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A Social History of Sexual Relations in Iran by Willem M. Floor Pdf
Preface -- 1. Marriage in Iran: a family affair -- 2. Temporary marriage: a formal affair -- 3. Prostitution: an extra-marital affair -- 4. Homosexual relations: a common affair -- 5. Venereal diseases in Iran: a public affair -- Afterword -- Bibliography -- Index -- Figures
This book charts the history of Iran's sexual revolution from the nineteenth century to today. The resilience of the Iranian people forms the basis of this sexual revolution, one that is promoting reforms in marriage and family laws, and demanding more egalitarian gender and sexual relations.
The History of Theater in Iran by Willem M. Floor Pdf
Although most people do not speak of theatre and Iran in the same breath, dramatic expression has always been a fixture of Iranian culture. In traditional Iranian theatre, there was no real difference between high and low culture, although artists attached to the royal court and sponsored by the rich tended to be more competent than those who performed for the public at large. With the exception of religious and narrative drama, written texts were seldom used. The artists whether comedian, mime, puppeteer, elegist or storyteller performed both in public and private spaces. The arrival of European theatre, with its reliance on a written text and normative rather than improvisatory acting, was part of the modernisation process in Iran. European theatre was introduced to the country in 1878, enjoyed a hey-day in the early years of the twentieth century, and has experienced many ups-and-downs since then. Today, it once again enjoys great popularity. At the same time, traditional theatre is being rediscovered, and playwrights are using some of its forms to develop indigenous modern Iranian theatre-- a melding of the deep past and dynamic present.
There is perhaps no place in the world today where the stakes of partying and having sex are higher than in present-day Iran. Drinking and dancing can lead to arrest by the morality police and a punishment of up to 70 lashes. Consequences for sex outside of marriage can be even more severe—up to 84 lashes, or even public execution. But even under the threat of such harsh punishment, a sexual revolution is taking place. Iranian youth continually risk personal safety to meet friends, date, and, ultimately, to have sex. In the absence of any option for overt political dissent, young people have become part of a self-proclaimed revolution in which they are using their bodies to make social and political statements. Sex has become both a source of freedom and an act of political rebellion. With unprecedented access inside turn-of-the century Iran, Pardis Mahdavi offers a firsthand look at the daily lives of Iranian youth. They are given a voice as she tells the stories of their intertwined quests for sexual freedom, political reform, and a better future—but not a future without risk. The sexual revolution is also leading to increased levels of abortion, HIV/AIDS, sexually transmitted diseases, and ongoing emotional troubles and mental illnesses, with worrying implications for Iranian youth and Iranian society at large. Passionate Uprisings is a fascinating, ground-breaking, and personal look into a society that is poorly understood—if it is understood at all—by the majority of Westerners today. Mahdavi's narrative provides not only an invaluable insight into the real lives of much of Iran's population, but shows how sexual politics and the youth culture could even destabilize the current regime and change the course of Iranian politics.
Female Bodies and Sexuality in Iran and the Search for Defiance by Nafiseh Sharifi Pdf
This book uses storytelling as an analytical tool for following wider social attitude changes towards sex and female sexuality in Iran. Women born in 1950s Iran grew up during the peak of secularization and modernization, whereas those born in the 1980s were raised under the much stricter rules of the Islamic Republic. Using extensive ethnographic research, the author juxtaposes narratives of body and sexuality shared by these different generations of women, showing the intricate ways in which women construct and convey meanings and communicate their emotions about the unspoken aspects of their lives.
The Monetary History of Iran by Rudi Matthee,Willem Floor,Patrick Clawson Pdf
The monetary history of a country provides important insights into its economic development, as well as its political and social history. This book is the first detailed study of Iran's monetary history from the advent of the Safavid dynasty in 1501 to the end of Qajar rule in 1925. Using an array of previously unpublished sources in ten languages, the authors consider the specific monetary conditions in Iran's modern history, covering the use of ready money and its circulation, the changing conditions of the country's mints and the role of the state in managing money. Throughout the book, the authors also consider the larger regional and global economic context within which the Iranian economy operated. As the first study of Iran's monetary history, this book will be essential reading for researchers of Iranian and economic history.
Since the mid-1980s, the Islamic Republic of Iran has permitted, and partially subsidized, sex reassignment surgery. In Professing Selves, Afsaneh Najmabadi explores the meaning of transsexuality in contemporary Iran. Combining historical and ethnographic research, she describes how, in the postrevolutionary era, the domains of law, psychology and psychiatry, Islamic jurisprudence, and biomedicine became invested in distinguishing between the acceptable "true" transsexual and other categories of identification, notably the "true" homosexual, an unacceptable category of existence in Iran. Najmabadi argues that this collaboration among medical authorities, specialized clerics, and state officials—which made transsexuality a legally tolerated, if not exactly celebrated, category of being—grew out of Iran's particular experience of Islamicized modernity. Paradoxically, state regulation has produced new spaces for non-normative living in Iran, since determining who is genuinely "trans" depends largely on the stories that people choose to tell, on the selves that they profess.
A Social History of Iranian Cinema, Volume 2 by Hamid Naficy Pdf
Social history of Iranian cinema that explores cinema's role in creating national identity and contextualizes Iranian cinema within an international arena.
Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography by Staci Gem Scheiwiller Pdf
Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.
Wall Paintings and Other Figurative Mural Art in Qajar Iran by Willem M. Floor Pdf
Although in the last few years the study of painting in 19th century Iran has made considerable progress it still remains somewhat tradition bound. It would seem that art historians find it difficult to go beyond oil paintings, lacquer, and enamel. In 1998, Robinson, the doyen of Qajar art history, wrote: "Qajar painting found its most prestigious outlets in oil painting, lacquer, and enamel." In this study it is shown that paintings were probably the most important form of expression for painters for many centuries and as prestigious as the other forms of painting. Mural paintings were very popular and were to be found on various types of buildings ranging from the royal palaces, private homes, bath-houses to a religious shrine. Painting was a craft and a business that was actively pursued by artisans in most major towns in response to a general demand for-figurative art. As to the themes depicted these remained basically limited to (i) dynastic and epic (Qajar 'family portraits'; battles, hunts; Shahnameh scenes), (ii) sensual (flora, fauna, erotic), and (iii) religious (prophets, lmams, 'olama) subjects. These subjects occurred in any type of building irrespective of its function. The wide use of figurative representation in religious buildings and practice is of great interest. People almost invariably assume that Moslems until recent times did not tolerate paintings and the like of humans and animals adorning public and private buildings and publications. This study shows otherwise. There is even evidence of the use of paintings as religious icons, which is a totally neglected subject. Rock reliefs and other forms of sculptured works in and on buildings and its accessories such as doors show a similar development as mural paintings. Although information is even less copious than for wall paintings, it is clear that the depiction of living beings in the forms of sculptures was very widespread and pre-dates the Qajar period. The nature and form of murals were influenced by the increased contacts between Persia/Iran and the outside world, in particular Europe and India. This holds in particular for the use of prints and the occurrence of European scenes in frescos and other forms of paintings. Willem Floor has written extensively on many aspects of social, economic, and art history of Iran.
Modernity, Sexuality, and Ideology in Iran by Kamran Talattof Pdf
In Iran, since the mid–nineteenth century, one issue has been a common concern: how should Iran become modern? More than a century of struggle for or against modernity has constituted much of the social, political, and cultural history of the country. In the decades since the 1979 Revolution, the question has become even more critical. In Modernity, Sexuality, and Ideology in Iran, Talattof finds that the process of modernity never truly unfolded, due in large part to Iran’s reluctance to embrace the seminal subjects of gender and sexuality. Talattof’s approach reflects a unique look at modernity as advancement not only in industry and economy but also toward an open, intellectual discourse on sexuality. Exploring the life and times of Shahrzad, a dancer, actress, filmmaker, and poet, Talattof illuminates the country’s struggle with modernity and the ideological, traditional, and religious resistance against it. Born in 1946, she performed in several theater productions, became an acclaimed film star in the 1970s, and pursued a career as a journalist and poet. Following the revolution, she was imprisoned and eventually became homeless on the streets of Tehran. Her success and eventual decline as a female artist and entertainer illustrate the conflict between modernity and tradition and Iran’s failure to embrace an overt expression of sexuality. Talattof also profiles several other female artists of the 1970s, analyzing their lives and work as windows through which to examine what Iranian culture allowed and what it repudiated. A pioneering and timely work, Modernity, Sexuality, and Ideology in Iran explores the integral role of popular culture and female artists in the shaping of modern Iran, constructing a new framework for understanding such crucial concepts as ideology and modernity.
Iranian women tell in their own words what the revolution attempted and how they responded. The Islamic revolution of 1979 transformed all areas of Iranian life. For women, the consequences were extensive and profound, as the state set out to reverse legal and social rights women had won and to dictate many aspects of women's lives, including what they could study and how they must dress and relate to men. Reconstructed Lives presents Iranian women telling in their own words what the revolution attempted and how they responded. Through a series of interviews with professional and working women in Iran—doctors, lawyers, writers, professors, secretaries, businesswomen—Haleh Esfandiari gathers dramatic accounts of what has happened to their lives as women in an Islamic society. She and her informants describe the strategies by which women try to and sometimes succeed in subverting the state's agenda. Esfandiari also provides historical background on the women's movement in Iran. She finds evidence in Iran's experience that even women from "traditional" and working classes do not easily surrender rights or access they have gained to education, career opportunities, and a public role.
A Social History of Iranian Cinema, Volume 4 by Hamid Naficy Pdf
In the fourth and final volume of A History of Iranian Cinema, Hamid Naficy looks at the extraordinary efflorescence in Iranian film and other visual media since the Islamic Revolution.
