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Though known to specialists, Comte de Gobineau’s vital if idiosyncratic contribution to Orientalism has only been accessible to the English reader through secondary sources. Especially important for its portrayal of an esoteric Sufi sect like the Ahl-i Haqq, and its vivid narrative of the Babi episode in Persia, Gobineau’s work impacted significantly on European intelligentsia, including Ernest Renan, Matthew Arnold, Lord Curzon, and the Orientalist Edward Granville Browne. Daniel O’Donoghue’s brilliant translation now makes available sizeable extracts from Gobineau’s two most important writings on the East: Three Years in Asia and Religions and Philosophies of Central Asia. Geoffrey Nash’s comprehensive introduction and notes contextualise Gobineau’s work in the light of contemporary scholarship, as well as assessing its impact on nineteenth century Orientalists and modern Iranians, and its relevance to debates around Islam and modernity that are still alive today.
In this 1891 publication, Edward Granville Browne (1862-1926) offered a translation of The Episode of the Báb into English. Volume one is the original Persian text, and volume two the English translation, complete with notes and a substantial appendix.
In this pioneering book, Negar Mottahedeh explores the central issues of vision and visibility in Iranian culture. She focuses on historical and literary texts to understand the use of visual culture and performance traditions in the production of the contemporary nation. Tracing the historical mediation and dissemination of ideas for national reform in the modern period of Iran, the book examines the various discourses that have constituted the image of the unpresentable “Babi” as the figure of Iran’s Other. In her exploration of gender and Iranian cinema, the author powerfully argues that this unpresentable image continues to haunt contemporary Iranian cinema’s representations of the nation. As cinema began to displace other forms of representation in Iran, Islamic culture attempted to keep the motion picture industry free from what it perceived to be the taint of foreign values and intervention. With insight and detail, Mottahedeh looks at the revealing ways in which contemporary Iranian cinema has dealt with representing an unpresentable national modernity articulated through traversals in time and space. These deeply national tropes of traversal shaped the image of the “Babi,” against which nineteenth-century Iran produced its own modernity. This highly original work, signaling a paradigmatic shift in Iranian studies and gender studies, will be an invaluable resource for scholars in cultural, Iranian, or film studies.