Having been introduced to the scholarly community and the general public through a variety of photographic presentations during the inter-war period, monuments in Iran, particularly those of pre-modern Islamic periods, became key buildings to be seized upon as the ultimate embodiment of Persian beauty. The lasting image of Persian Islamic architecture that was articulated through photographs continues not only to set an important benchmark for the understanding of the aesthetic and political matrix of the early twentieth century but also to provoke a methodological question as to the future of Persian architectural studies.

Despite being in operation for a mere five years, the Soviet-era Tajik (Persian) journal Rahbar-i Dānish (1927–1932) was a key venue for exploring and debating the merits of Tajik literature in the context of new ideological and literary trends. Established litterateurs as well as literary newcomers published examples of their literature and literary criticism in this first Tajik monthly social, educational, and literary journal. The present article reviews the history of Rahbar-i Dānish and some of its authors to trace their influence on Tajik literature and literary criticism in the late 1920s and early 1930s. The article addresses the difficulties of creating a Soviet Tajik literature and scrutinizes the various genres featured in the literary section of the journal. Finally, it presents the trajectories of two literary newcomers, Jalāl al-Dīn Ikrām (who later became known as Jalol Ikromi) and Baḥr al-Dīn ʿAzīzī (who died in a Soviet prison in 1944), whose short stories were most prominent in Rahbar-i Dānish. This article is based on an almost complete set of the forty-five issues of the journal, published between August 1927 and March 1932.

Zadig ou la Destinée opens on a preface supposedly written by Sadi (sic), who seems to suggest he is the translator of the story which is to follow. The article will investigate the role played by Voltaire’s reference to Saʿdi in Zadig as an Oriental prop for the narrative’s exotic setting, but also, more importantly, as participating in its philosophical content. Travelers’ accounts had brought growing interest in Persia, and Saʿdi would not have been unfamiliar to an educated public; the Orient more generally became an experimental space for Enlightenment thought. Playing on the notion of the translator as cultural bridge, the article examines the uses Voltaire makes of Saʿdi in Zadig and whether these correlate to the eighteenth-century French reader’s perceptions of the Iranian poet.

When Reza Shah died in exile in Johannesburg, South Africa, in July 1944, he left in his account at Barclays Bank a deposit of £110,000, a considerable amount of money. Yet when he went into exile only three years earlier, Reza Shah feared he would be hard-pressed for money, if not left altogether destitute—and with good reason. He left Iran with a “horde” of progeny, family members and retainers. Before departing, he had ceded all his enormous wealth in cash and property to his son and successor. He did not remain destitute for long. His son, the new shah, continued to send him money, and for a while the British paid for a major part of his upkeep. Yet his money anxieties did not cease. This article describes and follows the winding trail of Reza Shah’s finances in exile.

This article argues that the notion of Iranian culture employed in the public discourse of Zoroastrians allows them to tackle the dilemma of Shiʿi-dominated Iranianness without provoking Shiʿi authorities. The piece offers an analysis of ethnographic data, including detailed speech acts documented in Zoroastrians’ ritual spaces and cultural exhibitions. It explores the Zoroastrian configuration of an Iranian culture that summons and encodes pre-Islamic tropes and modern nationalist sentiments by constantly maneuvering around national, religious, and ethnic categories. This configuration's underpinning assumptions, narratives, and texts have powerful platforms in Iranian nationalist imagination. I propose that this arrangement attempts to carve out a space for Zoroastrians’ distinct identity by connecting the history of the Muslim Arab invasion of Persia to the Shiʿi hegemonic norms of Iranian culture today. It further invokes Zoroaster's indigeneity and teachings as the foundation of authentic Iranianness to establish Zoroastrians’ survival as a cultural system.

Afghanistan is one of the few places where the category of bachah—the beardless young male—has maintained its aesthetic and erotic aspects in the public imagination. This article provides an introduction to the history of the various arrangements of man-bachah relationships in Afghanistan from the rise of the Afghan kingdom in the late eighteenth century. By looking at both primary and secondary sources, alongside ethnographic materials gathered during fieldwork in Afghanistan between 2016 and 2021, this article shows how the content and implications of the category of bachah have been in constant flux and intimately connected to wider social, political, and economic developments both inside the country and beyond.

Authority in Islam is often understood to operate as a site of negotiation. Based on textual analysis and ethnographic research, this article examines three case studies of disparate Shi'i Sufi Orders where a willing deferral of certain types of authority exists. In the first case study, the Soltanalishahi Order refer their members to an outside mujtahid for all matters relating to the shariat, therein limiting the powers of their shaykhs and qotb. The second case study looks at debates concerning the nature of the qotb's authority within a single order, particularly as it pertains to the power of touch and transmissibility of blessing (barakat) from qotb to object to person, with the order's leadership refuting the idea of charismatic embodied authority despite some of their lay members’ beliefs. Finally, the third case study addresses a group who refute the need for any centralized leadership at all and instead recognize and read the works of multiple qotbs from disparate Iranian orders. By focusing on the deferral of authority, as a type of editing, as a type of shaping, I hope to show that the refuting of certain duties is just as formative as the amassing of powers.

Well, what could I do? My husband wouldn't keep me and the child both—a child who was not his own. The boy was my former husband's who had divorced me and never come to take him. If someone else were in my place, what would she do? Well, I had to live too. If this new husband divorces me what would I do? I had to get rid of the child.

A woman like me who doesn't know her way around wouldn't think of anything else. I didn't know any place or any way out of the thing. But it wasn't that I didn't know any place, really. I knew you could put the child in a nursery or stick him in some other place. But where would they take him? Where could I be sure they wouldn't keep me waiting and then not pay any attention to me and call me and the child a thousand names? Where? I couldn't have it end that way.

Based on the author's original research, the paper will offer a glimpse into the frontal theory of Mostafa Sho‘aiyan. The paper draws on his life and experience of the National Front in the 1950s as a model for political thought. Next, the paper will show how he tried, through his unique and uncanonical revolutionary theory, to make a revolutionary praxis compatible with frontal thinking. Analytically, Sho‘aiyan's work proves that an ideologically driven concept of national liberation becomes an impediment for frontal politics in a truly democratic way. Sho‘aiyan's works represent a theoretical and existential response to the national liberation dilemma which the Iranian Marxists faced in the 1960s and 70s.

Asrar-e Ganj-e Darreh-ye Jenni [The Secrets of the Treasure of Possessed Valley], hereafter The Treasure, is the name of both a novel and a film by Ebrahim Golestan (b. 1922), the important short story writer and filmmaker now living in London. Golestan made the film in the fall and winter of 1971, and later, in the summer and fall of 1974, reworked the screenplay into a novel. This perspective is critically useful, for it helps to explain the presence of certain cinematic touches in the novel's composition. But, before a review of these touches, here is a summary of the contents of The Treasure.

The action of The Treasure betrays the simplicity of a parable. While plowing his field, a poor farmer accidentally uncovers an ancient burial chamber loaded with gold artifacts. Realizing that the trove would somehow liberate him from his bumpkin existence, he brings pieces of it to a jeweler in the city.

Reza Attaran is one of the most successful stars of the Iranian popular cinema. This article explores the social circumstances, performative components, and political consequences of Attaran’s popularity and stardom, and the evolution of comedy and satire in the Iranian media after the 1979 Revolution. Analyzing the contextual elements and media texts over the last twenty-five years, the article argues that Attaran actively reflects a complex interaction between the social, political, and artistic demands of each period, best represented through his contribution to the television sketch comedies in the 1990s, and the lowbrow comedies and highbrow absurd films in the 2010s. The trajectory of Attaran’s stardom demonstrates the mechanism by which he serves the maintenance of the status quo.