Simin Behbahani Banooy-E Ghazal Continues to Sing Iran
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Iranian Women's Quest for Self-Liberation Through
IRANIAN WOMEN’S QUEST FOR SELF-LIBERATION THROUGH THE INTERNET AND SOCIAL MEDIA: AN EMANCIPATORY PEDAGOGY TANNAZ ZARGARIAN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO, ONTARIO December 2019 © [Tannaz Zargarian, 2019] i Abstract This dissertation examines the discourse of body autonomy among Iranian women. It approaches the discourse of body autonomy by deconstructing veiling, public mobility, and sexuality, while considering the impact of society, history, religion, and culture. Although there are many important scholarly works on Iranian women and human rights that explore women’s civil rights and freedom of individuality in relation to the hijab, family law, and sexuality, the absence of work on the discourse of body autonomy—the most fundamental human right—has created a deficiency in the field. My research examines the discourse of body autonomy in the context of liberation among Iranian women while also assessing the role of the internet as informal emancipatory educational tools. To explore the discourse of body autonomy, I draw upon critical and transnational feminist theory and the theoretical frameworks of Derayeh, Foucault, Shahidian, Bayat, Mauss, and Freire. Additionally, in-depth semi-structured interviews with Iranian women aged 26 to 42 in Iran support my analysis of the practice and understanding of body autonomy personally, on the internet, and social media. The results identify and explicate some of the major factors affecting the practice and awareness of body autonomy, particularly in relation to the goal of liberation for Iranian women. -
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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 -
Sydney Film Festival Presents by Popular Demand at Palace Cinema
MEDIA RELEASE TUESDAY 14 JUNE 2016 SYDNEY FILM FESTIVAL PRESENTS BY POPULAR DEMAND AT PALACE CINEMA Sydney Film Festival announces popular festival films will be screened at Palace Cinemas in Leichhardt and Paddington, for an additional three evenings from Monday 20 to Wednesday 22 June. “By Popular Demand, at Palace Verona and Norton Street cinemas will show twelve additional screenings of Festival films, where Festival screenings have proved extremely popular,” said Festival Director Nashen Moodley. “This is the second year we will extend our run for top-selling films beyond the end of the Festival. These screenings are a wonderful way for audiences, if they missed out on Festival tickets, to see some of the most talked-about films of the year,” he said. “We are thrilled to be working with Sydney Film Festival to give audiences the chance to see these exceptional films at our cinemas” said Palace Verona and Norton Street Cinemas’ CEO, Benjamin Zeccola. “At Palace Cinemas we are focussed on delivering the best quality films with a first-rate cinema-going experience and this partnership perfectly aligns with that focus”. Eight features and three documentaries will screen again at By Popular Demand at Palace Cinemas. Features such as John Carney’s latest beguiling portrait of ’80s Dublin, complete with stone-washed denim, wild haircuts and a nostalgic soundtrack Sing Street; divisive Sundance debut film Swiss Army Man starring Paul Dano and Daniel Radcliffe, by music video directors Daniel Scheinert and Daniel Kwan; Polish romance-horror-mermaid-musical The Lure; and Kristen Stewart in a spooky ghost story by Olivier Assayas Personal Shopper. -
La Discapacidad Visual En El Cine Iraní
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN TESIS DOCTORAL La discapacidad visual en el cine iraní MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Zahra Razi Directora Isabel Martín Sánchez . Madrid Ed. electrónica 2019 © Zahra Razi, 2019 UNIVERSIDAD COMPLUTENSE DE MADRID Facultad de Ciencias de la Información Departamento de Periodismo y Comunicación global TESIS DOCTORAL La discapacidad visual en el cine iraní MEMORIA PARA OPTAR AL GRADO DE DOCTOR Autora: Zahra Razi Directora: Dra. Isabel Martín Sánchez Madrid, 2018 I Agradecimientos En primer lugar quiero agradecer de manera destacada a mi directora, Dra. Isabel Martín Sánchez, la confianza que ha mostrado en esta investigación desde el principio, el apoyo constante durante el desarrollo de la tesis y el intenso trabajo en los últimos meses para concluir este trabajo de investigación. Le agradezco la confianza, apoyo y dedicación de tiempo a mis profesores: Dra. María Antonia Paz, Dr. Francisco García García, Dr. Bernardino Herrera León, Dr. Joaquín Aguirre Romero, Dr. Vicente Baca Lagos y Dr. Emilio Carlos García por haber compartido conmigo sus conocimientos y sobre todo su amistad. Además, quiero agradecer a la Universidad Complutense de Madrid, la posibilidad que me ofreció de realizar, entre 2012 y 2014, el Máster en Comunicación Social, cuyo trabajo final es el embrión de esta tesis doctoral en 2018, que me abrió la puerta a una realidad social, hasta entonces conocida pero no explorada, como es el mundo de la discapacidad visual en el cine iraní. A Ana Crespo, por ser parte de mi vida académica, gracias por su apoyo, comprensión y sobre todo amistad y dedicación de tiempo. -
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. -
Bahá'í Canada
Bahá’í Canada FALL 2017 | W ILL 174 B . E . VOL . 30 N O. 1 Reflections on the Tablets of the Divine Plan PUBLICATIONS MAIL AGREEMENT No. 40050758 From the Writings herefore, know ye of a certainty that whosoever he divine friends must be attracted to and enamored Tarises in this day to diffuse the divine fragrances, the Tof each other and ever be ready and willing to sacrifice cohorts of the Kingdom of God shall confirm him and their own lives for each other. Should one soul from the bestowals and the favors of the Blessed Perfection shall amongst the believers meet another, it must be as though encircle him. O that I could travel, even though on foot a thirsty one with parched lips has reached to the fountain and in the utmost poverty, to these regions, and, raising the of the water of life, or a lover has met his true beloved. call of “Yá Bahá’u’l-Abhá” in cities, villages, mountains, For one of the greatest divine wisdoms regarding the deserts and oceans, promote the divine teachings! This, appearance of the holy Manifestations is this: The souls alas, I cannot do. How intensely I deplore it! Please God, ye may come to know each other and become intimate with may achieve it. each other; the power of the love of God may make all of ‘Abdu’l-Bahá, Tablets of the Divine Plan, no. 7, p. 41. them the waves of one sea, the flowers of one rose garden, and the stars of one heaven. -
The Poetics of Commitment in Modern Persian: a Case of Three Revolutionary Poets in Iran
The Poetics of Commitment in Modern Persian: A Case of Three Revolutionary Poets in Iran by Samad Josef Alavi A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Near Eastern Studies in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Shahwali Ahmadi, Chair Professor Muhammad Siddiq Professor Robert Kaufman Fall 2013 Abstract The Poetics of Commitment in Modern Persian: A Case of Three Revolutionary Poets in Iran by Samad Josef Alavi Doctor of Philosophy in Near Eastern Studies University of California, Berkeley Professor Shahwali Ahmadi, Chair Modern Persian literary histories generally characterize the decades leading up to the Iranian Revolution of 1979 as a single episode of accumulating political anxieties in Persian poetics, as in other areas of cultural production. According to the dominant literary-historical narrative, calls for “committed poetry” (she‘r-e mota‘ahhed) grew louder over the course of the radical 1970s, crescendoed with the monarch’s ouster, and then faded shortly thereafter as the consolidation of the Islamic Republic shattered any hopes among the once-influential Iranian Left for a secular, socio-economically equitable political order. Such a narrative has proven useful for locating general trends in poetic discourses of the last five decades, but it does not account for the complex and often divergent ways in which poets and critics have reconciled their political and aesthetic commitments. This dissertation begins with the historical assumption that in Iran a question of how poetry must serve society and vice versa did in fact acquire a heightened sense of urgency sometime during the ideologically-charged years surrounding the revolution. -
12 Big Names from World Cinema in Conversation with Marrakech Audiences
The 18th edition of the Marrakech International Film Festival runs from 29 November to 7 December 2019 12 BIG NAMES FROM WORLD CINEMA IN CONVERSATION WITH MARRAKECH AUDIENCES Rabat, 14 November 2019. The “Conversation with” section is one of the highlights of the Marrakech International Film Festival and returns during the 18th edition for some fascinating exchanges with some of those who create the magic of cinema around the world. As its name suggests, “Conversation with” is a forum for free-flowing discussion with some of the great names in international filmmaking. These sessions are free and open to all: industry professionals, journalists, and the general public. During last year’s festival, the launch of this new section was a huge hit with Moroccan and internatiojnal film lovers. More than 3,000 people attended seven conversations with some legendary names of the big screen, offering some intense moments with artists, who generously shared their vision and their cinematic techniques and delivered some dazzling demonstrations and fascinating anecdotes to an audience of cinephiles. After the success of the previous edition, the Festival is recreating the experience and expanding from seven to 11 conversations at this year’s event. Once again, some of the biggest names in international filmmaking have confirmed their participation at this major FIFM event. They include US director, actor, producer, and all-around legend Robert Redford, along with Academy Award-winning French actor Marion Cotillard. Multi-award-winning Palestinian director Elia Suleiman will also be in attendance, along with independent British producer Jeremy Thomas (The Last Emperor, Only Lovers Left Alive) and celebrated US actor Harvey Keitel, star of some of the biggest hits in cinema history including Thelma and Louise, The Piano, and Pulp Fiction. -
Iranian Women in the Year 1400: the Struggle for Equal Rights Continues
ISSUE BRIEF Iranian Women in the Year 1400: The Struggle for Equal Rights Continues APRIL 2021 MEHRANGIZ KAR AND AZADEH POURZAND You want to erase my being, but in this land I shall remain I will continue to dance as long as I sustain I speak as long as I’m living; fury, roar, and revolt your stones and rocks I fear not, I’m flood, my flow you can’t halt — Poet Simin Behbahani1 The story of Iranian women’s struggle for equality in many ways embodies the nation’s struggles as a whole. It is a tale of continuous bargaining with the state by citizens of diverse backgrounds. While Iranian women have made remarkable strides in various fields such as science, the arts, and business, they continue to face discriminatory laws, policies, and practices in their daily lives and beyond. The founder of the Islamic Republic of Iran (IRI), Ayatollah Ruhollah Khomeini, sought to maintain a strictly controlled society using religious-populist lead- ership accompanied by repression. Yet no degree of state control has suc- ceeded in shutting down society’s aspirations for a better and freer life, and the women’s movement in Iran is a dramatic example of the state’s failure. This issue brief aims to present a clearer image of women’s struggles for equal- ity to help US policy makers better understand the intricacies of Iranian soci- ety and design policies that support—but do not supplant or undermine—the women’s movement. Understanding this struggle can help policy makers look beyond simplistic solutions that see disempowered Iranian women as requiring saving from the outside or that use women’s achievements as a justification to legitimize IRI rule. -
Pessuto Kelen M.Pdf
ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES KELEN PESSUTO O ‘ESPELHO MÁGICO’ DO CINEMA IRANIANO: UMA ANÁLISE DAS PERFORMANCES DOS “NÃO” ATORES NOS FILMES DE ARTE Dissertação apresentada ao Instituto de Artes, da Universidade Estadual de Campinas, para obtenção do Título de Mestre em Artes. Área de concentração: Artes Cênicas. Orientadora: Profª. Drª. Francirosy Campos Barbosa Ferreira CAMPINAS 2011 iii . . . . . . .. iv v vi Dedico essa dissertação à memória dos meus pais, Agueda e José Pessuto, que são os espelhos da minha vida. À minha sobrinha Gabriela, por existir e fazer a minha vida mais feliz. À minha orientadora e amiga Francirosy C. B. Ferreira, por tanta afeição e apoio. vii viii AGRADECIMENTOS À Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), pelo financiamento desta pesquisa, que permitiu minha dedicação exclusiva e o acesso ao material. Agradeço também aos pareceristas, que acreditaram no projeto. À minha mãe Agueda Pessuto, que tanto incentivou minha carreira, que fez sacrifícios enormes para que eu me formasse, tanto no teatro, quanto na faculdade. Sempre expressou sua admiração e carinho. Muito amiga e companheira, que mesmo não estando presente entre nós, é o guia da minha vida. Espero ser um por cento do que ela foi. Nunca me esqueço que horas antes dela morrer, pediu para eu ler menos e dar mais atenção para ela, não cumpri o que pediu... No dia seguinte à sua morte ocorreu o exame para ingressar no mestrado. Passar foi uma questão de honra para mim. Eis que termino essa pesquisa e lhe agradeço, pois se não fosse esse exemplo de mulher batalhadora no qual me inspiro, não teria conseguido. -
“Transfer” XIV: 1-2 (2019), Pp. 49-72. ISSN: 1886-554
“Transfer” XIV: 1-2 (2019), pp. 49-72. ISSN: 1886-554 “SOMETHING FOREIGN IN IT”: A STUDY OF AN IRANIAN TRANSLATION OF WHITMAN’S IMAGE Behnam M. Fomeshi (ORCID: 0000-0001-6821-9699) TU Dortmund University (Germany) Reception date: 02/02/2018; Acceptance date: 15/03/2018 Introduction What happens to Whitman when he enters Iran? What does the Persian Whitman look like? What does his Persianness or his foreignness tell us about Whitman, Iran, and the interaction between the two? This essay answers these questions to elaborate on the dialogue created between American poetry and contemporary Iran through translating Whitman. Studies of the reception of a writer in another culture primarily deal with the translation of the works into the target language. Such studies usually ignore the translation of the writer’s image. The present essay focuses on the translation of an American writer’s image into a contemporary Iranian context. In this study, “image” refers both to visual representations, such as pictures or photographs, and the mental conceptions held in common by members of a group, such as is the subject of imagology. Walt Whitman (1819-1892), commonly referred to as the father of American free verse and the American poet of democracy, has frequently been studied in terms of his reputation, reception, and influence in other countries. Blodgett’s 1934 book, Walt Whitman in England, the first formal reception study of the poet in an international context, was followed by Betsy Erkkila’s Walt Whitman among the French: Poet and Myth (1980), Walter Grunzweig’s 49 “Transfer” XIV: 1-2 (2019), pp. -
Examples of the Bahá'í Faith's Outward Expressions
Examples of the Bahá’í Faith’s Outward Expressions Photo taken in 1894 Carmel means “Vineyard of the Lord”. Mount Carmel, of which the prophet Daniel called “the glorious mountain”. (KJV-Daniel 11:45) The New English Bible translation is “the holy hill, the fairest of all hills”. Mount Carmel, the home of the prophet Elijah, who challenged 450 prophets of Baal to prove their religious claims. “Now therefore send, and gather to me all Israel unto mount Carmel, and the prophets of Baal four hundred and fifty, and the prophets of the groves four hundred, which eat at Jezebel's table. (KJV, 3 Kings 18:19-29) He destroyed them, as well as the pervasive belief in Baalim, a false god. Caves where he lived in this Mountain are still revered. Mount Carmel, of which the Prophet Isaiah extolled “And it shall come to pass in the last days, [that] the mountain of the Lord’s house shall be established in the top of the mountains, and shall be exalted above the hills; and all nations shall flow unto it.” (KJV, Isaiah 2:2-3) And again, “…let us go up to the mountain of the Lord, to the house of the God of Jacob; and he will teach us his ways, and we will walk in his paths: for out of Zion shall go forth the law, and the word of the Lord from Jerusalem.” (KJV, Isaiah 11:3) And again, “They shall not hurt nor destroy in all my holy mountain: for the earth shall be full of the knowledge of the Lord, as the waters cover the sea.” (KJV, 11:9) Mount Carmel, where Bahá’u’lláh (trans.