Month: November 2011
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Over the last quarter-century, Palestinian cinema has emerged as a major artistic force on the global scene. Deeply rooted in the historic struggles for national self- determination, this cinema is the single most important artistic expression of a much-maligned people. Despite the extraordinary social and artistic significance of Palestinian film,...
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Introducing an exhibition on contemporary Iranian art at Haus der Kulturen der Welt, "Neue Positionen iranishscher Künstler/Contemporary Positions of Iranian artists," (2004) in Berlin, the director of the House, Hans-Georg Knopp, began by admitting that the world he still insisted on calling "the Middle East," and as characterized by what...
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A work by Shirin Neshat The continued (and much deserved) celebration of Shirin Neshat’s art in Europe coincides with an increased public and official hostility towards the iconic symbols of Muslim piety—a historically valanced cultural practice entirely autonomous of what Europeans call “Islamic fundamentalism,” though certainly susceptible to all sorts...
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Ignaz Goldzier (1850-1921) How is one to read an Orientalist — in fact, one of the most learned Orientalists there ever was — today? Isn't Orientalism over? Did Edward Said not deliver a coup de grace to the aging temple of Orientalism? Is Orientalist scholarship today of only antiquarian interest?...
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A work by Shirin Neshat It is almost a decade since I wrote my very first essay on Shirin Neshat. Quite by serendipity, I had just seen a collection of her photographs in Venice Biennale in August 1995, where I happened to be and where I accidentally walked into a...
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Jalal Al-e Ahmad (1923-1969) More than a decade has passed since the initial publication of my Theology of Discontent. Much has happened in world history that warrants a reconsideration of my argument and the evidence I put forward in some considerable detail in this book. I started working on Theology...
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Mohsen Makhmalbaf's "Kandahar" (2001) Paramount in Makhmalbaf's "Kandahar" (2001) is the presence of a testimony as to how a work of art transcends reality by teasing out its emancipatory forces — particularly in a colonial context where historical agency is to be articulated against an Enlightenment Modernity that has categorically...
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A Photograph by Abbas Kiarostami The history of cinema in Iran cannot be read in isolation with its political and social development that can be traced as far back as 1906 when the constitutional and subsequently bourgeois revolution rocked the whole internal nature of the country. The discovery of oil,...
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A revolutionary poster (Iran, 1979) The purpose of this book is to examine the massive orchestration of public myths and collective symbols in the making of the Islamic Revolution of 1978-9 in Iran and the war with Iraq that followed it between 1980 and 1988. The Islamic Revolution in Iran...
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The Public Execution of Ayn al-Qudat in a Medieval Illustrated Manuscript My main purpose in writing this book is to provide an intellectual portrait of Ayn al-Qudat al-Hamadhani (49211098-525/1131), one of the most remarkable figures in medieval Persian intellectual history. Although most of his writings in Persian and Arabic have...
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The Grand Square of Isfahan, where the School of Isfahan in Islamic philosophy emerged. The word "mammoth" comes to mind when describing Seyyed Hossein Nasr's and Oliver Leaman's History of Islamic Philosophy. The work is 1211 pages, consisting of seventy-three articles, including two introductions and "a guide to bibliographical resources"...
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Born in Lahijan in 1939, Parviz Sayyad was one of the leading actors and playwrights during his youth in Iran. In 1960, after the formation of Iran's National Television, Sayyad and many others from theater joined its cast and started producing tele-theater shows until 1970. Sayyad and Apick Youssefian (who...
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[text] => "A leading cultural observer."
Washington Post
"Our most prominent intellectual."
Shirin Neshat
"Renowned Columbia University scholar on Iranian culture."
Boston Globe
"Spectacular, important, and incisive. Dabashi's work is crucial for our times."
Zillah Eisenstein
Ithaca College, NY
"Hamid Dabashi lovingly writes about the history of Iran that teaches us how to understand a people overshadowed by the grand narratives of political (mis)representation."
Gayatri Spivak
Columbia University
"You are with a humanist who deeply loves his country, and invites you to feel very much at home."
Susan Buck-Morss
Cornell University
"Superb authority... Dabashi provides a tour de force on Iranian art, politics and culture."
Shirin Neshat
"Great erudition and imagination... bringing out rich aspects of Iranian culture that are little known or not recognized."
Vanessa Martin, Royal Holloway
University of London
"Hamid Dabashi, is one of the most significant intellectual voices outside of Iran since the Islamic revolution."
Shirin Neshat
"A leading light in Iranian studies."
The Chronicle of Higher Education
"Cuts through the myths, past and present, that Americans have been told about Iran... presenting Iran's history through the lens of its literary cosmopolitanism."
Susan Buck-Morss
Cornell University
"Magisterial."
Houchang Chehabi
Boston University
"An important man in New York."
Sir Ridley Scott
"Much-needed in our troubled times."
Gayatri Spivak
Columbia University
"Exemplary of a new Leftist discourse that is undogmatic and non-sectarian... open and intimate."
Susan Buck-Morss
Cornell University
"Hamid Dabashi beautifully lays out the alluring dynamic between Iranian art and politics."
Shirin Neshat
"A rare cultural critic."
Mohsen Makhmalbaf
"Dabashi's passion and extraordinary vision, gives us the knowledge and commitment to stand against war and build the possibilities for peace and global justice."
Zillah Eisenstein
Ithaca College, NY
"Hamid Dabashi's piercing revelations have been as instrumental in fashioning my own films as have Scorsese, Rossellini and Bresson."
Ramin Bahrani
"Superb and brilliant."
Bruce Lawrence
Duke University
"Fresh, provocative and iconoclastic."
Ian Richard Netton
University of Leeds, UK
"Learned... sparkles with verve and a sometimes punishing wit. Hamid Dabashi is the perfect guide."
Edward W. Said
"There are few better places to begin than with Dabashi's subtle and vividly presented wealth on Iran."
Said Amir Arjomand
SUNY, New York
"Objective and empathetic... unlike many others on contemporary Iran."
Ervand Abrahamian
Baruch College, New York
"Enthusiastic... clear and accurate... impressive."
Oliver Leaman
Liverpool John Moores University, UK
"Original, creative and insightful."
John L. Esposito
Georgetown University
"Extraordinary."
Daniel Brumberg
Georgetown University
"Dabashi has an astonishing ability to range over some of the most complex issues of modern intellectual life."
Sudipta Kaviraj
Columbia University
"If anyone can lay claim to Nima Yushij's statement that this world is his home, it is Hamid Dabashi. I want a very broad readership to know the quality of his writing and thinking, of his immense epistemic and historical scholarship."
Gayatri Chakravorty Spivak
Columbia University
"Dabashi is learned, poetic, ranging from philosophy to film, every word written with a commitment to the possibility of a just world. I have worked with him in the past and will work with him again in the future."
Gayatri Chakravorty Spivak
Columbia University
"Hamid Dabashi is one of the foremost exponent today of postcolonial critical theory, whose work deserves to be called post-colonial with all the multivalence of this description."
Sudipta Kaviraj
Columbia University
"Hamid Dabashi's writings on Iranian culture and politics brilliantly re-imagine the rich heritage of a shared past and a conflicted present. His reflections on revolution and nationhood, poetry and cinema, philosophy and the sacred, are urgent, provocative, complex, and highly original."
Timothy Mitchell
Columbia University
"Equally fluent in philosophical reasoning, literary interpretation, visual hermeneutics and writing with a rare combination of penetration and lyricism, Dabashi's work continues values of both modern critical theory and the highly sophisticated and subtle intellectual traditions of Iranian... reflection -- for both of which he is an wonderfully sympathetic reader."
Sudipta Kaviraj
Columbia University
"Hamid Dabashi belongs to a marvelous tradition of poetic thinkers, whose deep insights are crafted in magnificent poetic prose."
Gilbert Achcar
University of London
"Dabashi provides his readers with the wine of literary pleasure along with rich food for thought."
Gilbert Achcar
University of London
"In Dabashi's work, post-coloniality does not mean a denial or denunciation of the modern European tradition of philosophy and social theory, but their effortless absorption into a larger, more complex reflection."
Sudipta Kaviraj
Columbia University
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Columbia University
Aljazeera
Middle East Eye
Springer Palgrave