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Stephen C. Poulson investigates cycles of social protest in Iran from 1890 to the present era. This work covers the following social movements: the 1890-92 Tobacco Movement; the 1906-09 Constitutional Revolution; two post-World War II movements, the Tudeh (Masses) and the National Front; the 1963 Qom Protest; and the 1978-79 Iranian Revolution. Poulson shows how various Iranian political actors have framed their dissent, drawing on both regional and Western-influenced modes of protest to achieve their ends.
These 12 ethnographic essays explore women's roles in the rituals that commemorate the Battle of Karbala, the central religious observance of Shi'i Islam. The authors conclude that while rituals and symbols can restrict women's roles, they can also provide women with a sense of independence and empowerment.
Unique study which offers new perspectives on contemporary Islamic iconography And The use of imageries in ritual contexts.
In this volume the authors present and discuss different aspects of their field researches and experiences in regard to the women's rituals and devotional practices. One of the main aims of this book is to broaden our understanding of women's devotional life, as well as calling attention to its relation to general social change. Most of the contributions are based on field researches, direct observations and rituals participations. This gives the reader a unique opportunity for better understanding of methodological challenges related to gender issues and field research among Muslim communities. --
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.
These beautiful performance traditions have continued down to the present. They are aesthetically complex, subtle and uniquely reflective of Iranian culture and though enriching all Iranian cultural expression, including literature, art, architecture and film. --