Suchergebnisse

Frontmatter -- Contents -- Acknowledgments -- Prologue: The Journey -- introduction. Divination: An Archeology of the Unknown -- chapter one. The Image and the Hidden Master -- chapter two. Mystic States: Martyrdom and the Making of the Islamic Republic -- chapter three. Shooting Soldiers, Shooting Film: The Cinema of the Iranian Sacred Defense -- chapter four. Visionary States: Inhabiting the City, Inhabiting the Mind -- chapter five. Shifting Subjects: Public Law and Private Selves -- chapter six. Majnun's Mask: Sex, Suicide, and Semiotic Malfunctioning -- chapter seven. The Ghost in the Machine: (Just War?) Remainders and Reminders of War -- chapter eight. Reforming Religious Identity in Post-Khatami Iran -- conclusion. Mehdi's Climb -- Epilogue -- Notes -- Works Cited -- Index

It is difficult for many to grasp how and why Islam would remain a powerful form of protest against Islamic governments. Going back to the 1950s, 1960s, and 1970s to explore the work and lives of two important pre–Iranian Revolution thinkers, I will show how Shiite Islam came into play with postcolonial and postmodern theories to bring about the Islamic Revolution—which explains why 30 years later, Islam continues to provide a framework for protest among those disillusioned by the Islamic Republic.

The Iran–Iraq war, which took place from 1980 to 1988, was one of the longest and bloodiest conventional wars in the history of the last century. The war was also the largest mobilization of the Iranian population and was achieved primarily by producing and promoting a culture of martyrdom based on religious themes found in Shi'i Islam. It was the war that created and consolidated what we know today as the Islamic republic of Iran. For years there have been two popular public discourses in post-war Iran: the secular discourse, which is to evade, to ignore, to escape to the Caspian; and then the state's discourse, of the strong, mourning women and the heroic martyrs. It is the group of women who exist betwixt the dominant discourses of the secular versus the religious and the idea of womanhood versus motherhood that I am interested in exploring here by looking at the most recent work of a secular female filmmaker, Rakhshan Bani-Etemad.

Frontmatter -- Contents -- Foreword -- Introduction -- Light/Shadow -- The Summer I Disappeared -- Sacrifices -- Shadow Nation -- Two Minutes to Midnight -- When We Were Lions -- Fortune-Tellers -- Silkscreen -- Hookah, Once upon a Time -- Think of the Trees -- Pushing the Boundaries -- Uninvited Guest -- Coding/Decoding -- The Name on My Coffee Cup -- Negotiating Memories -- In Praise of Big Noses -- Transmutations of/by Language -- Gilad, My Enemy -- Two Countries, One Divided Self -- Mothering across the Cultural Divide -- My Mom Killed Michael Jackson -- Am I an Immigrant? -- 1,916 Days -- Culture beyond Language -- Memory/Longing -- Forget Me Not -- Errand -- The Color of the Bricks -- Renounce and Abjure All Allegiance -- Learning Farsi -- Delam Tang Shodeh -- Walking with Zahra -- Halva -- Her Orange-Blossom Tea -- The Iranians of Mercer Island -- Acknowledgments -- Contributors