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Journal articles on the topic 'Forugh Farrokhzad'

Author: Grafiati

Published: 4 June 2021

Last updated: 21 February 2023

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1

Babar Hussain and Ghulam Shabbir. "The Rebellious Attitudes Of Forugh Farrokhzad's Poetry." Dareecha-e-Tahqeeq 1, no. 2 (March 21, 2022): 30–46. http://dx.doi.org/10.58760/dareechaetahqeeq.v1i2.11.

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Forugh Farrokhzad was one of Iran’s pre-eminent mid-20th-century writers, both reviled and revered for her poems, which often dealt with female desire. Throughout her life she struggled with how her gender affected the reception of her work in a culture where women were often confined to traditional roles, but where there are few higher callings than the life of a poet. Farrokhzad's strong feminine voice became the focus of much negative attention and open disapproval, both during her lifetime and in posthumous reception of her work. Emphasizing on human issues, she also calls for a recognition of women's abilities that goes beyond the traditional binary oppositions. Farrokhzad is Iran's most revered female poet. She was a poet of great audacity and extraordinary talent. Her poetry was the poetry of protest-- protest through revelation-- the revelation of the innermost world of women (considered taboo until then), their intimate secrets and desires, their sorrows, longings, aspirations and at times even their articulation through silence. Her poems are still relevant in their advocacy for women’s liberation and independence. In this paper, we will disscuss the rebellious attitudes of Forugh Farrokhzad’s poety.

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2

Yahyapour, Marzieh, Janolah Karimi-Motahhar, Fahrahnaz Farmani, and Tatiana V. Maltseva. "“My poetry… is full of movement and heat, characteristic of life”: The theme of love in the lyrics Forugh Farrokhzad." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2022): 128–35. http://dx.doi.org/10.20339/phs.6-22.128.

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The article deals with forms of representation of love theme in lyrics by F. Farrokhzad. It considers the fact that interpretation of love in Farrokhzad’s lyrics differs from traditional perception of love in oriental poetry. Hence the authors prove that F. Farrokhzad has broken the traditional circle of associations in oriental love lyrics and has rethought it by adding new “bodily” signs of love. Love in Farrokhzad’s lyrics is shown through the prism of everyday, natural and existential patterns. Love as an event serves as a core for the poetess’ lyrics and displaces the generic features of the lyrics itself. Love lyrics by F. Farrokhzad demonstrates the features of the narrative text combining lyrical and epic pictures of the world in poem’s structure, so narrativeness is one of the key parameters of F. Farrokhzad’s poetics. The authors conclude that poetess tends to concentration of everyday details and to eventful measure of the reality.

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3

Motlagh, Amy. "Forugh Farrokhzad: Woman Poet and Icon." Iranian Studies 45, no. 5 (September 2012): 723–26. http://dx.doi.org/10.1080/00210862.2012.702561.

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4

Sandler, R., Jascha Kessler, Amin Banini, and Forugh Farrokhzad. "Bride of Acacias. Selected Poems of Forugh Farrokhzad." Journal of the American Oriental Society 105, no. 4 (October 1985): 795. http://dx.doi.org/10.2307/602786.

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5

Beard, Michael, and Michael C. Hillmann. "A Lonely Woman: Forugh Farrokhzad and Her Poetry." World Literature Today 63, no. 1 (1989): 158. http://dx.doi.org/10.2307/40145274.

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6

SUZUKI, Shuri. "The Poetry and the Aspects of Images of Forugh Farrokhzad." Bulletin of the Society for Near Eastern Studies in Japan 40, no. 1 (1997): 155–71. http://dx.doi.org/10.5356/jorient.40.155.

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7

Valling Pedersen, Claus. "Mirrors of Entrapment and Emancipation: Forugh Farrokhzad and Sylvia Plath." Iranian Studies 50, no. 5 (February 7, 2017): 735–37. http://dx.doi.org/10.1080/00210862.2017.1285443.

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8

Pistoso, Maurizio. "Eterno femminino in veste persiana: due libri italiani su Forugh Farrokhzad." Oriente Moderno 90, no. 2 (August 12, 2010): 473–80. http://dx.doi.org/10.1163/22138617-09002013.

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9

Zubizarreta, John. "The Woman Who Sings No, No, No: Love, Freedom, and Rebellion in the Poetry of Forugh Farrokhzad." World Literature Today 66, no. 3 (1992): 421. http://dx.doi.org/10.2307/40148358.

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10

Mahdavi, Shireen. "Bride of Acacias. By Forugh Farrokhzad. Translated by Jascha Kessler with Amin Banani. Delmar, New York: Caravan Books, 1982." Iranian Studies 19, no. 3-4 (1986): 312–15. http://dx.doi.org/10.1017/s002108620000445x.

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11

Milani, Farzaneh. "Another Birth, Selected Poems of Forugh Farrokhzad. Translated by Hasan Javadi and Susan Sallee. Emeryville: Albany Press, 1981. 138 pp." Iranian Studies 19, no. 1 (1986): 108–11. http://dx.doi.org/10.1017/s0021086200006629.

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12

Grant, Philip. "Forugh Farrokhzad, Poet of Modern Iran. Iconic Woman and Feminine Pioneer of New Persian Poetry by Dominic Parviz Brookshaw and Nasrin Rahimieh (Eds.)." Middle Eastern Literatures 17, no. 2 (May 4, 2014): 208–10. http://dx.doi.org/10.1080/1475262x.2014.928043.

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13

Beard, Michael. "A Lonely Woman: Forugh Farrokhzad and her Poetry, Michael C. Hillmann Washington, D.C.: Three Continents Press and Mage Publishers, 1987, 181 pp." Iranian Studies 22, no. 1 (1989): 72–73. http://dx.doi.org/10.1017/s0021086200015462.

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14

Mohammad pour, Mohsen, and Hossein Valizade. "Sylvia Plath's “Mirror” and Forough Farrokhzad’s “The Bird May Die” Comparative Analysis from a Mystical Perspective." Advances in Language and Literary Studies 8, no. 1 (February 1, 2017): 162. http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.162.

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Sylvia Plath’s mirror and Forough Farrokhzad’s the bird may die are two of the best known poems in the aspect of femininity, fighting for feminine rights and equality. The two poets though living distances apart, respectively in America and Iran, had the same poetic perspectives. These poems can be viewed in the aspect of mysticism and mystical state. The term mysticism defined by William James and Frederick Crossfield Happold, is a state of mind experiencing the finding of the hidden truth and the true self. Many have said that the poem mirror dictates the feministic aspect of Sylvia Plath's life, and how women are visualized or valued by men, or that the poem demonstrates the aging of Plath into a wise and old woman. In this paper however we aim to introduce another perspective in which claims Sylvia Plath's mirror seeks mysticism and finding the true self. The narrator in the poem, first a mirror and then a lake, thinks its reflections out loud. This paper also aims to relate this matter to Forough Farrokhzad's poem the bird may die, a poem believed by critics to state the sufferings from social injustice of her time, though now seen through mystical spectacles. In the poem Farrokhzad declares her sorrow of darkness, and seeks an invitation to the birds’ feast. Furthermore, this paper briefly introduces the troubled life of the two poets demonstrating the similarities of their situation and circumstances, and the effect of these difficulties on their poetry. On this paper first mysticism, it’s definition and theoretical studies by William James and Frederick Crossfield Happold are introduced, followed by a brief biography of Sylvia Plath and Forough Farrokhzad, stating the difficulties and problems they encountered, and then the mystical analysis of the two poems, analyzing each line for elements, metaphors, and symbolic features through a mystical point of view, are indicated accordingly. The bird, mirror, lake, night, water, fish, moon, and sun are all signs and symbols the poets used to demonstrate seeking mysticism, reality, and finding the true self, and also the obstacles which prevents them to do so. These two poems were the latest works of the poets, before they committed suicide.

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15

Kolsoom Fazeli, Seyedeh, and Shahrokh Hekmat. "Análisis psicológico de los poemas de Forough Farrokhzad basados en las teorías de A. Adler y K. Horney." Apuntes Universitarios 11, no. 1 (November 17, 2020): 278–96. http://dx.doi.org/10.17162/au.v11i1.572.

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El objetivo de este estudio fue el análisis psicológico de los poemas de Forough Farrokhzad basados en las teorías de A. Adler y K. Horney. Esta investigación se ha realizado utilizando un método descriptivo y análisis de contenido en el que trabaja el estudio de investigadores Forough Farrokhzad. Los resultados muestran que Forough Farrokhzad siempre se ha enfrentado con la censura y el pesimismo de la gente en nuestra sociedad de que nuestra cultura tradicional no pudo soportar su libertad que refleja sus emociones, pensamientos y afectos en sus poemas. Estos reflejan tanto las dificultades por las que ha pasado como también se hacen eco de sus problemas psicológicos, como la inferioridad, la sumisión, la agresión y el trastorno disociativo. De hecho, su autorrevelación, supremacía y soledad elegida por ella misma fueron un intento intencional de cubrir y sanar sus debilidades. Luego de analizar sobre Forough, se identificó que su actitud negativa hacia el mundo y su pesimismo ha creado paranoia en algunas de sus poesías. Ella era pesimista en algunos de sus poemas y veía a todos los hombres ya veces a todas las personas como su enemigo.

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16

Березина, А., and A. Berezina. "The Socio-Political Aspect in Iranian Women’s Poetry (on the Example of Forough Farrokhzad Lyrics)." Scientific Research and Development. Modern Communication Studies 7, no. 5 (September 25, 2018): 22–27. http://dx.doi.org/10.12737/article_5b9f9cec4b3aa7.27440906.

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The most important aspect in the study of a literary text as a form of sociocultural communication is the identification of its social orientation, the ability to generate ideas and influence their active functioning in the social space. The article deals with the socio-political aspect of the Forough Farrokhzad lyrics. She was the brightest representative of the new style in Persian poetry known as «she’r-e now» («new poetry»). The tools of feminist literary criticism were used as methodological basis of the work. During the study, all the poetic material of Forough Farrokhzad was analyzed, and some of the presented poetic passages were translated to Russian for the first time by the author of this article.

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17

Sanami, Mahsa, and Siamak Panahi. "Interior Design Based on Forough Farrokhzad Poetry." Journal of History Culture and Art Research 7, no. 1 (March 31, 2018): 179. http://dx.doi.org/10.7596/taksad.v7i1.1347.

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18

Ostby, Marie. "Dominic Parviz Brookshaw and Nasrin Rahimieh (eds): Forugh Farrokhzad, Poet of Modern Iran: Iconic Woman and Feminine Pioneer of New Persian Poetry. (Iran and the Persianate World.) xiv, 236 pp. London and New York: I. B. Tauris, 2011. £16.99. ISBN 978 1 84885 156 6." Bulletin of the School of Oriental and African Studies 74, no. 3 (October 2011): 488–90. http://dx.doi.org/10.1017/s0041977x11000486.

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19

Vaheddoost, Mahvash, and Fereshteh Sheykholeslami. "Manifestations of Feminine Thoughts in Forugh Farrokhzad’s Poetry." Journal of Literary Studies 6, no. 17 (April 1, 2013): 133–53. http://dx.doi.org/10.52547/jls.6.17.7.

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20

Raoufzadeh, Narges, Sharzad Mohammadhosein, and Shiva Zaheri Birgani. "Analysis of Love, Death, Rebirth and Patriarchy in Two Contemporary Poetess Forough Farrokhzad and Sylvia Plath’s Selected Poems." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (November 6, 2019): 56–64. http://dx.doi.org/10.33258/birci.v2i4.607.

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ForoughFarrokhzad and Sylvia Plath’s poems are closely linked to their personal life and their marriage. Their poems are confessional in style. Farrokhzad criticizes Iranian male dominant society in which women are marginalized and haven’t any voice in the society, so seeking their voice and identity in modern literature, especially in modern Persian poetry. Sylvia Plath attempts to resist patriarchy in her society through her poems too. Two poets highlighting and expressing the lack of interest in life and the sole desire to die in most of their poems. Not only poetic imagery and themes like death, frustration and failure are common points that convey pessimistic views in their poems, but also few of their poems convey optimistic elements of life and hope so this paper is going to explain them too. Farrokhzad and Plath, two contemporary female poets, attempted to gain a voice for women in their country. They are considered as the successful feminist voices in their countries and astonishingly share the same themes and issues in their poetry. The present paper aims to highlight characteristics of confessional poetry and elaborate on concepts of love, death, rebirth and patriarchy in ForoughFarrokhzad and Sylvia Plath’s poems.

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21

Vali-Zadeh, Mahdieh. "The Aesthetic of Desire and the Feminine Path of Individuation." Anthropology of the Middle East 16, no. 2 (December 1, 2021): 110–27. http://dx.doi.org/10.3167/ame.2021.160206.

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Abstract Much has been said about the influential role of Forough Farrokhzad (1934–1967) in developing a feminine language in modern Iranian love poetry. Despite this, scholars have not systematically or theoretically examined what I call ‘the poetics of individuation’ in Forough's lyrics. The present article analyses Forough's poetic and individual paths of development as two inevitably parallel and intertwined routes. The article theorises that by removing a pre-imposed patriarchal sense of sin with regard to feminine love, Forough deconstructed the masculine narrative of good poetry in five highly significant ways via the feminine and self gaze. The article concludes that the poet's commitment to poetry as a platform of expression was a means of her liberation and individuation as an independent feminine poet with voice and agency.

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22

Ghasemi, Parvin, and Farideh Pourgiv. "Captivity, Confrontation, and Self‐Empowerment: identity in Forugh Farrokhzad’s poetry." Women's History Review 19, no. 5 (November 2010): 759–74. http://dx.doi.org/10.1080/09612025.2010.509161.

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23

Berezina, A. V. "The Evolution of a Man’s Image in the Poetry by Forough Farrokhzad." Humanitarian Vector 12, no. 2 (2017): 42–48. http://dx.doi.org/10.21209/1996-7853-2017-12-2-42-48.

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24

Akbari, Fatemeh, and Reza Ashrafzadeh. "A STUDY OF BINARY OPPOSITIONS IN FOROUGH FARROKHZAD'S WORKS." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 25, no. 1 (December 30, 2021): 140–53. http://dx.doi.org/10.34019/1982-0836.2021.v25.31021.

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ABSTRACT: Contradictions are in three parts: vocabulary, word, and meaning. We first began to explain structuralism, then we examined the dichotomy and its variants. With the advent of structuralism in recent decades, new scientific tools have emerged in terms of text analysis and a better understanding of literary texts. One of these scientific instruments is the analysis of literary text from the point of view of Binary oppositions. Unlike other articles Types of confrontation (complementary, double-sided, etc.) are also mentioned. Oppositions such as death, life and birth, aging and youth, joy and sorrow, cold and warm, etc., which have doubled the beauty of poetry Forough. The most important point that can be found in this article is the use of There is a lot of Binary counterpart in this court. This research is analytical and in a library way

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25

Giv, Ahmad Lamei, and Majid Shahbazi. "A Comparative Study of Modernism in the Poems of Forough Farrokhzad and Adunis." Theory and Practice in Language Studies 6, no. 7 (July 1, 2016): 1377. http://dx.doi.org/10.17507/tpls.0607.07.

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Clash of the West with East countries (Iran, Lebanon and Syria) was a factor in changing the structure of Eastern societies, resulting in the emergence of political and social developments like constitutional movements. There are undeniable similarities between Arabic and Persian poetry because of the long historical ties, similar political and social contexts, close cultural backgrounds and the influence of European culture on their literatures. After the literary revolution occurred under the influence of European culture and literature, attention to modernism is a common approach used by Persian and Arabic poets. In both Arabic and Persian literature, Modern poet expresses his surrounding issues according to the needs of the community. Attention to the culture of the West is a common point closing Forough Farrokhzad and Adunis as two contemporary poets. Due to the different cultural and intellectual situations as well as the degree of their familiarity with the West, they have differences and similarities in the methods and the effects of modernization in the West. Using a descriptive-analytical approach, this article will show that Forough and Adunis have used modern manifestations such as secularism, feminism, nihilism, freedom, deconstruction, city and nationalism in their poems due to their relations with the West under the influence of cultural-political developments in their own societies.

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26

Elahi, Babak. "Mirrors of Entrapment and Emancipation : Forough Farrokhzad and Sylvia Plath / Leila Rahimi Bahmany." American Journal of Islamic Social Sciences 33, no. 3 (July 2016): 115–19. http://dx.doi.org/10.12816/0037464.

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27

CHUNG, Heewon. "A Genealogy of Modern Iranian Women Artists: Forugh Farrokhzād, Shahrnush Parsipur, and Shirin Neshat." In/Outside: English Studies in Korea 53 (November 15, 2022): 296–325. http://dx.doi.org/10.46645/inoutsesk.53.13.

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Bassak, H., and F. S. Bokharaei. "A glance on love & infidelity in "Captive" composed by Foroogh Farrokhzad." Journal of Fundamental and Applied Sciences 8, no. 3 (September 1, 2016): 1049. http://dx.doi.org/10.4314/jfas.v8i3s.101.

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Patterson, J. R. "Let Us Believe in the Beginning of the Cold Season: Selected Poems by Forough Farrokhzad." World Literature Today 96, no. 3 (May 2022): 58–59. http://dx.doi.org/10.1353/wlt.2022.0126.

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Saljoughi, Sara. "A New Form for a New People: Forugh Farrokhzad's The House Is Black." Camera Obscura: Feminism, Culture, and Media Studies 32, no. 1 94 (2017): 1–31. http://dx.doi.org/10.1215/02705346-3661982.

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Hasan, Mariwan, and Saman Mohammed. "Love and Emancipation in Forough Farrokhzad's Selected Poems: A Psycho-analytical Approach." ISSUE EIGHT 5, no. 1 (June 30, 2021): 42–49. http://dx.doi.org/10.25079/ukhjss.v5n1y2021.pp42-49.

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The love relationship between couples can be influenced by several factors influencing it to become a strong one in one’s life or vice versa. Finding a real love is always considered to be the key point in the meeting of opposite sexes. In order not to face psychological problems in the future, everyone’s concern is to seek for the right person. This is true to some degree for many human beings. Real love can make one feel happy and pleased but it can sometimes make one upset and hopeless. Also, superficial love can be the same because it can be the cause of pleasure for the lover who only seeks a temporary relationship i.e., superficial love but similarly it can be the source of sadness for the partner whose intention in such a relationship is a real love. This strenuous power manifests itself in the behavior and sometimes in the appearance of the human beings. When one of the lovers stops his/her love relationship with his/her lover by starting a new relationship with another person, due to their beauty, this will be called superficial love. Such relations may culminate in deceiving and telling lies. This research will consider textual and psychological approaches in the analysis of the selected poems of Forough Farrokhzad to demonstrate real love and superficial love that may cause psychological and social impacts.

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Pick, Anat. "Film's Religious Algorithm." Paragraph 42, no. 3 (November 2019): 387–402. http://dx.doi.org/10.3366/para.2019.0313.

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This article explores Simone Weil's concept of ‘affliction’ and the black poetics of Saidiya Hartman and Fred Moten in relation to two nonfiction films: Artur Aristakisyan's Palms (1993) and Forough Farrokhzad's The House Is Black (1962). The films’ contentiousness springs from their provocative depictions of suffering, presented not as a social ill but as a defiant mode of being outside of institutional power. Supplanting the search for a cure with the search for salvation, the films transcend the socially-conscious logic of documentary in favour of a ‘religious algorithm’ of profound but recalcitrant weakness. As alternative ‘city symphonies’, Palms and The House Is Black's municipal visions complement Hartman and Moten's vivid accounts of insurgent black life in American cities.

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33

Esmaeili, Zahra, and Shima Ebrahimi. "© Australian International Academic Centre, Australia The Assessment of Defamiliarization in Forough Farrokhzad’s Poetry." International Journal of Applied Linguistics & English Literature 2, no. 2 (March 5, 2013): 165–71. http://dx.doi.org/10.7575/aiac.ijalel.v.2n.2p.165.

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Саакян, Л., L. Saakyan, О. Северская, and O. Severskaya. "The Socio-Political Aspect in Iranian Women’s Poetry (the case of Forough Farrokhzad’s Lyrics)." Scientific Research and Development. Modern Communication Studies 7, no. 6 (December 3, 2018): 20–25. http://dx.doi.org/10.12737/article_5bf509ca1a5201.42169695.

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The article deals with cases of euphemization in an actual political discourse on the example of expressions, a «tyazhelyy vopros» ‘hard question’ and an «adekvatnyy (simmetrichnyy, zerkal’nyy, proportsional’nyy) otvet» ‘adequate (symmetrical, mirror, proportional) answer.’ The authors talk about the dominance of the parametric model of presenting reality, evaluate the nominations analyzed from the point of view of acquiring new meanings and their role in indirect communication. Corpus study allows them to identify the convergence of meanings and types of discourses. The perception of new euphemisms by naïve native speakers is also analyzed.

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Aliakbari, Mohammad. "A Corpus Analysis of ‘Death’ and ‘Life’ Metaphorical Expressions Based on Forough Farrokhzad’s Persian Poetry Book." International Journal of Language and Linguistics 7, no. 4 (2019): 186. http://dx.doi.org/10.11648/j.ijll.20190704.16.

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36

"Sin: selected poems of Forugh Farrokhzad." Choice Reviews Online 45, no. 08 (April 1, 2008): 45–4208. http://dx.doi.org/10.5860/choice.45-4208.

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37

"Forugh Farrokhzad, Poet of Modern Iran: Iconic Woman and Feminine Pioneer of New Persian Poetry." Iranian Studies 45, no. 6 (November 2012): 861. http://dx.doi.org/10.1080/00210862.2012.741900.

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Rahaman, Habibur. "Poetry as a Sexual-textual Site of Transgression: Some Insights into the Poetry of Emily Dickinson and Forough Farrokhzad." Spectrum, November 17, 2022, 173–94. http://dx.doi.org/10.3329/spectrum.v16i100.61077.

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This paper explores different representations of female sexuality portrayed in the poetry of a nineteenth-century American poet, Emily Dickinson (1830-1886) and a twentieth-century Iranian poet, Forough Farrokhzad (1934-1967). Their poetry has been largely characterized by an assertion of female sexuality and its impact on female creativity. Their works particularly highlight the ways male sexuality subjugates female sexuality and formulates an androcentric world of creativity. As their poetry postulates, women’s suppressions and sufferings in their personalsexual- textual world can be attributed to the phallocentric world that consists of a myriad of socio-ethico-cultural regimens. The patriarchal world is shaped and continues to be consolidated by gender differentiations or binaries which exalt men as superior beings in everything and debase women through masculine hegemony. Thus, this paper traces the counter-masculine representations of female sexuality and creativity in the poetry of Dickinson and Farrokhzad. Spectrum, Volume 16, June 2021: 173-194

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"A Comparative Study in the Poetry of Lorca and Forough Farrokhzad." Advances in Language and Literary Studies 7, no. 6 (December 7, 2016). http://dx.doi.org/10.7575/aiac.alls.v.7n.6p.178.

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40

Aghagolzade, Ferdows, and Masoud Dehghan. "Stylistics and Linguistic Variations in Forough Farrokhzad’s Poems." Journal of Language Teaching and Research 3, no. 5 (September 1, 2012). http://dx.doi.org/10.4304/jltr.3.5.930-939.

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41

Dastjerdi, Hossein Vahid, Yasamin Khosravani, Masoud Shokrollahi, and Nasim Mohiman. "Translation Quality Assessment (TQA): A Semiotic Model for Poetry Translation." Lebende Sprachen 56, no. 2 (January 2011). http://dx.doi.org/10.1515/les.2011.021.

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AbstractToday the focus of translation scholars has shifted from stable aspects of texts to dynamic aspects. Such a focus requires close attention to the semiotic level of the text in translation which in turn leads to considering semiotic as well as textual aspects of a text in translation quality assessment (TQA). The present study was an attempt to apply semiotics to a model of translation assessment proposed by Vahid et al. (Journal of Language and Translation: 7–40, 2008), which is a holistic model for the evaluation of poetry translation. Although such an enterprise deserves appreciation in its own right, the model seems to carry some shortcomings. This study was thus aimed at identifying the shortcomings, removing them, and finally proposing a semiotic model through combining it with the model devised by Sojoodi (Applied Semiotics, Nashr-e-Gheseh, 2006). The resultant hybrid model was eventually applied to "Another Birth", a poem by the famous Iranian poetess, Forough Farrokhzad, translated into English by Salami (Another Birth, 2008), to show the applicability of its pragmatic features in comparison with that of the stated holistic model.

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42

"A Rebirth: Poems by Forrogh Farrokhzaad, translated by David Martin, xiv + 133 pages of translation, 31 pages of selected poems in Persian. Mazda Publishers, Lexington, Ky. 1985. $9.95." Middle East Studies Association Bulletin 20, no. 2 (December 1986): 252–53. http://dx.doi.org/10.1017/s0026318400017466.

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Devictor, Agnès. "« Les yeux ouverts, les yeux fermés. La Maison est noire, Forough Farrokhzad ». Cinéma 07, Editions Léo Scheer, printemps 2004, pp. 58-82. - « Le choc des titans. Un feu, Ebrahim Golestan ». Cinéma 07, Editions Léo Scheer, printemps 2004,." Abstracta Iranica, Volume 28 (May 15, 2007). http://dx.doi.org/10.4000/abstractairanica.7422.

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