Understanding the determinants of attitudes toward war is important for the prevention of military conflicts and the promotion of peaceful conflict resolution. To examine American and Iranian attitudes toward war, questionnaires were administered to American and Iranian college students in the United States and Iran respectively. The results of the study revealed that American students generally have more positive attitudes toward war than Iranian students. Since most Iranians in the sample experienced eight years of war with Iraq whereas Americans never had direct experience of war, it was predicted that direct experiences of military action could explain this cross-national difference. Among Iranians those who experienced the Iran–Iraq war had more negative attitudes toward war compared to Iranians who did not have such experiences. The results further demonstrated that being authoritarian, religious and male were independently related to having positive attitudes toward war in both samples.

During the last 65 years, European, American and Russian historians have often tried to study the reasons which led to the Allied invasion of Iran on 25 August 1941. For a long period, the main obstacle was the limited access to official documentary sources. Gradually, British and Russian archives started to declassify their documents concerning the events of August 1941. That, in turn, caused a new wave of publications on this topic. Unfortunately, even with newly available sources, modern researchers were frequently unable to grasp the whole picture, emphasizing only one reason for the invasion or even exaggerating its importance. This paper attempts to analyze the most common explanations of the reasons for the occupation of Iran offered by different historians and try to find out which of these causes impelled the Allies to invade Iran. The research paid special attention to existing Russian primary and secondary sources on the issue which are less well known to English readers. Important information found in them allows events related to the Allied occupation of Iran in 1941 to be described from a relatively new angle.

This article performs a reading of Shirana Shahbazi's photo-based mural The Curve (2007), an artwork that interrogates the production of knowledge based on various ideas of truth in representation. The Curve meditates on knowledge production in relation to three sites: contemporary documentary photography, the history of northern European still-life painting, and the murals of religious leaders and martyrs that adorn Tehran. The effect of these multiple citations is the creation of an artwork that cannot be comfortably contextualized either in Western art history or in contemporary Iranian visual culture. The Curve thereby anticipates and attempts to block its own assimilation into art historical and critical discourses that reduce the work of Iranian artists to static reflections of a particular geographical and political reality. The artwork thus demands a consideration of the ways in which context, as a term in contemporary global art history, is ideologically constructed within a certain network of power relationships.

This paper examines the relationship between remediation and intertextuality in Abbas Kiarostami's Shirin (2008), arguing that the act of absorbing and transforming other texts and media within one film creates new conditions for collective vision within the post-revolutionary Iranian discourse of visuality. Focusing on the faces of 114 actresses as they watch a film adaptation of the story of “Khosrow and Shirin,” Kiarostami challenges the post-revolutionary modesty laws and their emphasis on not looking at women and at avoiding a spectator–image relationship based on the fulfillment of the desiring male gaze. By making women the spectators, the film suggests that there is no collective vision without women's vision.

This paper looks at a group of photographs entitled Qajar Series (1998) by artist Shadi Ghadirian. Ghadirian recreates sets to look like those used in photographic portraits taken during the late nineteenth and early twentieth century of the Qajar dynasty period and dresses her female sitters in costumes reminiscent of clothes from the era. The artist also integrates contemporary objects that do not fit within the historical setting created for the camera. This essay examines how the artist uses performance to stage this anachronism and think critically about temporal discourses and their links to the categories of modernity and tradition.

In the past two decades, Iranian contemporary art has been eagerly embraced by international art venues. The transportation of artworks from Tehran to mostly western European and North American cultural centers entails inter-discursive translations that will render them legible for their reception in a new context. This paper argues that bound up in these translations are performative acts of language that label these artworks as markers of ethnic alterity, unexplored localities and most of the time associates them with issues of gender and femininity (and therefore limited to the vocabulary of “veil,” “plight of women” and “sexual inequality”). Looking at a seven-minute piece of video-art by Ghazaleh Hedayat entitled Eve's Apple (2006), the article examines this predicament and the possibilities for the artists to circumvent it. It argues that Hedayat's video enables an observation of the performative dominance of Western discourses of art history that mark the limits of inter-discursive interpretation in disciplines such as art history and art criticism.