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Veils and Words
"From Library Journal : Traditionally, Iranian women have been veiled from public view and constrained from public expression. Milani illustrates that in Iran the 19th-century movement to unveil was closely linked to women's emergence as literary figures. This, the first work devoted to the rich literature of the female writers of Iran, is itself an example of great literature from an Iranian female writer. With poetic insight, Milani dis cusses the themes of disclosure and secrecy that have delineated the Iranian woman's universe and characterized her expression. Highly recommended for all literature, anthropology, and women's studies collections."--Amazon.ca.
Words, Not Swords
A woman not only needs a room of her own, as Virginia Woolf wrote, but also the freedom to leave it and return to it at will; for a room without that right becomes a prison cell. The privilege of self-directed movement, the power to pick up and go as one pleases, has not been a traditional "right" of Iranian women. This prerogative has been denied them in the name of piety, anatomy, chastity, class, safety, and even beauty. It is only during the last 160 years that the spell has been broken and Iranian women have emerged as a moderating, modernizing force. Women writers have been at the forefront of this desegregating movement and renegotiation of boundaries. Words, Not Swords explores the l...
A Cup of Sin
Simin Behbahani’s collection contains some of the most formative work of twentieth-century Persian literature. Written over almost a half-century, much of her poetry reflects the traumatic experiences that have shaped Iranian history: revolution and war. Behbahani balances artful inquiry and shocking realism in both her language and imagery to probe the depths of political, cultural, and moral oppression. In the traditional verse of the ghazal, she improvises with meter to echo and provide new interpretations.
My Bird
In this powerful story of life, love, and the demands of marriage and motherhood, Fariba Vafi gives readers a portrait of one woman’s struggle to adapt to the complexity of life in modern Iran. The narrator, a housewife and young mother living in a low-income neighborhood in Tehran, dwells upon her husband Amir’s desire to immigrate to Canada. His peripatetic lifestyle underscores her own sense of inertia. When he finally slips away, the young woman is forced to raise the children alone and care for her ailing mother. Vafi’s brilliant minimalist style showcases the narrator’s reticence and passivity. Brief chapters and spare prose provide the ideal architecture for the character’s ...
Women's Autobiographies in Contemporary Iran
The four essays in this volume discuss the autobiographical writings of Iranian women. The contributors to the collection include William Hanaway, Michael Hillmann, and Farzaneh Milani. Milani asks why modern Persian literature, with its rich self-reflective tradition, has not produced many autobiographies, and what particular problems confront Iranian women engaging in autobiographical writing. Najmabadi discusses one of the earliest modern autobiographical writings by a woman, Taj os-Saltaneh’s Memories, and Hillman projects Forugh Farrokhzad’s poetry as an autobiographical voice. Hanaway investigates the possibilities of going beyond lack of Western-style autobiographical form and looking for what Persian literary forms and categories provide for the autobiographical voice.
Shirin Neshat
Tracing the Iranian-born artist's personal journey in exile from her native Iran, this book presents Shirin Neshat's iconic early videos and photographs along with new work making its global debut. In the 1990s, Shirin Neshat's startling black-and-white videos of Iranian women won enormous praise for their poetic reflections on post-revolutionary life in her native country. Writing in the New Yorker, Peter Schjeldahl called her multi-screen video meditations on the culture of the chador in Islamic Iran "the first undoubtable masterpieces of video installation." Over the next twenty-five years Neshat's work has continued its passionate engagement with ancient and recent Iranian history, exten...
The Dance of the Rose and the Nightingale
This is an extraordinary autobiography of a young girl growing up in Iran. The daughter of an English Christian mother and an Iranian Zoroastrian father, Nesta Ramazani sketches her personal life story against the backdrop of a society marked by the fusion of Iranian, Islamic, and Western cultures, and by the efforts of an authoritarian state to force modernization on a traditional society. Within this multicultural tapestry of personal, cultural, and national life, the author portrays how she came to love Persian and Western music, poetry, and dance. But translating this love into practice seemed an insurmountable task until an American woman pioneered the establishment of the first indigen...
Mapping the Role of Intellectuals in Iranian Modern and Contemporary History
In Mapping the Role of Intellectuals in Iranian Modern and Contemporary History, Jahanbegloo and contributors examine the role of Iranian intellectuals in the history of Iranian modernity. They trace the contributions of intellectuals in the construction of national identity and the Iranian democratic debate, analyzing how intellectuals balanced indebtedness to the West with the issue of national identity in Iran. Recognizing how intellectual elites became beholden to political powers, the contributors demonstrate the trend that intellectuals often opted for cultural dissent rather than ideological politics.
A Cup of Sin
Simin Behbahani’s collection contains some of the most formative work of twentieth-century Persian literature. Written over almost a half-century, much of her poetry reflects the traumatic experiences that have shaped Iranian history: revolution and war. Behbahani balances artful inquiry and shocking realism in both her language and imagery to probe the depths of political, cultural, and moral oppression. In the traditional verse of the ghazal, she improvises with meter to echo and provide new interpretations.
Displaced Allegories
Following the 1979 Iranian Revolution, Iran’s film industry, in conforming to the Islamic Republic’s system of modesty, had to ensure that women on-screen were veiled from the view of men. This prevented Iranian filmmakers from making use of the desiring gaze, a staple cinematic system of looking. In Displaced Allegories Negar Mottahedeh shows that post-Revolutionary Iranian filmmakers were forced to create a new visual language for conveying meaning to audiences. She argues that the Iranian film industry found creative ground not in the negation of government regulations but in the camera’s adoption of the modest, averted gaze. In the process, the filmic techniques and cinematic techn...
