The figure of the ascetic cat, one known for his pretense to piety, appears throughout the medieval Persian literature. This study examines the movement of this literary motif along the Silk Road where Buddhism and Manichaeism facilitated its transmission into the nascent Islamic civilization. The study traces the possible paths of their journey by examining both the literary transmission of two anecdotes of the ascetic cat from India to Shiraz, as well as by considering the historical context for such transmission.

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.

This article uses narratives of the death of Cyrus the Great as a test case in order to examine the use of propaganda in the Achaemenid empire. By comparing the accounts found in Herodotus, Ctesias, and Xenophon, it is shown that these Greek historians have captured propagandistic messages created in the courts of contemporary Achaemenid kings. While the Greek works were very much the product of their authors’ literary imagination, nevertheless they preserved substantial evidence about the role of propaganda during the Achaemenid period.

This article aims to contribute to the wider debate on the historicity of the Shāh-nāmah by focusing on the way Firdawsī uses the word khargāh. The word, which is first attested in Rūdakī poetry, has not been dealt with adequately in previous scholarship dedicated to the Shāh-nāmah. An analysis of all the occurrences in the text provides results consistent with those obtained from contemporary sources: the khargāh appeared in Central Asia (here, Tūrān); it was the standard dwelling of Turkic-speaking pastoral nomads (here, Tūrānians), whatever their social rank; and it was adopted later as a status symbol by non-Turkish elites (here, during Kay-Khusraw’s reign). In Firdawsī’s Shāh-nāmah khargāh should therefore also be understood as the type of framed tent known as “trellis tent” (the so-called yurt).

Qianling Mausoleum (乾陵) which is located in the northwest of Xi'an, is the tomb of Emperor Gaozong of the Tang Dynasty (唐高宗, r. 649–83 AD) and his Empress Wu Zetian (武則天, r. 690–705 AD). In this mausoleum, there are two statues of Pērōz, son of Yazdegird III (632–51 AD), and another Persian nobleman who have been recognized by western scholars. However, scholars’ attention has been limited to a general and mistaken description of the statues. This paper reassesses both statues in order to give some new insight into the head of one of the statues found at the Qianling Mausoleum.

ᶜAli Akbar Khatāyi’s Khatāynāmeh (Book of China), a detailed description of state and society in Ming China written in 922/1516, includes citations from the Kanz al-Haqāyeq (attributed to Mahmud Shabestari) and ᶜAttār’s Elāhināmeh. By citing these two texts at key points in his description of the Chinese government, Khatāyi articulates a radical political vision in which the civil officials, rather than the emperor, are the true rulers. Furthermore, by using the Kanz al-Haqāyeq as a portal text, and through frequent citations of other gnostic poetry, he crafts his own authorial presence by identifying his own text with fotovvat and gnosticism, and invokes a conceptual framework based on the thought of Ibn ᶜArabi epitomized in his intertexts.

This article constitutes a preliminary attempt to explore the geographical dimension of premodern Persian lyric poetry from the perspective of the relationship between the historical adherence of a text to external reality and the rhetorics of intertextuality and performativity. The pretext for this exploration is the poem known as “Tork-e Shirazi” or “The Turk from Shiraz,” one of the most celebrated ghazals of Hafez of Shiraz. The analysis focuses in particular on the first two lines of the ghazal, whose rich and ambiguous imagery has challenged the community of readers, interpreters, and scholars for centuries. On the basis of historiographical, formalist, and poststructuralist approaches to the study of lyric poetry, the article outlines a generative paradigm that analyzes a given text from the perspective of its abstract, genre-specific, conventionally negotiated, and referential levels of meaning. The contribution of geocritical studies will be combined with rhetorical analysis to conceive of Hafez’s text as a geopoetic map in which the cities of Shiraz, Samarkand, and Bukhara are put in conversation with the mental and historical representations of Iran and India between the thirteenth and fourteenth centuries, during the transition from the Mongol to the Timurid models and ideals of power.

This paper examines the anecdotes of ʿAttār’s Mosibat-nāmeh as temporal phenomena from the perspective of a reader moving progressively through the text; it is argued that that these anecdotes do not function primarily as carriers of dogmatic information, but as dynamic rhetorical performances designed to prod their audiences into recommitting to a pious mode of life. First, the article shows how the poem’s frame-tale influences a reader’s experience of the embedded anecdotes by encouraging a sequential mode of consumption and contextualizing the work’s pedagogical aims. Next, it is demonstrated that these anecdotes are bound together through formulae and lexical triggers, producing a paratactic structure reminiscent of oral homiletics. Individual anecdotes aim to unsettle readers’ ossified religious understandings, and together they offer a flexible set of heuristics for pious living. Finally, it is argued that ʿAttār’s intended readers were likely familiar with the mystical principles that underlie his poems; he therefore did not use narratives to provide completely new teachings, but rather to persuade his audience to more fully embody those pious principles to which they were already committed.

This essay uses retranslation studies to trace the defanging and domestication of Samad Behrangi’s The Little Black Fish, a children’s story once hailed as a major revolutionary and literary text. Behrangi’s book is the only modern Iranian prose work to have been translated multiple times both before and after the Islamic Revolution of 1979. The study compares the texts from several of these retranslations, by considering whether they have been domesticated for their English readers, as well as their context, by looking at the cultural impact of such factors as the Islamic Revolution and US‒Iran relations. It looks at how various translators and publishers have interpreted the story and how their perspectives reflect Iranian history, the influence of Middle East studies, and the interests of the Iranian diaspora. The result sheds light on translation norms, as well as on the circulation and interpretation of Iranian literature in the global context.

This article is a review of the afterlife, or Nachleben, of the romance Vis and Rāmin, one of the first representatives of its genre in New Persian literature. In addition to providing readers with an extensive bibliography of sources and research concerning the poem, it also analyzes these materials to put forward two basic arguments: one, that moral or religious antipathy to the poem’s contents may not have played as great a role in its fortunes as did aesthetic taste; and two, that V&R proved to be a more widely circulated and durable work than is commonly supposed, but on the level of fragments, not the entire text. In light of these arguments, it is proposed that studies structured around the comparison of fragments—themes, ideas, ethics, and motifs, rather than whole texts—may offer more purchase in constructing models of analysis that situate V&R, and Persian literature more broadly, within a literary oikumene in which it connects and interacts with neighboring traditions.

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.

This article explores the poetry of Shah Ismāᶜīl Safavī (d. 1524), the founder of the Safavid dynasty of Iran. Established as an important historical source by Vladimir Minorsky during World War II, the issues surrounding the poetic corpus of Shah Ismāᶜīl have continued to attract the attention of historians of the Safavids. With examples from the earliest and most authentic manuscript, the idea of viewing this body of works as literary sources versus political propaganda is discussed in this article.

Even when Mohammad Reza Shah became an autocrat by the early 1960s, systemic constraints on his power persisted. One was government officials. They certainly accepted the shah’s governmental centrality. But in parallel they inventively created more elbowroom for themselves than they are normally credited for, shaping everyday administration and co-shaping policies. The article substantiates this argument in two steps. First, it looks at Iran’s Sāzmān-e bimeh-hā-ye ejtemāʿi-ye kārgarān (Workers Social Insurance Organization [SBIK]), drawing principally on French-language International Labor Organization (ILO) archival files. Although the shah had a well-publicized stake in social insurance expansion, the SBIK influenced policy strategy, sometimes against his explicit wishes; also, it handled routine operations and relations with the ILO independently from him. Second, the article zooms out to analyze Persian-language Harvard University Iranian Oral History Project interviews with high-ranking officials, alongside other published and unpublished sources, to show how government officials maintained some autonomy vis-à-vis the shah. Their strategies included self-effacement, the agreement on a unified cabinet policy position before a royal audience, resignation threats, open pushback, and gifts, including favors, to third parties.

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.

The famous Persian version of the Jāmiᶜ al-Tawārikh (Hazine 1654) has never been studied with the care it deserves. Since its transcription was completed a year before Rashid al-Din’s execution, it remained unfinished while approximately seven illustrations were inserted into it, and the locations of other illustrations were left blank. Careful examination of the manuscript reveals that almost all of the empty spaces left for narrative illustrations were painted during the last decades of the fourteenth century. Having decided to improve the quality of the manuscript, the kitābkhāna of Shāhrukh, in the fifteenth century, completed the missing passages of text and restored or overpainted some of its illustrations. The dedicatory inscription of Farhād Khān Qarāmānlu indicates that the manuscript was refurbished again in the Safavid period. The last artistic additions to the manuscript were overpainting an illustration and insertion of two illuminated friezes in the Ottoman Istanbul. This paper, which is a result of close examination of the original manuscript, explains the complicated life history of the book.

This article presents excerpts from two near-contemporary works of popular prose from the medieval Near East: the Persian Dārāb-nāmeh and the Arabic Sīrat Banī Hilāl. In each, birds or birdlike characters (the sīmorgh and the crow, respectively) that share in having had theriomorphic, mythic significance in regional pre-Islamic traditions dispense premonitory wisdom to Muslim characters. Comparing these passages, the article contends that the characterization of these birds brokers a pietistic shift in symbolism between the pre-Islamic and Islamic context, while still maintaining the birds’ mystical significance and sustaining the trope of birds as winged, heaven-sent messengers. This modified association between birds and divine ministry is not only prominent in these two texts, but also in the Qurʾān and varied bestiaries, poetry, and belletristic works that comprise these texts’ cultural network.

Beyond the esoteric deliberations of Islamic jurists and their exegesis of criminal and private law doctrines, Iranian law lives a life of its own. It is a life of routine practices of judges, court clerks, lawyers and clients, each of whom is striving to turn the law to their own advantage. It is also a life of contested legality, a relentless struggle over the right to determine the law in a juridical field which is infused with strife and hostility. These conflicts are reproduced daily as two competing conceptions of law, and their corresponding perceptions of legality clash in pursuit of justice. The Iranian judiciary’s concept of law, its reconstruction of Islamic jurisprudence and methods of dispensing justice, which on the surface are reminiscent of Max Weber’s “qādi-justice,” collide with the legal profession’s formal rational understanding thereof. However, Iranian judges are not Weberian qādis, and the legal profession is not a homogenous group of attorneys driven by a collective commitment to the rule of law. To understand their conflict, we need to explore the mundane workings of the legal system in the context of the transformation of Iranian society and the unresolved disputes over the direction of its modernity.

In 1912, Yaḥyā Dawlatābādī composed two poems, the form of which diverged greatly from the canonical rules of tradition. Both poems were based on syllabic meters. Critics and historians of modern Persian literature have given these poems little consideration, and discussed them merely from the point of view of metrics. When compared to the great modernist endeavors in the poetry of the time, these pieces were judged severely, or altogether disavowed. This paper aims to show that, beyond mere metrical audacity, Yaḥyā Dawlatābādī’s syllabic poems were in fact innovative. As the article argues, they were born out of the same quest for fresh poetic forms that induced contemporaneous modernists to create new, individualized poetic patterns.

The Peace Corps brought an estimated 1,800 Americans to Iran from 1962 to 1976, coinciding with the unfolding of Mohammad-Reza Shah Pahlavi’s Enqelāb-e Sefid, or White Revolution. This article surveys Peace Corps Iran’s fourteen-year history by dividing it into three distinct moments defined by changing social and political conditions in Iran and shifting US‒Iranian relations. Initially, the Peace Corps Iran experiment built on earlier American foreign assistance programs, while coinciding with the roll-out of the White Revolution. Second, during its heyday in the mid-1960s, the Peace Corps inevitably became entangled with the White Revolution’s unfolding, both experiencing a phase of expansion and apparent success. Finally, as Iranian social and political conditions moved toward instability by the 1970s, Peace Corps Iran also seemed to have lost its direction and purpose, which ultimately led to a vote by volunteers to terminate the program. Based on accounts by US Peace Corps volunteers and the Iranians with whom they worked, the Peace Corps Agency, and the US State Department, this article argues that, ultimately, the Peace Corps Iran experience left a more lasting legacy on individuals than institutions.

Through migration, professional activism, and by engaging the symbolic terrain of architecture magazines and competitions, Iranian architects have sought to make their profession cosmopolitan. But following decades of isolationist tendencies, factions of the Iranian architecture profession continue to meet resistance from elements of the state. The profession’s institutions have become a battleground for the expression of the power of design professionals. Building on scholarship on relationships between states and professions as well as professionals’ expressions of cosmopolitanism, this paper demonstrates ways everyday professionals leverage their institutions for professional power. It shares accounts from a transnational ethnography of Iranian architects to show how, on the one hand, professional change seeps outside restrictions attributed to political and economic borders. On the other hand, the stories of cosmopolitan professionals show that the state need not be bound by structural sanctions, like those Iran has faced, in its efforts to cultivate an avant-garde.