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The 1920s saw the creation of numerous new monarchies and regimes in the Middle East. This book gives a detailed history of the new regime change in Iran in the 1920s. Using U.S. State Department archives, Mohammad Gholi Majd first describes the overthrow of the Qajar dynasty, which ruled Iran since the 1790s, and its replacement by the Pahlavi monarchy in 1925. He then describes the consolidation of the new regime and suppression of the opposition between 1926 and 1930. By 1931, resistance to the Pahlavi regime and the harsh response thereto set the stage for a long struggle between the Pahlavi monarchy and the Ulama that ended with the Islamic Revolution in 1979. This book is the first detailed and documented history of Iran during 1919-1930 in the English language.
This unique study spotlights the role of masculinity in Iranian history, linking masculinity to social and political developments.
"This book looks at one of the most important and engrossing chapters in 20th century Iranian history. The post-World War I period began with a triumvirate of Iranian political grandees, encouraged by the British government, attempting to shoe-horn Iran into the British Empire. This was followed by a bizarre coup d'etat, engineered by a British general, which brought to power the Reza Shah Pahlavi who ended 130 years of Qajar rule."--Bloomsbury Publishing.
The post-World War I years were a crucial period in the birth of the modern Iranian state. This book has been researched from Iranian and British sources.
Nikki R. Keddie is Professor Emerita of History at UCLA and fellow of the American Academy of Arts and Sciences.
When Naser al-Din Shah, who ruled Iran from 1848 to 1896, claimed the title Shadow of God on Earth, his authority rested on premodern conceptions of sacred kingship. By 1941, when Mohammad Reza Shah Pahlavi came to power, his claim to authority as the Shah of Iran was infused with the language of modern nationalism. In short, between roughly 1870 and 1940, Iran's traditional monarchy was forged into a modern nation-state. In Nationalizing Iran, Afshin Marashi explores the changes that made possible this transformation of Iran into a social abstraction in which notions of state, society, and culture converged. He follows Naser al-Din Shah on a tour of Europe in 1873 that led to his importing a new public image of monarchy-an image based on the European late imperial model-relying heavily on the use of public ceremonies, rituals, and festivals to promote loyalty to the monarch. Meanwhile, Iranian intellectuals were reimagining ethnic history to reconcile “authentic” Iranian culture with the demands of modernity. From the reform of public education to the symbolism surrounding grand public ceremonies in honor of long-dead poets, Marashi shows how the state invented and promoted key features of the common culture binding state and society. The ideological thrust of that century would become the source of dramatic contestation in the late twentieth century. Marashi's study of the formative era of Iranian nationalism will be valuable to scholars and students of history, sociology, political science, and anthropology, as well as journalists, policy makers, and other close observers of contemporary Iran.
Culture and Cultural Politics Under Reza Shah presents a collection of innovative research on the interaction of culture and politics accompanying the vigorous modernization programme of the first Pahlavi ruler. Examining a broad spectrum of this multifaceted interaction it makes an important contribution to the cultural history of the 1920s and 1930s in Iran, when, under the rule of Reza Shah Pahlavi, dramatic changes took place inside Iranian society. With special reference to the practical implementation of specific reform endeavours, the various contributions critically analyze different facets of the relationship between cultural politics, individual reformers and the everyday life of modernist Iranians. Interpreting culture in its broadest sense, this book brings together contributions from different disciplines such as literary history, social history, ethnomusicology, art history, and Middle Eastern politics. In this way, it combines for the first time the cultural history of Iran’s modernity with the politics of the Reza Shah period. Challenging a limited understanding of authoritarian rule under Reza Shah, this book is a useful contribution to existing literature for students and scholars of Middle Eastern History, Iranian History and Iranian Culture.
A country of extreme strategic importance, Iran has undergone profound, often dramatic, changes. Its geo-political importance and rich resources have always made Iran a prime target for the covetous eyes of mighty world powers. With its unique geographical position, Iran has been the main center for superpower rivalries with its rulers seeking protection from one power against the other.It also aims at providing a comprehensive and objective consideration of the major contemporary issues, examining the factors which brought down a regime which was loyal to and an ally of the United States and the clerical-led movement which toppled the pro-Western Shah`s regime.
One of the most heated scholarly controversies of the early twentieth century, the Orient-or-Rome debate turned on whether art historians should trace the origin of all Western—and especially Gothic—architecture to Roman ingenuity or to the Indo-Germanic Geist. Focusing on the discourses around this debate, Talinn Grigor considers the Persian Revival movement in light of imperial strategies of power and identity in British India and in Qajar-Pahlavi Iran. The Persian Revival examines Europe’s discovery of ancient Iran, first in literature and then in art history. Tracing Western visual discourse about ancient Iran from 1699 on, Grigor parses the invention and use of a revivalist architectural style from the Afsharid and Zand successors to the Safavid throne and the rise of the Parsi industrialists as cosmopolitan subjects of British India. Drawing on a wide range of Persian revival narratives bound to architectural history, Grigor foregrounds the complexities and magnitude of artistic appropriations of Western art history in order to grapple with colonial ambivalence and imperial aspirations. She argues that while Western imperialism was instrumental in shaping high art as mercantile-bourgeois ethos, it was also a project that destabilized the hegemony of a Eurocentric historiography of taste. An important reconsideration of the Persian Revival, this book will be of vital interest to art and architectural historians and intellectual historians, particularly those working in the areas of international modernism, Iranian studies, and historiography.