This article explores the relationship between academic studies concerning Iran in Meiji Japan (1868‒1912) and Orientalism in Western scholarship. Many researchers who have limited their definition of Iranian studies to the professional works published since the 1930s have concluded that there is an indirect relation between Iranian studies in Japan and Orientalism. In contrast, this paper takes it in a wider sense to mean all academic studies regarding Iran. The paper focuses on two such important proto-academic fields regarding foreign countries in Meiji Japan: geography and international politics. It concludes that the pioneering Iranian studies scholars in the Meiji period were not totally immune to Orientalism on the one hand but, on the other, that their research on Iran was less closely connected to imperialism than the Western scholarship that Edward Said famously critiqued.

This article revisits the common discourse that Ottoman poetry is a derivative imitation of Persian poetry. I begin by surveying and discussing the discourse of imitation that has pervaded approaches to Ottoman poetry in particular and Ottoman literature in general. Then I turn to explore how Ottoman poets engaged with Persian poetry by focusing on a lyric poem composed by the Ottoman sultan Süleyman the Magnificent (1494‒1566) in imitation of the Persian master poet Hafiz of Shiraz (ca. 1315‒90). In light of intertextual analysis, I illustrate and discuss the intricate ways in which Süleyman models himself on Hafiz in crafting his poem. I conclude with the idea that a closer analytical look at Ottoman poets’ intertextual dialogue with Persian poetry can offer better insights into the Ottoman reception of Persian poetic models as well as into the meaning and workings of imitation in the Ottoman literary context.

This article offers an overview of Soviet Tajik Fiction under Stalinism (1920s–1950s) and during de-Stalinization (1950s–1970s) by contemplating the move from Bukhara to Dushanbe as a setting for Tajik stories and novels. In particular, it details the two main literary genres of the period, namely historical and psychological fiction. It argues that when tracing the main stages of evolution of Soviet Tajik fiction from the point of view of the setting one should mainly consider the works by Sadriddin Ayni, Jalol Ikromi and Fazliddin Muhammadiev.

This essay delves into the 1927 anti-conscription movement and the causes of its failure. It argues that the Shia ʿulamāʾ of Iran and Iraq suffered from endemic divisions within their ranks, which in turn kept them from agreeing on a unified position against the extensive socioeconomic and military reforms under Reza Shah. The essay sheds light on the government’s use of religious justification that facilitated modern reforms. It also demonstrates how certain elements within the clerical establishment helped the Reza Shah government to win the senior clerics over or at least neutralize their opposition. This allows us to discern the fluid boundaries of tradition and modernity as modernizing reforms checked the Shia ʿulamāʾ’s long-standing authority in Iranian society.