The Āl-i Burhān, who held the religious leadership (ṣadāra) of Bukhara from the end of the fifth to the middle of the seventh century A.H. (eleventh to thirteenth century CE) and were the religious and secular leaders of the city, are known to us through a number of studies by Bartold, Qazvīnī, and Pritsak.1 However, at least two other pieces of information about this family's background are available in two recently published books that were not available to these scholars. The first book is al-Qand fī ḏikr ʿulamāʾ Samarqand (henceforth al-Qand) by ʿUmar ibn Muḥammad al-Nasafī (461‒537 A.H./1069‒1142 CE), and the other is Laṭāʾif al-aḏkār li-l-ḥużżār wa-l-suffār fī al-manāsik wa-l-ādāb (henceforth Laṭāʾif) by Muḥammad ibn ʿUmar ibn ʿAbd al-ʿAzīz (511–566 A.H./1117‒1170 CE), the greatest religious leader (ṣadr) of this family in the sixth century A.H. (twelfth century CE).2 The latter, precisely because it was written by the greatest and most powerful member of the family, contains some firsthand information about the family itself and the scholars of Bukhara that appears to be unique, and the former provides the most detailed extant information about the scholars who lived in Samarqand or visited that city until the mid-sixth century A.H. (twelfth century CE). Al-Qand also incidentally contains some information about the first ṣadr of the Burhān family, which has neither been seen elsewhere nor noticed by scholars since the publication of the text in 1999.

This article explores the correlation between two of Bahram Beyzaie's films and Laura Mulvey's theories on the male gaze. The films in question are The Crow (Kalāgh, 1977) and Maybe Some Other Time (Shāyad Vaqti Digar, 1987). This article delves into the films’ narrative structures, revealing a subtle yet significant shift in the dynamics of power and gaze. Initially, both films appear to conform to conventional representations of male dominance, establishing a seemingly patriarchal landscape. However, as the narratives unfold, a gradual transformation occurs, subverting conventions of the male gaze. By employing Mulvey's framework, this article deciphers the interplay between Beyzaie's cinematic language and Mulvey's theoretical underpinnings, highlighting Beyzaie's role in deconstructing patriarchal structures and crafting a more nuanced portrayal of gender relations.

The School Principal introduces readers to a disillusioned and sarcastic teacher who transitions to the role of school principal in a peripheral primary school. Often regarded as a social criticism treatise rather than a work of art, the novella is characterized by the narrator's pervasive cynicism. However, amidst the sarcasm, the principal's actions reveal a surprising undercurrent of compassion, particularly evident in his interactions with children. This article proposes a compassionate reading of the text, positioning it within the framework of childhood history. The narrative, seen through the lens of childhood history, unveils a cultural shift in Iran during the first half of the 20th century, specifically in the realm of education. It explores the complexities of transitioning from child labor to formal schooling and the evolving perceptions of children as innocent, passive, and dependent. A key conflict in the novella revolves around the clash between Iranian patriarchy and the emerging concept of modern childhood. The principal grapples with adapting to a new model that places children at the center of societal and familial concerns. Despite attempts to prioritize children's welfare, the principal struggles to reconcile the demands of patriarchy with the evolving notion of childhood.

While the 7th/13th-century Persian Muslim scholar of the Mongol era ʿAzīz-i Nasafī actively engaged with Sufi traditions in his writings, he also introduced an overlooked distinction by drawing a line between Sufis (ahl-i taṣavvuf) and monists (ahl-i vaḥdat), aligning himself with the latter. This paper argues that Nasafī's clear differentiation between these two groups reflects broader transformations in the intellectual landscape of the Persianate Mongol world. These changes marked the emergence of new modes of thought not easily explainable by the established linguistic conventions of classical Sufism. Consequently, Nasafī's works serve as a window into the intellectual and linguistic challenges faced by Muslim intellectuals as they endeavored to shape the pre-modern and early modern Islamic cosmopolis (7th/13th–9th/15th centuries), revealing points of convergence and divergence with their intellectual predecessors.