This essay is the full account, the first in English, of the correspondence between the Russian general, Paul Tsitsianov, and the governor of the khanate of Ganjeh, Javād Khān Qajar. Drawing on contemporary Russian and Iranian records, it includes a daily account of Tsitsianov’s preparation, siege and the storming of the fortress of Ganjeh, which led to the First Russo-Iranian War (1804–13). The essay further includes two special maps—the first is the map of the South Caucasus in 1800 and the route of the invasion; while the second is based on a rare Russian military map that reveals the siege and storming of the fortress.

This paper examines a range of post-revolutionary Iranian art films, mostly those watched primarily outside the country via festival screenings, in the context of the relationship between the tropes of peripherality and humor. It argues for the significance and complexity of both terms in the context of this cinema and of the global image of Iran and its peoples. Having examined a kind of humor based on the geographic periphery, specifically derived from relationships between technology, car, and camera, it concludes by reflecting on the advent of new technologies, and social constraints and opportunities in the Iranian art cinema today.

From 1928 to 1932 the Pahlavi regime of Iran negotiated with the Anglo-Persian Oil Company (APOC) to revise the D’Arcy Concession. These negotiations, conducted by ‘Abd al-Hosayn Teymurtāsh and the chairman of APOC Sir John Cadman, ended in failure when Rezā Shah unilaterally cancelled the D’Arcy Concession in November 1932. This article argues that “equitability” was the goal of the negotiations. An agreement was ultimately impossible to reach, due to differing ideas on either side regarding what was equitable, changes in the international oil economy and instability within Iran itself, leading to an unequal agreement in April 1933 that confirmed APOC’s long-term security but served only the short-term needs of Iran.

This article examines the isolation and marginality of Iranian men living in contemporary Iran with a focus on three post-2005 films. As a patriarchal society, Iran has been the subject of many studies on the subjugation and marginality of women. This study demonstrates how recent Iranian films have skillfully employed the cinematic language to narrate men’s stories of alienation and despair. These filmic constructions provide a valuable and complex insight into masculine identities, challenging perceptions of the essentialized image of the Middle Eastern male. By employing Connell’s hierarchy of masculinities, the article demonstrates the position of marginalized men in relation to the dominant ideals of masculinity and the influence of these discourses on the lives of such men. The films discussed here do not perpetuate the construction of the ‘true’ gender, but instead challenge ideas of heroism, manliness and patriarchy.

The dative case in Vafsi appears in three structures: (a) the case of the experiencer in sensory verbs, (b) the case of the indirect object (IO), and (c) the case of the object of the preposition /da/ (to), or the preposition /az/ (to), or the enclitic /-o/ (to), or the object of the postposition /rā/ (for). In Vafsi, as in many other Indo-European languages, sensory verbs necessitate the emergence of quirky subjects which have the experiencer function and are dative case marked. In order to analyze the dative case marking in Vafsi using optimality theory, this article uses the faithfulness constraint of faith-lex and the markedness constraint hierarchy of *ERG≫*DAT≫*ACC≫*NOM. Vafsi always allocates the dative case to the IO of the ditransitive verbs. This phenomenon is illustrated by use of an optimality theory (OT) tableau. Some Vafsi ditransitive verbs dative case mark the IOs using adpositions. If so, Vafsi differential adpositional case marking (DACM) will rule, as the IOs are objects of adposition (OAs) simultaneously.