Only three out of her 36 short stories are available in English (two translated by the writer herself), and yet Simin Daneshvar (b. 1921) is Iran's first woman novelist and one of the country's most significant fiction writers. Daneshvar has published Savooshoon (the most popular Iranian novel), three collections of short stories, ten translations, and a memoir about her late husband, Jalal Al-e Ahmad. Having retired from her teaching position at Tehran University, she lives in Iran and is now working on her second novel, The Wandering Island.

Daneshvar's literary work is a celebration of the feminine—her taste for life and love, her art of endurance and strength. While most of her female characters manage to survive, none reveals such stamina or resilience as the narrator of Jalal's Sunset. Confronted with the unexpected death of a husband, a colleague, and a collaborator, Daneshvar in this text portrays a real survivor.

This paper will attempt to compare a famous scene in Ferdowsi's Shāhnāmeh with an equally well-known one in Homer's Iliad. There are broadly three ways in which such a comparison can be made. Similarities and differences can be ascribed to reasons of genre, or to the nature of the underlying mythical material and sources utilized by the poets in question, or to a consciousness of, and use by, the later poet of the earlier poet's work, at whatever stage of remoteness. Elsewhere I have touched on genre as a cause for apparent similarities between the two superficially quite different epic traditions of Greece and Iran, indicating that the king/champion conflict described by W. T. H. Jackson as typical of the European epic is also a characteristic of the Iranian Shāhnāmeh.

The article is an attempt to answer the question why Wednesday has the status of a holy day in Yezidism. Wednesday can be seen as a commemoration of the fourth day of creation, when the life on earth began and the Peacock Angel became its ruler. The article points to the Yezidi worship of the Moon and the Sun and related angels (Melek Fakhradin and Melek Sheikh Shams) and connects it with the Pythagorean concept concerning the movement of the planets and the Music of the Spheres. Two sacred Yezidi instruments, def and shibab, appear as allegories of celestial bodies in the Yezidi sacred hymns in the cosmogonic context of the creation of the macrocosm and microcosm (Adam). The article also points out the meaning of Wednesday in Judaism as the day when God created the sun, moon and stars and briefly discusses relationships with planet worship in Harran, Zoroastrianism and Mandaeism, especially in the context of the Yezidi Çarşemiya Sor festival which takes place on the first Wednesday of the month of Nisan.

This article uses narratives of the death of Cyrus the Great as a test case in order to examine the use of propaganda in the Achaemenid empire. By comparing the accounts found in Herodotus, Ctesias, and Xenophon, it is shown that these Greek historians have captured propagandistic messages created in the courts of contemporary Achaemenid kings. While the Greek works were very much the product of their authors’ literary imagination, nevertheless they preserved substantial evidence about the role of propaganda during the Achaemenid period.

In the decades of the 1960s and 1970s, sound recording technologies—including radio and cassettes—proliferated in Afghanistan and reached transnational lengths. While the state came to dominate these technologies, it could not prevent users from circumventing its censors with alternative perspectives and discourses. This article highlights the examples of Farīda ʿUsmān Anwarī, a noted radio announcer, producer, and journalist, and Aḥmad Ẓāhir, Afghanistan's most popular musical icon to date, to showcase the ways in which the Persianate literary canon served as the medium for sounding dissent amid the changing social and political dynamics of the time. Pushing the boundaries of recorded speech created an alternative space where dissent became possible and the strategic use of mass media paved the way for transnational sonic solidarities among a diverse community of listeners across the Persian-speaking world and beyond.

Isabella Bird Bishop's Journeys in Persia and Kurdistan is presented as an objective picture of Persia, purportedly reflecting eye-witness accounts. Setting the narrative in its historical context and employing the concept of exoticism, this paper aims to unearth its subtle imperialist underpinnings. It argues that Bird's portrayal of Persian women and their mores and manners as exotic is an effect of a mode of representation which depicts and constructs difference based on a British-oriented system of evaluation, in line with its imperialist interest in Persia. As such, the exotic representation of Persian women in need of British benign tutelage and a chivalric mission could be interpreted as lending implicit support to Britain's colonial intervention in and imposition on Persia.

This article aims to present a political analysis of the relationship between the Shiʿa community in Afghanistan and the new political system that emerged after the US military intervention of 2001. In light of the sectarian conflicts in the greater Middle East and the connection between South West Asia and the Syrian war since 2011, this article illustrates the limits of the social empowerment of the Shiʿa communities in Afghanistan. The article outlines the internal religious scene and the connections between āyatollāhs (marājeʿ), mainly from Iran or Iraq, and Afghan Shiʿite believers. It also examines how the Afghan Shiʿite community differs from those of Iran and Iraq.

Alexander Ludvigovich Kuhn (1840–88) was a Russian Orientalist of German-Armenian descent. The most important period of his activity was his service in Central Asia where on behalf of the Turkestan Governorate-General he collected manuscripts, archives and other materials, joining the military campaigns to Kītāb of ShahriSabz, Iskanderkul, Kokand and Khiva. A large number of the manuscripts were sent back to St. Petersburg to the Imperial Public Library, but some never left Kun's possession until they were donated to the Asiatic Museum after his death. Kun was also in charge of the compilation of the famous “Turkistan Albums”—a major collection of photos testifying to the different nationalities and customs that made up the populations of Central Asia. Until now, Kun's biography has been little known to us. The article takes a look into the personal archive of Kun, and describes the man and his motivations and desires.

The Philosopher of Rey, Mohammad-e Zakariya-ye Razi and his Ismaili adversaries, Abu Hatam-e Razi and Naser-e Khosrow, share a political understanding of religion according to which religion is a theologico-political system of domination. However, they are at odds over the political philosophy appraisal of religion qua a system of authority. The paper explicates the latter disagreement in part based on Razi's and his opponents' conflicting ideas about the nature of the faculty of Reason and its distribution among men. Consequently, the paper underlines a democratic implication of Razi's thesis on the makeup of the human intellect.

James Reid's objections to my analysis of tribalism rests on his identification of tribalism with the “uymaq system” of early Safavid Iran. Thus, he includes under the rubric “tribalism” the entire ensemble of social, economic, and political relations dominated by a tribal khan and his family. He argues that during the sixteenth century “pastoral, agricultural, and even urban forms of production were subjected increasingly to the command of various families of chieftains, who controlled them for their own benefit.” Indeed, he is correct, for tribal leaders dominated villages and towns in one form or another throughout Iran until the twentieth century. However, because farmers, tradesmen and, artisans fell under the domination of the tribal khans, they did not necessarily become tribal.

Reid's uses of the terms “tribalism” and “uymaq” are idiosyncratic and inconsistent.

Sa'di's (d. 691/1292) encounter with the idol of Somnāth is among the most popular stories of his Būstān and frequently mentioned in biographies of him. Jāmī apparently believed the account, as have a number of scholars of the nineteenth and twentieth centuries, who nevertheless have expressed reservations and doubts regarding certain elements of the story, particularly Sa'di's “confused” allusions to different religious traditions. In E. G. Browne's words:

The International Society for Iranian Studies (ISIS) fortieth anniversary celebration at the University of Toronto provided an opportunity to research and record the development of Iranian studies at the university. Iranian studies emerged in 1961 as a major sub-field of the newly established Department of Islamic Studies (now the Department of Near and Middle Eastern Civilizations (NMC)). Presently, the university has a diverse and yet cohesive cadre of academic talent and offers a breadth of courses, which makes it unique in Canada. The language-based discipline of an earlier generation of scholars has become the present multi-faceted program of today, addressing a wide variety of academic and community interests. The University of Toronto academic tradition, the scholarship of early faculty, and the immigration of Iranians have contributed to shaping Iranian studies in Toronto.

The present article aims to shed light on the professional activities of the historian and mathematician Sharaf al-Dīn ‘Alī Yazdī and his afar-nāmah. In so doing, two questions are addressed: (1) Did Yazdī’s expertise in mathematics influence his historical narrative? (2) Did Yazdī simply expand on Niām al-Dīn Shāmī's afar-nāmah, composed some twenty years earlier? Comparing the frequency of quantitative and qualitative data in Yazdī's and Shāmī's afar-nāmahs, the article finds that although Yazdī made an effort to incorporate quantitative data in his history, his narrative is not particularly informed by his expertise in arithmetic. This seems, at first glance, a byproduct of a predominant tradition in the Islamic-Iranian historiography, which makes extensive use of literary techniques. The comparison between the two afar-nāmahs, however, suggests that both Yazdī and Shāmī subscribed to a notion of “accuracy” which bore little resemblance to its modern counterpart manifested in quantitative precision. Finally, the article concludes that the allegation of plagiarism against Yazdī is unfounded.

This article analyzes the surprisingly consistent way in which Sadeq Hedayat's novella, The Blind Owl, represents the concept of eternal recurrence. Hedayat employs repetition in a unique manner. Neither narrator ever remarks upon or seems to notice that events, motifs, and similar or identical epithets and phrasings which arise in their own thoughts and utterances are repeating, but they rather encounter every repeated event or thought as if it had only just occurred for the first time. While I do not claim that Hedayat was in any meaningful way a ‘Nietzschean’ thinker, philosophical ideas from Nietzsche's works and those of the French thinkers who came after, most notably Klossowski and Deleuze, interact strikingly with The Blind Owl and seem to bring hitherto unnoticed dimensions of this important work to our attention. Notably, Hedayat depicts a struggle with nihilism that is informed by the philosophical questions surrounding what came to be known as existentialism, but in a manner that is not merely derivative of European models.

It would be premature to declare the Cold War over in the summer of 1969. The Cold War rhetoric continues to abound in the United States in the debates over Vietnam and the ABM; dangers of Soviet-American confrontation are serious in the Arab-Israeli conflict; and Soviet behavior in Czechoslovakia is of the Cold War mold. But, as symbolized by Richard Nixon's acceptance speech at the Republican National Convention, there is widespread agreement among American leaders that an era of negotiation and rapprochment with the Soviet Union has been entered. The indications are already strong that for Iran this portends an era in which the Soviet-American conflict will not influence very significantly Iran's internal affairs.

As this new era begins, there are already signs that the Cold War world view, including the Soviet-American confrontation in Iran, is about to be drastically revised by a new generation of students of the Cold War.

The demonic plays an integral role in the Shahnameh, manifesting itself in countless forms. Early kings and heroes fight demons at every turn, and in one of the most memorable tales in the poem—the story of Zahhāk—Iran itself falls under the rule of demonic forces. But demons are not always physical creatures; we also encounter them as immaterial forces of temptation, distraction, and fate. One of the most fascinating aspects of this multifarious presentation of the demonic is the way it intersects the poem's portrayal of what it means to be human. This article focuses on that intersection, highlighting encounters between human beings and the demonic and arguing that they not only complicate notions of humanity, but also construct and reinforce categories of masculinity and femininity. A close examination of two phenomena at the heart of human–demon contact—serpents and sorcery—reveals how evil is embodied and enacted in highly gendered ways. Male and female characters in the Shahnameh diverge in their abilities to combat the demonic and are lured into wickedness by different means. What emerges from the interplay between human beings and demons and between the categories of masculinity, femininity, and the demonic is a multifaceted and sophisticated portrayal of evil that informs even the simplest and most straightforward tales in Ferdowsi's work.

The legendary King Midas was the first Near Eastern ruler to cherish the belief that untold mineral wealth would enable him to realize all his dreams and ambitions. But just because all he touched turned into gold, he soon discovered he could no longer eat. The moral of this legend may be coming home to various regimes in oil-rich countries, which are encountering problems of agricultural decline, overrapid rural-urban migration, inflation, increased income distribution gaps, and so forth. Nowhere have the expected achievements to result from oil income been more touted than in Iran, where the “White Revolution” (later the “Shah-People Revolution”) and the “Great Civilization” proclaimed from the throne since the early 1960s were not only to provide social and economic well-being for all, but also to put Iran among the world's top industrial powers before the end of the century (whether it was seriously going to be among the five top world powers varied from statement to statement, but this was said at one time).

In the Safavid period the concepts of miniature painting, already fully established in the Timurid period, still prevailed with certain modifications and changes in emphasis. Timurid painting in its turn had expanded and refined an art which had developed in the course of the fourteenth century into the “kind of painting,” as Dūst Muḥammad wrote in the mid-sixteenth century, “which is current at the present time.” Although Persian miniature painting achieved its first stage of maturity under the Jalā'irid sultans in the second half of the fourteenth century, the development was uneven. During the Jalā'irid and subsequent Timurid periods illustrations were produced which were markedly different from each other not only in concept and purpose but also in their stage of artistic development and degree of sophistication.

The study of the various factors that influenced the development of the art of the book in Iran is a vast subject.