Arədvī Sūrā Anāhitā, a popular Zoroastrian yazatā, is celebrated in Yašt 5 (Ābān Yašt). Anāhitā is mostly believed to be an Indo-Iranian or Iranian deity who has absorbed influences from the creed and iconography of Ishtar, the Mesopotamian goddess, in the course of history. The type and the degree of such influences are still under debate. The paper places this goddess into the context of ancient Western Asia. Findings are presented in two sections: in the first section, the Indo-Iranian, Iranian and western Iranian origins of Anāhitā are questioned, and in the following section two points are clarified: first, the Mesopotamian origin for Anāhitā is more consistent with historical and archaeological evidence, and second, Anāhitā is the same as Annunit/Annunitum, Sippar—Amnamum’s goddess of war and victory and the avatar of Antu, who was added to the list of his royal patron deities as a result of political and military developments early in the reign of Artaxerxes II.

Zoroastrian Dari, also known as Behdini or Gavruni, is an endangered Iranian language spoken by the Zoroastrian minority who mostly live in Yazd and the surrounding areas as well as in Kerman and Tehran. Zoroastrian Dari is a unique Iranian language on account of its historical background and large number of subdialects. This language is only a spoken language and not a written one, but it seems that remnants of this language are attested in the Avestan manuscripts, particularly in the colophons. This paper provides a study of the existence of Zoroastrian Dari in the personal names in the colophons and Sālmargs of the Avestan manuscripts.

A considerable amount of scholarship has been produced on just over sixty paintings of humans and demons, many of which bear ascriptions to the unidentified artist Mohammad-e Siāh Qalam, and which are now mostly housed in albums H.2153 and H.2160 in the Topkapı Palace Library. Although methods of formal comparison have led to general agreement that the paintings can be dated to either the fourteenth century or the fifteenth, strikingly little attention has been paid to the question of what these images depict. This paper studies the paintings within the context of documentary, legal and literary material in Persian and Arabic, and identifies a set of common motifs shared between the Siāh Qalam paintings and a number of later images. While it has been supposed by several scholars that the paintings document life in a marginal geographical environment and faithfully reflect the practices of a syncretic culture, this paper suggests that they engage with a field of satirical ideas which were widespread in the Islamic world in the fourteenth and fifteenth centuries, and which parodied common types of behavior that were deemed by some observers to be illicit or absurd.

This article focuses on the coverage of the ʿUrabi rebellion of 1881–82 in the Istanbul-based Persian-language newspaper Akhtar. Akhtar was the first periodical to be published in Persian outside the auspices of the Qajar state, and first appeared on 13 January 1876, from the press owned by Mohammad Tāher Tabrizi in the Valide Han in the Ottoman capital. The objective of the present article is twofold. First, it aims to interweave the history of the Persian-language publication Akhtar with broader questions of how the Hamidian state strove to situate itself within a changing international order in a bid to affirm its legitimacy and sovereignty. It then proceeds to examine the ideological leanings of Akhtar set against the complex background of censorship laws implemented by the Hamidian state (1876–1908). To this end, by scrutinizing the reportage of this one specific event—the Egyptian crisis of 1881–82—it attempts to shed light on how the editors of Akhtar successfully maintained the delicate equilibrium of appeasing both its patrons: namely, the Hamidian state and its readership across the region where Persian was spoken. Thus, the article seeks also to highlight the ways in which inter-imperial dynamics lie at the heart of the history of this “Persian” publication.

This study addresses the gap in the contemporary scholarship on Kurdish oral and performative culture by, for the first time, presenting a review of some of the performance traditions in Kurdistan. By describing these traditions, the article demonstrates that performance has for centuries comprised a vital and meaningful element of Kurdish cultural life. Further, it shows that a more inclusive approach to writing theatre histories enhances understanding of Middle Eastern and, in particular, Iranian performance culture—for the Kurds, as an Iranian people and the fourth largest ethnic group in the Middle East, play an intrinsic part in the culture of the region. All combined, this comprehension fosters a deeper appreciation and fuller picture of Middle Eastern theatre, in general, and Iranian theatre, in particular.

Despite the nature of American influence in postwar Iran, and despite the fact that Iranian studies has grown into a flourishing field in the United States, scholars have not explored the field's origins during the Cold War era. This article begins with the life of T. Cuyler Young to trace the critical genealogy within the field as it developed, in cooperation between American and Iranian scholars, during the reign of Mohammad Reza Shah Pahlavi. It proceeds to analyze two cohorts of American scholars whose political inclinations ranged from liberal reformism to revolutionary Marxism. As revolutionary momentum swelled in Iran in the late 1970s, critical scholars broke through superpower dogmas and envisioned a post-shah Iran. However, Cold War teleologies prevented them from fully grasping Iranian realities, particularly Khomeini's vision for Iran. This article argues that the modern field of Iranian studies in the United States was shaped by multiple generations of critical voices, all of which were informed by historically situated encounters with Iran and expressed through a range of methodological and theoretical perspectives.