Koosan Fire Temple in the Heart of Tabarestan Mountains
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US Covert Operations Toward Iran, February-November 1979
This article was downloaded by: [Tulane University] On: 05 January 2015, At: 09:36 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Middle Eastern Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/fmes20 US Covert Operations toward Iran, February–November 1979: Was the CIA Trying to Overthrow the Islamic Regime? Mark Gasiorowski Published online: 01 Aug 2014. Click for updates To cite this article: Mark Gasiorowski (2015) US Covert Operations toward Iran, February–November 1979: Was the CIA Trying to Overthrow the Islamic Regime?, Middle Eastern Studies, 51:1, 115-135, DOI: 10.1080/00263206.2014.938643 To link to this article: http://dx.doi.org/10.1080/00263206.2014.938643 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
A Historical Overview of the Parsi Settlement in Navsari 62 9
Samuel Jordan Center for Persian Studies and Culture www.dabirjournal.org Digital Archive of Brief notes & Iran Review ISSN: 2470-4040 Vol.01 No.04.2017 1 xšnaoθrahe ahurahe mazdå Detail from above the entrance of Tehran’s fire temple, 1286š/1917–18. Photo by © Shervin Farridnejad The Digital Archive of Brief Notes & Iran Review (DABIR) ISSN: 2470-4040 www.dabirjournal.org Samuel Jordan Center for Persian Studies and Culture University of California, Irvine 1st Floor Humanities Gateway Irvine, CA 92697-3370 Editor-in-Chief Touraj Daryaee (University of California, Irvine) Editors Parsa Daneshmand (Oxford University) Arash Zeini (Freie Universität Berlin) Shervin Farridnejad (Freie Universität Berlin) Judith A. Lerner (ISAW NYU) Book Review Editor Shervin Farridnejad (Freie Universität Berlin) Advisory Board Samra Azarnouche (École pratique des hautes études); Dominic P. Brookshaw (Oxford University); Matthew Canepa (University of Minnesota); Ashk Dahlén (Uppsala University); Peyvand Firouzeh (Cambridge University); Leonardo Gregoratti (Durham University); Frantz Grenet (Collège de France); Wouter F.M. Henkelman (École Pratique des Hautes Études); Rasoul Jafarian (Tehran University); Nasir al-Ka‘abi (University of Kufa); Andromache Karanika (UC Irvine); Agnes Korn (Goethe Universität Frankfurt am Main); Lloyd Llewellyn-Jones (University of Edinburgh); Jason Mokhtarain (University of Indiana); Ali Mousavi (UC Irvine); Mahmoud Omidsalar (CSU Los Angeles); Antonio Panaino (Univer- sity of Bologna); Alka Patel (UC Irvine); Richard Payne (University of Chicago); Khodadad Rezakhani (Princeton University); Vesta Sarkhosh Curtis (British Museum); M. Rahim Shayegan (UCLA); Rolf Strootman (Utrecht University); Giusto Traina (University of Paris-Sorbonne); Mohsen Zakeri (Univer- sity of Göttingen) Logo design by Charles Li Layout and typesetting by Kourosh Beighpour Contents Articles & Notes 1. -
Dadgah-Agiary-Dar-E-Mehr
DADGAH, AGIARY & DAR-E-MEHR TERMS EXPLAINED There is seldom any confusion regarding the terms Atash Bahram and Atash Adaran because the distinction between the two grades of fire are self-evident in the nomenclature itself. However the terms dadgah, agiary and dar-e- meher can be very confusing to the average person because of a variety of ways in which the term is interchangeably applied. What follows is an attempt to help clarify the confusing terminology. _________________________________________________________________________ DADGAH The word dadgah simply means a lawful place. It comes from the Avesta term Dâityô gatu-- meaning lawful place. Dâitya is similar to dad meaning "law ", such as Vendidad--Vi- daeva -dad (t) -- the law against demons. The house hold fire or the hearth fire does not require any special ceremony and is either perpetually burning or allowed to be extinguished and relit again when necessary. This is what we do at our Darbe-Mehr in Toronto. However, even this lowest grade fire when housed in a public place such as a Darbe-Mehr or an agiary in India etc. requires a minimum amount of consecration rituals especially of the building or structure where it is to be housed. The word gah also has many different meanings. It can mean a place as above, as in aramgah for a burial ground, or it can mean a period of time as in Haavan gah, time of the day or as in gah-i-gathabyo, the period of five gatha days during Fraverdegan. Please note that there is no such word as the frequently mispronounced word geh. -
“I Am a Prophet!” – the Image of Zoroaster in the Dāstān-E Goshtāsp (Tale of Goshtāsp)
He addressed the Kayānian king: “I am a prophet!” – The Image of Zoroaster in the Dāstān-e Goshtāsp (Tale of Goshtāsp) Ashk P. Dahlén University of Oslo Abstract The aim of this article is to examine the image of the ancient Iranian prophet Zoroaster in the Shāhnāma based on a closed reading of the story about the Kayānian king Goshtāsp written by Daqiqi (and con- tinued by Ferdousi). There has so far been no comprehensive treatment of Daqiqi’s rendering of Zoro- aster and the founding of the first Zoroastrian community. This lack of scholarly research is surprising given the importance of Daqiqi in the transmission of the ancient Iranian cultural and religious heritage (illustrated in his pioneering role in the creation of the Shāhnāma of Ferdousi) and the uniqueness of his work, which constitutes the only long poem that has been preserved from the Sāmānid and pre-Sāmānid period (even though extant verses of some early poets suggest the existence of several other epic works). As Daqiqi relates, it was in Goshtāsp’s reign that Zoroaster introduced his religion in the Iranian cultural sphere, with the support of the king’s son Esfandiār. Goshtāsp was forced to go to war to defend the faith against king Arjāsp of Turān and suffered the loss of his brother Zarēr in battle. These are cele- brated events in the early history of Zoroastrianism that have been expounded upon throughout the cen- turies in different versions. Keywords: Abu Manṣur Daqiqi, Shāhnāma, Abo’l-Qāsem Ferdousi, Zoroaster, Ahura Mazdā, Sāmānid, Avestā, Goshtāsp Introduction The Shāhnāma (Book of Kings) of Abo’l-Qāsem Ferdousi (940–1020) is general- ly considered the Persian national epic par excellence and enjoys an iconic status in Iranian literary culture. -
A Comparative Study of the Hero in Medieval Ireland, Persia, and England
A COMPARATIVE STUDY OF THE HERO IN MEDIEVAL IRELAND, PERSIA, AND ENGLAND by Connell Raymond Monette A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of The Centre for Medieval Studies University of Toronto © Copyright by Connell Monette (2008) Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-40012-8 Our file Notre reference ISBN: 978-0-494-40012-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
UNIVERSITY of CALIFORNIA, IRVINE Narrative and Iranian
UNIVERSITY OF CALIFORNIA, IRVINE Narrative and Iranian Identity in the New Persian Renaissance and the Later Perso-Islamicate World DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in History by Conrad Justin Harter Dissertation Committee: Professor Touraj Daryaee, Chair Professor Mark Andrew LeVine Professor Emeritus James Buchanan Given 2016 © 2016 Conrad Justin Harter DEDICATION To my friends and family, and most importantly, my wife Pamela ii TABLE OF CONTENTS Page LIST OF FIGURES iv ACKNOWLEDGMENTS v CURRICULUM VITAE vi ABSTRACT OF THE DISSERTATION vii CHAPTER 1: INTRODUCTION 1 CHAPTER 2: Persian Histories in the 9th-12th Centuries CE 47 CHAPTER 3: Universal History, Geography, and Literature 100 CHAPTER 4: Ideological Aims and Regime Legitimation 145 CHAPTER 5: Use of Shahnama Throughout Time and Space 192 BIBLIOGRAPHY 240 iii LIST OF FIGURES Page Figure 1 Map of Central Asia 5 iv ACKNOWLEDGMENTS I would like to express my gratitude to all of the people who have made this possible, to those who have provided guidance both academic and personal, and to all those who have mentored me thus far in so many different ways. I would like to thank my advisor and dissertation chair, Professor Touraj Daryaee, for providing me with not only a place to study the Shahnama and Persianate culture and history at UC Irvine, but also with invaluable guidance while I was there. I would like to thank my other committee members, Professor Mark LeVine and Professor Emeritus James Given, for willing to sit on my committee and to read an entire dissertation focused on the history and literature of medieval Iran and Central Asia, even though their own interests and decades of academic research lay elsewhere. -
Zoroastrianism in India, by Jesse S. Palsetia
CHAPTER SEVEN Zoroastrianism in India JESSE S . P ALSETI A Introduction HE PARSIS ARE A community in India that trace their ancestry T and religious identity to pre-Islamic, Zoroastrian Iran (pre-651 CE). Te Parsis presently number approximately 110,000 individuals worldwide, and 57,245 individu als in India according to the Census of India 2011. Tis chapter examines the history of the Parsis and the emergence of a unique religious community in India. Te Parsis are the descendants of the Zoroastrians of Iran who migrated to and settled in India in order to preserve their religion. Zoroastrianism is the religion associated with the teachings and revelation of the Iranian prophet and priest Zarathustra (or Zoroaster, as he was referred to by the ancient Greeks). Zarathustra and his religious message date from the second millennium BCE (c. 1200-1000 BCE). Zoroastrianism was the first major religion of Iran and a living faith in the an cient world. Zoroastrianism shares with Hindu (Vedic) religion ancient roots in the common history of the Indo-Iranian peoples. Te oldest Zoroastrian religious works are the Gāthās: a collection of esoteric songs, poems, and thoughts composed in Old Iranian, later referred to as Gāthic Avestan or Old Avestan, and ascribed to Zarathustra and his culture. Te Gāthās intimate a world of good and evil attributed to antagonistic good and evil spirits. Zoro- astrianism represents an original attempt to unify the existing ancient Iranian dualistic tradition within an ethical framework. Early Zoro- astrianism held human nature to be essentially good, and modern Zoroastrianism continues to summarize the duty of humans as 226 JESSE S . -
Tur Family in Shahname
International Letters of Social and Humanistic Sciences Online: 2013-09-26 ISSN: 2300-2697, Vol. 9, pp 31-38 doi:10.18052/www.scipress.com/ILSHS.9.31 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2013 Tur Family in Shahname Susan Fotoohi Faculty Member, Farhangyan University, Bent al-Hoda Sadr Pardis, Sanandaj, Iran E-mail address: [email protected] ABSTRACT In Shahname, Turanian has been regard as the opposite side of Iranians (Iraj’s Family). Ferdowsi has been devoted the main part of his masterpiece, Shahname, in to the dispute between these two family. In this paper, Tur story, their family and the causes of their dispute are take into consideration then, in a comprehensible manner, Tur family members, the meaning of their names, psychological characteristics wars and their genealogy are studied. Keywords: Iran; Turan; Iranians; Ferdowsi; shahname 1. INTRODUCTION One of the most strengthened and glorious literary works remaining from human culture is Abulghasim Ferdosi’s Shahname. Shahname not only is an epic work dealing with the kings adventures, but also is considered as a marvelous world with various good and bad manifestations of human deeds during their life. One can adjust this masterpiece and its event with the realities of his her life. Actually Ferdowsi, as a skillful psychologist, has the complete familiarity with human pain and mental obsession. So, in their definition and explanation he has enjoyed from allegory and created the war and dispute stories between Iran and Turan sides. He considers Iran and Turan as good and bad symbol, relatively. In explaining Turan side, he has considered indecent characteristics of human and their painful exclusion. -
Theoretical Studies to Perform a Conservation Management Method in Cultural Landscapes, with Particular Reference to Takhte Soleyman, Tekab, Iran
International Journal of Culture and History, Vol. 1, No. 2, December 2015 Theoretical Studies to Perform a Conservation Management Method in Cultural Landscapes, with Particular Reference to Takhte Soleyman, Tekab, Iran Nina Almasifar and Aryan Amirkhani the world, so that wherever the vestige of past cultures are Abstract—Cultural Landscape Conservation is an orderly found, the discussion about its preservation and rehabilitation process through restoring and preserving cultural and natural is also raised (became propounded). This cause World identity of historical sites which raises the perception and Heritage Convention, UNESCO, try to assign the criteria knowledge of values. The process of heritage conservation (charters) in order to maintain these vestiges of ancient works. includes analytical study, recording of information, evaluation and the ultimate management. Outline Preservation and rehabilitation principles are the Historical landscape is a symbol of civilization and cultural parts of the responsible management with the primary aim of identity of the ancestors which gives meaning to the lives of its maintaining and increasing the value of cultural sites. people. Therefore, any efforts through representing and ICOMOS (International Council of Monuments and Sites) protecting it, lead to the permanence of ancient culture and as far as possible has determined the criteria such as the traditions. Venice Charter (1966), the Charter of Florence (1982) and The purpose of this research is surveying the ancient history Burra Charter (1981) to provide a kind of equality (balance) and rehabilitation of Takhte Soleyman Cultural Landscape – on the basis of world Heritage conservation service principles – at the evaluation of the cultural landscapes (ICOMOS, 1982) which includes physical contents such as paths, gardens, [2]. -
Investigating the Manifestations of Greed in the Epical and Mythical Characters of Ferdowsi’S Shahnameh
Investigating the manifestations of greed in the epical and mythical characters of Ferdowsi’s Shahnameh Leila Ahmadi Nasr 1*, Ali Eshghi Sardehi 2, Saeed Ruzbahani 2 1 PhD students, Persian literature and language, Islamic Azad University, Sabzevar Branch, Sabzevar, Iran; 2 Assistant professor, Persian literature and language, Islamic Azad University, Sabzevar Branch, Sabzevar, Iran. Correspondence: Leila Ahmadi Nasr, PhD students, Persian literature and language, Islamic Azad University, Sabzevar Branch, Sabzevar, Iran. Email: [email protected] ABSTRACT Based on Iranian myths, there has always been a confrontation between two Ahurai and Ahrimeni forces in progress. This issue has caused the human nature to be inflicted with such a situation. One of the works wherein the manifestation of myth, epic and history can be seen in the form of the confrontation between the good and evil is Ferdowsi’s Shahnameh which is an identity-bestowing book that besides this characteristic, contains many ethical and instructional concepts, as well. One of these concepts is avarice that creeps into the ego of the ideal and honorable characters in Shahnameh and adversely influences them and makes them encounter many ethical challenges. In this work, avarice has been depicted in the form of an ogre that is unequaled amongst the evils and deemed to be the most harmful. The investigation of the embodiments of this immorality in Shahnameh shows that Afrasiab Turani is the greediest person whose greedy behaviors cause the people from Iran and Turan to be repeatedly afflicted with financial and life problems and the blood of many innocent persons has been shed on the ground from the two sides. -
A K I N G S B O O K O F K I N G S the Houghton Shah-Nameh The
A KINGS BOOK OF KINGS The Houghton Shah-nameh The Metropolitan Museum of Art A,k A KING'S BOOK OF KINGS THE HOUGHTON SHAH-NAMEH SYNOPSES OF THE STORIES ILLUSTRATED IN THE EXHIBITION A KING'S BOOK OF KINGS May 4 - October 31, 1972 Compiled by Marie Lukens Swietochowski and Suzanne Boorsch The Metropolitan Museum of Art The Shah-nameh, Persia's Book of Kings, recounts the history of Iran's ancient empire from its legendary birth to its downfall in the middle of the seventh century at the hands of Arab armies. Around the year 975, at a time of renewed national consciousness, the poet Firdowsi of Tus began writing this great epic, a task lasting about thirty-five years. In time, it became the custom among various major and minor rulers of Iran to have their own Shah-nameh copied out and illus trated by the best artists their prestige could command. The Houghton Shah-nameh was commissioned for the second ruler of the Safavid Dynasty, Shah Tahmasp, early in a reign that began in 1524. It contains an unprecedented 258 miniature paintings, some as large as 11 x 14 inches, and represents a culmination of a long tradition in this art. Seventy-five miniatures from the manuscript were selected for this exhibition. The stories here are arranged in consecutive order as they appear in the Shah-nameh, with the folio number, recto or verso, indicated. The folio numbers are indicated above the miniatures in the exhibition, and the titles here correspond to those in the exhibition. -
Epic and Mystic Hero in Persian Culture
SUPPLEMENT ISSUE ARTICLE EPIC AND MYSTIC HERO IN PERSIAN CULTURE- A COMPARATIVE STUDY ON THE CHARACTERS OF HERO IN SHAHNAMEH OF FIRDAUSI BESIDES PERSIAN MINIATURES Atoosa Azam Kasiri Dept.of Graphic Design, Faculty of Architecture and Urban Design, Shahid Rajaee Teacher Training University, Tehran, IRAN ABSTRACT This Paper deals with the nature and characteristics of the epic and mystic hero. A Persian epic hero should be followed in myths according to the primitive folklore ideas of these people. These epics could be found in Persian literature specially “Shahnameh of Firdausi”. According the social history of Iran, these epic characters were interpreted as mystical ones, literary visualization of which represented in mystic stories of “Sohrawardi” as well as pictorial imaginary is shown in Iranian miniatures for “Shahnameh” in all schools of Persian painting- specially Safavied school. After a brief summary of the mythical hero, this article will explain the various sides of the epic hero’s structure and analyzes the character of a mystical hero based on traditional theories of art.In the case of heroes, there are some differences between mythical and mystical views. For mythical view, a hero is a superman who overcomes personal limits and leaves his normal life and succeeds to travel through a risky path. An epic hero is also a superman who struggles for the pride of a nation. His battle is a battle of good and evil and his character is based on the dualism of which epic stories represent carefully. But in mystic view of miniatures, a human is the God- Almighty successor on the earth displaying a prototype visualized by the perfect human.