki be ostâdi shodim yek omr ze ostâdi-ye khod shâd shodim afsoos nadânim ke mâ râ che resid az khâk bar âmadi m o bar bâd shodim
Omar Khayyam
San Fran
Bahrām Bayzāʼī, Musāfirān, 1992
“Travelers is a film about fertility, which may be what all my films are about: creation, fertility, and rebirth.”
Bahrām Bayzāʼī 's eighth film Musāfirān (Travelers, 1991) is a modern allegory of hope and rebirth drawn from the heart of helplessness. The film is also inspired by elements adopted from Iranian ritualistic passion plays (ta‛zīyah) and mystical ālam al-misāl, or what Henry Corbin coined the “Imaginal World.” Bayzāʼī's work can hardly be separated from mythology, and his engagement, interest, and expertise in mythology and rituals (as the hypothetical origin of the performing arts) is reflected in almost all of his creative and scholarly works. Of all such tropes, rebirth is the primordial inspiration for the constitution of a significant part of many human mythologies. In Travelers, Bayzāʼī elaborately engages with and appropriates not only myths of Rebirth but also of Death.
By Mansoor Behnam
Another very un-Persian film. This one is very stage-like, and New Wave. Reminds me of symbolic Czech films from the 60s or the 70s or maybe French New Wave, and is replete with Persian symbolism. The main character is wearing an oversized blazer which is very vintage Margiela and she looks absolutely khoshgel. The house itself, which is a character too, was built specifically for the film and is all concrete and metal railings with white walls. Love it as well.
به من گفت بیا به من گفت بمان به من گفت بخند به من گفت بمیر آمدم ماندم خندیدم مُردم
Be man goft biyā be man goft bemoon be man goft bekhand be man goft bemir oomadam moondam khandidam mordam
He/she told me: come. Told me: stay. Told me: laugh. Told me: die. I came. I stayed. I laughed. I died.
It’s very minimalist and emotionally heavy — built around imperative verbs and then simple past responses.
The power comes from the symmetry:CommandResponseبیا (biyā) — comeآمدم (oomadam) — I cameبمان (bemān) — stayماندم (moondam) — I stayedبخند (bekhand) — laughخندیدم (khandidam) — I laughedبمیر (bemir) — dieمردم (mordam) — I died
It has that stark modern Persian poetry style — very direct, almost conversational, but devastating.
This powerful micro-poem, often associated with Turkish poet Nâzım Hikmet and translated into Persian, describes a complete surrender to love through a sequence of commands and responses: come, stay, smile, and die. The poem achieved immense popularity in Iran after being featured in the acclaimed 2003 film "Shabhaye Roshan".
This film is so un-Persian. It's almost like a 1990s American or 70s Russian or French film. Its story is based on Dostoevsky's White Nights and it's one of my favorites now, especially as it has a lot of Persian poetry. This poem above is beautiful to recite, and to hear. کاملاً سوزناک.
Ok, I wanna be a lawyer in my next life. Making 900 per hour and charging $4000 for a letter a client basically writes, is wild.
Isabelle Adjani holding up a picture of her father Mohammed Cherif Adjani
بعضی سکوتها بلندتر از فریادند
Ba’zi sokut-hā bolandtar az faryād-and.
Some silences are louder than screams.
Simin Behbahani
انتظار ،امیر نادری
One of Naderi's most beautiful films, a kind of magical realist parable that follows a boy's daily chore: bringing an elegant glass bowl to get filled with ice, and then returning home. The simplicity of this ritual stands in contrast to a world in which every glance and every gesture seems loaded with hidden meaning.
Entezar was a break from the realism of his previous films by allowing illusory images to sit next to documentary moments, such as the mourning ritual for a Shia saint. Sizzling with a euphoric view of life and cinema through fixation on light and movement, and dazzling with high sensory sensitivity, what this masterpiece establishes in three-quarters of an hour, other films need hours to ramble on. By Ehsan Khoshbakht
Obsessed with post Revolution Iranian fashion in the 1990s-2000s.