A SCHOLARLY BOOK REPOSITORY14 start with S start with S
Safavid Iran and Her Neighbors focuses primarily on Persian external relations during this period. The wide-ranging contributions to this volume cover dervish orders, the Central Asian hajj, developments in Shi'i legal theory, cultural relations between Persia and Mughal India, and diplomatic relations between Iran, Russia, and Ottoman Turkey.
A comprehensive military history of one of the most important empires of Late Antiquity
The Sasanian Empire at War: Persia, Rome, and the Rise of Islam, 224–651 is the first comprehensive study in English examining war and society in one of the most important empires in world history: the Persian Empire of 224-651 AD, ruled by the Sasanian clan. At its height the Sasanians governed lands from the Indus River in the east to Egypt and the Mediterranean in the west. Adversaries of Rome, they also faced grave challenges from nomadic powers from Central Asia, notably the Huns and Turks. The Sasanians were able to maintain their empire for hundreds of years through nearly constant warfare, but when their expansion was checked in the north by the Byzantines at Constantinople in 626, and with the Muslim invasions to their south and west beginning in the 630s, the empire could no longer be sustained, and it finally collapsed.
In this book, Michael J. Decker examines Sasanian warfare, including military capabilities, major confrontations, organization and weapons of the Persian army. In addition to providing a comprehensive overview of the conflicts that marked this vital period in the history of Eurasia, The Sasanian Empire at War challenges long cherished notions of the inferiority of Sasanian military capabilities and renders a new image of a sophisticated, confident culture astride the heart of Eurasia at the end of the ancient world and birth of the Silk Road. Persian arms were among the many features of their culture that drew widespread admiration and was one of the keys to the survival of Iranian culture beyond the Arab Conquest and into the present day.
Volume 1 depicts and analyzes the early years of Iranian cinema. Film was introduced in Iran in 1900, three years after the country’s first commercial film exhibitor saw the new medium in Great Britain. An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged. The presence of women, both on the screen and in movie houses, proved controversial until 1925, when Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until 1941, Reza Shah implemented a Westernization program intended to unite, modernize, and secularize his multicultural, multilingual, and multiethnic country. Cinematic representations of a fast-modernizing Iran were encouraged, the veil was outlawed, and dandies flourished. At the same time, photography, movie production, and movie houses were tightly controlled. Film production ultimately proved marginal to state formation. Only four silent feature films were produced in Iran; of the five Persian-language sound features shown in the country before 1941, four were made by an Iranian expatriate in India.
A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010
Volume 2 spans the period of Mohammad Reza Shah’s rule, from 1941 until 1978. During this time Iranian cinema flourished and became industrialized, at its height producing more than ninety films each year. The state was instrumental in building the infrastructures of the cinema and television industries, and it instituted a vast apparatus of censorship and patronage. During the Second World War the Allied powers competed to control the movies shown in Iran. In the following decades, two distinct indigenous cinemas emerged. The more popular, traditional, and commercial filmfarsi movies included tough-guy films and the “stewpot” genre of melodrama, with plots reflecting the rapid changes in Iranian society. The new-wave cinema was a smaller but more influential cinema of dissent, made mostly by foreign-trained filmmakers and modernist writers opposed to the regime. Ironically, the state both funded and censored much of the new-wave cinema, which grew bolder in its criticism as state authoritarianism consolidated. A vital documentary cinema also developed in the prerevolutionary era.
A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010
In Volume 3, Naficy assesses the profound effects of the Islamic Revolution on Iran's cinema and film industry. Throughout the book, he uses the term Islamicate, rather than Islamic, to indicate that the values of the postrevolutionary state, culture, and cinema were informed not only by Islam but also by Persian traditions. Naficy examines documentary films made to record events prior to, during, and in the immediate aftermath of the revolution. He describes how certain institutions and individuals, including prerevolutionary cinema and filmmakers, were associated with the Pahlavi regime, the West, and modernity and therefore perceived as corrupt and immoral. Many of the nation's moviehouses were burned down. Prerevolutionary films were subject to strict review and often banned, to be replaced with films commensurate with Islamicate values. Filmmakers and entertainers were thrown out of the industry, exiled, imprisoned, and even executed. Yet, out of this revolutionary turmoil, an extraordinary Islamicate cinema and film culture emerged. Naficy traces its development and explains how Iran's long war with Iraq, the gendered segregation of space, and the imposition of the veil on women encouraged certain ideological and aesthetic trends in film and related media. Finally, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the new evolving cinema.
A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010
The extraordinary efflorescence in Iranian film, TV, and the new media since the consolidation of the Islamic Revolution animates Volume 4. During this time, documentary films proliferated. Many filmmakers took as their subject the revolution and the bloody eight-year war with Iraq; others critiqued postrevolution society. The strong presence of women on screen and behind the camera led to a dynamic women's cinema. A dissident art-house cinema—involving some of the best Pahlavi-era new-wave directors and a younger generation of innovative postrevolution directors—placed Iranian cinema on the map of world cinemas, bringing prestige to Iranians at home and abroad. A struggle over cinema, media, culture, and, ultimately, the legitimacy of the Islamic Republic, emerged and intensified. The media became a contested site of public diplomacy as the Islamic Republic regime as well as foreign governments antagonistic to it sought to harness Iranian popular culture and media toward their own ends, within and outside of Iran. The broad international circulation of films made in Iran and its diaspora, the vast dispersion of media-savvy filmmakers abroad, and new filmmaking and communication technologies helped to globalize Iranian cinema.
A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010
Existing theories of revolution explain earlier revolutions better than the Iranian revolution. In Iran most of the protest was in urban areas, the peasants never played a major role, and power was transferred to the clergy, not to an intelligentsia. In the 1970s, oil revenues increased, the economy developed rapidly but unevenly, and the state's expanded intervention undermined market forces and politicized capital accumulation. Systematic repression of workers, aid to the upper class, and attacks on secular and religious opposition showed that the state was serving the interests of particular groups. When the state tried to check high inflation by imposing price controls on bazaaris (merchants, shopkeepers, artisans), their protests forced the state to introduce reforms, providing an opportunity for industrial workers, white-collar workers, intellectuals, and the clergy to mobilize against the state. Thus, structural features rendered the state vulnerable to challenge and attack.
Parsa's thorough explanation of the collective actions of each major group in Iran in the three decades prior to the revolution shows how a coalition of classes and groups, using mosques as safe gathering places and led by a segment of the clergy, brought down the monarch of 1979. In the years since the revolution, the conflicts that existed before the revolution seem to be reemerging, in slightly altered form. The clergy now has control, and the state has become centrally and powerfully involved in the economy of the country.
Azar Nafisi’s Reading Lolita in Tehran,Marjane Satrapi’s comics, and “Baghdad Blogger” Salam Pax’s Internet diary are just a few examples of the new face of autobiography in an age of migration, globalization, and terror. But while autobiography and other genres of life writing can help us attend to people whose experiences are frequently unseen and unheard, life narratives can also be easily co-opted into propaganda. In Soft Weapons, Gillian Whitlock explores the dynamism and ubiquity of contemporary life writing about the Middle East and shows how these works have been packaged, promoted, and enlisted in Western controversies.
Considering recent autoethnographies of Afghan women, refugee testimony from Middle Eastern war zones, Jean Sasson’s bestsellers about the lives of Arab women, Norma Khouri’s fraudulent memoir Honor Lost, personal accounts by journalists reporting the war in Iraq, Satrapi’s Persepolis, Nafisi’s book, and Pax’s blog, Whitlock explores the contradictions and ambiguities in the rapid commodification of life memoirs. Drawing from the fields of literary and cultural studies, Soft Weapons will be essential reading for scholars of life writing and those interested in the exchange of literary culture between Islam and the West.
World War I and the fall of tsarist Russia brought brief independence to Azerbaijan, but by 1920 the Bolshevik revolution pushed south with the twofold purpose of accessing the oil-rich fields near Baku on the Caspian Sea and spreading communism into the Caucasus. Azerbaijan, the richest and earliest significant source of oil in the world, was the first republic in the South Caucasus occupied by the Red Army, which then advanced into neighboring Armenia and Georgia. Pulling from confidential, newly accessed archives, Hasanli describes Soviet Russia’s aggressive policy toward the three South Caucasian nations, which led to their absorption into the USSR by the end of 1922.
The book highlights the Caucasian peoples’ struggle to retain political independence against Soviet Russia and an international cast that included European powers wanting to retain petroleum concessions; Kemalist Turkey, which claimed special ties to the Turkic Azeris; and Iran, which controlled South Azerbaijan and was thus a possible route of expansion eastward for Bolshevik movement. The author also considers the impact on Azerbaijani-Armenian relations of the first two years of Sovietization and explains how Azerbaijan provided space for Bolshevik experiments. Throughout his book, Hasanli illuminates the tragedy of the complex, confused period of Sovietization of the South Caucasus.
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