The article overviews the earliest Pashto texts, mostly poetic, in which the incipient forms of literary criticism can be traced as authorial self-reflections related in Persian classics to the self-praise genre (fakhriyya) and explanations of reasons for composing works (sabab-i taʾlīf). Under close examination are the seventeenth century verses of the poets affiliated with the Roshānī religious community and the writings of Khushḥāl Khān Khaṫak (d. 1689). Analyzed texts prove that through the rudimentary discourse on a variety of literary criticism topics, Pashtun authors of early modern times declared and justified the presence of emerging literature in Pashto within the Persophone cultural space of Mughal India, articulating simultaneously their commitment to the proliferation of literacy and Islamic book culture among their countrymen.

This study aims to analyze the positions and syntactic functions of dependent and independent personal pronouns in the Kakavandi Laki dialect in the region of Harsin (Kermanshah/Iran), an endangered dialect of Persian. The paper provides a morpho-syntactic description and investigates the dialectal characteristic positions of the pronominals in regard to their syntactic functions, which illustrate noticeable differences in comparison to Persian. The main functions under investigation include: subjective, objective, oblique and possessives, on the basis of which the pronominal positional variety is classified in the dialect. The study further examines the dialectal agreement patterns which demonstrate both ergative and non-ergative features.

Accounts of the Constitutional Revolution in Iran have tended to ignore the role of the Baha'is in that event. This paper looks at the case of Sari, capital of Mazandaran province, where the Baha'is of the city played a major part in initiating the move towards Constitutionalism and in educating people about the reforms envisaged and about the modern world. They also led the way in carrying out some of these reforms. In particular, the Baha'is established the first modern schools in the town. In this process, they were opposed by the Muslim ‘ulama in the town, who equated Constitutionalism and the Baha'i Faith, and persecuted the Baha'is of the town relentlessly for both reasons, leading eventually to the killing of five of the leading Baha'is of Sari in 1913. A brief account is also given of the attitude of the Baha'i leader ‘Abdu'l-Baha (1844–1921) towards the Constitutional Movement and the role of the Baha'is in it. This paper follows the events of the seven years 1906–13 in Sari and describes seven swings of the pendulum of power in the town alternating between the Baha'is and Constitutionalists on the one hand and the ‘ulama and the royalist forces supporting Muhammad ‘Ali Shah on the other. It points out that the neglect of the Baha'i aspect of these events by historians has led to a failure to account adequately for some of the events of these years.

In the shop-lease contract with sar-qoflī, which is a widely practiced form of lease contract in today's Iran, a lessor of a shop sells to a hirer a right called sar-qoflī which amounts to almost as much as the entire value of the shop's ownership, while obtaining a monthly rent of only small value. This peculiar form of contract was brought into existence based on a new right called “haqq-e kasb o pīshe o tejārat,” that emerged as a result of the blending of traditional customary practice relating to real estate leasing with Anglo-American value concepts. The adoption of this right, causing as it did the lessor's responsibility for compensation for the value of the usufructuary right, drastically changed the relationship between lessors and hirers in Iran.

Although The Title of this Paper is Inspired by the Title to Abbas Amanat's now classic history of the 19th-century Babi movement, its concerns are in essence different. Its aims, rather than being a study of the history of the messianic movement itself, are to reflect on the theoretical conditions or the modes of witnessing that structured the engagement with that history by the movement's contemporaries and early inheritors. This paper emerges out of a larger cultural and literary study of the early texts that narrate Babi history.

The most familiar of Hafez's poems in the English-speaking world is the so-called “Turk of Shiraz” ghazal, a much translated and frequently discussed poem that has been called a number of things which it isn't: A great poem, a grand philosophical utterance, a unified composition and a typical Hafezian ghazal. And it hasn't been called something which it may well be: a verse-song intended for recital with musical accompaniment.

The February 18, 2000 Parliamentary Elections in Iran Resulted in a clear victory for the groups associated with President Khatami's reform programs. The electorate was allowed to reject the forces of authoritarianism and conservatism through a free election, and the media and the experts considered this event to have historic significance. It seemed that the result of the elections convinced more and more people that democratic transition is possible in Iran through the reform of the system without first dismantling the Islamic republic. But soon after the elections there was a crackdown which included the closing down of a large number of newspapers and the arrest of a few prominent journalists, lawyers, and other political activists thus obscuring the future path of the Iranian polity. How are we to understand the character of this polity and is it possible to make educated guesses about its future?

The Qajar rock reliefs are without doubt an anachronistic group of monuments in Iranian art. An expression of royal power in pre-Islamic Iran, with the emergence of Islam, they more or less disappeared. The reason is obvious—they were representing human beings in a demonstrative, outgoing fashion. But even more important was their public character. In contrast to book painting and probably less to painting on canvas, the art of rock reliefs is intentionally turned towards an audience beyond the walls of the court. In some way they belong to the public and were put there with the aim of glorifying and propagating rulership.

All together there are eight reliefs, seven from the period of Fath āAli Shah (1797-1834) although not all were commissioned by him, and one from the time of Nasir al-Din Shah (1848-96). This last one is situated on the Haraz Road, near Tangah-i Band-buridah.

The Study of Classical Persian Literature Can be Separated from the study of modern Persian literature for heuristic reasons—one can be emphasized more than the other in teaching, and the path away from classicism to modernism and beyond can be charted—but it is impossible to draw a decisive line dividing the two. The modern develops out of the classical and constantly interacts with it. The two may be separated, but in the end Persian literature is one and is best thought of as such. The present review, in which classical literature will be the focus, is one such heuristic occasion.

This review will survey the field in terms of the major concerns of literary scholarship that are affected by the work of the Encyclopaedia Iranica and will try to illuminate the role of this reference work as a source of, and an aid to, literary scholarship.

A Multi-Volume, Multi-Author Encyclopaedia Such as this is a Desktop library; but, more than any library, it represents a set of conscious editorial decisions. The basis of these decisions (if, as is common, the editors do not make it explicit to the reader) may be inferred not just from the choice of topics, but from the balance between them, and from the length and nature of entries. In every case, choice and balance must be largely determined by the availability of previous research: if someone is known to be the world expert on X, then it makes sense to invite them to give a reasonable summary of their findings, even if in the grander political and cultural scheme it might be hard to justify. Bizarre—but delightful—anomalies are bound to result: among many in this encyclopedia, I would single out Willem Floor's two-page entry on DUNG; it is shorter, more approachable, and more inviting to the casual reader than, for example, the anomalous chapter on lizards that occupies a full 70 pages of the first volume of The Cambridge History of Iran.

Today Sistan is an impoverished region of the Afghan-Persian borderland, the condition of whose economy and populace appeared excessively forlorn to the few European travellers and officials who visited it or who worked there in the later nineteenth and early twentieth centuries. Thus the Indian Army officer, boundary delimitation commissioner, and consul C. E. Yate, writing of his experiences in the 1890s, stated, “What with their debts to the katkhudas who advanced the grain, the cultivators and people of Sistan generally were in a wretched state of poverty. I do not think I ever saw a more miserable-looking lot.“ Yet Sistan, until later medieval times at least, had enjoyed a much more glorious past.

“Sistan,” Middle Persian Sakastan “land of the Sakas,” whence Arabic Sijistan, is of course the more recent name in history for the Drangiana of the classical Greek geographers and historians.

The study of the language of religious minorities in Iran is particularly important for understanding the historical development and typology of Iranian languages. Historical and linguistic evidence substantiates the idea that Zoroastrians and Jews in cities in central and western Iran preserved their former vernacular language, whereas the majority of the population replaced it with Persian in the New Iranian period. This paper focuses on the language of Jews in Hamadan and has two main objectives: first, it examines numerous distinctive features of Judeo-Hamadani; second, it reviews and updates recent research to clarify the language origins, using data from new materials recorded during fieldwork in Hamadan from October 2018 to August 2019, and in Yazd in 2017.

About 150 years ago, after Avestan researchers such as Jackson, Browne, and Westergaard had unsuccessfully attempted to discover new manuscripts in Iran, it was assumed that there were few or no Avestan manuscripts remaining in Iran. However, recent research and fieldwork in Iran have resulted in important findings disproving this assumption. Since 2011, more than eighty-five Avestan manuscripts have been discovered in Iran. One of these important discoveries has been Pouladi’s Collection, which was found in February 2016 in a Zoroastrian house in the Priests’ Quarter (Mahalle-ye Dastūrān) in Yazd. This article deals with the secondary life of Avestan manuscripts of Pouladi’s Collection, focusing on colophons and marginal notes.

The article makes available a collection of Middle Persian and New Persian colophons and marginal notes, all which have been excerpted, transcribed, and translated for the first time from the Avestan manuscripts of Pouladi’s Collection, copied mostly in the seventeenth and eighteenth centuries. Based on different types of colophons, this contribution establishes a classification of colophons and marginal notes of this collection with regard to formal, contextual, and functional characteristics.

This essay discusses the position of Sasanian Studies from its inception in the late nineteenth century, to its reinvigoration at the beginning of the twenty-first century. The work also discusses the development of the field of Sasanian history and civilization vis-à-vis the three fields of Iranian, Islamic and Late Antique Studies. It is posited that Sasanians have benefited from cross-disciplinary and new historical frameworks that go beyond the traditional field of Iranian Studies, which was never as interested in the history of the period.

This article explores the ideas of Iranian reformist scholar Sedigheh Vasmaghi and her contribution to religious reformist thought in Iran. As this article demonstrates, a significant aspect of Vasmaghi's work concerns how she understands the extent to which the legal aspects of the Qurʾān and the associated rulings found in fiqh literature are relevant to the conditions of the modern world. This article investigates Vasmaghi's ideas about the Qurʾān and her contextualist approach to interpretation, arguing that her views on Islam's socio-legal rulings are rooted in her approach to the Qurʾān. As the article will demonstrate, Vasmaghi's ideas add to the work of other prominent Iranian reformist scholars such as Abdolkarim Soroush, Muhammad Mujtahed Shabestari, Mohsen Kadivar and Hassan Yousefi Eshkevari, but her approach is also subject to criticism, in particular her manner of differentiating between the mutable and immutable aspects of religion.

In this intervention, we discuss the ongoing protest movement and the quasi-revolutionary situation in Iran with the goal of offering contextual as well as background analysis. Our objective is to examine the current wave of revolutionary politics in the frame of a longer history, that is, the one of the “unaccomplished” 1979 revolution. We do not argue that the current movement is in continuity with the so-called Islamic revolution; rather, we ask what afterlives of the 1979 revolution and successive waves of mobilizations reverberate within the current situation. We do so from a political transformative vantage point, which we understand as inherently feminist, in that we refuse to recognize any hierarchy between the struggles, the issues, and the demands as expressed by the protesters. Indeed, we understand liberation as a collective project resulting from the intersection of struggles, demands, and issues. Following this line of reasoning, we interrogate the current moment along three thematic axes: the social composition, the prospects for political convergence, and the genealogy, or the ideational connection, of the current struggle with those of the past.

This paper focuses on various aspects of Alireza Espahbod’s style of painting that encrypt his work. The period considered is from the just after the Iranian revolution until the artist’s death in 2007: in these years censorship had become severe, resulting in banning prohibition on his work being exhibited. Apart from the striking symbols that recur throughout his work, it is noticeable that he favors certain visual metaphors for encryption of humanitarian and satirical meanings. The discussion also focuses on the ways in which sequences of his individual paintings create narratives, like scenes in a play or a film. Unlike some preceding modernists, Espahbod is firmly rooted in his Iranian cultural milieu, and is in a line of artists who have used surrealism, beginning with Sadegh Hedayat in the modern literary world. He also follows a much older tradition that goes back to classical poetry and miniature art, in which image and word coalesce and are interchangeable, and where literature and visual art reflect one another. He uses these older techniques to comment allusively on the dramatic events and conditions of his own time. It is argued that his work amounts to more than that of an artist who merely fought against censorship, as his art rises above it and responds to it with a positive message for his audience.