"This book is groundbreaking, at once highly original, courageous, and moving. It is sure to have a tremendous impact in Iranian studies, modern Middle East history, and the history of gender and sexuality."—Beth Baron, author of Egypt as a Woman "This is an extraordinary book. It rereads the story of Iranian modernity through the lens of gender and sexuality in ways that no other scholars have done."—Joan W. Scott, author of Gender and the Politics of History

This book examines gender and the transformation of contemporary Iran. In particular it documents the changes in women’s lives, challenging the idea that the revolution put back the clock for women and showing how they have now become agents of social change rather than victims.

The rich and varied traditions of Islamic book art

Tracing the history of the concepts of civility and civilisation, 'Civilizing Emotions' chooses a global perspective and highlights the role of civility and civilisation in the creation of a new and hierarchised global order in the era of high imperialism and its entanglements, focusing on the developments in a number of well-chosen European and Asian countries. Emotions were at the core of the practices linked to the political project of the civilising process. 'Civilizing Emotions' brings out the role of emotions as an object of the civilising process.

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.

It is nearly impossible to separate contemporary Iranian cinema from the Islamic revolution that transformed film production in the country in the late 1970s. As the aims of the revolution shifted and hardened once Khomeini took power and as an eight-year war with Iraq dragged on, Iranian filmmakers confronted new restrictions. In the 1990s, however, the Reformist Movement, led by Mohammad Khatami, and the film industry, developed an unlikely partnership that moved audiences away from revolutionary ideas and toward a discourse of reform. In Reform Cinema in Iran, Blake Atwood examines how new industrial and aesthetic practices created a distinct cultural and political style in Iranian film between 1989 and 2007. Atwood analyzes a range of popular, art, and documentary films. He provides new readings of internationally recognized films such as Abbas Kiarostami's Taste of Cherry (1997) and Mohsen Makhmalbaf's Time for Love (1990), as well as those by Rakhshan Bani, Masud Kiami, and other key Iranian directors. At the same time, he also considers how filmmakers and the film industry were affected by larger political and religious trends that took shape during Mohammad Khatami's presidency (1997-2005). Atwood analyzes political speeches, religious sermons, and newspaper editorials and pays close attention to technological developments, particularly the rise of video, to determine their role in democratizing filmmaking and realizing the goals of political reform. He concludes with a look at the legacy of reform cinema, including films produced under Mahmoud Ahmadinejad, whose neoconservative discourse rejected the policies of reform that preceded him.

Polymaths of Islam analyzes the social and intellectual power of religious leaders who created a shared culture that integrated Central Asia, Iran, and India from the mid-eighteenth century through the early twentieth. James Pickett demonstrates that Islamic scholars were simultaneously mystics and administrators, judges and occultists, physicians and poets. This integrated understanding of the world of Islamic scholarship unlocks a different way of thinking about transregional exchange networks. Pickett reveals a Persian-language cultural sphere that transcended state boundaries and integrated a spectacularly vibrant Eurasia that is invisible from published sources alone. Through a high cultural complex that he terms the "Persian cosmopolis" or "Persianate sphere," Pickett argues that an intersection of diverse disciplines shaped geographical trajectories across and between political states. In Polymaths of Islam he paints a comprehensive, colorful, and often contradictory portrait of mosque and state in the age of empire.