This book is the first extensive research on the role of poetry during the Iranian Revolution (1979) and the Iran-Iraq War (1980-1988). How can poetry, especially peaceful medieval Sufi poems, be applied to exalt violence, to present death as martyrdom, and to process war traumas? Examining poetry by both Islamic revolutionary and established dissident poets, it demonstrates how poetry spurs people to action, even leading them to sacrifice their lives. The book's originality lies in fresh analyses of how themes such as martyrdom and violence, and mystical themes such as love and wine, are integrated in a vehemently political context, while showing how Shiite ritual such as the pilgrimage to Mecca clash with Saudi Wahhabi appreciations. A distinguishing quality of the book is its examination of how martyrdom was instilled in the minds of Iranians through poetry, employing Sufi themes, motifs and doctrines to justify death. Such inculcation proved effective in mobilising people to the front, ready to sacrifice their lives. As such, the book is a must for readers interested in Iranian culture and history, in Sufi poetry, in martyrdom and war poetry. Those involved with Middle Eastern Studies, Iranian Studies, Literary Studies, Political Philosophy and Religious Studies will benefit from this book. "From his own memories and expert research, the author gives us a ravishing account of 'a poetry stained with blood, violence and death'. His brilliantly layered analysis of modern Persian poetry shows how it integrates political and religious ideology and motivational propaganda with age-old mystical themes for the most traumatic of times for Iran." (Alan Williams, Research Professor of Iranian Studies, University of Manchester) "When Asghar Seyed Gohrab, a highly prolific academician, publishes a new book, you can be certain he has paid attention to an exciting and largely unexplored subject. Martyrdom, Mysticism and Dissent: The Poetry of the 1979 Iranian Revolution and the Iran-Iraq War (1980-1988) is no exception in the sense that he combines a few different cultural, religious, mystic, and political aspects of Iranian life to present a vivid picture and thorough analysis of the development and effect of what became known as the revolutionary poetry of the late 1970s and early 1980s. This time, he has even enriched his narrative by inserting his voice into his analysis. It is a thoughtful book and a fantastic read." (Professor Kamran Talattof, University of Arizona)

The phenomenon of martyrdom is more than 2000 years old but, as contemporary events show, still very much alive. Martyrdom: Canonisation, Contestation and Afterlives examines the canonisation, contestation and afterlives of martyrdom and connects these with cross-cultural acts and practices of remembrance. Martyrdom appeals to the imagination of many because it is a highly ambiguous spectacle with thrilling deadly consequences. Imagination is thus a vital catalyst for martyrdom, for martyrs become martyrs only because others remember and honour them as such. This memorialisation occurs through rituals and documents that incorporate and re-interpret traditions deriving from canonical texts. The canonisation of martyrdom generally occurs in one of two ways: First, through ritual commemoration by communities of inside readers, listeners, viewers and participants, who create and recycle texts, re-interpreting them until the martyrs ultimately receive a canonical status, or second, through commemoration as a means of contestation by competing communities who perceive these same people as traitors or terrorists. By adopting an interdisciplinary orientation and a cross-cultural approach, this book goes beyond both the insider admiration of martyrs and the partisan rejection of martyrdoms and concisely synthesises key interpretive questions and themes that broach the canonised, unstable and contested representations of martyrdom as well as their analytical connections, divergences and afterlives in the present.

The act of drawing a line or uttering a word is often seen as integral to the process of making art. This is especially obvious in music and the visual arts, but applies to literature, performance, and other arts as well. These collected essays, written by scholars from diverse fields, take a historical view of the richness of creation out of nothing (creatio ex nihilo) in order to draw out debates, sometimes implicit and sometimes formally stated, about the production and reproduction of cultural meaning in a period of great change and novelty, between the beginnings of the medieval intellectual tradition and the imprint of the Enlightenment. The authors pose the following questions: Do tradition and creativity conflict with one another, or are they complementary? What are the tensions between composition and live performance? What is the role of the audience in perceiving the object of art? Are such objects fixed or flexible? What about the status of the event? Is the event part of creation, in the sense that it disturbs the still waters of historical continuity? These and other questions build on the foundation of Roland Barthes' concept of Degree Zero, offering new insights into what it means to create.

The True Dream is a Persian satirical drama set in Isfahan in the lead up to Iran's Constitutional Revolution of 1905-11. Although its three authors hail from the clerical class, they criticize the arrogance, corruption and secularity of the Iranian ruling dynasty and clergy, taking Isfahan as their example. The work blends fact and fiction by summoning the prominent men of the city to account for themselves on the Day of Judgement. God speaks offstage, delivering withering judgements of their behaviour. The dream of the authors is a vision of an Iran governed by law, where justice prevails and the clergy are honestly religious. This book has the Persian and English translation on facing pages. The introduction presents brief biographies of the authors - who wrote anonymously, but were all executed. One of the authors was the father of Mohammad-Ali Jamalzadeh, a pioneer of modern Persian fiction, and The True Dream was one of the first dramas, in European style, to be written in Persian. The book shows that today's struggle for a modern society began more than a century ago, and then and now pivots on the role of the Islamic clerics (the ulama). Using colloquial language, this first English translation of a significant and humorous Persian satirical drama will prove an accessible and valuable resource for students of Persian. By marking a significant point in the influence of Western political philosophy and Western drama on the Persian intellectual classes, this book will also appeal to students and scholars of Middle Eastern History and Political Science.

The True Dream is a Persian satirical drama set in Isfahan in the lead up to Iran's Constitutional Revolution of 1905-11. Although its three authors hail from the clerical class, they criticize the arrogance, corruption and secularity of the Iranian ruling dynasty and clergy, taking Isfahan as their example. The work blends fact and fiction by summoning the prominent men of the city to account for themselves on the Day of Judgement. God speaks offstage, delivering withering judgements of their behaviour. The dream of the authors is a vision of an Iran governed by law, where justice prevails and the clergy are honestly religious. This book has the Persian and English translation on facing pages. The introduction presents brief biographies of the authors - who wrote anonymously, but were all executed. One of the authors was the father of Mohammad-Ali Jamalzadeh, a pioneer of modern Persian fiction, and The True Dream was one of the first dramas, in European style, to be written in Persian. The book shows that today's struggle for a modern society began more than a century ago, and then and now pivots on the role of the Islamic clerics (the ulama). Using colloquial language, this first English translation of a significant and humorous Persian satirical drama will prove an accessible and valuable resource for students of Persian. By marking a significant point in the influence of Western political philosophy and Western drama on the Persian intellectual classes, this book will also appeal to students and scholars of Middle Eastern History and Political Science.

Mirror of Dew introduces one of Iran's outstanding female poets, whose work has not previously been available in English. Zhale Qa'em-Maqami (1883-1946) was a witness to pivotal social and political developments in Iran during its transition to modernity. Persian poetry at that time was often used polemically and didactically, for a mass audience, but Zhale did not write to be published. The poems, like the mirror, samovar, and other familiar objects we find in them, appear to be the author's intimate companions. Her poetry is deeply personal but includes social critique and offers a rare window into the impact of a modern awareness on private lives. Zhale is biting in her condemnation of traditional Persian culture, and even of aspects of Islamic law and custom. She might be called the Emily Dickinson of Persian poetry, although Zhale was married, against her will. Zhale is far from the first female poet in Persian literature but is the first we know of to write with an interior, intimate voice about private life, her anxieties, her frustrated love, her feelings about her husband, and many topical issues. This volume presents the Persian text of Zhale's poems on pages facing the English translations.

This book fills a gap by providing a new selection and description of more than 1000 editions of the world-famous Persian quatrains: The Rubaiyat of Omar Khayyam. This is the first bibliography since the first Rubaiyat bibliography by A.G. Potter, published in 1929. Omar Khayyam lived in the 11th Century. A Persian homo universalis, he was a mathematician, scientist, philosopher, astronomer and poet. He is believed to have written 200 to 600 Rubaiyat (quatrains) in Persian. His Rubaiyat has been translated into Arabic, Chinese, Dutch, English, French, German, Hebrew, Hindi, Russian, Urdu and many other languages. It has been published in numerous editions: precious volumes with jeweled bindings, artist's books, scholarly and critical editions, forgeries and fake editions, making The Rubaiyat of Omar Khayyam a perfect object for book collectors and lovers of poetry. Edward FitzGerald's translation of the Rubaiyat of Omar Khayyam has been one of the world's most popular books. Since the first version in 1859, new editions, reprints and translations have appeared in an almost endless flow, varying from plain text to highly decorated, illustrated editions and from almost microscopic miniatures to monumental, oversized volumes. FitzGerald's translation stands out, but there are hundreds of other translations, from many countries, and you will find them all in this book.