Thirty Years on: Iran's “Silent Revolution”

2009 is the thirtieth anniversary of the Iranian Revolution. In 2006 the Bush administration ranked Iran as posing arguably the greatest single threat to America. And throughout 2008 that administration insisted all options were open in dealing with Iran, including preventative strikes. Yet, unlike its decisive intervention to establish Iran as a client state in the 1950s, the US has thus far been unable to force the changes it desires in and from Iran's leadership. This article argues that to help understand this situation it is important to recognize that the Iranian Revolution was and remains nurtured by a contemporaneous “silent revolution” in the international oil industry, even if the Ahmadinejad regime's economic policies especially threaten currently to squander some of the potential afforded by it.     

Issues and Paradoxes in the Development of Iranian National Cinema: An Overview

Contemporary Iranian cinema has enjoyed wide success on the international scene—winning awards at film festivals, receiving praise by critics, and being screened in many countries around the world. But this success has another side to it: at home in Iran, the movie theater attendance is in decline and a range of players, including individuals, policymakers and government entities continue to meddle in shaping its future. Throughout the twentieth century and during the two decades of post-revolutionary successes abroad, Iranian cinema developed its own unique style and aesthetic. A cinema which was sometimes nurtured and financially encouraged by the government, yet at other times censored or banned by it. This paper provides a brief survey of the history of Iranian cinema since the 1900s in order to reveal the paradoxical issues both propelling and bedeviling its development and the role of principal actors involved in fashioning an Iranian national cinema.     

Race and the Aesthetics of Alterity in Mahshid Amirshahi’s Dadeh Qadam-Kheyr

Focusing on black women Qadam-Kheyr and Sorur in Mahshid Amirshahi’s novel Dadeh Qadam-Kheyr (1999), this article examines literary representations of the African-Iranian presence, and provides a critique of race and slavery in twentieth-century Iran. In light of the history of the Iranian slave trade until 1928, and the reconstruction of race and gender identities along Eurocentric lines of nationalism in Iran, the novel under scrutiny is a dynamic site of struggle between an “Iranian” literary discourse and its “non-Persian” Others. The “aesthetics of alterity” at the heart of the text is, therefore, the interplay between the repressed title-character Qadam-Kheyr and the resilient minor character Sorur, each registering Amirshahi’s artistic intervention into a forgotten corner of Iranian history.     

Treating His Imperial Majesty's Warts: British Policy towards Iran 1977–79

Analysis of British policy towards Iran during the shah's final years has tended to be the preserve of those who formulated it. In general, it has focused on the extent to which British policymakers predicted the events of the Iranian revolution (published accounts by British policymakers include: Anthony Parsons, The Pride and The Fall: Iran 1974–1979 (1984); David Owen, Time to Declare (1991); Ivor Lucas, A Road To Damascus: Mainly Diplomatic Memoirs from the Middle East (1997), and “Revisiting the Decline and Fall of the Shah of Iran” (2009)). This article is different in both its sources and scope. Unlike any other published study on Anglo-Iranian relations, it relies on government records recently released in the National Archives. Instead of focusing on the British response to the Iranian revolution, it seeks to account for the strength of the shah's leverage and illustrate its consequences during one of the most important periods in Iran's history.     

Better a Warm Hug than a Cold Bath: Nationalist Memory and the Failures of Iranian Historiography

This paper assesses the extent to which the modern historiography of Iran is indebted to a nationalist construction of Iran’s past, rather than proceeding from impartial and critical historical research. The paper pursues this aim by applying the distinction between history (as a scholarly discipline) and memory (as a nationalist construct) to one of the central tropes of the country’s historiography. According to that trope, Iranian history can be summarized as a succession of violent invasions by foreign “races,” which never stamped out Iran’s separate ethnic identity. This resilience is attributed to Iranian civilization’s inherent superiority, which Iranianized the invaders and thus ensured Iran’s survival as a primordial nation. The analysis shows that—counter-intuitively—twentieth-century Iranian historians, instead of subjecting this narrative to critical assessment, have in fact played a central role in developing it into a self-serving historiography. Special attention is given to Zarrinkub’s seminal Two Centuries of Silence.     

The Revolution's Forgotten Sons and Daughters: The Jewish Community in Tehran during the 1979 Revolution

The 1979 revolution in Iran was one of the most popular revolutions of the twentieth century. It was supported by all the classes of Iranian society, and crossed social strata, positions, and religious affiliations. A lot is known about the participation of different parts, such as students, urban professionals, religious leaders, bazaaris, and leftists, yet little is known about the participation of Jews in the revolutionary movements. This article sheds light on a little-known event in the life of the Jewish Iranian community and seeks to tell the story of different segments of the Jewish community during the tremulous years of the “Islamic Revolution.” This article examines two main arenas in which the Jews facilitated the revolution—the Society of Jewish Iranian Intellectuals, and the Sapir Charity Hospital in Tehran—and seeks to draw attention to the minorities' contribution to the most important national revolution in Iran.     

The Unfolding of Unreason: Javad Tabatabai's Idea of Political Decline in Iran

Javad Tabatabai, a leading theorist and historian of political thought in Iran, has presented a controversial theory regarding the causes of the decline of political thought and society in Iran over the last few centuries. His ideas on Iranian decline have affected the intellectual debates on modernity and democracy currently underway in Iran. Tabatabai's career-long research has revolved around this question: “What conditions made modernity possible in Europe and led to its abnegation in Iran?” He answers this question by adopting a “Hegelian approach” that privileges a philosophical reading of history on the assumption that philosophical thought is the foundation and essence of any political community and the basis for any critical analysis of it as well. This article critically engages with Tabatabai's ideas of “crisis,” and “decline” by challenging his exposition of the Persian tradition.     

The Cold War's cultural ecosystem: angry young men in British and Soviet cinema, 1953–1968

Using examples from postwar British and Soviet cinema, this article interprets European Cold War culture within the framework of a shared cultural ecosystem. The case study of reformist movements in 1950s and 1960s British and Soviet cinema makes clear that analogous sociopolitical and economic developments across postwar Europe inspired film heroes, narratives, and aesthetics that transcended national and ideological borders. The concept of a continent-wide cultural ecosystem elucidates how and why specific cultural phenomena—such as the figure of the “angry young man”—reflect an existence of a dynamic trans-systemic Cold War culture.     

Excavating Zarathustra: Ernst Herzfeld's Archaeological History of Iran

This article analyzes the work of the German archaeologist Ernst Herzfeld (1879–1948) and its influence on the writing of Iranian national history in the 1920s and 1930s. Herzfeld's life and work illuminates the relationship between Germany and Iran and between orientalist scholarship and nationalist history in the first half of the twentieth century. Through the method of what he called “archaeological history,” Herzfeld wrote an interdisciplinary history of Iran and its Aryan foundations that contested the assumptions of decades of European orientalist scholarship.     

'Poverty,prostitution, filthy tavernas': cinephilia and popular Greek film of the fifties

Abstract

The diametrically opposed critical and commercial reception of two Greek films from the early 1950s exposes the contradictions inherent in the project of national cinema formation articulated by Greece's cinephile press. Critics such as Eleni Vlachou and Marios Ploritis sought to locate Greek film within the context of a realist–humanist European art cinema, and denigrated the commercial cinema for its over-reliance on foreign models and popular genres. This cinephile discourse reveals, however, keenly felt anxieties of cultural authority and status, anxieties manifest in the constant shifting between the twin semantic poles of cultural indigeneity and foreign cinematic influence.     

Religious Appropriation of National Symbols in Iran: Searching for Cyrus the Great

In this article I examine the debate over the character of Cyrus the Great in Iran during the last four decades, using it as a prism to view the struggle over the desired balance between religious and ethnic components of Iranian identity. Heated polemics over the historical figure of Cyrus and his legacy reveal undercurrents of Iranian identity dilemmas as well as different and conflicting views of Iranian identity. Beyond a mere historical or religious controversy, the debate over the “right” memory of Cyrus presents an interesting case of shifting emphasis on identity and sources of political inspiration in Iranian society from the late 1960s to the present. Moreover, putting the debate over the ancient king in perspective, there emerges a wider picture of religious adaptation and embrace of what once seemed pagan or secular.     

Quietness beyond Political Power: Politics of Taking Sanctuary (Bast Neshini) in the Shi‘ite Shrines of Iran

“The politic” and “the religious” have had many relations with each other in Iranian history and in some cases “the religious” has been defined in a situation beyond the extent of the political power. A case in point is the right of taking sanctuary in Shi‘ite shrines. Throughout Iran's history, subjects could take refuge in Shi‘ite shrines and some other places related to religious and non-religious authorities. Persecution was delayed or the individual was forgiven, though sometimes they were sentenced when exiting the shrine. By referring to religious texts that have reinforced that tradition, this article seeks to trace continuities between early Islam and modern Iran. It focuses on sanctuary taking and sit-ins at shrines and tombs, and on the interplay between those actions and political power, and discusses the changing mobility and dynamisms of those actions at different periods of Iranian history.     

The Soviet Union and Mosaddeq: A Research Note

Although it is generally accepted that the Soviet Union did not play a significant role in the events leading to the overthrow of Mohammed Mosaddeq in 1953, little has been written about how the Soviets perceived the Iranian leader and the movement he inspired. This article argues that Soviet leaders generally saw Mosaddeq as weak and ill-disposed towards the Soviet Union. The Soviet failure to secure an oil concession in Iran in 1946 and general conservatism about anti-colonial movements during the late Stalin period conditioned their assessment of Mosaddeq's premiership. After Soviet policy towards the Third World changed in the mid-1950s, Mosaddeq's movement was reinterpreted as a genuine “struggle of national liberation.”     

Kiarostami and the Aesthetics of Modern Persian Poetry

Abbas Kiarostami's filmmaking draws on the aesthetics of modern Persian poetry, especially the poetry of Forough Farrokhzad and Sohrab Sepehri. In his films, Kiarostami, impacted by Sepehri and Farrokhzad's “de-politicized” poetry, “de-experiences” our perception of reality. Kiarostami aestheticizes everyday life by employing non-manipulative film stylistics. In films such as Through the Olive Trees and Where Is the Friend's House? he uses a minimalist approach by employing amateur actors and children, depth of field, and minimal camera work to enhance Sepehri's philosophy of novel outlook. Through a masterful intermingling of poetic discourse with his film sensibilities, Kiarostami has achieved a profoundly humanist approach to cinema. Kiarostami mixes the two genres of documentary and fiction to remind the audience of the artificiality of constructing a factual point. To attain this goal, he sometimes uses an ironical and witty cinematic language that is harshly self-critical and self-reflexive. Kiarostami is a poet/philosopher who “writes” his poetic films with camera.     

Iranian Cinema in the Twentieth Century: A Sensory History

This essay addresses itself to the century long history of cinema in Iran, focusing on the history of the senses as they combine with and are extended by film technologies. It argues that Khomeini's aim was to produce a transformed and Shi'ite Iran by purifying the sensorial national body by means of film technologies.     

Avoiding the “F” word: feminist geography in Iran

Abstract

Little attention has been given to how feminist geography is defined, applied, and taught in non-Anglophone countries, especially in Muslim majority societies where Women’s Rights are quite different from the western world. The case of Iran among other Middle Eastern countries becomes even more isolated due to the several political, linguistic, and cultural limitations opposed on Iranian academics and international collaborations after the 1979 Islamic Revolution. Women make half of Iran’s 80 million population, 63% of university graduates, almost half of informal workers, 30% of Iranian professors, 13% of high level management position holders, and under 5% of the Islamic Majlis (Iran’s Parliament). However, feminist geography, the sub-discipline that has been traditionally dedicated to the inclusion of gender as an analytical lens within Geography, is not a recognized field at any departments in Iran. This essay aims to present the current status of feminist geographic research and teaching at selected Iranian Universities. My goal is to offer a better understanding of how the local social and political context affect what constitute feminist geographic work and how geographers navigate the political and hierarchal university systems to engage in gender studies. Through informal interviews via emails and Skype with several Iranian geographers, I illustrate why Iranian geographers often avoid using “feminist” terminology in recognizing their work, even though their work is feminist.     

TRAUMA DELEGITIMIZED: KARL LÖWITH AND THE COSMIC VIEW OF HISTORY

This article uncovers the work of trauma in Karl Löwith's historical thought. Although best known for his critique of the philosophy of history and for the conception of secularization in his 1949 book, Meaning in History, Löwith deepened his positive historical vision in several essays that he wrote in the 1950s and 1960s. From these texts emerges a unique historical orientation, which I call the “cosmic view of history.” This perspective was at once a critique of modern historical consciousness and an embodied corrective to that consciousness, one in which the catastrophes of the twentieth century were relativized and made endurable. In both the origin and structure of this historical orientation and in its textual expression in Löwith's work, trauma is a residual force that links Löwith's language, his experiences, and the postwar context. The role of trauma in Löwith's thought further reveals a process of delegitimization in which historical consciousness and historical events lose their power to determine historical meaning, thus enabling a response to and an escape from catastrophe. This article also explores the significance of this cosmic view of history for contemporary theoretical concerns related to the Anthropocene and its consequences for historical theory.     

HISTORY/PHILOSOPHY/SCIENCE: SOME LESSONS FOR PHILOSOPHY OF HISTORY

Rheinberger's brief history brings into sharp profile the importance of history of science for a philosophical understanding of historical practice. Rheinberger presents thought about the nature of science by leading scientists and their interpreters over the course of the twentieth century as emphasizing increasingly the local and developmental character of their learning practices, thus making the conception of knowledge dependent upon historical experience, “historicizing epistemology.” Linking his account of thought about science to his own work on “experimental systems,” I draw extensive parallels with other work in the local history of science (the ideas of Latour, Pickering, Rouse, and others) and consider the epistemological implications both for the relation between history and philosophy of science and between history and theory more broadly. In doing so, I suggest that the long‐standing gap between the natural sciences and history as a “human science” has been significantly bridged by the insistence upon the local, mediated, indeed “historicized epistemology” of actual science.     

Iran: Island of Stability orLand in Turmoil

Iran is a critical state in international relations because of its natural resources, its strategic location, its controversial conservative Islamic regime and its effect on shifting the balance of power in the Middle East. As a result, Iran is facing pressure from all sides. There are currently four possible future scenarios for Iran: the Iranian regime will remain stable; the Iranian regime will become increasingly unstable; the stability of the Iranian regime depends on international action; the Iranian regime will reform itself from within. It is only by improving its image, that the U.S. can positively affect any of these scenarios. Iran has historically been an essential actor in the international arena because ofits strategic location and its position as a major oil producer; Iran is currently the fourth largest producer of crude oil, the third largest holder of proven oil reserves and the second largest holder of natural gas reserves. Today, Iran remains a critical state, not only because of its strategic location and its abundance of natural resources, but also because of its alleged role as a “state sponsor of terror,” its nuclear program, its human rights abuses, its controversial conservative Islamic regime which is at odds with America, and its effect on shifting the balance of power in the Middle East, especially in light of the U.S. removal of the Taliban and Hussein regimes, two of Iran's biggest threats (Stockman, 2004). It is because of a combination of these factors that the Iranian government is feeling much pressure from all angles. Domestically, the Iranian regime is feeling pressure from the Iranian society as the regime is shifting back from a trend towards liberalism as represented by the Khatami government, towards Ahmadinejad's more conservative and traditional regime. Manifestations of this disapproval were seen in the 2007 municipal elections, in which reformers won the plurality of votes (Not Pro‐Prez or Pro‐Reform, 2006). Internationally, Iran has been accused of being a state sponsor of terror and has been labeled by the American government as a member of the “axis of evil,” and as a violator of human rights. Finally, within the regime itself, Ahmadinejad's confrontational foreign policy has caused a split within the conservative block; dividing the pragmatists who want to engage in trade and resume relations with the West, and those who adhere to a strict interpretation of the Islamic Revolution by welcoming confrontation with the West. Furthermore, tensions exist, not only between the reform minded Majlis and the conservative Council of Guardians, but also between the Majlis and the president, who has recently been criticized for his aggressive foreign policy that is isolating Iran from the world.     

W. B. Yeats,the Abbey Theatre,and the Cinema, 1909–1939

ABSTRACT

Given the significance of new technologies to the literary and visual cultures of the early-twentieth century, it is surprising how little has been written about W. B. Yeats and cinema. Viewed by some scholars as emphatically resistant to what he termed “the leprosy of the modern,” Yeats has long been a difficult writer to situate in relation the progressive impulses of modernity. Building on Kevin Rockett’s identification of the parallels between the work of Abbey Theatre and a nascent Irish cinema culture, this article argues that Yeats played a prominent role in early attempts to develop an indigenous film industry, and to cultivate representations of Ireland on screen abroad. During the period I consider, the Abbey Theatre and the film industry were similarly affected by state censorship programmes and various forms of cultural nationalism. Exploring the Abbey Theatre Minute Books and archival materials discovered in Trinity College Dublin, I suggest that Yeats’s Abbey was a shaping force in Irish cinema history, despite the fact that most attempts to create a national cinema met with limited success.