Censorship Of Literature In Post Revolutionary Iran
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| Author | : Alireza Abiz |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 225 |
| Release | : 2022-06-30 |
| Genre | : History |
| ISBN | : 0755634942 |
1. A Brief History of Censorship in Iran from the Early Days of the Press until the 1979 Revolution -- 2. Laws, Theories and Policies of Censorship in the Islamic Republic of Iran -- 3. The Censor Machine: Strcuture and Mechanism, Operators, Changes and Variations -- 4. Censors at Work -- 5. Reward and Punishment: Different Tools for the Same End -- 6. How Do Writers and Poets React to Censorship? -- 7. How Is Censorship Affecting Iranian Literature? -- 8. Conclusion -- Notes and References -- Bibliography -- Index.
| Author | : Alireza Abiz |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 225 |
| Release | : 2020-12-10 |
| Genre | : Political Science |
| ISBN | : 0755634926 |
Censorship pervades all aspects of political, social and cultural life in the Islamic Republic of Iran. Faced with strict state control of cultural output, Iranian authors and writers have had to adapt their work to avoid falling foul of the censors. In this pioneering study, Alireza Abiz offers an in-depth, interdisciplinary analysis of how censorship and the political order of Iran have influenced contemporary Persian literature, both in terms of content and tone. As censorship is unrecorded and not officially acknowledged in Iran, the author has examined newspaper records and conducted first-hand interviews with Iranian poets and writers. looking into the ways in which poets and writers attempt to subvert the codes of censorship by using symbolism and figurative language to hide their more controversial messages. A ground-breaking analysis, this book will be vital reading for anyone interested in contemporary cultural politics and literature in Iran.
| Author | : Negar Mottahedeh |
| Publisher | : Duke University Press |
| Total Pages | : 217 |
| Release | : 2008-11-14 |
| Genre | : Performing Arts |
| ISBN | : 0822381192 |
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 technologies were gendered as feminine and the national cinema was produced as a woman’s cinema. Mottahedeh asserts that, in response to the prohibitions against the desiring look, a new narrative cinema emerged as the displaced allegory of the constraints on the post-Revolutionary Iranian film industry. Allegorical commentary was not developed in the explicit content of cinematic narratives but through formal innovations. Offering close readings of the work of the nationally popular and internationally renowned Iranian auteurs Bahram Bayza’i, Abbas Kiarostami, and Mohsen Makhmalbaf, Mottahedeh illuminates the formal codes and conventions of post-Revolutionary Iranian films. She insists that such analyses of cinema’s visual codes and conventions are crucial to the study of international film. As Mottahedeh points out, the discipline of film studies has traditionally seen film as a medium that communicates globally because of its dependence on a (Hollywood) visual language assumed to be universal and legible across national boundaries. Displaced Allegories demonstrates that visual language is not necessarily universal; it is sometimes deeply informed by national culture and politics.
| Author | : Shahriar Mandanipour |
| Publisher | : Vintage |
| Total Pages | : 306 |
| Release | : 2009-05-05 |
| Genre | : Fiction |
| ISBN | : 030727196X |
A NEW YORKER BEST BOOK OF THE YEAR • “One of Iran's most important living fiction writers” (The Guardian) shows what it’s like to live and love there today. "A haunting portrait of life in the Islamic Republic of Iran." —The New York Times In a country where mere proximity between a man and a woman may be the prologue to deadly sin, where illicit passion is punished by imprisonment, or even death, telling that most redemptive of human narratives becomes the greatest literary challenge. If conducting a love affair in modern Iran is not a simple undertaking, then telling the story of that love may be even more difficult. Shahriar Mandanipour (author of Moon Brow) evokes a pair of young lovers who find each other—despite surreal persecution and repressive parents—through coded messages and internet chat rooms; and triumphantly their story entwines with an account of their creator’s struggle. Inventive, darkly comic and profoundly touching, Censoring an Iranian Love Story celebrates both the unquenchable power of the written word and a love that is doomed, glorious, and utterly real.
| Author | : Esmaeil Haddadian-Moghaddam |
| Publisher | : John Benjamins Publishing Company |
| Total Pages | : 258 |
| Release | : 2014-12-15 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 9027269394 |
Literary Translation in Modern Iran: A sociological study is the first comprehensive study of literary translation in modern Iran, covering the period from the late 19th century up to the present day. By drawing on Pierre BourdieuN's sociology of culture, this work investigates the people behind the selection, translation, and production of novels from English into Persian. The choice of novels such as Morier's The Adventures of Hajji Baba of Ispahan, Austen's Pride and Prejudice, and Vargas Llosa's The War of the End of the World provides insights into who decides upon titles for translation, motivations of translators and publishers, and the context in which such decisions are made.The author suggests that literary translation in Iran is not a straightforward activity. As part of the field of cultural production, literary translation has remained a lively game not only to examine and observe, but also often a challenging one to play. By adopting hide-and-seek strategies and with attention to the dynamic of the field of publishing, Iranian translators and publishers have continued to play the game against all odds. The book is not only a contribution to the growing scholarship informed by sociological approaches to translation, but an essential reading for scholars and students of Translation Studies, Iranian Studies, and Middle Eastern Studies.
| Author | : Nahid Seyedsayamdost |
| Publisher | : Stanford Studies in Middle Eas |
| Total Pages | : 0 |
| Release | : 2017 |
| Genre | : Music |
| ISBN | : 9780804792899 |
The politics of music -- The nightingale rebels -- The musical guide : Mohammad Reza Shajarian -- Revolution and ruptures -- Opening the floodgates to pop music : Alireza Assar -- Rebirth of independent music -- Purposefully "fālsh" : Mohsen Namjoo -- Going underground -- Rap-e Farsi : Hichkas -- The music of politics
| Author | : Maryam Borjian |
| Publisher | : Multilingual Matters |
| Total Pages | : 204 |
| Release | : 2013-02-20 |
| Genre | : Foreign Language Study |
| ISBN | : 1847699111 |
This book unravels the story of English, the language of 'the enemies', in post-revolutionary Iran. Drawing on diverse qualitative and quantitative fieldwork data, it examines the nation's English at the two levels of policy and practice to determine the politics, causes, and agents of the two diverging trends of indigenization/localization and internationalization/Anglo-Americanization within Iran's English education. Situating English in the nation's broader social, political, economic, and historical contexts, the volume explores the intersection of the nation's English education with variables such as power, economy, policy, ideology, and information technology over the past three decades. The multidisciplinary insights of the book will be of value to scholars of global English, education policies and reforms and language policy as well as those who are specifically concerned with education in Iran.
| Author | : Salar Abdoh |
| Publisher | : Akashic Books |
| Total Pages | : 333 |
| Release | : 2014-09-15 |
| Genre | : Fiction |
| ISBN | : 1617753343 |
Crime fiction set in Iran—including a finalist for the Shamus Award for Best PI Short Story. “Tehran Noir is not only a solid crime collection, but an illuminating look into day-to-day life in the Middle East, with religious and political implications galore, as well as racial tensions bubbling just beneath the surface. . . . The stories in Tehran Noir aren’t always easy to read, but they are engaging in the extreme.” —San Francisco Book Review Includes brand-new stories by Gina B. Nahai, Salar Abdoh, Lily Farhadpour, Azardokht Bahrami, Yourik Karim-Masihi, Vali Khalili, Farhaad Heidari Gooran, Aida Moradi Ahani, Mahsa Mohebali, Majed Neisi, Danial Haghighi, Javad Afhami, Sima Saeedi, Mahak Taheri, and Hossein Abkenar. “A stellar and diverse cast of Iranian writers. . . . A collection such as this is able to bring Iran to life for the foreign reader in a way other fiction and non-fiction cannot. . . . Superb.” —PopMatters
| Author | : Jalāl Āl Aḥmad |
| Publisher | : |
| Total Pages | : 152 |
| Release | : 2008 |
| Genre | : Fiction |
| ISBN | : |
"Sangi bar Guri [A Stone on a Grave] is a candid account of a male Iranian, in this case, a well-known essayist, fiction writer and socially and politically engaged intellectual, in his struggle to cope with his inability to produce offspring. In this book, Jalal Al-e Ahmad delves into the recesses of his own psyche to explore the roots of his identity as an Iranian male, his manhood. Consciously, he tries to uncover why having children to continue one's name and legacy, not unlike one's gravestone, should signify that he had existed, and why it should be of concern and importance after one's death. In a sense, he attempts to justify his own inability to have children. But, subconsciously, he reveals aspects of himself and his psyche that he may not have intended to reveal. This volume also includes an in-memoriam essay by the renowned writer and Al-e Ahmad's wife, Simin Daneshvar."--BOOK JACKET.
| Author | : Shahla Talebi |
| Publisher | : Stanford University Press |
| Total Pages | : 265 |
| Release | : 2011-01-14 |
| Genre | : History |
| ISBN | : 0804775818 |
"Opening the enormous metal gate, the guard suddenly took away my blindfold and asked me, tauntingly, if I would recognize my parents. With my eyes hurting from the strange light and anger in my voice, I assured him that I would. Suddenly I was pushed through the gate and the door was slammed behind me. After more than eight years, here I was, finally, out of jail . . . ." In this haunting account, Shahla Talebi remembers her years as a political prisoner in Iran. Talebi, along with her husband, was imprisoned for nearly a decade and tortured, first under the Shah and later by the Islamic Republic. Writing about her own suffering and survival and sharing the stories of her fellow inmates, she details the painful reality of prison life and offers an intimate look at a critical period of social and political transformation in Iran. Somehow through it all—through resistance and resolute hope, passion and creativity—Talebi shows how one survives. Reflecting now on experiences past, she stays true to her memories, honoring the love of her husband and friends lost in these events, to relate how people can hold to moments of love, resilience, and friendship over the dark forces of torture, violence, and hatred. At once deeply personal yet clearly political, part memoir and part meditation, this work brings to heartbreaking clarity how deeply rooted torture and violence can be in our society. More than a passing judgment of guilt on a monolithic "Islamic State," Talebi's writing asks us to reconsider our own responses to both contemporary debates of interrogation techniques and government responsibility and, more simply, to basic acts of cruelty in daily life. She offers a lasting call to us all. "The art of living in prison becomes possible through imagining life in the very presence of death and observing death in the very existence of life. It is living life so vitally and so fully that you are willing, if necessary, to let that very life go, as one would shed chains on the legs. It is embracing, and flying on the wings of death as though it is the bird of freedom."
