International Society for Iranian Studies Cosponsors Roshan
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Volume 15 - Number 2 February – March 2019 £4 TTHISHIS ISSUEISSUE: IIRANIANRANIAN CINEMACINEMA ● IIndianndian camera,camera, IranianIranian heartheart ● TThehe lliteraryiterary aandnd dramaticdramatic rootsroots ofof thethe IranianIranian NewNew WaveWave ● DDystopicystopic TTehranehran inin ‘Film‘Film Farsi’Farsi’ popularpopular ccinemainema ● PParvizarviz SSayyad:ayyad: socio-politicalsocio-political commentatorcommentator dresseddressed asas villagevillage foolfool ● TThehe nnoiroir worldworld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ofof IranianIranian ‘Sacred‘Sacred Defence’Defence’ CinemaCinema ● AAsgharsghar Farhadi’sFarhadi’s ccinemainema ● NNewew diasporicdiasporic visionsvisions ofof IranIran ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 15 - Number 2 February – March 2019 £4 TTHISHIS IISSUESSUE: IIRANIANRANIAN CCINEMAINEMA ● IIndianndian ccamera,amera, IIranianranian heartheart ● TThehe lliteraryiterary aandnd ddramaticramatic rootsroots ooff thethe IIranianranian NNewew WWaveave ● DDystopicystopic TTehranehran iinn ‘Film-Farsi’‘Film-Farsi’ ppopularopular ccinemainema ● PParvizarviz SSayyad:ayyad: ssocio-politicalocio-political commentatorcommentator dresseddressed aass vvillageillage ffoolool ● TThehe nnoiroir wworldorld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ooff IIranianranian ‘Sacred‘Sacred DDefence’efence’ CinemaCinema ● AAsgharsghar FFarhadi’sarhadi’s ccinemainema ● NNewew ddiasporiciasporic visionsvisions ooff IIranran ● PPLUSLUS RReviewseviews aandnd eeventsvents -
Mazdak Movement: "Mazdakism" by Prof. Ehsan Yarshater Prof. Ehsan
Mazdak Movement: "Mazdakism" by Prof. Ehsan Yarshater Prof. Ehsan Yarshater is Hagop Kevorkian Professor of Iranian Studies at Columbia University. He was a long time Editor in Chief of Bongaah-e Tarjomeh va Nashr-e Ketaab, the leading research and publication institution in Iran. He is the foremost authority in Iranian studies, raging from history, language, religion, to arts. The most authoritative book of history about the Sassanid is entitled, "The Cambridge History of Iran," Volume 3, The Seleucid, Parthian and Sasanian Period," edited by Ehsan Yarshater, Parts 1 and 2, Cambridge University Press, 1983. The Chapter 27 (a) of the book is entitled "Manichaeism and its Iranian Background." The following chapter, Chapter 27(b), is entitled "Mazdakism," and is writtend by Prof. Yarshater, pages 991-1024. Prof. Yarshater begins the chapter by some general comments, then elaborates on the sources for studying the movement, then divides the movement into "the Early Stage of Mazdakism," "the Second Stage of Mazdakism," and "the Third stage of Mazdakism." He then describes the doctrine of the movement in detail, followed by the conclusion section. The following is the beginning of the "Conclusion" section (page 1018): We may then chart the course of the Mazdakite movement as follows. Sometime in the course of the 5th century, presumably during or soon after the reign of Bahram V, Zardusht Khurragaan, a mobad or possibly a chief mobad of Fasaa, began reform movement in Zoroastrian religion; he claimed to offer a correct interpretation of the Avesta. It is also possible that, claiming, to be an incarnation of an earlier leader, he only renewed and elaborated a movement begun previously by one Bundos, who had resided in Rome for a while and who had come under the influence of some gnostic religions there. -
Religious Studies 181B Political Islam and the Response of Iranian
Religious Studies 181B Political Islam and the Response of Iranian Cinema Fall 2012 Wednesdays 5‐7:50 PM HSSB 3001E PROFESSOR JANET AFARY Office: HSSB 3047 Office Hours; Wednesday 2:00‐3:00 PM E‐Mail: [email protected] Assistant: Shayan Samsami E‐Mail: [email protected] Course Description Artistic Iranian Cinema has been influenced by the French New Wave and Italian neorealist styles but has its own distinctly Iranian style of visual poetry and symbolic lanGuaGe, brinGinG to mind the delicate patterns and intricacies of much older Iranian art forms, the Persian carpet and Sufi mystical poems. The many subtleties of Iranian Cinema has also stemmed from the filmmakers’ need to circumvent the harsh censorship rules of the state and the financial limitations imposed on independent filmmakers. Despite these limitations, post‐revolutionary Iranian Cinema has been a reGular feature at major film festivals around the Globe. The minimalist Art Cinema of Iran often blurs the borders between documentary and fiction films. Directors employ non‐professional actors. Male and female directors and actors darinGly explore the themes of Gender inequality and sexual exploitation of women in their work, even thouGh censorship laws forbid female and male actors from touchinG one another. In the process, filmmakers have created aesthetically sublime metaphors that bypass the censors and directly communicate with a universal audience. This course is an introduction to contemporary Iranian cinema and its interaction with Political Islam. Special attention will be paid to how Iranian Realism has 1 developed a more tolerant discourse on Islam, culture, Gender, and ethnicity for Iran and the Iranian plateau, with films about Iran, AfGhanistan, and Central Asia. -
The Scarlet Stone: Retelling the Tale of National Identity (English)
Bijan Khalili Iranshahr Magazine, Los Angeles, CA. August 21, 2015. Translated by Hooman Rahimi (EN 15038 and ISO 17100 certified translator) Los Angeles Awaiting The Scarlet Stone’s Premier “The Scarlet Stone”, Retelling the Tale of National Identity The Scarlet Stone is the title of a drama that will be brought to stage on August 29th, 2015 at UCLA’s Royce Hall. It is a show that has caught the attention of the Iranian community of art enthusiasts located in Southern California from long ago. Shahrokh Yadegari has adapted the script for The Scarlet Stone based on a poem with the same title by Siavash Kasrai. However, this work of art has gone beyond the distinguished poem of Siavash Kasrai by telling a story as long as the history of Iran itself through an amazing return to the Ferdowsi’s Shahnameh, and in the process, adding in a new form to the Iranian art history in diaspora. The Scarlet Stone is an allegory of the emblem given to Tahmineh by Rostam, the Iranian mythological hero, so that if their child was born a girl, she would tie the emblem to their daughter’s hair and to his arm if the child was a boy. In this way, the warrior father could identify his child. Rostam and Sohrab is one of the most importnat stories of the Shahnameh. Alas! Rostam recognizes the scarlet stone tied to the arm of his thriving son too late --- the moment when no elixir is effective against the father’s imposed deep wound on the son’s lifeless body. -
Encyclopaedia Iranica
KINGS, WHORES AND CHILDREN www.mehripublication.com www.mehripublication.com www.mehripublication.com www.mehripublication.com TOURAJ DARYAEE KINGS, WHORES AND CHILDREN Passing Notes On Ancient Iran And The World That We Live In www.mehripublication.com www.mehripublication.com MEHRI PUBLICATION Research * 1 Kings, Whores And Children Passing Notes On Ancient Iran And The World That We Live In By: Touraj Daryaee British Library Cataloguing Publication Data: A catalogue record for this book is available from the British Library | ISBN: 978-1-64255-267-6 | |Second Edition. 224.pages | |Printed in the United Kingdom, 2018 | | Book Design: Christian Rezaie | | Cover Design: Parsua Bashi | Copyright © Touraj Daryaee, 2018 © 2018 by Mehri Publication Ltd. \ London. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photograpying and recording, or in any information storage or retrieval system without the prior writen permission of Mehri Publication. www.mehripublication.com [email protected] www.mehripublication.com CONTENTS Introduction 9 1 On the Earliest Reference to Stoning in 13 Iran 2 Šābuhr I’s New Gold Coin Depicting the 17 Roman Emperor 3 Dura-Europos, Jews, Middle Persian 21 Graffiti and the Sasanians 4 How to Banquet in Late Ancient Iran 25 5 The Caspian World: Borj-e Lājīm and a 43 Post-Sasanian Tomb Tower with Pahlavi and Arabic Inscriptions 6 Cyrus & Mithra: On the Religion of 47 Teispids 7 Dancing in Sasanian -
Reading Lolita in Tehran by Azar Nafisi
May 2019 Dear Rising Advanced Junior, Because summer reading is an effective way to maintain your reading and thinking skills, I want to give YOU the opportunity to excel in Advanced English III with the aid of a great summer reading book that explores how reading can shape us as humans. On that note, you’ll be reading: Reading Lolita in Tehran by Azar Nafisi Reading Lolita in Tehran Here’s a description from amazon.com: “Every Thursday morning for two years in the Islamic Republic of Iran, Azar Nafisi, a bold and inspired teacher, secretly gathered seven of her most committed female students to read forbidden Western classics. Some came from conservative and religious families, others were progressive and secular; some had spent time in jail. They were shy and uncomfortable at first, unaccustomed to being asked to speak their minds, but soon they removed their veils and began to speak more freely–their stories intertwining with the novels they were reading by Jane Austen, F. Scott Fitzgerald, Henry James, and Vladimir Nabokov. As Islamic morality squads staged arbitrary raids in Tehran, as fundamentalists seized hold of the universities and a blind censor stifled artistic expression, the women in Nafisi’s living room spoke not only of the books they were reading but also about themselves, their dreams and disappointments. Azar Nafisi’s luminous masterwork gives us a rare glimpse, from the inside, of women’s lives in revolutionary Iran. Reading Lolita in Tehran is a work of great passion and poetic beauty, a remarkable exploration of resilience in the face of tyranny, and a celebration of the liberating power of literature.” There may be some cultural/historical terms with which you’re unfamiliar, so here are some vocabulary words that may help as you read: http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780812971064&view=tg). -
FEZANA Journal Do Not Necessarily Reflect the Feroza Fitch of Views of FEZANA Or Members of This Publication's Editorial Board
FEZANA FEZANA JOURNAL ZEMESTAN 1379 AY 3748 ZRE VOL. 24, NO. 4 WINTER/DECEMBER 2010 G WINTER/DECEMBER 2010 JOURJO N AL Dae – Behman – Spendarmad 1379 AY (Fasli) G Amordad – Shehrever – Meher 1380 AY (Shenshai) G Shehrever – Meher – Avan 1380 AY (Kadimi) CELEBRATING 1000 YEARS Ferdowsi’s Shahnameh: The Soul of Iran HAPPY NEW YEAR 2011 Also Inside: Earliest surviving manuscripts Sorabji Pochkhanawala: India’s greatest banker Obama questioned by Zoroastrian students U.S. Presidential Executive Mission PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA Vol 24 No 4 Winter / December 2010 Zemestan 1379 AY 3748 ZRE President Bomi V Patel www.fezana.org Editor in Chief: Dolly Dastoor 2 Editorial [email protected] Technical Assistant: Coomi Gazdar Dolly Dastoor Assistant to Editor: Dinyar Patel Consultant Editor: Lylah M. Alphonse, [email protected] 6 Financial Report Graphic & Layout: Shahrokh Khanizadeh, www.khanizadeh.info Cover design: Feroza Fitch, 8 FEZANA UPDATE-World Youth Congress [email protected] Publications Chair: Behram Pastakia Columnists: Hoshang Shroff: [email protected] Shazneen Rabadi Gandhi : [email protected] 12 SHAHNAMEH-the Soul of Iran Yezdi Godiwalla: [email protected] Behram Panthaki::[email protected] Behram Pastakia: [email protected] Mahrukh Motafram: [email protected] 50 IN THE NEWS Copy editors: R Mehta, V Canteenwalla Subscription Managers: Arnavaz Sethna: [email protected]; -
Kayhan Kalhor/Erdal Erzincan the Wind
ECM Kayhan Kalhor/Erdal Erzincan The Wind Kayhan Kalhor: kamancheh; Erdal Erzincan: baglama; Ulaş Özdemir: divan baglama ECM 1981 CD 6024 985 6354 (0) Release: September 26, 2006 After “The Rain”, his Grammy-nominated album with the group Ghazal, comes “The Wind”, a documentation of Kayhan Kalhor’s first encounter with Erdal Erzincan. It presents gripping music, airborne music indeed, pervasive, penetrating, propelled into new spaces by the relentless, searching energies of its protagonists. Yet it is also music firmly anchored in the folk and classical traditions of Persia and Turkey. Iranian kamancheh virtuoso Kalhor does not undertake his transcultural projects lightly. Ghazal, the Persian-Indian ‘synthesis’ group which he initiated with sitarist Shujaat Husain Khan followed some fifteen years of dialogue with North Indian musicians, in search of the right partner. “Because I come from a musical background which is widely based on improvisation, I really like to explore this element with players from different yet related traditions, to see what we can discover together. I’m testing the water – putting one foot to the left, so to speak, in Turkey. And one foot to the right, in India. I’m between them. Geographically, physically, musically. And I’m trying to understand our differences. What is the difference between Shujaat and Erdal? Which is the bigger gap? And where will this lead?” Kayhan began his association with Turkish baglama master Erdal Erzincan by making several research trips, in consecutive years, to Istanbul, collecting material, looking for pieces that he and Erdal might play together. He was accompanied on his journeys by musicologist/player Ulaş Özdemir who also served as translator and eventually took a supporting role in the Kalhor/Erzincan collaboration. -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
A Persian Preacher's Westward Migration: Táhirih's Transnational
The Journalof Communication and Religion Volume 42 Winter 2019 Number4 RONALD C. ARNETT, EDITOR DAVID DeIULIIS, BOOK EDITOR ARTICLES A Persian Preacher's Westward Migration: Tahirih's Transnational Rhetoric, 1817-2015 LAYLI MARIA MIRON Mindfulness Beyond Self-Help: The Context of Virtue, Concentration, and Wisdom INCi OZUM SA YRAK "It is in Giving that We Receive": Adapting Christian Liturgy for Antiracist Rhetorical Work WILL PENMAN Sensemaking After the Mission: Totalistic yet Terminal Roles, Identity , and Exit LACY G. MCNAMEE AND KELLY K. GOULD Islam and Muslims in the Australian Press: Exploring the 'Political Parallelism' Discourse MUHAMMAD JUNAID GHAURI REVIEW Seasoned Speech : Rhetoric in the Life of the Church by James E. Beitler ERIC C. MILLER THE RELIGIOUS COMMUNICATION ASSOCIATION RCA An Interfaith Scholarly and Professional Organization A Persian Preacher’s Westward Migration: Táhirih’s Transnational Rhetoric, 1817–2015 Layli Maria Miron Abstract: During her brief life in the early nineteenth century, the Persian poet and theologian Táhirih advocated for a spiritual revolution. Authorities executed her for heresy in 1852. After death, Táhirih attracted admirers around the world; Western writers—especially women—have interpreted her history to argue for gender equality, religious renewal, and global interdependence. This Middle Eastern preacher has established a posthumous pulpit in the United States, as members of the Bahá’í Faith there have authored a dozen books about her. After introducing Táhirih’s rhetorical rebellions, this essay demonstrates her transnational influence by analyzing her afterlives in U.S. Bahá’í discourse. Keywords: Middle East (Persia/Iran), United States, Bahá’í Faith, women writers, Orientalism …Tahirih has become a universal figure. -
Eulogy for Dr. Ehsan Yarshater•
178 November - December 2018 Vol. XXVII No. 178 Remembering Professor Ehsan Yarshater • Iranian Novels in Translation • PAAIA National Survey 2018 • Second Annual Hafez Day 2018 • Mehregan Celebration • Nutrition During Pregnancy • Menstrual Cramps • Eulogy For Dr. Ehsan Yarshater • No. 178 November-December 2018 1 178 By: Shahri Estakhry Since 1991 Persian Cultural Center’s Remembering Professor Ehsan Yarshater (1920-2018) Bilingual Magazine Is a bi - monthly publication organized for th When we heard the news of the passing of Professor Ehsan Yarshater on September 20 , our last literary, cultural and information purposes issue of Peyk was at the print shop and we could not pay our deepest respect in his memory at Financial support is provided by the City of that time. Although, many tributes in Persian and English have been written in his memory, we San Diego Commission for Arts and Culture. too would like to remember him with great respect and great fondness. Persian Cultural Center I had the pleasure of meeting him and his wife, Latifeh, in 1996 when, at the invitation of the 6790 Top Gun St. #7, San Diego, CA 92121 Persian Cultural Center they came to San Diego and he gave a talk about the Persian civilization Tel (858) 552-9355 and the Encyclopedia Iranica. While listening to him, mesmerized by his presentation, there was Fax & Message: (619) 374-7335 Email: [email protected] no doubt for anyone that here was a man of true knowledge and great integrity. How privileged www.pccsd.org we were to be in the audience. He was an extraordinary man of accomplishments, easy to respect, easy to hold in your heart with adoration. -
Firdawsi: a Scholium
Firdawsi: A Scholium by Burzine Waghmar and Sunil Sharma Hakim Abu’l-Qasim Mansur b. al-Hasan al-Firdawsi al-Tusi (ca. 940/41-ca. 1020/25), a middle- ranking aristocrat recognised by his nom de plume, Firdawsi (‘paradisiacal’), was a central figure in the history of classical Persian literature.1 His monumental epic poem, Shahnama (‘Book of Kings’), conjures Homeric as well as Miltonic associations to the Iranian mind thus ensuring him a niche in the universal literary canon.2 This mytho-poetic masterpiece, dealing with Persian legendary and recorded history from the first man to the Arab conquest in AD 652, has been continuously read, recited, remembered, and re-enacted across the Iranian-speaking oecumene straddling West, Central and South Asia for over a millennium.3 Starting from the nineteenth century, a virtual school of Shahnama studies has flourished as successive generations of scholars interpreted and contextualised the text in published abridgements, translations and new editions. Animated productions of Rustam’s adventures, as those of Hercules, are keenly enjoyed by adults and children in contemporary Iran and the diaspora.4 Although Firdawsi dedicated his work to Sultan Mahmud of Ghazni (r. 998-1030), his life was spent in the town of Tus, Khurasan, away from the courts of princes and paladins. For almost a generation, about thirty years, he quietly worked on his magnum opus and interspersed it with brief vignettes of his personal life for the reader. As Shahpur Shahbazi has noted: Much has been written on Ferdowsī and his work, but even learned studies have given inharmonious results for the simple reasons that our sources are late, uncritical and contradictory, and that … [t]he best authority is the Šāhnāma itself as the poet frequently breaks his narrative to insert a few lines about his age, work and thoughts.5 Firdawsi belonged to the traditional squirearchy or dihqan class emotively tied to its land and ancient Persian culture.