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Introduction: This study reevaluates the historical origins of occlusion therapy for amblyopia, focusing on the contributions of the 9th-century Islamic scholar, Ali ibn Sahl ibn Rabban al-Tabari (838–870 CE). Methods: The investigation delved into al-Tabari's writings, particularly "Firdous al-Hikma," to extract insights into his approach to addressing reduced vision in one eye.Additionally, the study examined subsequent advancements in occlusion therapy by scholars such as Thabit ibn Qurrah and Rhazes, building upon al-Tabari'sfoundational work. Results: Al-Tabari's reports contain significant insights into occlusion therapy for amblyopia, predating commonly attributed origins of the treatment. Within "Firdous al-Hikma," he outlines methods for addressing reduced vision, advocating for the covering of the healthier eye to promote the function of the weaker eye. These findings highlight the pioneering efforts of al-Tabari and his contemporaries in the Islamic civilization and challenge the conventional narrative surrounding the history of occlusion therapy. Subsequent advancements by scholars such as Thabit ibn Qurrah and Rhazes expanded upon al-Tabari's work, advocating for similar therapeutic approaches within the Islamic civilization. Their contributions further solidified the practice of occlusion therapy, laying the groundwork for its continued evolution and refinement in subsequent centuries. Discussion: Al-Tabari's contributions to occlusion therapy underscore the rich heritage of scientific inquiry in theIslamic civilization during the medieval period. This historical perspective sheds light on the diverse contributions to medical knowledge and practice outside of Western contexts and emphasizes the importance of recognizing and honoring these contributions in the broader history of medicine. [ABSTRACT FROM AUTHOR]

Fuel subsidies, intended to improve consumer affordability, can result in economic distortions through altered relative prices and negative environmental impacts. Furthermore, these subsidies can lead to unintended consequences, such as fuel smuggling, especially to neighboring countries where significant price differences exist. While previous research has extensively explored the economic dimensions of fuel subsidies, the potential interplay between fuel smuggling and its impact on regional income distribution remains understudied. This study investigates the effects of fuel smuggling, stemming from Iran's long history of significant fuel subsidies, on income distribution across all 30 provinces of the country. We employ a model to specify the demand for fuel smuggling, using fuel prices in neighboring countries and the distance to the nearest border as sources of identification. Subsequently, we estimate the monthly smuggling profit across regions and assess this profit's influence on regional income distribution. Our empirical analysis draws on monthly data on gasoline and diesel sales from 160 fuel distribution districts in Iran, spanning the period from 2005 to 2014. Our findings demonstrate specific cases of smuggling activities that account for an average of 25% of total fuel consumption and generate substantial income in economically disadvantaged border provinces. We discuss the socioeconomic implications of fuel subsidies, with a focus on smuggling activities. [ABSTRACT FROM AUTHOR]

By tracing the relationship between the work and the world, Iranian exile art reveals alternative perspectives on key historical moments, from the 1953 coup to the current climate crisis. The artists Siah Armajani, Nicky Nodjoumi, Shirin Neshat, Simin Keramati, Arghavan Khosravi, Pouran Jinchi, and Gelare Khoshgozaran emigrated from Iran between 1960 and 2012. Through a range of media—from painting to sculpture, from political posters to film—these artists have developed a distinct visual language to convey their own exilic experience. Mapping this art offers a cartography of exile shaped by the fraught, overlapping histories of Iran and the United States. [ABSTRACT FROM AUTHOR]

This paper takes the late Qajar court and harem as a historically specific site through which we can examine the complex and diverse histories of slavery within the region in the nineteenth century, as well as the ways in which hierarchies of race, gender, and sex functioned as constitutive elements of this institution. I examine a particular albeit very elite site, Nasir al-Din Shah's harem, occupied by a variety of enslaved and formerly enslaved constituents who were a product of the evolving slave trade. The essay ends by zooming in on the lives (and afterlives) of two eunuchs, Aziz Khan and Agha Bahram, who were part of the servant class of Gulistan Palace during Nasir al-Din Shah's reign, and whose life trajectories offer us some insight into the racial and gendered legacies of late nineteenth-century slavery in Iran. [ABSTRACT FROM AUTHOR]

Copyright of Necmettin Erbakan University Journal of the Faculty of Political Science / Necmettin Erbakan Üniversitesi Siyasal Bilgiler Fakültesi Dergisi is the property of Necmettin Erbakan University Journal of The Faculty of Political Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists' workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant‐garde. The authors recover these aesthetic and intellectual connections in the academic and professional training of the artists and in the art historical context of the posters themselves, examining the posters' recent and more distant influences, and reinscribing the artists in the history of Iranian art and international art history. The authors also point toward connections between Group 57 and protest art in Iran today. [ABSTRACT FROM AUTHOR]

Mesalina watsonana is a well‐known species of small lacertid lizards with an extensive species distribution that exhibits high genetic diversity. The species has a wide distribution range in Iran, some parts of Turkmenistan, Afghanistan, Pakistan, and northwest India. This study aims to generate phylogenetic and phylogeographic evidence to derive taxonomic recommendations supporting. Furthermore, this species can be used as a model for examining Iranian Platuea's historical biogeography. We conducted a very detailed sampling of its distribution and used genetic approaches. Phylogenetic analyses were done implementing two mitochondrial (Cytb and 16S) and one nuclear (C‐mos) gene fragments. Combination of these results indicated that seven well‐supported distinct clades exist within this species complex, i.e. Kerman clade, Esfarayen clade, Halil clade, Ardestan clade, M. watsonana clade, Bardaskan Clade, and Khuzestan Clade in Iran. Also, our results revealed that several distinct clades diverged due to geologic events when the Dasht‐e‐Kavir and the Zagros Mountains were formed. It seems that the ancestor of M. watsonana spread to Iranian Plateau before the formation of the Zagros Mountains. Orogenic activities of the Zagros Mountains and the formation of deserts have influenced the separation of these lineages from the Late Miocene by allopatric speciation. Generally, our findings suggest that each of the seven clades corresponding to distinct geographic regions deserves to be elevated to the species level. [ABSTRACT FROM AUTHOR]

This article discusses a book by Alka Patel that examines the history of the Shansabanis, also known as the Ghurids, through their architectural remains. The Shansabanis were a dynasty that originated in modern-day Afghanistan and gained control over parts of the eastern Iranian world and the north of the Indian subcontinent. The book focuses on the buildings attributed to the Shansabanis in Afghanistan and Pakistan during the twelfth century, using archaeological, epigraphic, and written sources. The author explores the transition of the Shansabanis from nomadism to established Perso-Islamic kingship and discusses the challenges of interpreting the architectural evidence. Overall, the book provides valuable insights into the Shansabanid dynasty and its associated monuments. [Extracted from the article]

In recent years, Iranian 'quality cinema' has presented itself as a significant branch of the world's cinematic practices and discourses. Similarly, the scholarship on cinematic aspects and approaches as well as the evolution of this cinema has attracted universal attention. The field of studies on the evolution of Iranian contemporary cinema covers a relatively broad spectrum of insights, themes, genres and approaches, which requires a systematic form of categorisation and critical evaluation. Underpinning the research strategy of the existing literary works on Iranian cinema, I have assorted them into eight thematic categories: Film directories, film auteurology, descriptive-pictorial history of Iranian cinema, analytical history of Iranian cinema, film criticism, themeology, stylistics, representation of women in Iranian cinema. Providing a practical description on each of these literary resources and sorting them according to their research strategy will help researchers to gain an explicit sense of the relevant data regarding the research scope. Moreover, critical evaluation of the existing literature will facilitate identifying the research gap in this context. Another advantage of this thematic categorisation is the ease of searching for information in the range of published scholarship on Iranian cinema. [ABSTRACT FROM AUTHOR]

Since the invention of seals up until now, the Glyptic on them have passed down different styles in different communities, so that the images may be investigated in terms of economic, administrative, and cultural issues, and the researchers may understand the development and technical progress of the art of engraving seals in the communities during the eras that such seals were used. Since the late 4th millennium and the beginning of the third 3rd millennium BC, the basis for establishing civilizations in Iran was prepared, almost at the same time as Mesopotamia. The artistic styles of imaging and glyptic seals of this period have drawn too much attention and were so effective and important in identifying the culture of this land. Susa is one of the centers that has provided researchers with archaeology and cultural data about this period. The seals and sealing obtained from archaeological excavations in Susa show the existence of different styles in the illustration of seals from this period of Iranian cultural history. The goal of the present study is to study some selected seals of the 1st half of the 3rd millennium BC of Susa and compare them in terms of function according to the iconography of patterns. Moreover, we try to answer this question: "Does the iconography of the selected seals show an aspect of their function in a special area? (economic, social, and cultural)?" and "could we identify special persons or the social levels of the community in the direction of using such seals in the study and compare the seals patterns?". The study was done using an analytical approach and the museum-library comparative studies method, and has yielded fruitful answers to the relevant questions. [ABSTRACT FROM AUTHOR]

The Palaeozoic magmatic history of Central Iran is related to the subduction of the Proto‐Tethys Ocean and the amalgamation of Gondwana continental fragments. This study presents whole‐rock geochemistry, Sr–Nd isotope and zircon U–Pb–Hf ages of shoshonitic plutonic rocks (e.g., monzonite–syenite) from the north Posht‐e‐Badam (NPB) district with a view to constrain their petrogenetic and tectono‐magmatic evolution during the Palaeozoic. The geochemical data show moderate enrichment in large‐ion lithophile elements and Ti, large positive Pb anomalies, and depletion or moderate enrichment in high‐field‐strength elements (e.g., Nb and Ta), typical of continental arcs. Zircon LA–ICP–MS U–Pb ages are in the range of 444–428 Ma. The Sr–Nd–Hf isotope data, for example, (87Sr/86Sr)i = 0.7073 to 0.7089, εNd(t) = −1.4 to −0.2, and εHf(t) = −3.6 to +7.7, indicate derivation of the magma from a mantle source. The numerical modelling shows a contribution of less than 10% crustal assimilation and ~3% sediment into the melt‐derived mantle. We propose that metasomatic enrichment occurred during the subduction of Proto‐Tethyan Ocean between the Iranian microcontinents, leading to the formation of a shoshonitic melt. We infer that the recorded ages coincide with a continental rift episode followed by a rear arc tectonic region that spread along the northern active margin of Gondwana. Further, the change in magma affinity from calc‐alkaline (~474–512 Ma) to shoshonitic (444–428 Ma) in Central Iran is probably related to the gradual steepening of the slab dip angle and trench‐ward migration of the front arc into the region above metasomatically enriched rear arc mantle. [ABSTRACT FROM AUTHOR]

Mrs. Dr. Soghra Azarmi (1914-1973) is one of the most influential female doctors in Iran’s contemporary history. She was the first pathologist and the pioneer of the cytology database, making a significant impact on the lives of many women suffering from cancer. Various experiences marked her life, and she navigated through the stages of career progression with genuine merit. Dr. Soghra Azarmi initiated her secondary education in Hamedan, located in western Iran. Following a teaching period, she pursued her medical studies at Tehran University. Later, she ventured to the United States, where she worked at Women’s Hospital in Chicago, Illinois. There she pursued her studies in Pathology. Subsequently, she obtained a research opportunity in Melbourne, Australia, and furthered her studies in cytology at Johns Hopkins University in Baltimore. Upon returning to Iran, Dr. Soghra Azarmi joined the National Cancer Society, where she played a crucial role in saving the lives of numerous cancer patients. This research gives an introduction to the pathology department at Tehran University and subsequently reports the scientific and research journey of the esteemed professor in the pathology department. [ABSTRACT FROM AUTHOR]

This article discusses the artwork of Azadeh Akhlaghi, a visual artist from Iran. Akhlaghi's series, titled "By an Eye-Witness," explores the documentation of past deaths in Iran's history, focusing on violent and traumatic events. The artist stages scenes depicting the deaths of poets, journalists, students, intellectuals, and political activists, imagining how these events would have been captured if mobile phone cameras had existed at the time. Akhlaghi's work challenges the official version of national history and invites viewers to consider the impact of photography on our understanding of historical events. [Extracted from the article]

Gulzar script is one of the many types of decorative scripts in the history of Persian calligraphy. Most of the works that created in this way belong to the late Qajar era. However, the formal and visual bases of this type of calligraphy go back to the pre-Qajar centuries; this research aims to identify, introduce and determine the origin of its formation based on the available evidences. Therefore, the main question is: When has the Gulzar script been formed? The sampling method of the 23 architectural arrays is Convenience Sampling that based on library and field studies. The samples are in the historical monuments of Samarkand, Mashhad, Farumad, Taybad, Soltanieh, Qom, Tabriz, Yazd, Isfahan and Oshtorjan. The date of construction of these monuments includes from the Seljuk period (429-590 AH/1037-1194 AD) to the end of the Safavid period (906-1135 AH/1501-1736 AD). The results indicate that the early examples of Gulzar can be seen in the form of an architectural decoration so called "Kalouk-band" in the Seljuq and Ilkhanid periods. Its use extends to at least the beginning of the 12th century AD. In addition, this method of decoration is used in the Square Kufic Inscriptions and include the geometrical, herbal and written motifs. The result shows that the use of Gulzar style in calligraphy pieces on paper has been influenced by architectural decorations, because the oldest examples of this type are several centuries after the squared Kufic inscriptions in Jame Mosque of Isfahan, Pir Bakran's tomb, Chalabioglu's tomb etc. The decoration of the inner surface of Squared Kufic inscriptions started from the end of the Seljuk era and continued until the 17th century AD. One of the changes made in the design of decorating the surface of the inscriptions is the use of written motifs in the form of "Kalouk-band" decorated with words (in Oshtorjan and Qom). Another change was the forming of a kind of nested square Kufic which has appeared in the Jame Mosque of Isfahan and Amir Chakhmaq Mosque in Yazd. This method has been continued later in Isfahan's Hakim Mosque (17th century AD) and Nimavard School in Isfahan (18th century AD). In the Safavid era, an example of square Kufic in the western entrance hall of Imam Mosque in Isfahan was decorated with Arabesque motifs, which shows the first use of this kind of ornaments in inscriptions. About 80 years before the formation of this inscription, Zain al-Din Mahmoud Mozahheb created a piece that inspite of having many distinctive features some similarities can be seen in them. The latter work is the oldest known piece that carried out the tradition of ornament on the calligraphic surface on paper. Despite the major difference in the structure of these two works, both of these works are decorated with herbal motifs (Arabesque and Khatai). [ABSTRACT FROM AUTHOR]

Some historical stories, especially because of their religious themes, appeal to the ordinary people in some societies and have been retold in different ways during the time. One of these stories is the story of Prophet Yusuf, which has been frequently considered not only in the history of the Qur'an interpretational tradition by commentators and authors in the field of ethics but also in the history of Iranian poetry, art, and literature. The two important scenes of this story are Yusuf escaping from Zulaykha and also Zulaykha's party which are considered the two tempting climaxes of Yusuf's story as well. These two scenes refer to moral aspects, on the one hand, and to sexuality on the other. These dramatic and figural scenes have been repeatedly represented in the history of Iranian painting, especially in the Safavid and Qajar eras. There are many paintings in the Qajar era also seemingly referring to and evoking this scene for audience. As a social fantasy, discussed in this paper, the Naranjborii Majlis or Zulaykha's party somehow discards moral aspects for the sake of sexuality. This scene, not mentioned in the Torah at all and briefly mentioned in the Qur'an, is highly taken into consideration by commentators, poets, writers, painters, and the ordinary people in post-Qur'anic literature in all historical periods, especially in Iran. Therefore, one can question this importance and look for its historical and cultural roots; the visual functions of it can be questioned as well. This essay, with a descriptive and synthetic analytical method, tries to gene-analyze this scene in a social and psychoanalytical approach regarding the collective unconscious of Iranian people. Gene-analysis in this paper provides a theoretical and conceptual framework alongside a methodological and targeted combination of myth-analysis, psycho-analysis, and discourse analysis, with the help of which one can find the mythological origin of this scene and comparatively analyse them in terms of discourse, and expectedly, in terms of psychoanalysis, to know about the conscious and unconscious psychological investment of the collective subject. The results justified that the Creation Myth scene in Bondahish, one of the holy books in Zoroastrianism in the late Sassanian era, is the figural model of Zulaykha's party, also Nerse and Jahi are the archetypal characters of Yusuf and Zulaykha with the same roles and characteristics. The paintings of Zulaykha's party can present dense and multiple and at the same time contradictory scenarios and can also be a suitable scene for the collective subject's projection and fantasy; consequently, it causes the multifaceted circulation of desires and anxiety in an unconscious way. What is considered to be the most significant point of this study is that Yusuf is deemed an attractive prototype for kings, beautiful men and women; like Fath Ali Shah, due to the correlation of power (holiness) and beauty (connected with sexuality). Finally, what can be inferred from this paper is that, this scene due to some indigenous reasons, rooted in Iranian culture and history, has been repeatedly represented in the history of Iranian painting. [ABSTRACT FROM AUTHOR]

The multivarious cultural contact of the Mughal dynasty and the Iranian coeval dynasties is historically traceable. Although the Indo-Iranian close relations were political on the surface, they were substantially influential in cultural fields. Golestan design combines a reticular layer and a layer of bunched flowers in horizontal rows. The main purpose of this study is to analyze the high frequency of this design in the light of the Indo-Iranian cultural relations. What are the contributing factors to the prevalence of the use of the Golestan design in Iran during the 18th century? The available pictorial evidence throughout the history of Iranian art indicates the acceptance of the patterns belonging to the "other" and their indigenization within the cultural framework of the "self". Paisley floral design (golo- boteh in Persian) is one of the instances where the Iranian and Indian cultures meet. The assumptions are that first, Ghiyath al-Din 'Ali-yi Naqshband's (Ghiyath) textiles that were offered to Indians transformed the designs of Indian machine-made woven products and then, the paisley floral pattern was popularized when Indian textiles were imported to Iran in the Naderi period. This is a qualitative descriptive-analytical study, adapting a desk-based method in data gathering. Findings suggest that the paisley floral pattern was sent to India during the Safavid period via Ghiyath textiles and then returned to the cultural context of Iran. To put it in the terminology of garden carpets, the bird's point of view was replaced by the observer's point of view. It is believed that the first time, the donation and sending of pieces of Ghiyath Naqshband cloths to India changed the design of Indian woven fabrics, and the second time, with the arrival of Indian textiles in the Nadir era, the "flower and bush" pattern gained a significant boost. The findings indicate the return of the "flower and bush" pattern from the Safavid era to India through the "Ghiyath" textiles and then return to the cultural context of Iran in a rare era. From another point of view, the point of view has been transformed from the bird's view in the garden carpet to the observer's view. The fact that after the various patterns of carpets in the Safavid era, the examples and pictures of the 18th century represent the repetition of a frame pattern, it is questionable what factors have made this happen? The author considers the main reason for the entry of the "flower and bush" design into the domain of Iranian textiles in that period after the conquests of Nadir Shah Afshar, the war of Karnal and the spoils of North Indian textiles. But the study of the life and artistic productions of Ghiyath opened a new project and refuted the previous hypothesis. [ABSTRACT FROM AUTHOR]

Nima Youshij's position as the father of modern Persian poetry is widely recognized nowadays, but in the past decades, there have been long debates on the issue of the modernization of Persian poetry and its leadership. One of these controversies concerns the claim that Nima fabricated the dates of his poems. The claim was made during Nima's lifetime and has been raised again in recent years and caused considerable debate. Poets and critics from two opposing fronts have made this claim: first, those who were more radical than Nima in breaking away from tradition and considered Nima a reformer rather than a revolutionary poet, and secondly those who considered Nima too radical and were in favor of a more conservative or moderate type of modernism. In this article, we examine the history of this controversy and assess the robustness of the evidence presented to support it. Through this analysis, an intriguing observation is made concerning the dating of Nima's poems. It is revealed that Nima sometimes initially composed his poems in prose, dating them at the end, and subsequently transformed them into verse while retaining the original date. This practice has likely led some researchers to suspect Nima of falsifying the date of the poem "Qorab" (The Raven). Ultimately, the article concludes that the allegations of fabrication in the dating of Nima's poems do not have substantial implications for the history of modern Persian poetry. [ABSTRACT FROM AUTHOR]

In Persian literary history, many readers of Persian poetry and even those contemporary with old and new poets have not often known the correct and real name of many poets and most poets have been known by their pen names or nom de plumes. Therefore, the poets have always tried scrupulously to choose the most beautiful and appropriate pen names with utmost precision; this is why some poets, due to various reasons, realized after a while that they needed to change their pen names. It must be noted that changing pen names has had a tremendous impact on the formation and durability of the poets' poetry; That is, when a poet with an old pen name had provided a name for himself, and that pen name was the best choice for his poems, there was a possibility that by changing his pen name, he would face many problems in keeping the durability of his poems. In this research, some reasons for changing poets' pen names were analyzed descriptively and analytically and it was shown that changing poets' pen names, as a literary tradition, is influenced by political, social, literal, and individual characteristics among others. Meanwhile, some poets, while choosing new pen names, did not abandon their previous pen names, and some others have replaced their old pen names with the new pen names in their old poems, and still others did not stick to the new pen names either - sometimes using the previous pen names again and sometimes newer ones. All these cases are investigable separately for each poet. [ABSTRACT FROM AUTHOR]

According to the experts in the field of history of literature, enough attention has not been paid to the history of Iranian folk literature so far. Among the reasons for this problem could be the obstacles in compiling the history of folk literature. According to the authors of this article, one of these obstacles is ignoring the importance of the Arabic sources of the first centuries of Islam and also the translation movement in preserving Iranian folk literature while compiling the history of folk literature. The importance of these sources is in preserving the identity, original form, and evolution of the components of Iranian folk culture and literature as well as the reflections on how Iranian culture is blended with Arabic-Islamic culture. Nevertheless, even in the most significant previous researches, such as the folk literature entry in the Encyclopedia of Persian Language and Literature, Folk Language and Literature of Iran by Hassan Zulfaqari, Research and Study on Iranian Folk Culture by Hossein Ali Beyhaqi, or Folk Literature of Iran by Mohammad Jaafar Mahjoub, the role of Arabic sources in the preservation of Iranian folk culture and literature has been relatively overlooked; or in exceptional cases, such as a part of the collection of articles The Context of People's Culture by Jalal Sattari, only the texts containing information about public morality have been emphasized. One of the leading writers whose works are worthy of attention and research in terms of reflecting the components of Iranian folk literature is Ibn al-Muqaffa'. The results of this study show that his works contain an enormous collection of Iranian folk literature components, especially proverbs, sayings, and didactic anecdotes, which are very useful in explaining the historical course, types, and context of using these components. [ABSTRACT FROM AUTHOR]

Background: Severe ankylosing spondylitis (AS) frequently involves hip joints and, occasionally, presents with concurrent spinal deformities, such as kyphoscoliosis, creating complex challenges for surgical management. Case presentation: We present a 26-year-old Persian male with a history of AS and severe kyphoscoliosis, leading to bilateral hip fusion and immobility. Following spinal deformity correction, a one-stage bilateral conversion to total hip arthroplasty (THA) was conducted through the direct anterior approach. Conclusion: Primary correction of spinal deformities allows for extended surgical procedures under general anesthesia. Single stage bilateral hip conversion arthroplasty via the direct anterior approach enhances postoperative mobilization, reduce the risk of re-ankylosis, and improve the overall quality of life for AS patients with this unique presentation. [ABSTRACT FROM AUTHOR]

Sufism has played a critical role, particularly in the past millennium, as one of the most significant cultural components in the history of Iran. And approximately all cultural factors, including arts, politics, economics, and the educational and training system, have been directly and indirectly influenced by the Sufi culture. One such factor is music, which has been uninterruptedly intertwined with Sufism for years. The present paper strives to investigate the extent to which and the ways in which Sufism has influenced contemporary Iranian music. The answer to this research inquiry is crucial for understanding the impacts of Sufism in the contemporary era and dissecting Iranian music, most specifically the Persian modal system (dastgāh). Despite the significant factors that contribute to the Persian musical system, the literature on the topic remains scarce. This research uses historical and research analysis, as well as the results of a field study conducted over the past two decades in the educational atmosphere of the Iranian musical system, to answer the research questions. The findings suggest that contemporary Iranian music has derived considerable influence from Sufi subjects, concepts, and teachings, and evolved thereafter, with dramatic impacts in two epochs: (1) throughout the thirties and forties HS; and (2) in the wake of the Islamic revolution. [ABSTRACT FROM AUTHOR]

Recent works in media and communications studies have increasingly embedded the analysis of publicness within Science and Technology Studies (STS) and, interrelatedly, the new materialism. The result has emphasized the significant role that everyday objects play in engendering various publics. Yet, the uncritical incorporation of the new materialism and its bias toward present forms of materiality has led many scholars of the media to ignore the relationships between absent material objects and publicness. This is a key shortcoming since absent material realities are actively, and not so innocently, produced as non-thinkable alternatives to what exists, impeding externalized material worlds from becoming pronounceable as a need or an aspiration within the contexts of hegemonic globalization. In this essay, I draw on emerging works in media and communications studies, along with the social and political history of revolutionary Iran, as touchstones for a critical discussion on the linkages between publicness, materiality, and absence. I conclude with some observations and questions on publicness amid emergency climate change. [ABSTRACT FROM AUTHOR]

Jung wrote extensively about the archetypal mandala symbol as an expression in many cultures of the centrality and nature of the interplay between human consciousness and divine consciousness. This article investigates—how in Persia, for millennia—the archetypal symbol of the mandala has been widespread in many expressions of the sacred arts. My research outlines the importance of the archetypal mandala symbol in Persian religio‐aesthetic history from the first unearthed stone carvings of Persia's ancient foundations until the more recent, breathtakingly marvellous ceilings of traditional Persian architecture today. From the artistic expressions of first religious beliefs of ancient Persia—Mithraism—and through the development of the Zoroastrian faith until the subsequent rise of Christianity and then Islam, Persian sacred art illustrates the Jungian idea that wholeness sought in the journey of individuation is often expressed through archetypal symbols of circles that articulate basic truths about the divine interplay with humanity. [ABSTRACT FROM AUTHOR]

Research on Persian medical literature has revealed a long history of moral excellence and devotion to the medical field. Ali Ibn Rabban Tabari also emphasized the importance of these qualities, as Islamic culture highly values the traits of physicians. In our discussion, we will explore the qualities of physicians and medical students from the perspective presented by Ali ibn Sahl Rabban al-Tabari in his widely read book, Firdous al-Hikma. One section of this work focuses on the professional, ethical, and physical qualities that define a doctor and a medical student. The book stands out as one of Iran’s medical encyclopedias. Among them is Ali ibn Rabban Tabari, a prominent figure in the history of Persian Medicine, who made significant contributions to the establishment of ethical principles in the field of medicine. His perspectives and insights hold considerable value as one of the earliest endeavors in this area, exerting a substantial influence on the advancement of medical ethics. [ABSTRACT FROM AUTHOR]

Prior to the Mongol invasion of Iran in the 7th/13th century, Ḥanafī jurists had adopted two definitions of Islamic lands (dār al-islām): according to a "lenient" definition attributed to Abū Ḥanīfa, an unbelieving ruler may rule over dār al-islām , and according to a "strict" definition attributed to Abū Yūsuf and al-Shaybānī, he may not. As the Mongols overran Central Asia and Iran, later Ḥanafīs began to favor the lenient definition so that lands under non-Muslim occupation might retain the status of dār al-islām as long as Muslims had security and the freedom to worship. In this article, I evaluate the assumptions about Mongol rule that underpin the lenient definition. Persian historians such as Waṣṣāf and Shabānkāraʾī report that the Mongols permitted self-rule, and Muslims were adjudicated in their own courts according to Islamic law. Local histories support the claim that Islamic life can continue under occupation by nonbelievers. [ABSTRACT FROM AUTHOR]

The history of Iran is an intricate mosaic intertwined with diverse cultures, religions, and rulers spanning countless centuries. Among the luminous figures emerging from this complex narrative, Cyrus the Great stands out as a unifying force. In this article, we explore the fascinating interplay between Cyrus the Great and the Jewish community, shedding light on his profound influence on Persian history and Judaism. Additionally, we delve into the remarkable accomplishment of how Jewish communities have preserved his memory throughout centuries of collective forgetfulness in Iran. [ABSTRACT FROM AUTHOR]

In the 1960s and 70s, several transnational Jewish organizations—the American Jewish Joint Distribution Committee, the Alliance Israélite Universelle, Ozar Hatorah, and the Jewish Agency—expressed dire concern over the purported assimilation of Jews into Iranian society, claiming that it stemmed from their upward mobility and increasing enrollment in non-Jewish schools. Drawing on previously untapped archival documents, printed materials, and oral histories in Persian, French, Hebrew, and English, I argue that it was mainly foreign Jews, and not Iranian Jews themselves, who feared the specter of assimilation. In fact, Iranian Jewish parents viewed their children's attendance in non-Jewish schools as integral to their economic and social prosperity in a Muslim-majority country. Ultimately, because Iranian Jews were not as preoccupied with assimilation as their non-Iranian coreligionists, I suggest that an examination of assimilation in the Iranian context can help us complicate the importance of this concept in modern Jewish historical scholarship. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The duality of private-public arena is one of the important dualities of women's historiography. The different forms of this duality can be seen in the lives of women in the modern and also in Iran during the Qajar era, especially in the photographs. In the Qajar period, taking pictures of women was very slow, which was due to the patriarchal and religious nature of the Qajar era. The problem of the present research is whether the entry of the camera into the privacy of Iranian homes has changed the boundaries of this privacy (from the Naseri era onwards) or not? In order to answer this question, the recorded images of women in the period from the early stages of photography to Iran until the constitutional revolution have been analyzed with a historical and analytical approach. By examining the mass of women's photos, we will finally come to the conclusion that due to its representative feature, photography has been able to bring out the women enclosed behind the inner walls to some extent, and the camera has been able to challenge the boundaries of this duality by recording women's images and changed the private space to some extent. This change may not be very significant compared to the transformations of photographing men, but its analysis in the Qajar era society shows that just being in front of the camera created a challenge in their private lives .These pictures remained in private albums for many years until the woman was finally revealed. [ABSTRACT FROM AUTHOR]

During the Qajar period, due to the emergence and expansion of capitalism and the globalization of the economy, the country's border gates were opened to other countries. In the meantime, Kermanshah, as one of the most important border routes in the country, had a significant share. And in confrontation and interaction with the Ottoman government and through it, in contact with other European countries. The arrival of representatives of foreign countries (merchants, Orientalists, religious missionaries, etc.), the establishment of offices such as the Telegraph, the bank, the consulate, etc. The import of Western goods (British fabrics, Turkish tobacco, Danish beers, etc.) led to Manifestations of Western culture are prevalent in this state. The new urban structure and architecture, the grounds for further expansion of Shiism, the introduction of antiquities at the world level, etc. were other cultural consequences of these relations. This research has been done based on travelogues, memoirs, documents, and other sources in an analytical-descriptive and library method. The purpose of this study is to investigate the cultural developments in Kermanshah province in relation to foreign relations in one of the most important periods of Iranian history. Findings show that Iran's foreign relations with European and Ottoman countries, caused other cultural developments such as health promotion, the establishment of schools with new educational content, the formation of the Kermanshah dialect and... [ABSTRACT FROM AUTHOR]

Present article tries to review and appreciate the Persian translation of two chapters of the History of Islamic Philosophy. This book edited by S. H. Nasr and O. Leaman and printed by Routledge in 1996. Apart from editors who are experts in Islamic philosophy and culture some other Professors and researchers are present in the writing of the book. Consequently, the work of Nasr and Leaman and their contributors is a considerable activity in the subject of writing history of philosophy in Islamic tradition. Persian translation of the History of Islamic Philosophy, printed in five volumes by Hikmat press in Tehran. In Persian translation that worked by some professors and researchers, first volume has no scientific editor and because of this in some of its chapters there are difficulties. For example, in the eleventh and twelfth chapters that are on al-Kindi and al-Farabi and translated into Persian by Ruhallah Alemi, we encounter with important errors in conveying the meanings of the original text. Here we study both chapters by comparing between Persian translation and original English text of them. Reviewing of chapters on al-Kindi and al-Farabi are exercised separately but our appreciation is in the Analysis and Consequence part of the essay. Main causes of unreliable or improper translation of some parts are these: 1-lack of scrutiny on the philosophical or historical terms; 2- lack of specialization on al-kindi and al-Farabi's philosophies and their books; 3- not employing any editor by press Hikmat on translator's work. Of course, we expected that Ruhallah Alemi as a university teacher and translator, must have been reviewed his translation. Performing this duty is a necessary condition in academic activities. Other aspect of this matter is a cultural-moral one that depicts our responsibility and faithfulness in teaching and research; a responsibility of a person who is linking the writer with the reader. [ABSTRACT FROM AUTHOR]

What is mentioned in the rhetorical writings about the term ‘Hyperbole’ is mainly limited to the customary and rational classification of exaggeration into Mobaleghe, Eghragh, and Gholov. These contents do not properly express the importance of this rhetorical term. The present descriptiveanalytical study aims to investigate Maulavi's approaches to creating hyperbole in Masnavi by means of verbs, dimensions, and sizes (numbers). The results show that in terms of ‘Verbs’, figurative attribution is one of the most used means and artistic forms of creating hyperbole in Masnavi, especially because it is directly connected with contrast and contradiction and other literary aesthetic issues. In terms of ‘Size’ and ‘Number’, it is shown which numbers and sizes were effective in creating hyperbole in Masnavi. In terms of ‘dimensions’, what can be seen is that hyperboles are made in two ways in Masnavi: space hyperboles and time hyperboles. These types of hyperbole are the most used types in Masnavi with many examples in this book. Finally, another method of using hyperbole is to use plural signs, for example, the sign ‘Ha’ (in Persian grammar), and also the use of double plural-made words, in a non-normative way. Based on these explanations, it can be said that Maulana (604-672 AH) is very interested in making hyperbole. By using various types of hyperbole in his poems, he makes mystical thoughts and views effective and acceptable. Introduction Hyperbole has been used throughout literature for many centuries. Heroic dramas, which are dramas with an emphasis on grandeur and excess, often make use of hyperbole to extend the effect and epic nature of the genre. In the history of Persian literature, a lot of hyperbole is used in Mowlavi’s poems. It is possible to look at hyperbole only from an artistic point of view and conclude that every poet who has used it better is more skilled and capable than other poets. Hyperbole can also be considered a measure of violating realism and distancing from the truth. Based on this thought, it may be concluded that poetry should not be considered as the measure of thought because the most beautiful poems are the most false ones (i.e. those containing literary ornaments). In this regard, this study aims to investigate types of linguistic and vocabulary methods used to create hyperbole by Maulana Jalal ol-Din in Masnavi. Materials and Methods The current research is a descriptive-analytical one. The hypothesis of the authors has been that Masnavi is a unique work in terms of the use of hyperbole. To collect the data, the verses of Masnavi have been examined with a focus on places where the hyperbole was created. The scope of the research was only three volumes from the beginning of Masnavi. But if necessary, examples in the other volumes of Masnavi and Ghazaliat Shams have been used as a supplement and confirmation of the mentioned words. Research Findings Based on the results of the study, some of the important elements in creating hyperbole in Mowlavi's Masnavi are as follows: Number: The number plays an important role in the hyperboles of Masnavi and other works of Mowlavi. In fact, the number can cause exaggeration in the quantity in various ways. Mowlavi has used numbers such as half, one, two, seven, ten, twenty, hundred, and thousand to create hyperbole. Until now, a lot has been said about the use of the number ‘seven’ and its mythological and symbolic meaning. Mowlavi has used more numbers to create hyperbole and he has done it skillfully. This is the difference between Mowlavi's art and others in this field. Dimensions: Another characteristic of Mowlavi's poetry is the creation of hyperbole in capacity and in the dimensions of space and time. For example, "a small particle that hides the sun inside" etc. Another type of hyperbole is the hyperbole of distance. In this type of hyperbole, the word focuses on large distances, distances like "from earth to sky" and similar examples. Hyperbole with Plural Words and Signs: Creating hyperbole by using ‘plural signs’ is one of Rumi's methods. In addition, he has used plural words that have become plural again (i.e. Jam ol-Jam). Also, Mowlavi has used the sign ‘ha’ (a common plural sign for nouns in Persian grammar) a lot in Masnavi. He usually uses singular words in the plural form and in this way creates hyperbole. This is the artistic habit of Rumi. In the end, it can be said that Mowlavi has a great ability to create hyperbole and accomplishes it in various ways. However, this issue and the reflection of this valuable rhetorical term in Mowlavi's poems have not been seriously considered. Discussion of Results and Conclusions Hyperbole is one of the most widely recognized and used forms of figurative language in everyday life. It is used heavily in advertising and entertainment. Advertisers use hyperbole to exaggerate the benefits of products to boost sales. Repetitive hyperbole is used in public relations to increase the popularity of a person or product. It is also used in propaganda, giving it a bad reputation. Based on old writings in the history of Persian and Arabic rhetoric, previous writers have often defined hyperbole in connection with adjectives and considered it as an exaggeration in the description. But it can be said that other factors and elements are also effective in creating hyperbole. Hyperbole has been more deeply researched in rhetorical works in the contemporary period. However, there is no complete definition for it in contemporary sources. But good ideas have been formed about forms and aesthetic criteria of hyperbole. In the past, writers with a focus on the meaning divided hyperbole into three categories: Mobalegheh, Eghragh, and Gholov. Some contemporary writers, with a focus on structure, divided hyperbole into three categories: expressive, epic, and figurative. [ABSTRACT FROM AUTHOR]

The constitutional revolution, as the most extensive political and social movement, was one of the most important events in the political history of Iran, which was able to reduce the foundations of the absolute power of the monarchy in Iran to a constitutional monarchy and lead to the formation of administrative and civil institutions and changes in the social structure in line with its goals, i.e. freedom. Justice and independence should be alienated. The question that comes to mind when studying this historical event is why this revolution did not end and failed? In this regard, by using the structureagent theory, some factors of the failure of the constitutional flow were divided into two categories, internal and external. Therefore, the purpose of this research is to investigate and analyze the role of internal and external factors in the structure-agent model in a descriptive-analytical way. The findings of the research indicate that at the level of the internal structure, factors such as the weakness of the structure and administrative organization, the struggle of princes to gain power, and the differences and heterogeneity between the constitutionalists on the one hand, and at the external level, factors such as the dependence of agents and the obvious interference of Russia and England lead to failure of constitutional revolution and not reaching its goals. [ABSTRACT FROM AUTHOR]

Interpreting trends in the Sassanid state, the practices of which have been the basis for subsequent Iranian states, can deepen the knowledge of Iran's history. Various interpretations have been presented for its rise, the great kings, the Mazdakian movement, and its fall. This paper supposed that using a theoretical framework for interpreting all the events could provide a more comprehensive and integrated interpretation. Since the developers of the conceptual framework of the "natural state" have considered it a framework for interpreting the written history of humans, the main question of the current research was whether this conceptual framework could provide a satisfactory interpretation of trends in the Sassanid state. Therefore, this study was based on an analytical-descriptive method and a library approach. In the viewpoint of "natural state", a state incorporates a coalition of elites, who exercise their control over the society's political, military, economic, religious, and administrative activities to provide them the highest rent. Therefore, the state's changes are those occurring to the coalition members, who may be important due to changes in the situation. In this article, the satisfactory ability of this framework to interpret important events in the Sassanid state, regarding the roles of the coalition members in the production of rents and acts of violence, was shown in a 5-period classification, the characteristics of each of which were then presented. [ABSTRACT FROM AUTHOR]

One of the most characteristic and resilient elements of state documents promulgated by the chancelleries of medieval and early modern Turkic Islamic empires is the toghrā , or calligraphic signature of rulers. In the administrative history of Iran, the chessboard toghrā constitutes a short and lesser-known variant. This royal emblem appeared during the Safavid period as the result of several administrative reforms. In this paper, I outline the development of the toghrā in medieval Iran on the basis of surviving documents and fragments and then offer a detailed portrait of the birth and brief life of the chessboard toghrā. Furthermore, the conspicuous similarity between this form and the toghrā s of Mughal emperors precipitates a comparison and close analysis of their different elements and characteristics. Drawing on both published and unpublished royal decrees, this article explores the possible dimension of interrelation and provides insights into their similarities and differences in use and content. [ABSTRACT FROM AUTHOR]

This document is a special issue of the journal Hawwa dedicated to Tahirih Qurrat al-ʿAyn, a prominent figure in Iranian history. Tahirih was known for removing her veil in 1848, symbolizing the independence of the Bābī religion and advocating for women's rights. The issue includes articles that explore Tahirih's life, writings, and impact, as well as her distorted image throughout history. It also examines Tahirih's influence on the women's avant-garde in Europe and her exploitation by British suffragists. The articles are presented in chronological order and follow Hawwa's transliteration system. [Extracted from the article]

So konkretisiert sich das anhaltende Interesse Browns an der Multilingualität der Antike, das sich aus seiner Neugier auf die Vielfalt antiker Quellen speist, aus dem Bestreben, sich nicht allein auf das Übliche zu beschränken, sondern das auf den ersten Blick Unscheinbare, Marginale in den Blick zu nehmen. In dem bewegenden letzten Absatz seiner I Journeys of the Mind i berichtet Peter Brown von seinem Tagesablauf: Er steht früh auf, spricht seine Gebete, liest antike Quellen und übt dabei auch das Ge'ez, das Altäthiopische, eine Sprache, die Werke überliefert, in denen das ägyptische und syrische Asketentum der Spätantike nachklinge (S. 699). Doch er wollte eine semitische Sprache lernen und das Hebräisch war für ihn das Latein des Nahen Ostens, die Basis für den Erwerb anderer Sprachen; zudem hatte die Hebräische Bibel ihn von Kindheit an beschäftigt (S. 311 f.), doch dehnte sich sein Interesse am Hebräischen bis zum rabbinischen Hebräisch aus. [Extracted from the article]

Introduction: Compulsory treatment has decades of history in Iran; both before and after the Islamic Revolution, but there are many debates regarding its efficacy and effectiveness. Retention Rate is one of the best indices to estimate the efficacy of treatment. This study will compare Retention Rate among people referred from compulsory treatment centers and volunteer participants. Methods: This was a retrospective (historical) cohort study that has been conducted among people who were taking methadone maintenance treatment (MMT). The study sample was selected from the MMT centers that admit both referral patients from compulsory centers and voluntary patients. All newly admitted patients from March 2017 to March 2018 were enrolled and followed up until March 2019. Results: A total of 105 participants were recruited for the study. All were males with a mean age of 36.6 ± 7.9 years. Fifty-six percent of individuals were referred from compulsory residential centers. The total one-year retention rate of participants in this study was 15.84%. The one-year retention rate for the patients referred from compulsory residential centers and the non-referred patients was 12.28 and 20.45%, respectively (value of p = 0.128). Among the other studied factors, only marital status was significantly associated with MMT retention (p = 0.023). Conclusion: Although the average treatment adherence time for non-referred patients was about 60 days higher than those referred from compulsory residential centers, this study found no significant differences in retention days and a one- year retention rate. Further studies with larger sample sizes and longer follow-ups are needed to explore the efficacy of compulsory treatment methods in Iran. [ABSTRACT FROM AUTHOR]

A primary reason behind Ibsen's warm reception among Iranians is that Ibsen's social drama could offer Iranian playwrights and theater producers a critical engagement in the "cultural and social circumstances" of their contemporary society (May [34], 30). The drama of Henrik Ibsen has been very influential in promoting social and realistic playwriting in Iranian theater since its introduction in the early twentieth century. Such intertextual and intercultural interaction between Radi and Ibsen can emphasize the further exploration of theatrical adaptation practice in contemporary Iranian drama and Ibsen's influence and adaptability in this respect, which would enrich the critical scholarship on the global reception of Ibsen. [Extracted from the article]

Since the technology of optical recognition of characters is essentially based on Latin script, almost all the algorithms and processes involved in Persian OCR systems are constructed upon the structure and scriptological features of Latin alphabet. This utilization of the means and features of Latin script to design Persian-based OCR systems however, not only has not resulted in the appropriate optical recognition of Persian characters but it also has simultaneously ended in confusion on the part of both the Persian-speaking users and the systems. This paper, therefore, begins with a short review of the significance of language and linguistics in the field of information technology in connection with OCR systems. Then, it will continue with a short history of Persian/Arabic script, while focusing on the scribal features of Persian writing system and its differences with other scripts. In the next part, for effective utilization of the formal elements of the Persian script, these elements have been categorized according to their application and significance in the process of the user’s interaction with Persian OCR systems. Furthermore, through a step by step discussion and analysis of the processes involved in optical recognition of characters based on the scriptological features of the Persian script, not only the deficiencies and faults of the current Latin-based OCR systems will be pinpointed but also a different aspect of the Persian writing system, in connection with its use in computer software, especially OCR systems, will be used so that the reader will practically notice the potentials and capabilities of this complex script in contrast to the simpler Latin writing system. In the end, in order to upgrade and improve the current algorithms employed in Persian OCR systems, the geometrical process of transferring bi-dimensional specifications into mono-dimensional ones has been utilized. The proposed algorithm, which is based on the scriptological features of Persian script, will simultaneously result in the convenient manipulation of patterns, reduction of the bulk of the database, and acceleration of the data processing rate. [ABSTRACT FROM AUTHOR]

Jundishapur is one of the most important centers for transferring medical knowledge from Persian civilization to Islamic civilization. The studies of this hospital-university center in recent decades have gone through at least three different periods. The third round of Jundishapur studies focuses on new findings and lesser-known reports. The book Adab alTabib and its author reports on the ninth century AD about Jundishapur provides new information to researchers in this field that has not been reported so far. The author’s description of this book provides a new picture of the relationship between the Jundishapur Hospital-Training Center and Baghdad, which can be a good reflection of its management, and the transfer of physicians and researchers from Iran to the Center of Islamic Civilization. This information shows how, with the strengthening of Baghdad as a scientific center, Jundishapur slowly lost its importance, and doctors and researchers preferred to migrate to Baghdad for more income. This migration can be considered the second great scientific migration of Iranians in history. [ABSTRACT FROM AUTHOR]

Despite Iran's longstanding reputation for sustainable water management, the country currently faces mounting water-related challenges caused by population growth, industrial development, urban sprawl, lifestyle changes, climate change, territorial conflicts, poor management, and insufficient public participation. Since past and present water-related challenges share similar origins and patterns, addressing the past is imperative. After gathering, contextualizing, verifying, clustering, coding, and corroborating sources, we conducted a historical study to examine the relationship between water and Iranians from prehistoric times to the Islamic Golden Age (1219 AD). According to the findings, in prehistoric Iran, drought, flooding, river course changes, and the absence of a central government severely impacted water development. Despite doubts about the qanat's origin, archaeological investigations indicate in the proto-historical period, qanat systems existed in Iran and the Arabian Peninsula. In 550 BC, the Achaemenids initiated a fundamental transformation in Iran's water history by building dams, qanats, and water canals under a centralized administration. After a slump during the Seleucids (312–63 BC) and the Parthians (247 BC–224 AD), Iranians practiced water governance reborn under the Sassanids (224–651 AD). The Sassanids, like the Achaemenids, formed a powerful statement of unity, cooperation, and support among people for implementing their major water-related plans after enhancing institutions, laws, and communications. Chaotic Iran, however, endured severe water-related weaknesses in the Late Sassanids. Throughout the Islamic Golden Age, Iranians successfully traded water knowledge with other nations. As seen today in Iran, the Iranians have been unable to thrive on their resources since the Mongol invasion due to weak water governance, political tensions, and poor public support. The water sectors face more severe challenges when ancient water systems are ignored, applied without enhancement, or blindly adopted from other nations. Therefore, before current problems worsen, it is essential to integrate traditional and modern water cultures, technology, and management techniques. [ABSTRACT FROM AUTHOR]

The present article introduces a manuscript called Kashf al-Zor fi Nazm al-Dor. The author of this version is Rukn al-Din Shirazi, one of the mystics in the 8th century AD. However, it is Ali bin Muhammad Hassan Toni in 835 AD, who has written the mentioned manuscript. The major part of this edition consists of an exquisite mystical treatise and description of Ibn Farez's ode, which is kept in the library of the Islamic Council under the number of 13679. The main goal of this descriptive-analytical research was to examine the literary and expressive methods of the work, while introducing and reflecting on the features of the manuscript and at the end, presenting an appropriate answer to the main question of the research: What are the literary styles and special methods of this manuscript? The current version was full of emotion and imagination and imaginative elements were used in the best way. In general, the predominance of words over meaning, superiority of description over news, poetic imaginations and imagery, and use of poetic purposes, such as praise and simile, were some of the special features of this work. The final results of this research were the identification of the unique manuscript of Kashf al-Zor in Nazm al-Dor and analysis of the modes of expression and stylistic, literary, and linguistic characteristics of this mystical treatise, which had been neglected in the history of Persian language and literature of the 9 th century. [ABSTRACT FROM AUTHOR]

This paper addresses two questions: first, that of the nature of multiple religious identities in a traditional society; second, that of who can be identified as Bahā'īs in the upper echelons of Qājār Iran. The paper identifies five criteria by which individuals can be identified as having been Bahā'īs and suggests that, since none of these are usually conclusive by themselves, more than one of the criteria should be fulfilled before we label someone as a Bahā'ī. The various grades of being a Bahā'ī are also examined. The paper lists a number of examples of people from the Qājār royal family and from among the highest echelons of the Qājār administration who fulfill these criteria. It also looks at two individuals who have not been claimed to be Bahā'īs in the usual Iranian and Bahā'ī histories, and yet, if a close study of their lives is made, considerable evidence can be accumulated that they may have been crypto-Bahā'īs. In all, this paper indicates that there may have been many Bahā'īs in the upper strata of Qājār society, that this is a factor that has not previously been sufficiently recognized and needs to be examined for the light that it may shed on other matters. [ABSTRACT FROM AUTHOR]

Following the presence of Hegel's philosophy in Iran from the nineteenth century to the present, this study discusses various interpretations and appropriations of Hegelian philosophy by Iranian activists, intellectuals, and academics in their quest for understanding and realizing modernity in Iran. The controversies around modernity, democratization, Islam, nationalism, and the role of Hegel's ideas and philosophy in the writings of liberal modernists, communist activists, religious intellectuals, academic scholars, and secular nationalist theoreticians will be discussed. The objective is to provide a general, as well as a detailed, perspective on the prominent, original, as well as understudied role Hegel has played in the intellectual history of Iran in its specific Islamic theologico-political predicament. [ABSTRACT FROM AUTHOR]