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Journal articles on the topic 'Iranian fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Mitev, Vladimir. "The Influence of European Intellectual Ideas Upon Iranian Prose and Non-fiction in the 60s and 70s." Studia Universitatis Babeș-Bolyai Studia Europaea 67, no. 1 (2022): 153–72. http://dx.doi.org/10.24193/subbeuropaea.2022.1.06.

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"Following the coup d’etat of 1953 and the trauma caused by it gradually in the 60s and 70s in Iran a new subjectivity, a new vision for the Iranian subject of modernity emerged. Iranians were called by their intellectuals to overcome the trauma, which was called “occidentosis”, a state in which everything that they try to create and produce is “stilborn”. They were asked to no longer accept predestination and quietism, developing courage instead, becoming militant and finding their own, authentic way of encountering technologies and the West. This paper systematically demonstrates that the ne

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2

Shahnahpur, Saeedeh. "Iranian film and Persian fiction." British Journal of Middle Eastern Studies 44, no. 4 (2017): 616–17. http://dx.doi.org/10.1080/13530194.2017.1348457.

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PORTRAYAL, OF WOMEN IN PERSIAN FICTION. "PORTRAYAL OF WOMEN IN PERSIAN FICTION." International Journal of Education &Applied Sciences Research 1, no. 3 (2014): 72–76. https://doi.org/10.5281/zenodo.10683415.

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<strong>ABSTRACT</strong> <em> </em> <em>                   </em>One of the major characteristics of modern Persian literature has been inclusion of subjects and themes that are related to common masses. Writers and poets started to give space to issues that had to do with the general condition of people in the society. Though it was not a typically Iranian phenomenon, the idea was borrowed from the writers of the Western World and was possible because of exchange of literature, translation and a vit

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Nikitenko, E. L. "Modern Iranian fiction in the Soviet Union: Translation and representation." Shagi / Steps 10, no. 1 (2024): 107–24. http://dx.doi.org/10.22394/2412-9410-2024-10-1-107-124.

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During the Soviet era, the works of 55 contemporary Iranian authors were translated into Russian and published in the Soviet Union. Prefaces and afterwords, usually written by Iran scholars, provided the Soviet reading audience with a paradigm for perceiving the translated novels and short stories. This paper aims to offer an analytical survey of the history of the translation of modern Iranian fiction into Russian and to trace the major trends in the representation of the translated works. The thematic range of translated works correlated with the domestic political agenda and the changes in

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5

Vaziri, Persheng. "Iranian Documentary Cinema between Reality and Fiction." Middle East Report, no. 225 (2002): 53. http://dx.doi.org/10.2307/1559353.

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Abecassis, Michaël. "Iranian War Cinema: Between Reality and Fiction." Iranian Studies 44, no. 3 (2011): 387–94. http://dx.doi.org/10.1080/00210862.2011.556390.

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7

Ostby, Marie. "Tremors: New Fiction by Iranian American Writers." Iranian Studies 48, no. 2 (2015): 308–11. http://dx.doi.org/10.1080/00210862.2014.1001183.

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8

Duvigneau, Julie. "Iranian Freaks: Embodying the Violence of the Times in Contemporary Iranian Fiction." Oriente Moderno 104, no. 1-2 (2025): 14–38. https://doi.org/10.1163/22138617-12340339.

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Abstract Malformed, mutilated, dismembered, blinded, paralyzed, characters in contemporary Iranian literature are subjected to brutal abuse. This article aims to show that these torments, through the work of seven authors: Ṣādeq Hedāyat, Hušang Golširi, Bahrām Ṣādeqi, Reżā Barāheni, Qāżi Rabiḥāvi, Esmāʿil Faṣiḥ and Nasim Marʿ⁠aši, all over whom the shadow of Hedāyat looms, are the incarnation of historical violence in the flesh of contemporary Iranian literature. I argue that the metamorphoses of violence that run through Iranian literature in the 20th and early 21st centuries, beyond the diff

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9

Rasouli, Fereydoon, and Omid Ahmadi. "The Motivational Impact of Enhancing Reading Comprehension through Pictorial Fictions on the Involvement of Iranian EFL Students in Writing Activities." Cihan University-Erbil Journal of Humanities and Social Sciences 5, no. 1 (2021): 82–87. http://dx.doi.org/10.24086/cuejhss.v5n1y2021.pp82-87.

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Determining the motivational impact of enhancing reading comprehension, through pictorial fictions, on the EFL students to involve them more in writing activities, is the prime purpose of the present study. The study took place in the Iranian Language Institute (ILI), the branch of Mahabad. Key English Test (KET) administrated to a hundred students to select the subjects of the present study. Finally, 60 male students were selected and randomly divided into the experimental and control groups. The experimental group received pictorial fictions as treatment, utilizing input reading comprehensio

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Dr. Shazia Akbar. "Desire of Death in Sadiq Hidayat,s selected short stories." DARYAFT 15, no. 02 (2023): 57–70. http://dx.doi.org/10.52015/daryaft.v15i02.345.

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Sadiq Hidayat is renown Persian writer. He is one of the few Iranian Persian writers whose many fictions have been translated into Urdu. He introduced modern techniques in Persian fiction. In some of his stories Sadiq Hidayat has presented the subject of death from different angles. somewhere in the human being there is a desire to escape from his problems in the death. This desire of death can be found in some of his short stories because he also committed suicide by suffocating poison gas on April 9, 1951 in Paris. This research article is based on an effort to find different aspects of sadn

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Shabrang, Hoda. "Every Man is an Island: Decanonisation and Fragmentation in Reza Ghassemiâ€™s <i>The Nocturnal Harmony of Wood Orchestra</i>." Asiatic: IIUM Journal of English Language and Literature 14, no. 1 (2020): 23–39. http://dx.doi.org/10.31436/asiatic.v14i1.1834.

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Reza Ghassemiâ€™s first Novel, The Nocturnal Harmony of Wood Orchestra, is a unique example of Iranian postmodern novel. First published in the US in 1996 (Nashr-e Ketab-e America) and then by the Iranian publisher Cheshmeh, it was lauded as the Best Novel of the Year 2002 by Hooshang Golshiri Literary Award and as the 2002 Novel of the Year by the Press Criticsâ€™ Awards. The protagonist/narrator of the story has fled the post-revolutionary Iran to Paris and ended up dwelling with a variety of typical exilic Iranians â€“ a macrocosm of Iranian society. On the one hand, he has lost his roots;

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12

Selden, Daniel L. "TARGUM: TRANSLATION IN HELLENISTIC AND ROMAN IMPERIAL PROSE FICTION." Ramus 43, no. 2 (2014): 173–217. http://dx.doi.org/10.1017/rmu.2014.11.

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Hellenistic and Roman Imperial prose fiction sprang from the ashes of the Haxāmanišiyan Empire (c.550-330 BCE). The multicultural autonomy that Iranian regents afforded their subject peoples laid the groundwork for social policy under Alexandros, the Diadokhoi, and Roman governance of the Near East. As literary fiction developed over the course of the ‘long’ Hellenistic period, the diversity of languages and cultures not only shaped the kinds of narratives produced: polyglossia became a subject of representation in and of itself, as did the possibilities of translation between one language and

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Jabborova, Matluba. "ON THE GENESIS OF THE IMAGE OF JAMSHID." Golden scripts 1, no. 2 (2019): 71–85. http://dx.doi.org/10.52773/tsuull.gold.2019.2/orwh7162.

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There are many Turkic superheroes depicted in the ancient folklore, literary fiction, and historic prose. For centuries, people in many regions of ancient Uzbekistan and Iran glorified the extraordinary traits of brave Jamshid who is famous for his immortality, symbol of happiness, and creator of all handcrafts and professions.This article introduces the historical ethno genesis of Jamshid, how his characters developed with time into a symbol of bravery, immortality, glory, and prosperity. The very first image of Jamshid can be found in the Iranian manuscripts of ancient “Avesto” and Indian my

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Bijani, Saeedeh, Masood Khoshsaligheh, and Mohammad Reza Hashemi. "Categorization of the fiction translation expectancy norms to Iranian undergraduate readership." Asia Pacific Translation and Intercultural Studies 1, no. 3 (2014): 210–21. http://dx.doi.org/10.1080/23307706.2014.956982.

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Rakowiecka-Asgari, Karolina. "Heterotopiczna koegzystencja żywych i umarłych we współczesnej prozie irańskiej." Studia Litteraria 16, no. 3 (2021): 153–67. http://dx.doi.org/10.4467/20843933st.21.012.14002.

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Artykuł podejmuje kwestię śladów tradycyjnych wzorców kulturowych współistnienia żywych i umarłych we współczesnej prozie irańskiej. Analizując struktury heterotopii w dwóch powieściach napisanych przez kobiety, tj. Tubā va ma’nā-ye šab (Tuba i znaczenie nocy) autorstwa Šahrnuš Pārsipur i Kouli-ye kenār-e ātaš (Cyganka przy ogniu) pióra Moniru Ravānipur, wykazano wagę literackiego potencjału reprezentacji przestrzeni oraz metafor w tożsamościowym dyskursie kobiet i przepracowywaniu traumatycznych doświadczeń oraz innych problemów społeczeństwa w okresie przejścia od tradycyjnej struktury do no

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Shahnahpour, Saeedeh. "Women and Crafting the Self in Moniro Ravanipour’s Novels." International Journal of Persian Literature 4, no. 1 (2019): 8–36. http://dx.doi.org/10.5325/intejperslite.4.1.0008.

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Abstract In the late 1980s, when feminist discourse became prevalent in Persian literature, a new generation of female writers appeared in Iran who used fiction, both short story and novel, as a literary vehicle to express their feelings and desires, and to criticize the gender gap and women’s social restrictions. Their writings thus offered a new outlook on how literature can shape the discourse of self-expression. As one of the most acclaimed female writers of postrevolutionary Iran, Moniro Ravanipour employs fiction, with autobiographical overtones, to express herself as a woman, a writer,

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17

Ghane, Fateme, and Amir Ali Nojoumian. "Modern Iranian Female Identity in Farhad Hassanzadeh's Hasti." International Research in Children's Literature 14, no. 2 (2021): 213–25. http://dx.doi.org/10.3366/ircl.2021.0398.

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Iranian women's first attempt at changing their social conditions dates back to the Qajar era, continuing up to the present time. In recent years, the traditional discourse on women in Iran has changed significantly, resulting in ongoing revisions concerning modern Iranian female gender identity. Yet, this new conception of identity has not been reflected in official Iranian media. Similarly, children's books usually depict women and girls mostly within pre-established ideological frameworks. However, a seminal publication project acted as a game-changer in 2010. ‘Today's Young Adult Fiction’,

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18

Ghanoonparvar, Mohammad R. "Hushang Golshiri and post‐Pahlavi concerns of the Iranian writer of fiction." Iranian Studies 18, no. 2-4 (1985): 349–73. http://dx.doi.org/10.1080/00210868508701662.

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19

Goman, Yu, and V. Liustei. "MILITARY AND POLITICAL CIRCUMSTANCES OF THE VICTORY OF THE MUSLIMS IN THE BATTLE OF AL-KAZIMA IN 633." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 149 (2021): 11–17. http://dx.doi.org/10.17721/1728-2640.2021.149.2.

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The Battle of Kazima in 633 marked the beginning of a series of successful victories by General Khalid ibn al-Walid on the west bank of the Euphrates, which opened up opportunities for the Arab Caliphate to defeat the Iranian Sassanid Empire. The battle was a minor and secondary skirmish between Iranian border guards and nomadic robbers. The number of soldiers involved in the battle on both sides was not significant. In fact, the battle of Kazima was a clash between Arab Muslims and non-Muslim Arabs with the support of a small contingent of professional Iranian troops. The Iranian command foll

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20

Feizabadi, Azin. "Chronicles from Majnun until Layla." ARTMargins 3, no. 1 (2014): 81–86. http://dx.doi.org/10.1162/artm_a_00072.

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Chronicles from Majnun until Layla is a film project structured in three stages: 1.) The Museum of Modern Iranian History (2011–2013), 2.) Layla and Majnun (in preparation), and 3.) The Film (in preparation). Each stage bears its own approach, format, and mode of presentation. The first two stages are conceived as preparation for the third and final stage: the merging moment, which will be in the form of a feature-length, hybrid fiction/documentary film. The film depicts a couple, lovers, visiting a virtual museum of modern Iranian history. The lovers appear both as themselves and as “Layla an

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Mohammadpur, Ahmad, Norbert Otto Ross, and Nariman Mohammadi. "The fiction of nationalism: Newroz TV representations of Kurdish nationalism." European Journal of Cultural Studies 20, no. 2 (2016): 167–79. http://dx.doi.org/10.1177/1367549416638524.

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Benedict Anderson’s seminal work on imagined communities has opened a multitude of explorations in how mass media construct and represent social identities in relation to nationalism. Depicting and at the same time creating social groups, media representations are permeated by questions of inclusion and exclusion. As a result, it is important to study media representations of social identities as strategic ideologies that debilitate or stabilize, support or condemn a specific identity discourse. In this study, we explore how Kurdish identity has been represented in Newroz TV, one of the most p

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Reza, Rafiei Rad. "Feasibility study of Persian irony functions in Iranian conceptual art." Sprin Journal of Arts, Humanities and Social Sciences 1, no. 2 (2021): 150–56. https://doi.org/10.5281/zenodo.5823563.

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<em>Persian language in Iranian art has had many Functions a long time ago. This function has been revealed sometimes in imagery form for literary fiction in Iranian painting, and sometimes in ultra-modern in form of representation of words, letters and sentences in the works of Iranian contemporary artists, including Ghahve-Kaneh and Sagha- Kane style painting. After the 70s, line drawing also paid attention to values of words and letters too, among them some conceptual artists, with the pursuit practical background of language make different representations from words and letters in their wo

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Mohammadpour, Fahime, Mohammadtaghi Shahnazari-Dorcheh, and Mahmoud Afrouz. "Looking through the lens of Bourdieu: A corpus-based Study of English Romance Fiction Translation." Hikma 19, no. 2 (2020): 327–55. http://dx.doi.org/10.21071/hikma.v19i2.12871.

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Habitus is one of the key concepts of the Bourdieusian sociology which Translation Studies has benefited. Based on the Bourdieusian sociological model, this study investigated the translatorial habitus of the Iranian translators of English romance novels as far as the translation strategies of culture-specific items (CSIs) are concerned before and after the Cultural Revolution of 1980 in Iran. The research data include 4282 sentences containing CSIs extracted from Rebecca, Sense and Sensibility, and The Great Gatsby, and their two Persian translations. The extracted data were analyzed, adoptin

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Farahmandfar, Masoud, and Musa Abdollahi. "Interrelation of History and Nationhood in Contemporary Persian Historical Fiction." Philological Sciences. Scientific Essays of Higher Education, no. 6s (November 2022): 123–27. http://dx.doi.org/10.20339/phs.6s-22.123.

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The present article discusses how terrains of belonging are constructed and articulated textually through historical novels which bring the past into the present, and link the national identity of people to memories of their ancestors, to their nation’s glorious past. The rise of the historical novel in Iran was concomitant with Iran’s Constitutional Revolution of 1906, which was hailed by many a critic and historian as a major time of sociopolitical awakening which contributed to protecting the cultural legacies of the past and keeping aglow the propitious light of belonging and nationhood. H

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Simidchieva, Marta, та ʿAbbās ʿEbādi. "Defamiliarizing the Familiar? Two Reflections on the Longevity of Ṣādeq Hedāyat’s Fiction". Oriente Moderno 104, № 1-2 (2025): 178–97. https://doi.org/10.1163/22138617-12340340.

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Abstract Although Ṣādeq Hedāyat’s works were first published in Iran more than eighty years ago, he remains one of the much-discussed and analyzed modern Iranian authors, both in Iran and abroad. The premise of this article is that the continuing fascination with Hedāyat and the intense focus on his most enigmatic works is partially due to his ability to cast well-established Persian cultural paradigms in novel, unfamiliar moulds. That preconception is tested in two ways: First, by examining trends in the literary discourse about Hedāyat (in Persian, in Iran; and English-language academic publ

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Zarei, Rouhollah. "The Persian Face of Edgar Allan Poe." Edgar Allan Poe Review 23, no. 1 (2022): 23–36. http://dx.doi.org/10.5325/edgallpoerev.23.1.0023.

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Abstract This article examines the reception of Edgar Allan Poe in modern Persian literature with regard to his fiction and theory of writing. There have been scattered pieces written on Poe’s influence on Iranian poets and writers in Persian or English, but this article aims to offer a fairly comprehensive picture of Poe in Iran in general with a focus on his influence or affinities with two leading Iranian authors, Sadeq Hedayat and Sadeq Chubak, as far as female characters are concerned. The article at first surveys how Poe was introduced into Persian literature and then it studies personal

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Farhadi, Ramin. "Wartime Propaganda and Gender in Ahmad Mahmoud’s The Scorched Earth: A Dissident Reading." Text Matters, no. 10 (November 24, 2020): 460–76. http://dx.doi.org/10.18778/2083-2931.10.26.

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The Iran-Iraq War (1980–88) has been the subject of many aesthetic productions in contemporary Persian literature. The Iranian mass media during the war with Iraq described the armed conflict as holy and masculine, and propagated the replacement of the word “war” with “sacred defense” to urge authors to write within this established framework and reflect the ideals of the State. Opposed to such an ideological view of the war, the prominent Iranian novelist Ahmad Mahmoud began to express dissent in his works of fiction such as The Scorched Earth (1982). This study, therefore, analyzes Mahmoud’s

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Nunzia, Cimmino. "«A glimpse of that other world». Il mito della letteratura occidentale in Azar Nafisi e Dai Sijie." Aura, no. 1 (March 15, 2021): 37–47. https://doi.org/10.5281/zenodo.10726244.

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In the panorama of contemporary fiction, the so-called “writers in transit,” those who live between two or more countries and express themselves in languages different than their mother tongue, and who by this reason are particularly suited to be studied from a comparative perspective, are becoming increasingly important. The article focuses around two novels. The first is <em>Reading Lolita in Tehran</em> by Azar Nafisi, an Iranian-American writer who, following the events of the 1979 Iranian Revolution, decides to abandon her university teaching and to hold a seminar pr

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Zaripova, Dilfuza Bakhtiyorovna. "The role of didactic works in world literature." International Journal on Integrated Education 3, no. 2 (2020): 10–14. http://dx.doi.org/10.31149/ijie.v3i2.316.

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In the 10th - 11th centuries, Persian - Tajik fiction began to develop, with some governors, especially Samanis, paying much attention to the development of Persian poetry. Literary centers were established in Bukhara, Samarkand, Marv, Balkh and Nishapur. The great speakers like Rudaki, Daqiqiy, Firdavsi, Asadi Tusi, Nosir Khisraf, Omar Khayyam, Nizami Ganjavi from the Tajik, Iranian and Azerbaijani nations were educated. Each of these writers has their own way of life and creativity, artistic style and literary services. Accordingly, these writers, who have lived and worked in such places as

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Abdirashidov, Z., and R. Sotiboldiyeva. "Historical and Modern Approach to the Issue of Women and Society: Analyze Two Novels." Bulletin of Science and Practice 5, no. 10 (2019): 311–16. https://doi.org/10.33619/2414-2948/47/37.

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This article is devoted to the urgent problem of women and society at all times. As in many areas, this issue is also one of the main objects of literature. The purpose of the article is the place of women of the East in society and the study of the reflection of this issue in fiction and a comparative interpretation of their common and distinctive features. The article also covers and analyzes the views of outstanding educators — the scholar Ismail Gaspirinsky and the famous Iranian writer Shahrnush Porsipur about a woman and her place in society and family, her duties and rights.

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Rezaeiyazdi, Hamid. "Tremors." American Journal of Islam and Society 31, no. 2 (2014): 136–38. http://dx.doi.org/10.35632/ajis.v31i2.1049.

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This collection of short stories and novel excerpts is the first of its kind to appearin English. Its twenty-seven stories are intended for the general publicinterested in exploring new horizons in fiction, although the fact that the bookis published by a university press might limit public access.Tremors is a collection of fiction revolving around the ideas of migration,exile, hybrid identities, and coming to terms with these. The book is dividedinto three sections, each of which, according to the editors, revolves around acentral theme. The stories in the first section, “American Homeland,”

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Haghanikar, Taraneh M. "I, Jill Alexander, American Girl Revolutionary." World Journal of Educational Research 9, no. 3 (2022): p34. http://dx.doi.org/10.22158/wjer.v9n3p34.

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Analyzing the insider-outsider continuum in Remembrance of the Sun (1986, 2011) by Kate Gilmore, the purpose of this paper is to reveal different levels of being a female outsider protagonist moving along the insider-outsider continuum, maintaining an outsider voice, and at the same time developing an insider perspective. Remembrance of the Sun is a historical fiction authored by an outsider and set in 1978, one year before the Islamic revolution in Iran. After moving from New England to Tehran, Jill, a seventeen-year-old American girl, struggles to adjust to an unfamiliar lifestyle. However,

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Mahmood, Arkan Abdullah, and Najmuldeen Roostam Younus. "The structure of Asfar-e-Kateban of Abu-torab Khosravi." Journal of University of Raparin 7, no. 2 (2020): 93–117. http://dx.doi.org/10.26750/vol(7).no(2).paper5.

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Abu-torab Khosravi has obtained a special place among the third generation of Iranian fiction writers through writing a collection of stories under the title of Havieh and Divan-e-Soomanat and two novels titled Asfar-e-Kateban and Rood-e-Ravi. Despite his precision and attempt at processing a coherence among language, narration and themes, his stories have been, to some extent, neglected due to the narrative complexities and technical nicety in his works. His novel, Asfar-e-Kateban, can be an appropriate selection for explaining the artistry and value of Abu-torab Khosravi. Thus, this novel wi

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Šabotić, Sead. "Documentary fiction: A comparative analysis of directorial approaches in Želimir Žilnik's 'Brooklyn-Gusinje' and Abbas Kiarostami's 'Close-Up'." Zbornik Akademije umetnosti, no. 12 (2024): 193–207. http://dx.doi.org/10.5937/zbaku2412193s.

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This paper conducts a comparative analysis of two films by internationally renowned directors made within just a few years of each other - Brooklyn-Gusinje by Serbian filmmaker Želimir Žilnik and Close-Up by Iranian director Abbas Kiarostami. Despite originating from different continents and cultures, these two films share a series of nearly identical directorial approaches, presenting stories where authentic documentary footage resembles fictional form, while the fictional elements in both films appear as documentary records. By analyzing both films, this paper will examine the fundamental pr

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Baldi, Elio Attilio. "(Meta)Physical Homelessness In Behrouz Boochani’s No Friend But The Mountains." Forum for Modern Language Studies 57, no. 4 (2021): 399–416. http://dx.doi.org/10.1093/fmls/cqab049.

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Abstract Behrouz Boochani is a Kurdish-Iranian writer who was detained on Manus Island, in northern Papua New Guinea, for more than four years. During these years of detention, he wrote a book in WhatsApp messages on his phone: No Friend but the Mountains (2018). Although understandably sold as non-fiction and therefore marketed mostly as a testimony, Boochani’s interweaving of different genres renders the book resistant to classification, just as its author is difficult to define and ‘categorize’ in our world of nation states and borders. This article explores an important nucleus of Boochani

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Riaz, Humaira. "Innocent Texts Conspiring with Imperial Desire: A Critique of Nafisi’s Reading Lolita in Tehran." Linguistics and Literature Review 7, no. 1 (2021): 43–55. http://dx.doi.org/10.32350/llr.71.04.

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'Native informant' acclaims the transmission of stereotypical representation of Muslim society as a general rule and women specifically. The present work provides a comprehensive prospect of women status defined by religion Islam to build consciousness globally. Through qualitative inquiry, the present study critically analyzes Nafisi's Reading Lolita in Tehran (2003). Iranian writer Azar Nafisi assumes the role of 'native informant' who amplifies the narrative to authenticate her account. The study employs 'amplification' as apparatus to scrutinize fundamentalist perspective of religion Islam

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Batool, Syeda Farwa. "Intersections of Memory, Politics, and Identity in Reading Lolita in Tehran." Journal of English Language, Literature and Education 3, no. 01 (2021): 29–44. http://dx.doi.org/10.54692/jelle.2021.030159.

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This research analyses the role of cultural memory in (re)shaping identities in the memoir of Azar Nafisi's Reading Lolita in Tehran: A Memoir in Books (2003) to expose the hegemonic construct that silences and devalues women in society. The theoretical framework used for this research is drawn from New Historicism and Assman's Cultural Memory Theory. It explores how politics and religion eliminates one's private life. Women become instrumentalized as passive objects, living an act of meaningless existence under the gaze of the Blind Censor. Her work highlights the need to dismantle the politi

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Hojabri, Afsaneh. "Iranian Women’s Food Writing in Diaspora." Anthropology of the Middle East 15, no. 2 (2020): 179–93. http://dx.doi.org/10.3167/ame.2020.150213.

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Abstract: In light of the recent surge of Iranians’ autobiographies and fictions in the West, this article will examine ‘food writing’ as an emerging genre of diasporic narrative dominated by Iranian women. It will explore the multiple avenues through which these cookbooks/food memoirs seek not only to make accessible the highly sophisticated Persian culinary tradition but also to ameliorate the image of Iran. Such attempts are partly in response to the challenges of exilic life, namely, the stereotypical portrayal of Iranians in the Western media. Three books with strong memoir components wil

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Akhavan, Niki. "M. R. Ghanoonparvar , Iranian Film and Persian Fiction (Costa Mesa, Calif.: Mazda Publishers, 2016). Pp. 242. $45.00 paper. ISBN: 9781568593418." International Journal of Middle East Studies 49, no. 3 (2017): 567–70. http://dx.doi.org/10.1017/s0020743817000538.

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Chernyshova, Svitlana. "PSYCHO-EMOTIONAL DYNAMICS OF RETROSPECTIVE NARRATION IN DINA NAYERI'S NOVEL REFUGE." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 92–96. http://dx.doi.org/10.17721/1728-2659.2022.31.18.

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Migration has come to play an increasingly significant role in the 20th century and the beginning of the 21st century in politics, economics, geography, and culture. One of the main concepts of the migration literature is the concept of immigrant's identity. For an immigrant an ability to formulate a new identity goes through the process of embracing a sense of belonging to two or more cultures. It is important to consider that immigration and its depiction in the 21st fiction has gained new meaning. The convergence of migration and globalization has reshaped the understanding of immigrant's s

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Shakeri, Abdolrasoul, and Masoud Farahmandfar. "Literature and Periodicals in Contemporary Iran." International Journal of Persian Literature 9 (October 1, 2024): 145–60. http://dx.doi.org/10.5325/intejperslite.9.0145.

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Abstract This article examines the rise and spread of modern Persian literature from the early twentieth century (1906 onward), tracing its trajectory through the prism of the contemporary press. Beginning with an exploration of premodern Persian literary traditions, it elucidates the instrumental role of reformists and intellectuals in establishing influential periodicals abroad, such as Akhtar in Istanbul, Habl al-Matin in Calcutta, Hekmat in Cairo, and Ghānoon in London, to foster communication with readers in Iran. During the lead-up to the Constitutional Revolution (between 1905 and 1911)

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Tourage, Mahdi. "Written for the West." American Journal of Islam and Society 25, no. 2 (2008): 100–107. http://dx.doi.org/10.35632/ajis.v25i2.1472.

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The burgeoning cannon of memoirs and fiction written by or about Iranianwomen has saturated the literary scene of post-9/11America. We have seenliterary works translated or mostly written by exiles that entice the curiouswestern reader with Orientalist tales ofMuslim women as veiled, unveiling,powerless victims, or brave escapees of an inherently oppressive patriarchy.The titles and contents of many of these works show that appealing to a specificpolitical climate and power structure is a key factor behind their production,dissemination, and consumption. Therefore, despite this literaryboom, i

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Фарахмандфар, М., та М. Абдоллахи. "Персидский исторический роман и национальная идентичность". Диалог со временем, № 80(80) (5 грудня 2022): 301–9. http://dx.doi.org/10.21267/aquilo.2022.80.80.017.

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В статье обсуждается, как идентичности конструируются и текстуально артикулируются через исторические романы, которые переносят прошлое в настоящее и связывают национальную идентичность людей с воспоминаниями о предках, со славным прошлым своего народа. Возникновение исторического романа в Иране совпало с иранской Конституционной революцией 1906 года, которую многие критики и историки приветствовали как важное время социально-политического пробуждения, которое способствовало защите культурного наследия прошлого и подъему национального самосознания. Историография предоставила иранским писателям

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Dodykhudoeva, Leyli. "The Shughnani translation of Lev Kassil’s story “Cold Ice Floe”." Rodnoy Yazyk. Linguistic journal, no. 2 (December 2024): 156–246. https://doi.org/10.37892/2313-5816-2024-2-156-246.

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This article presents the translation of Soviet author Lev Kassil’s story “Cold Ice Floe” (Льдина холодина) into the Shughnani language. The text of the translation was written using the alphabet designed for Shughnani in the early 20th century during the Soviet campaign for developing writing systems, eliminating illiteracy, and introducing education in native languages, a broad initiative that saw the publication of primers, textbooks and translated literature in many of the minority languages of the USSR. Included in this literacy cam‑ paign were Shughnani translations of the Russian transl

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Mehrstam, Christian. "Recomposing Lovecraft: Genre Emulation as Autopoiesis in the First Edition of Call of Cthulhu." International Journal of Role-Playing, no. 12 (October 5, 2022): 106–28. http://dx.doi.org/10.33063/ijrp.vi12.293.

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The article examines how genre is emulated in the first edition of Call of Cthulhu (1981 ), analyzing the game's potential to answer social needs during the Reagan era. Genre is understood in the response aesthetic sense, as collections of traits sedimented from authors' and designers' attempts to meet their audiences. Similar to how software can be engineered to replace older hardware, Call of Cthulhu replaces the genre functions underpinning Lovecraftian stories. Previous research discusses Call of Cthulhu as a horror RPG, mostly referencing later editions. This article's analysis, based on

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Rozin, Vadim Markovich. "Breaking the spell on the iconic work of Reza Negarestani “Cyclonopedia”." Культура и искусство, no. 7 (July 2021): 55–65. http://dx.doi.org/10.7256/2454-0625.2021.7.35931.

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This article is dedicated to rational interpretation of the novel &ldquo;Cyclonopedia&rdquo; by the Iranian philosopher and writer Reza Negarestani, which particularly draws attention of the young audience. The author believes that it is impossible to grasp such works without interpretation and reconstruction of their themes and contents. Implementing the claimed approach, the author discusses the crucial topic of openness in the novel and peculiarities of the poetics of &ldquo;Cyclonopedia&rdquo;. There are two different understandings of openness described by R. Negarestani:

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Boroujerdi, Sarah. "Media Post-coloniality and the Ethereal Persian ‘Empress’: How Hollywood Weaponized the Nostalgia of Exile." International Journal of Social Science Studies 9, no. 6 (2021): 76. http://dx.doi.org/10.11114/ijsss.v9i6.5393.

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The osmosis between Iranian exile, Oriental repertoires, and the commodification of nostalgia in film and contemporary1 culture alludes to the Disney reproduction of the East that is capitalized by Hollywood’s invisible hand. The commodification of Orientalist logic via nostalgia of old civilization and Achaemenid grandeur is conveyed by Hamid Naficy’s (1991) reference to Edward Said’s (1978) ‘imaginary2 geography’—the inventive tool of narration that augments tales and anecdotes of exilic narratives, while heightening essentialism of the East. The European modeling of coronation, bejeweled sc

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Rouhani, Farhang. "Frontier Fictions: Shaping the Iranian Nation, 1804–1946." Journal of Historical Geography 28, no. 2 (2002): 300–301. http://dx.doi.org/10.1006/jhge.2002.0431.

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jalali, maryam, and zahra akhlaghi. "The necessity of recreating ancient Iranian fictions for children." Journal of Social-Political Studies of Iran's Culture and History 1, no. 2 (2022): 113–43. https://doi.org/10.61838/kman.jspsich.1.2.6.

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Fictions have been with mankind for a long time. Several reasons have been stated for the longevity of this type of story, including the need of humans to narrate and listen to the narrative; One of the most important features of this ancient story format - which has caused its vitality and dynamism - is the transmission from breast to breast, which makes anyone from any geographical region and from any time period, narrate the story in a way. In fact, fictions change and adapt to the times of the narrator and the audience. Many fairy tales are rewritten or recreated by today's authors and pre

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Laletin, Y. P. "Useful and Necessary Book about Outstanding Personalities from Afghan History and Culture." Concept: philosophy, religion, culture 7, no. 3 (2023): 142–45. http://dx.doi.org/10.24833/2541-8831-2023-3-27-142-145.

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MGIMO University published the second edition of the book Afghan Novels and Stories by Ye. D. Ostrovenko. Yevgeniy Dmitrievich served as Russian Ambassador to Afghanistan in 1992 and was the first ambassador to present credentials signed by the President of Russia to the head of the Afghan state. His book makes a great contribution to strengthening bilateral ties between Russia and Afghanistan, expanding the horizons of knowledge about this country, its history and culture. Candidate of Historical Sciences, Ye. D. Ostrovenko worked for many years both in Afghanistan itself and in the central a

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