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Humanism has mostly considered the question “What does it mean to be human?” from a Western perspective. Dabashi asks it anew from a non-European perspective, in a groundbreaking study of 1,400 years of Persian literary humanism. He presents the unfolding of this vast tradition as the creative and subversive subconscious of Islamic civilization.

Integrating forgotten tales of literary communities across Iran, Afghanistan and South Asia - at a time when Islamic empires were fracturing and new state formations were emerging - this book offers a more global understanding of Persian literary culture in the 18th and 19th centuries. It challenges the manner in which Iranian nationalism has infilitrated Persian literary history writing and recovers the multi-regional breadth and vibrancy of a global lingua franca connecting peoples and places across Islamic Eurasia. Focusing on 3 case studies (18th-century Isfahan, a small court in South India and the literary climate of the Anglo-Afghan war), it reveals the literary and cultural ties that bound this world together as well as some of the trends that broke it apart.

Some justification seems to be necessary for the addition of yet another History of Iranian Literature to the number of those already in existence. Such a work must obviously contain as many novel features as possible, so that a short explanation of what my collaborators and I had in mind when planning the book is perhaps not superfluous. In the first place our object was to present a short summary of the material in all its aspects, and secondly to review the subject from the chronological, geo graphical and substantial standpoints - all within the compass of a single volume. Such a scheme precludes a formal and complete enumeration of names and phenom ena, and renders all the greater the obligation to accord most prominence to matters deemed to be of greatest importance, supplementing these with such figures and forms as will enable an impression to be gained of the period in question - all this is far as possible in the light of the most recent discoveries. A glance at the table of contents will suffice to give an idea of the multifarious approach that has been our aim. We begin at the very first traces of evidence bearing on our subject and continue the narrative up to the present day. Geographically the book embraces Iran and its neighbouring countries, while it should be remarked that Iranian literature in its fullest sense also includes Indo-Persian and Judeo-Persian works.

Cultural writing. Literary criticism. Middle-Eastern Studies. A HISTORY OF LITERARY CRITICISM IN IRAN contains comprehensive research on the works of the leading figures in the field of literary criticism in modernist Iranian thought in the nineteenth century: Mirza Fath `Ali Akhundzade, Mirza Malkom Khan, Mirza `Abd al-Rahim Talebof and Zeyn al-`Abedin Maraghe`i. Inclusion of Ahmad Kasravi and Sadeq Hedayat was considered appropriate later due to some common aspects of critical attitude to the predecessors. These criticisms were the first seeds of modern literary criticism sown in the field of social and political life in Iran. Parsinejad is well-known to researchers in the field of Iranian studies. The publication of this book is useful in familiarizing readers with one of the most crucial aspects of progressive and critical thought in the Iranian modern era.

From the Biblical period and Classical Antiquity to the rise of the Renaissance and the Enlightenment, aspects of Persian culture have been integral to European history. A diverse constellation of European artists, poets, and thinkers have looked to Persia for inspiration, finding there a rich cultural counterpoint and frame of reference. Interest in all things Persian was no passing fancy but an enduring fascination that has shaped not just Western views but the self-image of Iranians up to the present day. Persophilia maps the changing geography of connections between Persia and the West over the centuries and shows that traffic in ideas about Persia and Persians did not travel on a one-way street. How did Iranians respond when they saw themselves reflected in Western mirrors? Expanding on Jürgen Habermas’s theory of the public sphere, and overcoming the limits of Edward Said, Hamid Dabashi answers this critical question by tracing the formation of a civic discursive space in Iran, seeing it as a prime example of a modern nation-state emerging from an ancient civilization in the context of European colonialism. The modern Iranian public sphere, Dabashi argues, cannot be understood apart from this dynamic interaction. Persophilia takes into its purview works as varied as Xenophon’s Cyropaedia and Nietzsche’s Thus Spoke Zarathustra, Handel’s Xerxes and Puccini’s Turandot, and Gauguin and Matisse’s fascination with Persian art. The result is a provocative reading of world history that dismantles normative historiography and alters our understanding of postcolonial nations.

This handbook is a guide to Iran's complex history. The book emphasizes the large-scale continuities of Iranian history while also describing the important patterns of transformation that have characterized Iran's past.