The concept of 'uneven and combined development' was originally coined by Leon Trotsky to theorise Tsarist Russia's distinctive experience of modernity and revolution. But it has re-emerged over the last decade or so as a burgeoning research programme within International Relations (IR) and historical sociology. It has been critically and creatively deployed in two main areas: the provision of a sociological foundation to international theory overcoming the chronic schism between 'sociological' and 'geopolitical' modes of enquiry; and, relatedly, in superseding prevailing Eurocentric approaches in the social sciences. This volume is the first to provide a sustained reflection on the idea of uneven and combined development as the intellectual basis for a non-Eurocentric social theory of 'the international'. It does so through a series of empirically rich and theoretically informed analyses of socio-historical change, political transformation, and intersocietal conflict over the longue duree. The volume thereby aims to demonstrate the unique potentials of uneven and combined development in overcoming IR and historical sociology's shared inability to theorize the interactive and multilinear character of development.

Critically deploying the idea of uneven and combined development this book provides a novel non-Eurocentric account of Iran's experience of modernity and revolution. Recasting Iranian Modernity presents the argument that Eurocentrism can be decisively overcome through a social theory that has international relations at its ontological core. This will enable a conception of history in which there is an intrinsic international dimension to social change that prevents historical repetition. This hitherto under-theorized international dimension is, the book argues, manifest in combined patterns of development, which incorporate both foreign and native forms. It is the tension-prone and unstable nature of these hybrid developmental patterns that mark Iranian modernity, and fuelled the socio-political dynamics of the 1979 revolution and the rise of political Islam. Challenging solely comparative approaches to the Iranian Revolution that explain it away as either a deviation from, or a reaction to, modernity on the grounds of its religious form, this book will be valuable to those interested in an alternative theoretical approach to the Iranian Revolution, modern Iran and political Islam, working in the fields of International Relations, Middle East and Islamic Studies, History, Political Science, Political Sociology, Postcolonialism, and Comparative Politics.

Critically deploying the idea of uneven and combined development this book provides a novel non-Eurocentric account of Iran s experience of modernity and revolution. "Recasting Iranian Modernity "presents the argument that Eurocentrism can be decisively overcome through a social theory that has international relations at its ontological core. This will enable a conception of history in which there is an intrinsic international dimension to social change that prevents historical repetition.

This hitherto under-theorized international dimension is, the book argues, manifest in combined patterns of development, which incorporate both foreign and native forms. It is the tension-prone and unstable nature of these hybrid developmental patterns that mark Iranian modernity, and fuelled the socio-political dynamics of the 1979 revolution and the rise of political Islam.

Challenging solely comparative approaches to the Iranian Revolution that explain it away as either a deviation from, or a reaction to, modernity on the grounds of its religious form, this book will be valuable to those interested in an alternative theoretical approach to the Iranian Revolution, modern Iran and political Islam, working in the fields of International Relations, Middle East and Islamic Studies, History, Political Science, Political Sociology, Postcolonialism, and Comparative Politics.

Maryam Ashrafi is a social documentary photographer who believes in long term projects, she chooses to stay behind the front lines and observe the daily lives of combatants, which includes a lot of waiting around. She is above all involved in documenting the everyday life on the Kurdish front. Her work puts a face on a widely commented war which remains, from afar, perceived mainly by the West in terms of the number of refugees. Maryam documents the war in her own way, stressing its complexities and the actual building of a new social model based on equality where women occupy the same roles as men, which is remarkable in this area of the world. This is why, over the years, she has returned to the same places, from Kobane to Tabqa, to show the unique power of the resilience of the population and the will to live and change. "The struggle of the Kurdish people and their fight for freedom and fundamental rights have not come to an end, and therefore this book cannot portray all of their journeys, nor shall I stop documenting what is still to come. Yet I believe, as a witness, I owe it to history and to those I have met for sharing some of these images in this book to show part of their journey to freedom and equality", Maryam believes. The book is built on the chronology of the events as documented by Maryam Ashrafi, to understand the evolution of the conflict and its consequences on the populations and their living environment. Photographer James Nachtwey once made a point about such war photographs shown in museums, or in a book; it is "a space for reflection on the universality of the dramas that humanity is going through in its entirety". During her travels, Maryam Ashrafi has created a body of images which highlight very important topics as they are an immediate consequence of war, from the sheer destruction to the refugee camps, as they evoke the foundations of the culture and the identity of the Kurdish people - the ceremonies in honour of martyrs, dances around fires, New Year celebrations etc. Finally, Maryam Ashrafi's work is also about empathy and about invisible wounds; it is obvious that one could not witness a conflict without being caught up in the daily suffering, especially children and women. Maryam finds emotions and feelings, in simple gestures, smiles and dances, these moments of intimacy. The presence of the photographer is forgotten, there remains only the reality of their fight and the resilience of a people. In these moments, she captures expressions that speak so much more than long speeches. Let's listen to them in the midst of ruins, dancing amid bullets.

The concept of 'uneven and combined development' was originally coined by Leon Trotsky to theorise Tsarist Russia's distinctive experience of modernity and revolution. But it has re-emerged over the last decade or so as a burgeoning research programme within International Relations (IR) and historical sociology. It has been critically and creatively deployed in two main areas: the provision of a sociological foundation to international theory overcoming the chronic schism between 'sociological' and 'geopolitical' modes of enquiry; and, relatedly, in superseding prevailing Eurocentric approaches in the social sciences. This volume is the first to provide a sustained reflection on the idea of uneven and combined development as the intellectual basis for a non-Eurocentric social theory of 'the international'. It does so through a series of empirically rich and theoretically informed analyses of socio-historical change, political transformation, and intersocietal conflict over the longue duree. The volume thereby aims to demonstrate the unique potentials of uneven and combined development in overcoming IR and historical sociology's shared inability to theorize the interactive and multilinear character of development.