Mute dreams, blind owls, and dispersed knowledges : Persian poesis in the transnational circuitry
著者
書誌事項
Mute dreams, blind owls, and dispersed knowledges : Persian poesis in the transnational circuitry
Duke University Press, 2004
- : pbk
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Bibliography: p. [433]-448
Includes index
内容説明・目次
内容説明
Over the past decade Iranian films have received enormous international attention, garnering both critical praise and popular success. Combining his extensive ethnographic experience in Iran and his broad command of critical theory, Michael M. J. Fischer argues that the widespread appeal of Iranian cinema is based in a poetics that speaks not only to Iran's domestic cultural politics but also to the more general ethical dilemmas of a world simultaneously torn apart and pushed together. Approaching film as a tool for anthropological analysis, he illuminates how Iranian filmmakers have incorporated and remade the rich traditions of oral, literary, and visual media in Persian culture.Fischer reveals how the distinctive expressive idiom emerging in contemporary Iranian film reworks Persian imagery that has itself been in dialogue with other cultures since the time of Zoroaster and ancient Greece. He examines a range of narrative influences on this expressive idiom and imagery, including Zoroastrian ritual as it is practiced in Iran, North America, and India; the mythic stories, moral lessons, and historical figures written about in Iran's national epic, the Shahnameh; the dreamlike allegorical world of Persian surrealism exemplified in Sadeq Hedayat's 1939 novella The Blind Owl; and the politically charged films of the 1960s and 1970s. Fischer contends that by combining Persian traditions with cosmopolitan influences, contemporary Iranian filmmakers-many of whom studied in Europe and America-provide audiences around the world with new modes of accessing ethical and political experiences.
目次
By Way of Acknowledgments:
Divided Selves and Doubled Genealogies vii
Prelude: After Epic, Writing, Painting, and Film 1
I. Speaking After Zarathustra: Ritual, Epic, and Philosophical Forms of Reason
Prologue 17
1. Yasna: Performative Ritual, Narrative Mnemonic 25
2. Shahnameh: Parable Logic 66
Coda: Illuminations: Philosophical Allegory 131
II. Seeing After Film: Textual and Cinematic Forms of Ethical Reason
3. Awaiting the Revolution: Surrealism Persian Style 151
4. Filmic Judgment and Cultural Critique: The Work of Art, Ethics, and Religion in Postrevolution Iranian Cinema 222
5. War Again: Qandahar, 911--
Figure and Discourse in Iranian Cinematic Writing 259
Coda: Balancing Acts (After 9/11) 355
Epilogue: Beyond "Mobile Armies of Metaphors": Scheherezade Films the Games 370
Notes 395
Bibliography 433
Index 449
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