The Cultivation of Iranian Subjectivity in Montreal
Total Page：16
File Type：pdf, Size：1020Kb
NOT A PLACE BUT A CULTURE: THE CULTIVATION OF IRANIAN SUBJECTIVITY IN MONTREAL KIANOOSH HASHEMZADEH INSTITUTE OF ISLAMIC STUDIES MCGILL UNIVERSITY, MONTREAL AUGUST, 2009 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Masters of Arts - Thesis ©Kianoosh Hashemzadeh 2009 For my grandmother, Tooba Saber. Hashemzadeh TABLE OF CONTENTS DEDICATION…………………………………………………………………………………………………..iii TABLE OF CONTENTS…………………………………………………………………………………….iv ABSTRACT/ABSTRAIT…………………………………………………………………………………….v ACKNOWLEDGEMENTS……………………………………………………………………………….….vi INTRODUCTION………………………………………………………………………………………………..1 CHAPTER ONE: SETTING THE SCENE…………………………………………………………….21 CHAPTER TWO: THE PAINTER AND THE POET…………………………………………….39 CHAPTER THREE: CAFÉLITT, CAFÉ CULTURE, & CAFÉ SABA………………………63 CHAPTER FOUR: CAFÉLITT AS AN ACTOR-NETWORK……………………………….…78 CONCLUSION: NOT A PLACE, BUT A CULTURE………………………………………..….99 WORKS CONSULTED…………………………………………………………………………..…………104 Hashemzadeh vi ABSTRACT This thesis analyzes how a network of Iranian artists and intellectuals, living in Montreal, cultivate a particular subjectivity by engaging in cultural practices such as weekly cultural gatherings which generally focus on literary, artistic, historical and/or philosophical discussions. In order to study this process I conducted an ethnographic study from June 2008- May 2009 primarily concerned with gathering qualitative research. The ethnography specifically focuses on two Iranian artists and a group called CaféLitt. It is through this cultural practices or practices of association that Iranians in Montreal engage with one another and certain discourses, such as Persian poetry and Iranian history, to cultivate/perform a particular sense of self. This thesis also presents space as an essential category of study and considers, by using a multi-dimensional definition of space borrowed from David Harvey, how the spaces Iranians in Montreal frequent – whether they be Iranian businesses, art galleries, cafes, etc – take an active role in the process of their subject formation. The self Iranians in Montreal cultivate is one that continues to be Iranian because of a repeated citation of key discourses that make Iranian culture, but this self is also transformed by the new space the immigrants exist in and by one of the goals of CaféLitt which is to practice certain ideas of liberal culture, including self-improvement through education. ABSTRAIT Cette thèse analyse la façon dont un réseau des artistes et des intellectuels, qui habitent à Montréal, cultivent une subjectivité. La groupe se livre aux exercices culturels comme des réunions hebdomadaires, et concentre sur des discussions littéraires, artistiques, historiques et/ou philosophiques. Pour étudier ce processus, j’ai mené une étude ethnographique de juin 2008 jusqu’à mai 2009. Essentiellement c’est une étude qui traite de recueillir de la recherche qualitative. Premièrement, l’ethnographie concentre sur deux artistes iraniens et une groupe qui s’appelle CaféLitt. C’est en se livrant aux exercices culturels ou les exercices de participation que les iraniens à Montreal cultivent un sentiment de soi. De plus, ce thèse présente l’espace, qui est une catégorie essentielle de l’étude. On considère la definition de l’espace multidimensionnel de David Harvey et la façon dont les espaces que fréquentent les iraniens à Montréal – soit les entreprises iraniennes, les galleries, les cafes, etc – jouent une rôle en formant l’identité. Les iraniens à Montréal cultivent un soi qui continue d’être iranien grâce à la citation répétée de discours iraniens, mais la soi est aussi transformé par les espaces neuves où existent les immigrés, et par un des buts de CaféLitt qui est de pratiquer des idées de la culture libérale, y compris le progrès personnel par l’enseignement. Hashemzadeh vi ACKNOWLEDGEMENTS The nature of ethnography is that it is a process that requires the help of many. My research involved many people who helped me along the way, offering their time, advice and showing a genuine interest in assisting with my project. The thesis would simply not have been possible without their cooperation. Because almost all of my actors have chosen to be indentified by pseudonyms, it is difficult to give direct due diligence to so many of the people who helped me. Everyone that I met at the sessions of CaféLitt and at MEKIC was always so forthcoming and respectful of my presence and the pursuit of my research. Many individuals made time in their busy schedules to met with me individually, helping me gain access into their viewpoints I particularly wish to thank Khosro Behramandi. Throughout this entire project he has shared his time so selflessly – whether it be discussing Iranian culture over dinner, practicing Persian while walking in Parc Mont Royal or attending events with me; without his support this thesis would look much different. His close friend, who also became my friend, Hossein Shahrang, also was very generous with both his time and knowledge. His wit and spirit made many moments of my research bright. The staff of the Islamic Studies Library has also been of much assistance throughout my research, especially Salwa Ferahian, Wayne St-Thomas, Charles Fletcher and Stephen Millier. I thank them for their help with locating certain materials throughout the course of my studies at McGill University. There are several others who have graciously assisted me in this project. Professor Roksana Bahramitash and Professor Ata Hoodastian met with me in the project’s early stages and urged me to think critically about different aspects of the research. Nicola Morgan translated the abstract under tight time constraints and I thank her for her quickness and patience. My colleagues, Candace Mixon, Safia Lakhani, Shirin Radjavi, Heather Empey, Chandra Powers, Aun Hasan Ali, Jehan Shibli and Eliza Tabashi all have offered me their insights at different points in my research. Several of the professors at the Institute exposed me to various theories and ideas and also allowed me to explore my ideas while I took courses with them. These include Professor Malek Abisaab, Professor Laila Parsons, Professor Michelle Hartman and especially my thesis adviser, Professor Setrag Manoukian. Professor Setrag Manoukian has guided me through this ambitious project at every step and allowed and encouraged me to take my research in ways that I saw fit. His classes exposed me to new ways of thinking and gave me particular insights into Iranian culture that were not only extremely valuable in the writing of this thesis, but also helped me to understand my own heritage. He has sat with me in his office for hours on end, gently guiding my research, but never dictating the course of my ethnography. I thank him for encouraging me to follow my own instincts while always providing carefully thought-out suggestions. My family has always been supportive of my pursuits – wherever they might take me - and I thank them for their unconditional patience and love. Hashemzadeh 1 INTRODUCTION This thesis analyzes how a network of Iranian artists and intellectuals, living in Montreal cultivate a particular subjectivity by engaging in cultural practices such as weekly cultural gatherings which generally focus on literary, artistic, historical and/or philosophical discussions. Following Bruno Latour1 I refer to these gatherings as “practices of association,” because the phrase highlights the repeated act of participants coming together. It is through these acts that individuals engage with one another and certain discourses, such as Persian poetry and Iranian history, to cultivate2 a particular sense of self. I focus on Persian poetry and Iranian history as essential (and intertwined) discourses in the making of Iranian culture. Iranians draw from the long history of their nation’s past to understand what makes them Iranian as opposed to another nationality; it is the knowledge of this past that helps give Iranians a particular sense of self. As will be further discussed in a later section, Persian poetry has long been a medium that is able to go places history simply cannot. The ambiguous nature of poetry allows it to express things that should not be said such a certain political ideas or the truth of disputed historical events. Iranians also turn to poetry for things like spiritual guidance as the Divan-î Hâfez is often used alongside of or in place of the Qur’ân at certain events such as weddings or during the Iranian New Year, Nûrûz. While history and poetry are 1 Burno Latour, Reassembling the Social: An Introduction to Actor-Network Theory (New York: Oxford University Press, 2005). 2 My use of the words cultivation and practice borrows from the work of Michel Foucault: Michel Foucault, Discipline and Punish: The Birth of the Prison, (New York : Vintage Books, 1995)., Judith Butler: (Judith Butler and Sara Salih. The Judith Butler Reader, (Oxford: Blackwell Publishing, 2004) and Saba Mahmood: Saba Mahmood, Politics of Piety: The Islamic Revival and the Feminist Subject, (Princeton: Princeton University Press, 2005.) By using these words I am invoking that individuals are willfully engaging in a regular practice that creates a certain subjectivity. I refer to this process as cultivation. This thesis studies practices of association in which individuals engage in debate and discussion of certain intellectual or artistic topics, resulting in a certain self of sense. Hashemzadeh 2 not the only elements of Iranian culture, they are