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The Cultivation of Iranian Subjectivity in Montreal

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The Cultivation of Iranian Subjectivity in Montreal 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 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-66128-4 Our file Notre référence ISBN: 978-0-494-66128-4 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author’s permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n’y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 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
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