Farzaneh Milani
Biographic Data
| ID | 5366806 |
|---|---|
| NAME | Farzaneh Milani |
| GIVEN NAMES | Farzaneh |
| FAMILY NAME | Milani |
| SIGNATURE | MILANI F |
| AFFILIATIONS | University of Virginia |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1982 |
| LATEST PUBLICATION YEAR | 2013 |
| H-INDEX | 2 |
Iranian Women’s Life Narratives
In this article I consider the production, reception, co-optation, and market commodification of Iranian women’s life narratives. I argue that although life narratives in their western sense were literary misfits in Iran until the middle of the twentieth century, the genre has exploded in recent decades, especially in diaspora. I trace the trajectory of my own evolving views on autobiographies and biographies, and ask why, in the unprecedented fl…
Eight Poems by Simin Behbahani
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Simin Behbahani: Iran's National Poet
Though Simin Behbahani's poems differ in their command of language, versatility of themes, and originality of images, they are unified from beginning to end by common traits. This poet has consistently been an advocate of individual rights, regardless of gender, class, religion, political affiliation, or ethnicity. She has transformed a conventional and mainly masculine poetic form—the ghazal . With her skillful mastery of poetic devices and tech…
Voyeurs, nannies, winds, and gypsies in Persian literature
The Mediatory Guile of the Nanny in Persian Romance
The Word for Guile (Kayd) Itself Seems to be Shifty. Sometimes it is positive, sometimes negative, at times divine. It seems to assume its significance from its context. It becomes positive or negative according to the point of view of the one who uses it. It has a variety of meanings: Steingass's listing “deceiving, laying snares, entrapping, plotting mischief; applying a remedy, vomiting; being menstruous; the croak of a raven; war, warfare; de…
Pistachios, Camels and Cement Blocks: The Familiar and the Shock of the New in Simin Behbahani's Ghazals
The five poems below, as will be evident to the reader, are as “contemporary” as any poems in Persian, at least thematically. With shocking clarity, they are “about” traumatic experiences that have shaped recent Iranian history: revolution and war. They are all the more shocking in this respect: for their choice of language and imagery. Simin Behbahani resists the penchant that remains, even in Modern Persian poetry (whether by choice, habit, or …
Veils and words: The emerging voices of Iranianwomen writers
Another Birth, Selected Poems of Forugh Farrokhzad. Translated by Hasan Javadi and Susan Sallee. Emeryville: Albany Press, 1981. 138 pp
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Memoir of Taj-O Saltaneh. Tehran: Nashr-e Tarikh-e Iran, 1982. 110 pp
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Jalal's Sunset
Only three out of her 36 short stories are available in English (two translated by the writer herself), and yet Simin Daneshvar (b. 1921) is Iran's first woman novelist and one of the country's most significant fiction writers. Daneshvar has published Savooshoon (the most popular Iranian novel), three collections of short stories, ten translations, and a memoir about her late husband, Jalal Al-e Ahmad. Having retired from her teaching position at…
Power, Prudence, and Print: Censorship and Simin Danashvar
Censorship has been as much a part of Iran's literary history as betrayed love, bewitched lovers, and broken love affairs. In other words, it began long before the establishment of the "Imperial Printing Office" during the reign of Naser al-Din Shah Qajar (ruled 1848-1896). In earlier times some dissident writers were forced to lick off the ink from pages of their writings. Others had their mouths filled with gold or silver. Some were thrown in d…
Love and Sexuality in the Poetry of Forugh Farrokhzad: A Reconsideration
No documents chart more accurately the difficult road to liberation and the arduous journey of the Iranian woman than her poetry. It is a rich, virtually unexplored record of the development of her consciousness and identity, experienced within, but not limited by, traditional Iranian culture. Furthermore, an evaluation of the Iranian woman's poetry is indispensable to an understanding of her life and the cultural pressures she experiences. I am …
The Mediatory Guile of the Nanny in Persian Romance
The Word for Guile (Kayd) Itself Seems to be Shifty. Sometimes it is positive, sometimes negative, at times divine. It seems to assume its significance from its context. It becomes positive or negative according to the point of view of the one who uses it. It has a variety of meanings: Steingass's listing “deceiving, laying snares, entrapping, plotting mischief; applying a remedy, vomiting; being menstruous; the croak of a raven; war, warfare; de…
Jalal's Sunset
Only three out of her 36 short stories are available in English (two translated by the writer herself), and yet Simin Daneshvar (b. 1921) is Iran's first woman novelist and one of the country's most significant fiction writers. Daneshvar has published Savooshoon (the most popular Iranian novel), three collections of short stories, ten translations, and a memoir about her late husband, Jalal Al-e Ahmad. Having retired from her teaching position at…
Power, Prudence, and Print: Censorship and Simin Danashvar
Censorship has been as much a part of Iran's literary history as betrayed love, bewitched lovers, and broken love affairs. In other words, it began long before the establishment of the "Imperial Printing Office" during the reign of Naser al-Din Shah Qajar (ruled 1848-1896). In earlier times some dissident writers were forced to lick off the ink from pages of their writings. Others had their mouths filled with gold or silver. Some were thrown in d…
Love and Sexuality in the Poetry of Forugh Farrokhzad: A Reconsideration
No documents chart more accurately the difficult road to liberation and the arduous journey of the Iranian woman than her poetry. It is a rich, virtually unexplored record of the development of her consciousness and identity, experienced within, but not limited by, traditional Iranian culture. Furthermore, an evaluation of the Iranian woman's poetry is indispensable to an understanding of her life and the cultural pressures she experiences. I am …
Power, Prudence, and Print: Censorship and Simin Danashvar
Censorship has been as much a part of Iran's literary history as betrayed love, bewitched lovers, and broken love affairs. In other words, it began long before the establishment of the "Imperial Printing Office" during the reign of Naser al-Din Shah Qajar (ruled 1848-1896). In earlier times some dissident writers were forced to lick off the ink from pages of their writings. Others had their mouths filled with gold or silver. Some were thrown in d…
Another Birth, Selected Poems of Forugh Farrokhzad. Translated by Hasan Javadi and Susan Sallee. Emeryville: Albany Press, 1981. 138 pp
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Memoir of Taj-O Saltaneh. Tehran: Nashr-e Tarikh-e Iran, 1982. 110 pp
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Jalal's Sunset
Only three out of her 36 short stories are available in English (two translated by the writer herself), and yet Simin Daneshvar (b. 1921) is Iran's first woman novelist and one of the country's most significant fiction writers. Daneshvar has published Savooshoon (the most popular Iranian novel), three collections of short stories, ten translations, and a memoir about her late husband, Jalal Al-e Ahmad. Having retired from her teaching position at…
Veils and words: The emerging voices of Iranianwomen writers
Pistachios, Camels and Cement Blocks: The Familiar and the Shock of the New in Simin Behbahani's Ghazals
The five poems below, as will be evident to the reader, are as “contemporary” as any poems in Persian, at least thematically. With shocking clarity, they are “about” traumatic experiences that have shaped recent Iranian history: revolution and war. They are all the more shocking in this respect: for their choice of language and imagery. Simin Behbahani resists the penchant that remains, even in Modern Persian poetry (whether by choice, habit, or …
Voyeurs, nannies, winds, and gypsies in Persian literature
The Mediatory Guile of the Nanny in Persian Romance
The Word for Guile (Kayd) Itself Seems to be Shifty. Sometimes it is positive, sometimes negative, at times divine. It seems to assume its significance from its context. It becomes positive or negative according to the point of view of the one who uses it. It has a variety of meanings: Steingass's listing “deceiving, laying snares, entrapping, plotting mischief; applying a remedy, vomiting; being menstruous; the croak of a raven; war, warfare; de…
Eight Poems by Simin Behbahani
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Simin Behbahani: Iran's National Poet
Though Simin Behbahani's poems differ in their command of language, versatility of themes, and originality of images, they are unified from beginning to end by common traits. This poet has consistently been an advocate of individual rights, regardless of gender, class, religion, political affiliation, or ethnicity. She has transformed a conventional and mainly masculine poetic form—the ghazal . With her skillful mastery of poetic devices and tech…
Iranian Women’s Life Narratives
In this article I consider the production, reception, co-optation, and market commodification of Iranian women’s life narratives. I argue that although life narratives in their western sense were literary misfits in Iran until the middle of the twentieth century, the genre has exploded in recent decades, especially in diaspora. I trace the trajectory of my own evolving views on autobiographies and biographies, and ask why, in the unprecedented fl…
Islamic Studies and History (10 works) · Art (9 works) · History (9 works) · Literature (9 works) · History (7 works) · Philosophy (6 works) · Philosophy (5 works) · Poetry (5 works) · Aesthetics (4 works) · Psychology (4 works)