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In this first-hand account of the Iranian Revolution, Mirsepassi deftly weaves together his memories of provincial life and radical activism in 1960s and 1970s Iran with insights gleaned in his subsequent career as a sociologist of Iran.
As a nine-year-old Tehrani schoolgirl during the Iranian Revolution, Nazila Fathi watched her country change before her eyes. The revolutionaries—most of them poor, uneducated, and radicalized—seized jobs, housing, and positions of power, transforming Iranian society practically overnight. But this socioeconomic revolution had an unintended effect. As Fathi shows, the forces unleashed in 1979 inadvertently created a robust Iranian middle class, one that today hungers for more personal freedoms and a renewed relationship with the outside world. And unless an international confrontation allows Iranian leaders to justify an internal crackdown, this internal pressure for reform will soon set the country on a more stable track. In The Lonely War, Fathi describes Iran's awakening alongside her own, revealing how moderates are retaking the country—and how foreign powers can aid their progress.
Marina Nemat’s bestselling Prisoner of Tehran chronicled her arrest, torture, and two-year imprisonment in the notorious Evin prison as a teenager in 1980s revolutionary Iran. In her new book, Nemat provides a riveting account of her escape from Iran and her journey to Canada, via Hungary, with her husband and infant son in 1991. Settling into a new life as immigrants, she and her husband find jobs, raise their two children, and seemingly adapt. But inwardly, Nemat is struggling. Haunted by survivor’s guilt, she feels compelled to speak out about what happened to her in prison. Her account becomes a bestselling book; and again her life is changed. A story of courage and recovery, After Tehran chronicles Nemat’s confrontation with her past, how she re-engages with her distant father, and how ultimately she emerges from the emotional ravages of posttraumatic stress.
The flow and counter flow of revolution and counterrevolution have become the norm of the twentieth century. In this fascinating and well-rounded volume, the author illuminates the revolutionary process as it has developed from antiquity to the present day, from the vantage points of political science, history, and sociology. Meisel's work is presented in the form of twelve absorbing episodes in the history of Western civilization. His remarkable for the detail with which he approaches a subject often difficult to define and even more difficult to explain. He suggests a new and highly useful perspective of history by viewing it as a process of revolution and counterrevolution and their transitional stages. As it is the nature of revolutions to fall short of their objectives and to enjoy only a brief heyday that becomes the stereotype accepted by posterity, the author emphasizes their antithetical closing phases--whose lessons posterity tends to forget. Meisel's belief is that second-echelon figures teach us more about the natural process of revolution than the atypical "men of destiny," and he illustrates his account with many portrayals of comparative unknowns who lived through all the stages of revolution and counterrevolution. But revolutions can also be aborted or be preceded by counterrevolutions, as Meisel demonstrates by enlightening analyses of Mussolini's coup d'utat, the origins of the Spanish Civil War, and General de Gaulle's defeat of a potential army insurrection in behalf of French Algeria. In this profound and wide-ranging work, Meisel achieves an admirable balance between theory, action, and biography. The result is a unique survey of revolutionary history, in which a sophisticated thinker provides on almost every page a deepening understanding of the problems of revolution for the scholar and student of political processes, political theory, and comparative politics. The reader with a lively interest in the modus operandi of history will also find this book compelling reading.
Revue {R}évolution, A Scholarly Review of Poetry, Art, Mythology and Philosophy by Murielle Mobengo,Maria Linares Freire,Sourav Sengupta,James B. Nicola,Keira Tucker Pdf
Aims & Scope Revue {R}évolution is an annual international journal publishing the finest works in classical/stylized poetry and Renaissance-inspired art. Our publication is based in New York, with branches in Paris, and seeks to revive the liberal arts in a contemporary context, bringing together cultures from the East, West, and Africa. Revue Révolution provides authoritative literature in poetry, philosophy, and art, breathing new life into timeless classics and ancient scriptures, revealing contemporary voices inspired by tradition. At the heart of Revue {R}’s publication lies a deep reverence for non-duality, mythology, and symbolism, intertwined with the roots of religion. These elements stand as the bedrock and guiding principles that shape the review's aesthetic vision and direction. Revue {R} offers an intellectual haven where classical philosophy–from the Vedic times to European continental philosophy– converges. The editors firmly believe that poetry and art can only flourish when grounded in reason and elevated, enlightened thinking. In every facet of thought, literary exploration, and artistic expression, Revue {R}évolution champions the pursuit of elegance. Mission Statement Transcendence, that is, movement from immanence to permanence, the relative to the Absolute, the human experience to the Divine, is at the core of Revue Revolution's philosophy. About the Editors Information about the Editors may be found here: https://www.revuerevolution.com/en/masthead Contact https://www.linkedin.com/company/revuerevolution/ _____________________ Beauty Almighty! Issue #5 (2023) Discover the blend of Beauty & Thought in the fifth issue of Revue {R}. Immerse yourself in subtle perspectives on Self, Nature, and Society. ART THEORY: Explore the potency of Beauty & colors with London-based artist in residence Maria Linares Freire MODERN PHILOSOPHY: Delve into your animal mind with German philosopher & poet Friedrich Nietzsche. SYMBOLISM: Unearth the secrets of enduring logo art, symbolism, and religion with poet Murielle Mobengo CHRONO(LOGIC): Delve into our Polymath Timeline Project, and relish the humorous academia escapade by New Yorker poet James B. Nicola. SCIENCE STORIES: Engage in an eye-opening conversation with scientist Keira Tucker (South Africa) of ASCUS Art & Science. POETRY APOTHEOSIS: Experience Kolkata poet Sourav Sengupta's profound thought and poetry in a culminating feast.
A “provocative and sweeping” (Time) blend of family history and original reportage that explores—and reimagines—Asian American identity in a Black and white world “[Kang’s] exploration of class and identity among Asian Americans will be talked about for years to come.”—Jennifer Szalai, The New York Times Book Review (Editors’ Choice) ONE OF THE BEST BOOKS OF THE YEAR: Time, NPR, Mother Jones In 1965, a new immigration law lifted a century of restrictions against Asian immigrants to the United States. Nobody, including the lawmakers who passed the bill, expected it to transform the country’s demographics. But over the next four decades, millions arrived, including Jay Caspian Kang’s parents, grandparents, aunts, and uncles. They came with almost no understanding of their new home, much less the history of “Asian America” that was supposed to define them. The Loneliest Americans is the unforgettable story of Kang and his family as they move from a housing project in Cambridge to an idyllic college town in the South and eventually to the West Coast. Their story unfolds against the backdrop of a rapidly expanding Asian America, as millions more immigrants, many of them working-class or undocumented, stream into the country. At the same time, upwardly mobile urban professionals have struggled to reconcile their parents’ assimilationist goals with membership in a multicultural elite—all while trying to carve out a new kind of belonging for their own children, who are neither white nor truly “people of color.” Kang recognizes this existential loneliness in himself and in other Asian Americans who try to locate themselves in the country’s racial binary. There are the businessmen turning Flushing into a center of immigrant wealth; the casualties of the Los Angeles riots; the impoverished parents in New York City who believe that admission to the city’s exam schools is the only way out; the men’s right’s activists on Reddit ranting about intermarriage; and the handful of protesters who show up at Black Lives Matter rallies holding “Yellow Peril Supports Black Power” signs. Kang’s exquisitely crafted book brings these lonely parallel climbers together and calls for a new immigrant solidarity—one rooted not in bubble tea and elite college admissions but in the struggles of refugees and the working class.
A widow who may be ready to love again. A rakish duke who may not be reformed. Can they ever hope for a happy ending? Edward Beaufort, the Duke of Wessex, has traveled across an ocean in the midst of a war to find his little brother and heir. Having lost his own wife and son, Edward knows he must mend the breach between David and their family—especially if David is to one day assume the dukedom. Instead of welcoming him joyously, however, his brother wants nothing to do with Edward. Widowed by the redcoats four years before, Helen Carter’s primary concern is providing for her children. Fortunately, her brother-in-law David has taken her family into his home and sees to their every material need. When David’s brother appears and his pitiable attempts to reconcile with David fall short, Helen agrees to help the poor duke in his lost cause. A notorious rake ill at ease around children, Edward is nothing Helen would want, were she ever to remarry. But their platonic camaraderie grows into something deeper. If he ever hopes to win back his brother and to earn Helen’s love, Edward must prove he’s no longer a man who could only break hearts.
The memoir of Shen, age 12 at the start of the Cultural Revolution in 1966, recounts being complicit in arduous Red Guard activities that directly or indirectly led to several gruesome deaths of political "enemies"--And later falling in love with and marrying the daughter of a man brutally tortured and killed by one of his fellow Red Guards.
Vols. 1-3, 5-8 contain the political and literary portions; v. 4 the historical register department, of the numbers published from Oct. 1837 to Dec. 1840.
I am aware that, once my pen intervenes, I can make whatever I like out of what I was.' Paul Valéry, Moi. Modernism is often characterized as a movement of impersonality; a rejection of auto/biography. But most of the major works of European modernism and postmodernism engage in very profound and central ways with questions about life-writing. Max Saunders explores the ways in which modern writers from the 1870s to the 1930s experimented with forms of life-writing - biography, autobiography, memoir, diary, journal - increasingly for the purposes of fiction. He identifies a wave of new hybrid forms from the late nineteenth century and uses the term 'autobiografiction' - discovered in a surprisingly early essay of 1906 - to provide a fresh perspective on turn-of-the-century literature, and to propose a radically new literary history of Modernism. Saunders offers a taxonomy of the extraordinary variety of experiments with life-writing, demonstrating how they arose in the nineteenth century as the pressures of secularization and psychological theory disturbed the categories of biography and autobiography, in works by authors such as Pater, Ruskin, Proust, 'Mark Rutherford', George Gissing, and A. C. Benson. He goes on to look at writers experimenting further with autobiografiction as Impressionism turns into Modernism, juxtaposing detailed and vivacious readings of key Modernist texts by Joyce, Stein, Pound, and Woolf, with explorations of the work of other authors - including H. G. Wells, Henry James, Joseph Conrad, Ford Madox Ford, and Wyndham Lewis - whose experiments with life-writing forms are no less striking. The book concludes with a consideration of the afterlife of these fascinating experiments in the postmodern literature of Nabokov, Lessing, and Byatt. Self Impression sheds light on a number of significant but under-theorized issues; the meanings of 'autobiographical', the generic implications of literary autobiography, and the intriguing relation between autobiography and fiction in the period.
