Mr Gorjestani has ignored almost the entire evidence in my article on the reasons why Iran rejec... more Mr Gorjestani has ignored almost the entire evidence in my article on the reasons why Iran rejected both the World Bank intervention and the second Anglo-American proposal, and why both those rejections were grave mistakes and led to the 1953 coup and fall of Mosaddeq’s government, which was by no means inevitable if only because inevitability is itself an unscientific concept.
This is an essay in Persian on a brief history of Freemasonry in Iran and the incredible mysterie... more This is an essay in Persian on a brief history of Freemasonry in Iran and the incredible mysteries and conspiracy theories surrounding it, chiefly as the secret political instrument of almighty Britain which was – and is still by some- believed to run the whole world! یکی از طولانی ترین تئوری های توطئه و افسانه های سیاسی در ایران همین شبح هولناک "ماسونها" بود، با فرض اینکه جهان و به ویژه ایران را دست پنهان انگلیس می گرداند و فراماسونری سازمان مخفی آن درسراسرجهان است. کمتر تردیدی وجود داشت که فراماسون های ایرانی خطرناک ترین نیروی مرموز خارجی درایرانند.
Iraj Pezeshkzād was a comic novelist, satirist and translator from French; he also used to write... more Iraj Pezeshkzād was a comic novelist, satirist and translator from French; he also used to write a satirical column in a popular Tehran magazine under the pseudonym I.P. Āshnā. By far the most celebrated of his works is Dā’i Jān Nāpelon, superbly translated by Dick Davis under the title, My Uncle Napoleon.
Humour in Iran, eleven-hundred years of satire and humour in Persian literature., 2024
Obeyd Zakani is the greatest classical Persian humourist and satirist. He compares with Voltaire ... more Obeyd Zakani is the greatest classical Persian humourist and satirist. He compares with Voltaire and Jonathan Swift, to the extent that his satire involves sharp criticism of social injustice, prejudice, and irrational beliefs. Contemporary with but senior to Hafiz, he was an accomplished poet in his own right, and wrote in several genres of classical Persian poetry, including ghazal, qasideh and roba‘i, though his poetical output is relatively limited. However it is appropriate at the outset to warn those who take exception to the use of obscene words and utterances in works of art that they may not wish to continue reading this article.
Shortly after the Allied invasion of Iran in August 1941, Reza Shah felt impelled to abdicate and... more Shortly after the Allied invasion of Iran in August 1941, Reza Shah felt impelled to abdicate and leave the country, his arbitrary despotic state thus falling to pieces. The release of political prisoners created an opportunity for setting up parties, groups and factions, and within a month the Tudeh party was founded as a non-communist but anti-fascist radical popular front. However, its openly pro-Soviet tendency began to grow in time such that in 1943 it supported the Soviet demand for a North-Iran oil concession, and in 1945-6 submitted to Stalin's order to defend the Azerbaijan insurgents despite its own misgivings. This intensified the internal party struggle led by Khalil Maleki and the 'party reformist group', which in 1948 ended with the group splitting with the party, whereupon it became a fully Stalinist party.
Sa'di is a poet and writer of 7 th century hijra, thirteenth century of the Christian era. He is ... more Sa'di is a poet and writer of 7 th century hijra, thirteenth century of the Christian era. He is one of the greatest Persian classics both in prose and poetry. Until the 1940s his Golestan was taught to school children as a model of perfect prose. His Bustan was regarded as a guidebook to a moral and virtuous life, much as Aristotle's Ethics was so regarded in Victorian England. But, not unlike Iranian views in other fields, opinion changed abruptly and drastically in the second half of the twentieth century. He went out of fashion, and his cult of worship was replaced even more strongly by that of Hafiz. 'How did this change come about?', as Jean Jacque Rousseau might have said. Sa'di's impact on later poets and writers had been very great. Certainly until early twentieth century he was universally regarded as the greatest Persian poet of all time.
Sa'di is too great to need an introduction for even those with a meagre knowledge of Persian lite... more Sa'di is too great to need an introduction for even those with a meagre knowledge of Persian literature. He is particularly known for his books of Bustan and Golestan, although he wrote in various genres, notably many excellent love-lyrics. 1 It could be argued that half of the value of Sa'di 's books, Golestan and Bustan is due to their form. The former is a book of prose, and the latter, a narrative poem, a masnavi in the 'moteqareb rhyme' بحر در مثنوی .)متقارب Golestan's 'rhymed prose' مسجع( )نثر is made up of semi-rhymed-and metred sentences. The other distinctive art of the two books, once again in both poetry and prose, is what is usually described as the art of 'inimitable facility' ممتنع( و .)سهل Considering both arts, there have been a few authors before and after Sa'di who have applied them in their works: before him Qazi Hamid al-Din Balkhi, Khvājeh 'Abdollāh Ansāri Heravi, and to a limited extent Farid al-Din Attār; after Sa'di Qāem-Maqām Farāhāni, Qā'āni Shirāzi and Iraj Mirzā.
Humour in Iran, Eleven-hundred years of Satire and Humour in Persian Literature, 2024
Sa’di was the greatest Persian humourist of the thirteenth century. His books Golestan and Bustan... more Sa’di was the greatest Persian humourist of the thirteenth century. His books Golestan and Bustan are world famous. He also has upward of seven hundred excellent lyrics, mainly about human love as well as a small number of ethical-cum-mystical poems. He has a number of qasidehs in Persian and Arabic as well, and a number of other works, including quatrains. His humour is usually subtle and amusing and contains moral maxims or is instructive in other ways. In some of his works he resembles Rabelais who flourished more than two centuries after him, and sometimes Voltaire, who came centuries later, although no work of Sa‘di’s is blasphemous. No wonder that Voltaire said if Sa‘di is from Persia then Persians must be a highly civilized people. Ferdowsi, Rumi, Sa‘di and Hafiz are all loved by almost all Iranians, even the illiterate. But Sa‘di is the one with whom the people at large have got personally engaged. All sorts of funny anecdotes are made up about his life and sayings, to the extent that even a humorous daughter has been invented for him. The gossip-like anecdotes that some literary chroniclers have made about him has contributed to this process.
Poetry and Revolution, Poets and Poetry of the Constitutional Revolution of Iran, 2022
Iraj was a major poet of all time and, by far, the best of the Qajar dynasty to which he belonged... more Iraj was a major poet of all time and, by far, the best of the Qajar dynasty to which he belonged. His work can be neatly divided between the period before and after the Constitutional Revolution. In the former period he wrote mainly qasideh and (less) ghazal of the formal traditional varieties, but in the latter period he almost exclusively wrote in the masnavi form, packed with humor – lampoons, fun, ridicule, etc. – in a simple “easy-and-impossible” style, which had not quite been tried so successfully since Sa’di. He was also a poet of love and love stories. Almost everything he wrote, especially in the latter period, is a gem, notably masterpieces like ‘Aref-Nameh, Enqelab-e Adabi and Zohreh o Manuchehr. .
Sa’di was the greatest Persian humourist of the thirteenth century. His books Golestan and Busta... more Sa’di was the greatest Persian humourist of the thirteenth century. His books Golestan and Bustan are world famous. He also has upward of seven hundred excellent lyrics, mainly about human love as well as a small number of ethical-cum-mystical poems. He has a number of qasidehs in Persian and Arabic as well, and a number of other works, including quatrains. His humour is usually subtle and amusing and contains moral maxims or is instructive in other ways. In some of his works he resembles Rabelais who flourished more than two centuries after him, and sometimes Voltaire, who came centuries later, although no work of Sa‘di’s is blasphemous. No wonder that Voltaire said if Sa‘di is from Persia then Persians must be a highly civilized people. Ferdowsi, Rumi, Sa‘di and Hafiz are all loved by almost all Iranians, even the illiterate. But Sa‘di is the one with whom the people at large have got personally engaged. All sorts of funny anecdotes are made up about his life and sayings, to the extent that even a humorous daughter has been invented for him. The gossip-like anecdotes that some literary chroniclers have made about him have contributed to this process.
Sa‘di is a poet and writer of 7th century hijra, thirteenth century of the Christian era. He is o... more Sa‘di is a poet and writer of 7th century hijra, thirteenth century of the Christian era. He is one of the greatest Persian classics both in prose and poetry. What is certain about his life is that he flourished in the thirteenth century (7th century hijra), was a scholar at the Nezamiyeh College of Baghdad, travelled wide and lived long. It is clear from his love poetry that he was an ardent lover, and from much of his works that he was not a Sufi although he cherished the ideals of Sufism and admired the legendary classical Sufis. There is also a remarkable humanist tendency in his works two-and-a-half centuries before the emergence of Christian humanism in Europe. Not much else can be said about his life with the same degree of certainty.
من از یکی دو هفته پس از ۲۲ بهمن اشتباها یک کمیته دفاع از حقوق بشردرایران ، در لندن تشکیل داده بو... more من از یکی دو هفته پس از ۲۲ بهمن اشتباها یک کمیته دفاع از حقوق بشردرایران ، در لندن تشکیل داده بودم . می گویم اشتباها ، چون کسانی مانند نهضت آزادی ها و جبهه ای ها که برای حقوق بشر ارزشی قائل بودند قدرت نداشتند وبقیه سازمانها وجریانهای سیاسی برای حقوق بشر تره خرد نمی کردند بلکه آن را توطئه کارتر رئیس جمهورآمریکا می دانستند. به علاوه از نظر مارکسیست-لنینست ها معنای حقوق بشر این بود که بورژوازی و پرولتاریا حقوق مساوی داشته باشند . بنا براین - با کارتر و بی کارتر- حقوق بشراصلا توطئه کاپیتالیست ها برای " فریب توده ها " بود.
Persian Women Poets, Encyclopaedia Iranica, Online , 2023
Parvin E’tesami along with Iraj Mirza and Poet laureate Bahar was the most prominent poet of earl... more Parvin E’tesami along with Iraj Mirza and Poet laureate Bahar was the most prominent poet of early twentieth century Iran, the form of whose poems was generally in the neo-classical style. And along with the latter two, a major Persian poet of all time. One prominent critic believed that she was even better than Iraj and Bahar, though this view is bound to be controversial.
The nineteenth century coincides with the effective period of Qajar rule; the first quarter of th... more The nineteenth century coincides with the effective period of Qajar rule; the first quarter of this century covers the effective period of its death agony. The tale of Iran’s social and economic developments in the nineteenth century is, briefly, as follows: there is a secular tendency for population growth, trade expansion, price inflation and a decline in the domestic and external values of ‘the’ national currency; there is growing contact with European countries, affecting the composition of foreign trade, the balance of payments, the pattern of consumption and — subsequently — the internal power structure, mores, norms, ideas and institutions, culminating in the struggles against trade concessions to foreign countries as a prelude to the Persian Revolution.
Riza Khan led the Cossacks in the coup d'etat of 1921 when it looked as if the country was do... more Riza Khan led the Cossacks in the coup d'etat of 1921 when it looked as if the country was doomed to brigandage, civil war and probable disintegration. The period between 1921 and 1926 may be described as a transitional period, a period of interregnum and power struggles, which he won by a series of successful operations, both political and military. That is also the period when he had the highest political legitimacy and widest support of his career. The next five-year period, from 1926 to 1931 was a period of growing dictatorship and autocracy, when the shah became absolute ruler, though there was still some consultation and participation, and he still had some support among the modern middle classes. Finally, over the next ten year period, from 1931 until the allied occupation in 1941, the shah 's power became not just absolute but arbitrary as well, and he lost the support of all the social classes, both high and low, both modern and traditional.
... Ideología y método en economía. Información General. Autores: Homa Katouzian, José Luis Zofío... more ... Ideología y método en economía. Información General. Autores: Homa Katouzian, José Luis Zofío Ferrer; Editores: Madrid : H. Blume, 1982; Año de publicación: 1982; País: España; Idioma: Español; ISBN : 84-7214-251-6. Fundación Dialnet. Acceso de usuarios registrados. ...
... View full textDownload full text Full access. DOI: 10.1080/19436141003594575 Homa Katouzian a... more ... View full textDownload full text Full access. DOI: 10.1080/19436141003594575 Homa Katouzian a * ... 19 See further, A. Sreberny-Mohammadi & A. Mohammadi (1994) Small Media, Big Revolution: Communication, Culture and the Iranian Revolution (Minneapolis: University of ...
Mr Gorjestani has ignored almost the entire evidence in my article on the reasons why Iran rejec... more Mr Gorjestani has ignored almost the entire evidence in my article on the reasons why Iran rejected both the World Bank intervention and the second Anglo-American proposal, and why both those rejections were grave mistakes and led to the 1953 coup and fall of Mosaddeq’s government, which was by no means inevitable if only because inevitability is itself an unscientific concept.
This is an essay in Persian on a brief history of Freemasonry in Iran and the incredible mysterie... more This is an essay in Persian on a brief history of Freemasonry in Iran and the incredible mysteries and conspiracy theories surrounding it, chiefly as the secret political instrument of almighty Britain which was – and is still by some- believed to run the whole world! یکی از طولانی ترین تئوری های توطئه و افسانه های سیاسی در ایران همین شبح هولناک "ماسونها" بود، با فرض اینکه جهان و به ویژه ایران را دست پنهان انگلیس می گرداند و فراماسونری سازمان مخفی آن درسراسرجهان است. کمتر تردیدی وجود داشت که فراماسون های ایرانی خطرناک ترین نیروی مرموز خارجی درایرانند.
Iraj Pezeshkzād was a comic novelist, satirist and translator from French; he also used to write... more Iraj Pezeshkzād was a comic novelist, satirist and translator from French; he also used to write a satirical column in a popular Tehran magazine under the pseudonym I.P. Āshnā. By far the most celebrated of his works is Dā’i Jān Nāpelon, superbly translated by Dick Davis under the title, My Uncle Napoleon.
Humour in Iran, eleven-hundred years of satire and humour in Persian literature., 2024
Obeyd Zakani is the greatest classical Persian humourist and satirist. He compares with Voltaire ... more Obeyd Zakani is the greatest classical Persian humourist and satirist. He compares with Voltaire and Jonathan Swift, to the extent that his satire involves sharp criticism of social injustice, prejudice, and irrational beliefs. Contemporary with but senior to Hafiz, he was an accomplished poet in his own right, and wrote in several genres of classical Persian poetry, including ghazal, qasideh and roba‘i, though his poetical output is relatively limited. However it is appropriate at the outset to warn those who take exception to the use of obscene words and utterances in works of art that they may not wish to continue reading this article.
Shortly after the Allied invasion of Iran in August 1941, Reza Shah felt impelled to abdicate and... more Shortly after the Allied invasion of Iran in August 1941, Reza Shah felt impelled to abdicate and leave the country, his arbitrary despotic state thus falling to pieces. The release of political prisoners created an opportunity for setting up parties, groups and factions, and within a month the Tudeh party was founded as a non-communist but anti-fascist radical popular front. However, its openly pro-Soviet tendency began to grow in time such that in 1943 it supported the Soviet demand for a North-Iran oil concession, and in 1945-6 submitted to Stalin's order to defend the Azerbaijan insurgents despite its own misgivings. This intensified the internal party struggle led by Khalil Maleki and the 'party reformist group', which in 1948 ended with the group splitting with the party, whereupon it became a fully Stalinist party.
Sa'di is a poet and writer of 7 th century hijra, thirteenth century of the Christian era. He is ... more Sa'di is a poet and writer of 7 th century hijra, thirteenth century of the Christian era. He is one of the greatest Persian classics both in prose and poetry. Until the 1940s his Golestan was taught to school children as a model of perfect prose. His Bustan was regarded as a guidebook to a moral and virtuous life, much as Aristotle's Ethics was so regarded in Victorian England. But, not unlike Iranian views in other fields, opinion changed abruptly and drastically in the second half of the twentieth century. He went out of fashion, and his cult of worship was replaced even more strongly by that of Hafiz. 'How did this change come about?', as Jean Jacque Rousseau might have said. Sa'di's impact on later poets and writers had been very great. Certainly until early twentieth century he was universally regarded as the greatest Persian poet of all time.
Sa'di is too great to need an introduction for even those with a meagre knowledge of Persian lite... more Sa'di is too great to need an introduction for even those with a meagre knowledge of Persian literature. He is particularly known for his books of Bustan and Golestan, although he wrote in various genres, notably many excellent love-lyrics. 1 It could be argued that half of the value of Sa'di 's books, Golestan and Bustan is due to their form. The former is a book of prose, and the latter, a narrative poem, a masnavi in the 'moteqareb rhyme' بحر در مثنوی .)متقارب Golestan's 'rhymed prose' مسجع( )نثر is made up of semi-rhymed-and metred sentences. The other distinctive art of the two books, once again in both poetry and prose, is what is usually described as the art of 'inimitable facility' ممتنع( و .)سهل Considering both arts, there have been a few authors before and after Sa'di who have applied them in their works: before him Qazi Hamid al-Din Balkhi, Khvājeh 'Abdollāh Ansāri Heravi, and to a limited extent Farid al-Din Attār; after Sa'di Qāem-Maqām Farāhāni, Qā'āni Shirāzi and Iraj Mirzā.
Humour in Iran, Eleven-hundred years of Satire and Humour in Persian Literature, 2024
Sa’di was the greatest Persian humourist of the thirteenth century. His books Golestan and Bustan... more Sa’di was the greatest Persian humourist of the thirteenth century. His books Golestan and Bustan are world famous. He also has upward of seven hundred excellent lyrics, mainly about human love as well as a small number of ethical-cum-mystical poems. He has a number of qasidehs in Persian and Arabic as well, and a number of other works, including quatrains. His humour is usually subtle and amusing and contains moral maxims or is instructive in other ways. In some of his works he resembles Rabelais who flourished more than two centuries after him, and sometimes Voltaire, who came centuries later, although no work of Sa‘di’s is blasphemous. No wonder that Voltaire said if Sa‘di is from Persia then Persians must be a highly civilized people. Ferdowsi, Rumi, Sa‘di and Hafiz are all loved by almost all Iranians, even the illiterate. But Sa‘di is the one with whom the people at large have got personally engaged. All sorts of funny anecdotes are made up about his life and sayings, to the extent that even a humorous daughter has been invented for him. The gossip-like anecdotes that some literary chroniclers have made about him has contributed to this process.
Poetry and Revolution, Poets and Poetry of the Constitutional Revolution of Iran, 2022
Iraj was a major poet of all time and, by far, the best of the Qajar dynasty to which he belonged... more Iraj was a major poet of all time and, by far, the best of the Qajar dynasty to which he belonged. His work can be neatly divided between the period before and after the Constitutional Revolution. In the former period he wrote mainly qasideh and (less) ghazal of the formal traditional varieties, but in the latter period he almost exclusively wrote in the masnavi form, packed with humor – lampoons, fun, ridicule, etc. – in a simple “easy-and-impossible” style, which had not quite been tried so successfully since Sa’di. He was also a poet of love and love stories. Almost everything he wrote, especially in the latter period, is a gem, notably masterpieces like ‘Aref-Nameh, Enqelab-e Adabi and Zohreh o Manuchehr. .
Sa’di was the greatest Persian humourist of the thirteenth century. His books Golestan and Busta... more Sa’di was the greatest Persian humourist of the thirteenth century. His books Golestan and Bustan are world famous. He also has upward of seven hundred excellent lyrics, mainly about human love as well as a small number of ethical-cum-mystical poems. He has a number of qasidehs in Persian and Arabic as well, and a number of other works, including quatrains. His humour is usually subtle and amusing and contains moral maxims or is instructive in other ways. In some of his works he resembles Rabelais who flourished more than two centuries after him, and sometimes Voltaire, who came centuries later, although no work of Sa‘di’s is blasphemous. No wonder that Voltaire said if Sa‘di is from Persia then Persians must be a highly civilized people. Ferdowsi, Rumi, Sa‘di and Hafiz are all loved by almost all Iranians, even the illiterate. But Sa‘di is the one with whom the people at large have got personally engaged. All sorts of funny anecdotes are made up about his life and sayings, to the extent that even a humorous daughter has been invented for him. The gossip-like anecdotes that some literary chroniclers have made about him have contributed to this process.
Sa‘di is a poet and writer of 7th century hijra, thirteenth century of the Christian era. He is o... more Sa‘di is a poet and writer of 7th century hijra, thirteenth century of the Christian era. He is one of the greatest Persian classics both in prose and poetry. What is certain about his life is that he flourished in the thirteenth century (7th century hijra), was a scholar at the Nezamiyeh College of Baghdad, travelled wide and lived long. It is clear from his love poetry that he was an ardent lover, and from much of his works that he was not a Sufi although he cherished the ideals of Sufism and admired the legendary classical Sufis. There is also a remarkable humanist tendency in his works two-and-a-half centuries before the emergence of Christian humanism in Europe. Not much else can be said about his life with the same degree of certainty.
من از یکی دو هفته پس از ۲۲ بهمن اشتباها یک کمیته دفاع از حقوق بشردرایران ، در لندن تشکیل داده بو... more من از یکی دو هفته پس از ۲۲ بهمن اشتباها یک کمیته دفاع از حقوق بشردرایران ، در لندن تشکیل داده بودم . می گویم اشتباها ، چون کسانی مانند نهضت آزادی ها و جبهه ای ها که برای حقوق بشر ارزشی قائل بودند قدرت نداشتند وبقیه سازمانها وجریانهای سیاسی برای حقوق بشر تره خرد نمی کردند بلکه آن را توطئه کارتر رئیس جمهورآمریکا می دانستند. به علاوه از نظر مارکسیست-لنینست ها معنای حقوق بشر این بود که بورژوازی و پرولتاریا حقوق مساوی داشته باشند . بنا براین - با کارتر و بی کارتر- حقوق بشراصلا توطئه کاپیتالیست ها برای " فریب توده ها " بود.
Persian Women Poets, Encyclopaedia Iranica, Online , 2023
Parvin E’tesami along with Iraj Mirza and Poet laureate Bahar was the most prominent poet of earl... more Parvin E’tesami along with Iraj Mirza and Poet laureate Bahar was the most prominent poet of early twentieth century Iran, the form of whose poems was generally in the neo-classical style. And along with the latter two, a major Persian poet of all time. One prominent critic believed that she was even better than Iraj and Bahar, though this view is bound to be controversial.
The nineteenth century coincides with the effective period of Qajar rule; the first quarter of th... more The nineteenth century coincides with the effective period of Qajar rule; the first quarter of this century covers the effective period of its death agony. The tale of Iran’s social and economic developments in the nineteenth century is, briefly, as follows: there is a secular tendency for population growth, trade expansion, price inflation and a decline in the domestic and external values of ‘the’ national currency; there is growing contact with European countries, affecting the composition of foreign trade, the balance of payments, the pattern of consumption and — subsequently — the internal power structure, mores, norms, ideas and institutions, culminating in the struggles against trade concessions to foreign countries as a prelude to the Persian Revolution.
Riza Khan led the Cossacks in the coup d'etat of 1921 when it looked as if the country was do... more Riza Khan led the Cossacks in the coup d'etat of 1921 when it looked as if the country was doomed to brigandage, civil war and probable disintegration. The period between 1921 and 1926 may be described as a transitional period, a period of interregnum and power struggles, which he won by a series of successful operations, both political and military. That is also the period when he had the highest political legitimacy and widest support of his career. The next five-year period, from 1926 to 1931 was a period of growing dictatorship and autocracy, when the shah became absolute ruler, though there was still some consultation and participation, and he still had some support among the modern middle classes. Finally, over the next ten year period, from 1931 until the allied occupation in 1941, the shah 's power became not just absolute but arbitrary as well, and he lost the support of all the social classes, both high and low, both modern and traditional.
... Ideología y método en economía. Información General. Autores: Homa Katouzian, José Luis Zofío... more ... Ideología y método en economía. Información General. Autores: Homa Katouzian, José Luis Zofío Ferrer; Editores: Madrid : H. Blume, 1982; Año de publicación: 1982; País: España; Idioma: Español; ISBN : 84-7214-251-6. Fundación Dialnet. Acceso de usuarios registrados. ...
... View full textDownload full text Full access. DOI: 10.1080/19436141003594575 Homa Katouzian a... more ... View full textDownload full text Full access. DOI: 10.1080/19436141003594575 Homa Katouzian a * ... 19 See further, A. Sreberny-Mohammadi & A. Mohammadi (1994) Small Media, Big Revolution: Communication, Culture and the Iranian Revolution (Minneapolis: University of ...
Abstracts of Sadeq Hedayat, The Life and Legend of an Iranian Writer, second edition , 2021
This is the only full and compressive literary biography of Sadeq Hedayat in any language. Hedaya... more This is the only full and compressive literary biography of Sadeq Hedayat in any language. Hedayat (1903-1951) was the greatest Iranian writer of the Twentieth century, although there is not even a contemporary match for him in modern Persian fiction. His works can neatly be divided into four groups. Critical Realist stories such as 'Seeking Absolution'; Romantic Nationalist works such as 'Parvin the Sasanian Girl'; Satires, for example, Hajji Aqa; and Psycho-fictions, of which the most famous is The Blind Owl, written in the modernist literary style, and translated into , and critiqued in many languages.
‘Weststruckness’ (and its kindred terms such as ‘Westoxication’, and ‘Occidentiotis’) is an Engli... more ‘Weststruckness’ (and its kindred terms such as ‘Westoxication’, and ‘Occidentiotis’) is an English rendering of Jalal Al-e Ahmad’s Gharbzadegi (1962). The subject, however, is much wider as well as older than that. The fear of the intrusion of European culture goes back to the second half of the nineteenth century, when the culture of modernisation was beginning to take form inside Iran. In Twentieth Century Iran, it is assoicated with the names of Ahmad Kasravi, Jalal Al-e Ahmad, Ahmad Fardid, and Fakhreddin Shadman.
Weststruckness, its trials and tribulations , 2019
‘Weststruckness’ (and its kindred terms such as ‘Westoxication’, and ‘Occidentiotis’) is an Engli... more ‘Weststruckness’ (and its kindred terms such as ‘Westoxication’, and ‘Occidentiotis’) is an English rendering of Jalal Al-e Ahmad’s Gharbzadegi (1962). The subject, however, is much wider as well as older than that. The fear of the intrusion of European culture goes back to the second half of the nineteenth century, when the culture of modernisation was beginning to take form inside Iran. In its various versions, it is associated with the names of Twentieth century authors, Ahmad Kasravi, Jalal Al-e Ahmad, Ahmad Fardid, Fakhreddin Shadman.
This is a comprehensive study of the Iranian revolution of 1979, followed by the Islamic republic... more This is a comprehensive study of the Iranian revolution of 1979, followed by the Islamic republic and Islamic revolution until the death of Ayatollah Khomeini.
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یکی از طولانی ترین تئوری های توطئه و افسانه های سیاسی در ایران همین شبح هولناک "ماسونها" بود، با فرض اینکه جهان و به ویژه ایران را دست پنهان انگلیس می گرداند و فراماسونری سازمان مخفی آن درسراسرجهان است. کمتر تردیدی وجود داشت که فراماسون های ایرانی خطرناک ترین نیروی مرموز خارجی درایرانند.
However it is appropriate at the outset to warn those who take exception to the use of obscene words and utterances in works of art that they may not wish to continue reading this article.
His humour is usually subtle and amusing and contains moral maxims or is instructive in other ways. In some of his works he resembles Rabelais who flourished more than two centuries after him, and sometimes Voltaire, who came centuries later, although no work of Sa‘di’s is blasphemous. No wonder that Voltaire said if Sa‘di is from Persia then Persians must be a highly civilized people. Ferdowsi, Rumi, Sa‘di and Hafiz are all loved by almost all Iranians, even the illiterate. But Sa‘di is the one with whom the people at large have got personally engaged. All sorts of funny anecdotes are made up about his life and sayings, to the extent that even a humorous daughter has been invented for him. The gossip-like anecdotes that some literary chroniclers have made about him has contributed to this process.
His work can be neatly divided between the period before and after the Constitutional Revolution. In the former period he wrote mainly qasideh and (less) ghazal of the formal traditional varieties, but in the latter period he almost exclusively wrote in the masnavi form, packed with humor – lampoons, fun, ridicule, etc. – in a simple “easy-and-impossible” style, which had not quite been tried so successfully since Sa’di. He was also a poet of love and love stories. Almost everything he wrote, especially in the latter period, is a gem, notably masterpieces like ‘Aref-Nameh, Enqelab-e Adabi and Zohreh o Manuchehr.
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His humour is usually subtle and amusing and contains moral maxims or is instructive in other ways. In some of his works he resembles Rabelais who flourished more than two centuries after him, and sometimes Voltaire, who came centuries later, although no work of Sa‘di’s is blasphemous. No wonder that Voltaire said if Sa‘di is from Persia then Persians must be a highly civilized people. Ferdowsi, Rumi, Sa‘di and Hafiz are all loved by almost all Iranians, even the illiterate. But Sa‘di is the one with whom the people at large have got personally engaged. All sorts of funny anecdotes are made up about his life and sayings, to the extent that even a humorous daughter has been invented for him. The gossip-like anecdotes that some literary chroniclers have made about him have contributed to this process.
یکی از طولانی ترین تئوری های توطئه و افسانه های سیاسی در ایران همین شبح هولناک "ماسونها" بود، با فرض اینکه جهان و به ویژه ایران را دست پنهان انگلیس می گرداند و فراماسونری سازمان مخفی آن درسراسرجهان است. کمتر تردیدی وجود داشت که فراماسون های ایرانی خطرناک ترین نیروی مرموز خارجی درایرانند.
However it is appropriate at the outset to warn those who take exception to the use of obscene words and utterances in works of art that they may not wish to continue reading this article.
His humour is usually subtle and amusing and contains moral maxims or is instructive in other ways. In some of his works he resembles Rabelais who flourished more than two centuries after him, and sometimes Voltaire, who came centuries later, although no work of Sa‘di’s is blasphemous. No wonder that Voltaire said if Sa‘di is from Persia then Persians must be a highly civilized people. Ferdowsi, Rumi, Sa‘di and Hafiz are all loved by almost all Iranians, even the illiterate. But Sa‘di is the one with whom the people at large have got personally engaged. All sorts of funny anecdotes are made up about his life and sayings, to the extent that even a humorous daughter has been invented for him. The gossip-like anecdotes that some literary chroniclers have made about him has contributed to this process.
His work can be neatly divided between the period before and after the Constitutional Revolution. In the former period he wrote mainly qasideh and (less) ghazal of the formal traditional varieties, but in the latter period he almost exclusively wrote in the masnavi form, packed with humor – lampoons, fun, ridicule, etc. – in a simple “easy-and-impossible” style, which had not quite been tried so successfully since Sa’di. He was also a poet of love and love stories. Almost everything he wrote, especially in the latter period, is a gem, notably masterpieces like ‘Aref-Nameh, Enqelab-e Adabi and Zohreh o Manuchehr.
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His humour is usually subtle and amusing and contains moral maxims or is instructive in other ways. In some of his works he resembles Rabelais who flourished more than two centuries after him, and sometimes Voltaire, who came centuries later, although no work of Sa‘di’s is blasphemous. No wonder that Voltaire said if Sa‘di is from Persia then Persians must be a highly civilized people. Ferdowsi, Rumi, Sa‘di and Hafiz are all loved by almost all Iranians, even the illiterate. But Sa‘di is the one with whom the people at large have got personally engaged. All sorts of funny anecdotes are made up about his life and sayings, to the extent that even a humorous daughter has been invented for him. The gossip-like anecdotes that some literary chroniclers have made about him have contributed to this process.