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Throughout modern Iranian history, culture has served as a means of
imposing unity and cohesion onto society. The Pahlavi monarchs used
it to project an image of Iran as an ancient civilisation,
re-emerging as an equal to Western nations, while the
revolutionaries deployed it to remake the country into an Islamic
nation. Just as Iranian culture has been continually
re-interpreted, the representations and avocations of Iranian
identity vary amongst Iranians across the world. Iranian Culture:
Representation and Identity demonstrates these fissures and the
incompatibilities that refuse to be written out of national
culture, analysing works of literature, popular music, graphic art
and film, as well as oral narratives. Using works produced before
and after the 1979 revolution, created both inside and outside of
Iran, this study reveals neglected complexities and contradictions
in the field of Iranian cultural production. It considers how
contested claims to culture, whether they originated in Iran or the
Iranian diaspora, shape our understanding of this culture and what
spaces they create for new articulations of it, and in doing so
offers an important re-examination of our collective concept of
culture. This book would be an excellent resource for students and
scholars of Middle East Studies and Iranian Studies, specifically
Iranian culture including film and contemporary literature and the
Iranian diaspora.
Throughout modern Iranian history, culture has served as a means of
imposing unity and cohesion onto society. The Pahlavi monarchs used
it to project an image of Iran as an ancient civilisation,
re-emerging as an equal to Western nations, while the
revolutionaries deployed it to remake the country into an Islamic
nation. Just as Iranian culture has been continually
re-interpreted, the representations and avocations of Iranian
identity vary amongst Iranians across the world. Iranian Culture:
Representation and Identity demonstrates these fissures and the
incompatibilities that refuse to be written out of national
culture, analysing works of literature, popular music, graphic art
and film, as well as oral narratives. Using works produced before
and after the 1979 revolution, created both inside and outside of
Iran, this study reveals neglected complexities and contradictions
in the field of Iranian cultural production. It considers how
contested claims to culture, whether they originated in Iran or the
Iranian diaspora, shape our understanding of this culture and what
spaces they create for new articulations of it, and in doing so
offers an important re-examination of our collective concept of
culture. This book would be an excellent resource for students and
scholars of Middle East Studies and Iranian Studies, specifically
Iranian culture including film and contemporary literature and the
Iranian diaspora.
The pioneering Iranian poet and filmmaker Forugh Farrokhzad was an
iconic figure in her own day and has come to represent the spirit
of revolt against patriarchal and cultural norms in 1960s Iran.
Five decades after her tragic death at the age of 32, Forugh
Farrokhzad, Poet of Modern Iran brings her ground-breaking work
into new focus. During her lifetime Farrokhzad embodied the vexed
predicament of the contemporary Iranian woman, at once subjected to
long-held traditional practices and influenced by newly introduced
modern social sensibilities. Highlighting her literary and
cinematic innovation, this volume examines the unique place
Farrokhzad occupies in Iran, both among modern Persian poets in
general and as an Iranian woman writer in particular. The authors
also explore Farrokhzad's appeal outside Iran in the Iranian
diasporic imagination and through the numerous translations of her
poetry into English. It is a fitting and authoritative tribute to
the work of a remarkable woman which will introduce and explain her
legacy for a 21st-century audience. This second edition includes
two new chapters which explore a travelogue Farrokhzad wrote during
her time in Italy, and an examination of Farrokhzad's influence on
the writings of the Afghan female poet Laila Sarahat Rowshani.
On the streets of Tehran, Nuri Hushiar knows his blond hair and
blue eyes attract attention. While he relishes the attention he
cannot avoid the uneasy feeling of being out of place. This sense
of being exceptional and estranged is the hallmark of his character
and the focus of his struggle in Taghi Modarressi's last stunning
novel.Set around the time of the revolution, ""The Virgin of
Solitude"" follows the parallel lives of a transplanted Austrian
woman, who has made Iran her home, and her grandson, Nuri, who
desperately misses his mother but hides his longing behind a veneer
of teenage bravado. As the turmoil of the revolution envelops the
country, grandmother and grandson witness the dissolution of
social, class, and political order, while searching for a sense of
belonging.Nasrin Rahimieh's translation captures the tone and mood
of the original, rendering both Modarressi's subtle humor and
assured prose with effortless precision.
This special issue of "Radical History Review" marks the thirtieth
anniversary of the Iranian revolution, an event that reverberated
across the globe, causing rifts and realignments in international
relations, as well as radical changes in Iranian political, social,
and cultural institutions. The Iranian revolution of 1979 was a
historical inevitability neither in its inception nor in its
outcome; however, its continued domestic and global significance -
often misunderstood and misinterpreted - remains indisputable. The
issue explores the complex and evolving nature of the
post-revolutionary dynamics in Iran and calls for renewed
reflection on the roots of the revolution, the processes leading to
its proponents' victory, and its impact on the Muslim world and the
global balance of power. The articles in this interdisciplinary
issue take up the legacy of the revolution within and outside the
borders of Iran and offer critical evaluation and new insights into
the transformations that Iran experienced as a result of the
revolution. One essay discusses the role of the crowd in the
revolution, while another traces the genealogy of the discourse of
anti-Zionism in Iranian circles. Other articles explore the
treatment of the revolution in the Egyptian press and illustrate
how the trauma of the revolution is portrayed in diasporic Iranian
women's biographies. The issue also features a "Reflections"
section, which includes eight short essays that provide snapshots
of postrevolutionary politics, economics, literature, cinema, and
visual arts, demonstrating both radical changes and continuities in
Iranian society. Contributors include Ervand Abrahamian, Mahdi
Ahouie, Niki Akhavan, Said Amir Arjomand, Mansour Bonakdarian,
Behrooz Ghamari-Tabrizi, M. R. Ghanoonparvar, Hanan Hammad, Taraneh
Hemami, Persis M. Karim, Mazyar Lotfalian, Ali Mirsepassi, Minoo
Moallem, Nima Naghibi, Nasrin Rahimieh, Ahmad Sadri, and Djavad
Salehi-Isfahani. Kamran Talattof Behrooz Ghamari-Tabrizi is
Associate Professor of History and Sociology at the University of
Illinois at Urbana-Champaign. Mansour Bonakdarian is visiting
Assistant Professor of History at the University of Toronto at
Mississauga. Nasrin Rahimieh is Professor of Comparative Literature
at the University of California, Irvine. Ahmad Sadri is Professor
of Sociology at Lake Forest College. Ervand Abrahamian is CUNY
Distinguished Professor of History at Baruch College and the CUNY
Graduate Center.
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