The claim to belong to the “Aryan race,” believed to be rooted in the ancient self-designation ariya, is a fundamental pillar of the Iranian nationalist discourse. This paper aims to show that in fact it is a twentieth-century import from Europe, where after being instrumentalized for colonial endeavors and Nazi atrocities, it has become almost completely discredited. Yet Iranians continue to nonchalantly refer to themselves as Aryans and the myth of the “land of Aryans” persists, even in academic circles. It will be argued that the reason for this resilience is the specific role Aryanism plays in Iranian identity politics, and the strategies designed to manage the trauma of the encounter with Europe.

The Qajar period witnessed a revival of traditional Islamic philosophy based on the philosophical method of the Safavid sage Mulla Sadra Shirazi. This was philosophy as a way of life, an ethical commitment born of a method that combined both rational discourse and mystical intuition, deployed to defend the intellectual and cultural norms of the old learning against the new European inspired centers in Qajar Iran. A prominent figure in this process of revival was Mulla Hadi Sabzavari, who trained in the seminaries of Mashhad and Isfahan and became the most famous teacher of the works of Mulla Sadra and of philosophy in the second half of the nineteenth century. This paper examines his life and intellectual and pedagogical contribution, and traces some lines of his impact on seminarian philosophy into the twentieth century through the many students who came to study with him in his hometown, including his influence on modern trends within Shi‘i jurisprudence and legal theory.

One of the major trends in experimental theater refashions the representational and presentational techniques of ancient rituals, medieval dramatic forms and popular performing traditions to create new forms of dramatic expression. In pre-revolutionary Iran, the proponents of this trend included those who worked with Iran National Theater and Theater Workshop. The 1979 revolution heralded the arrival of a different kind of drama in response to a host of new subjects and restrictions. However, unlike the political upheavals of previous periods which led to catastrophic discontinuity in the development of Iranian theater, it did not result in a complete breach. The post-revolutionary practitioners continued working with the templates devised by their pre-revolutionary colleagues, creating a dramatic tradition that has produced several masterpieces during recent decades. The purpose of this paper is to put the history of this experimental trend in perspective and examine the works of three of its major post-revolutionary practitioners. As such it will not focus on the history of indigenous forms or western-style theater in Iran, but on the recent history of this experimental mode and how its practitioners have refashioned Iranian performing traditions.

The war in Afghanistan (1978 to the present) is one of the longest and bloodiest wars in modern history. From the early 1980s war intensified between the Leftist regime and the opposition Mujahideen and touched the life of every citizen. Bombardments, rockets and landmines killed and injured hundreds of thousands of civilians and caused massive displacement. Women were the direct and indirect targets of the war; some women lost members of their immediate family, others were displaced and emigrated, some were raped, and others were enslaved and sold. Thus trauma and mourning mark the lives of the majority of Afghanistani women. Given the political nature of the conflict—with superpowers and regional powers behind the warring sides—and the nature of socio-cultural bonds that required women to keep silent, how did women deal with these traumas? One of the areas in which this can best be seen is in women's literature—most notably narrative works. These works, in which the authors were themselves either victims or witnesses, voice women's resistance to the war and portray war and its consequences for ordinary women's everyday lives. In the narrative works of Spozhmai Zaryab (the pioneer of the anti-war fiction in Afghanistan), women and trauma are multi-dimensional. In some of her short stories women mourn publicly; in others, women cope with war and resist it by whatever means available to them. In others, women visualize war, invasion and destruction of all socio-cultural bonds. Women are transformed by a profound change, including in their perception of gender relations.

This paper examines a partnership between the British Council and the government of the Islamic Republic of Iran (IRI) that emerged in March 2001 as a result of their shared aspiration for collaboration in scientific, academic and cultural arena. The alliance came as a surprise because after twenty-three years of antagonism on the part of the government of the IRI, the hostile attitudes were put aside virtually overnight to reunite with an old adversary for a mutual collaboration. The present qualitative study examines the reasons behind the start of the partnership, the domains within which the British Council was permitted to operate in Iran, and the reasons behind the end of the partnership. The data were gathered from various sources, including field-notes, policy documents analysis, personal interviews, and various online sources. The findings reveal that the duration of the partnership was closely intertwined with the rise and fall of the reformist administration, under President Mohammad Khatami (1997–2005). The partnership began mainly due to efforts made by the reformist administration to take the IRI out of its international isolation and thus became inactive not long after the reformist administration, and eventually came to an end in January 2009, under the presidency of Mahmoud Ahmadinejad.

The article examines the travelogues kept by the Qajar ruler Nasir al-Din Shah during his European tours in 1873, 1878 and 1889. To the monarch, Europe appeared to be an exotic and at times troubling place and he recorded his experiences with delight, criticism and humor. Focusing on his notes on Germany, the article explores Nasir al-Din Shah's encounters with people on the streets and at court, and in particular his perception of the female sex. Scholarship has either neglected the diaries or rejected them as a historical source, referring to the strong influence of literary convention and the Shah's alleged lack of understanding of the political, social and cultural conditions in Europe. Drawing on the uncensored versions of the diaries, the article argues that a closer look at the texts reveals fruitful, often amusing, insight into the monarch's experiences with social roles and cultural patterns alien to him. It suggests that a more careful reading of the diaries will also be beneficial in regard to the Shah's perception of European history and monuments, technology and scientific innovations, and landscape.