The Topics Treated so Far in Encyclopaedia Iranica Under the General rubric of languages and the language sciences may be subdivided as follows, with an approximate tally of the articles devoted to each subtopic: 1. Iranian languages and dialects (34; 9 languages, 25 dialects and dialect groups). 2. Relevant non-Iranian languages and dialects and language areas (19; 10 languages, 9 areas). 3. Scholars, authors, works (36; 26 persons, 10 works). 4. Technical terms, genres and etymologies (12). The articles range in length from a few lines to twenty columns or more, some with subdivisions, some in themselves being subdivisions of larger articles. Obviously it is impracticable to mention more than one hundred articles individually. The following overview will attempt an appraisal of each category and its salient components, referring to particular articles as illustrative of the whole.

This study is based on fieldwork undertaken in Badakhshān province of Afghanistan in 1968 for the purpose of collecting musical data. A summary of the basic musical styles and instruments current in the area can be found in the,author's Instrumental Music in Northern Afghanistan.

The focus of the present article is the type of Persian verse set to music by the folk singers of Badakhshān. Principally, this includes a description of the texts of the most common folksong form of the region, the felak, drawn from singers of the Faizābād (central), Darwāz (northern), Shughnān (northeastern), Wākhān (eastern) and Keshrn (western) regions of Badakhshān province.

Private life during the Qajar period is not a subject on which much primary material is available. In an earlier work I made use of material from the Mahdavi Archives in Tehran to describe the life and career of Haj Muhammad Hasan Amin al-Zarb, the first major Iranian entrepreneur. Material from the same archive and other sources allows us a glimpse into the daily life of the household of Amin al-Zarb in Tehran. A native of Isfahan, Muhammad Hasan came to Tehran from Isfahan sometime about 1853. He arrived in the capital and, in his own words, “aside from a few items of clothing and an ᶜabā, my worldly goods consisted of a box of scales and weights (miqāl), the work of Isfahan that I had bought for eleven qirāns, and one hundred riyāls in cash.” By 1863 he had begun the most extensive commercial enterprise in Iran and become the richest and most influential merchant in the country.

This essay examines certain common themes as well as conflicting voices in two extensive sets of Persian diaries, written almost a century apart, by Mohammad-Hasan Khān Eʿtemād al-Saltaneh (1843‒96), a long-time courtier and confidant of Nāser al-Din Shah Qajar (r. 1848‒86) and Asadollāh ʿAlam (1919‒78) a close associate and court minister of Mohammad-Reza Shah Pahlavi (r. 1941‒79). On the whole these diaries provide significant amounts of information about the inner workings of the court and the overall institutional setup of the Iranian state in the nineteenth and twentieth centuries. Although in writing their diaries these authors did not set out to produce a literary work, and nor did they intend to chronicle a general history, each in his own way captured his respective epoch and, within their limitations of time, scope, and insight, each reflected a broad range of private and social relationships. Also each in his own way echoed older ministerial voices, reminiscent of the voice that often resonates in the “mirror for princes” genre, of part player part intimate observer, and with a certain sense of admonition and resignation, lamenting the loss of an era which they felt was slipping away as they wrote.

Though Cambay is Now a Provincial Backwater, for Over Five Centuries—between the late tenth and the mid-sixteenth centuries A.D.—it was the main port of western India, home to a cosmopolitan population of merchants and traders from all over India and the Islamic world, and a major center of architectural and artistic patronage. Cambay is probably best known among Islamic art historians for its monumental fourteenth-century Friday mosque, the adjacent Kazaruni tomb complex (d.734/1333), and the large body of thirteenth- and fourteenth-century Islamic inscriptions and tombstones that survives there. However, the port conceals many Islamic remains that have not been published.

This contribution offers a presentation of Turkic languages in Iran with special focus on Khalaj, a non-Oghuzic language spoken in the Markazī province. Attention is paid to features induced by contact with Iranian languages in particular with regard to the anaphoric pronominal stem bilä-, necessity constructions and the multifunctionality of ki/ke, providing new data on Khalaj and offering significant insights for further research.

This article examines some manuscripts of the so-called “Anonymous Histories of Shah Esmāʿil” with a view to answering the question: How did people in post-1514 Iran remember the Battle of Chālderān? After a brief examination of these manuscripts, the article focuses on three moments of the battle—the Safavid council of war, Esmāʿil’s clash with Malquch-oghli, and the Ottoman cannonade—to explore the ways in which popular memory embellished and altered the events we know from the official histories. Such changes reveal that the loss at Chālderān may have marked the end of Shah Esmāʿil’s aura of invincibility, but not of his larger-than-life image in the minds of his countrymen.

The Kitāb al-muʿtamad fī uṣūl al-dīn by Maḥmūd b. Muḥammad Ibn al-Malāḥimī al-Khwārazmī (d. 536/1141) belongs to the Muʿtazilī theological works that present valuable insight into the intricate history of religions and their contacts. Recently, scholars have identified other manuscripts of this book which comprise passages absent in previously known manuscripts. The enlarged edition of 2012 now comprises the complete chapter on Zoroastrianism, of which only a short part was extant in the first edition. This article translates the whole chapter on Zoroastrianism, along with the vocalized Arabic original text, to make it more accessible to historians of Iranian religions. This translation is then followed by a discussion of the implications of this piece for the history of Zoroastrianism after Islam. After discussing the inner-textual structure of the text the inter-textual relations of this text are examined, along with al-Shahristānī’s account on Zoroastrianism. Through this comparison, it is shown that the major part of both texts most probably originates from the Radd ʿalā l-Majūs (Refutation of Zoroastrians) by Abū ʿĪsā al-Warrāq. In this way, the article shows that both al-Shahristānī’s and Ibn al-Malāḥimī’s texts are relevant for the history of Zoroastrianism in ninth-century Baghdad.

In July 1980, Mohammad Reza Pahlavi died in Egypt, approximately a year and a half after the overthrow of the Iranian monarchy and the subsequent establishment of the Islamic Republic. Once asked whether Madame de Pompadour's celebrated phrase, “Après nous le déluge” echoed his own sentiments, the shah had willingly agreed, and indeed, Iran has in the period since his ouster experienced the turbulent existence of a society in the throes of revolution. The prevailing climate of instability, interspersed by alleged conspiracies and widespread purges and executions, has given every indication of developing into a chronic condition, if it has not already done so. The economy has faltered under the burden of inflation, unemployment, and the inadequacy of managerial skills, and in the process, become wholly reliant on the revenues that accrue from the export of petroleum.

Holy Defense Literature is the official term applied to a large body of prose and poetry published during and after the Iran–Iraq war (1980–88) as part of the Islamic Republic’s cultural policy to promote and maintain its Shiite and anti-imperialistic political and ideological agenda. Both the production and the critical reception of this body of work have since been gradually altered, resulting in a discrepancy between two mutually exclusive tendencies in the literary representation and interpretation of the Iran–Iraq war: the ideological and the realistic, the latter introducing a narrative alternative to the former. ʿAli Reza Gholami’s novel Divar (The Wall) (2015), however, can be read as an exception to this current creative and critical polarity. By openly renouncing any claim to any kind of truth, Gholami has rendered his highly technical literary creation into a narrative text that goes beyond the real to exert its undermining effect on the ideology of the Holy Defense. Drawing upon Andrew Gibson and Michel Serres, this article attempts to refashion the narrative geometry of Gholami’s novel to underline and elaborate on its destabilizing extra-textual meaning as well as its dialogical and dynamic literary effect.

The belief that entrepreneurship, i.e., the predisposition towards risk-taking and innovative behavior in commercial situations, is the key factor in economic development is still widely held by social scientists and developmental planning experts. Based upon the theoretical positions of economists, such as Schumpeter, entrepreneurial historians and many sociologists, the occurrence of economic development is explained by the presence of individuals whose actions promote capital accumulation, rational allocation of resources, and the like for their own benefit and, as a consequence, for the benefit of society. Often intertwined is the belief that the shaping force behind the structure of society and its processes of change are values exemplified by Weber's The Protestant Ethic and the Spirit of Capitalism, the classic statement of this position.

When a historian decides to use literary texts to help construct a past, these texts can present some interesting theoretical and methodological problems. One theoretical question that concerns both historians and literary scholars is that of genre. Generic considerations are of primary importance for the historian as he or she sifts through such diverse kinds of material as personal diaries, government documents, field reports of inspection teams, and books of doctrine or practice. The historian knows what to expect of each sort of document and by virtue of this familiarity is able to notice, for example, unexpected additions, omissions, or subtle deviations from the expected norms. This awareness of generic considerations often becomes second nature to us as we work with familiar types of material.

But, alas, the specialized fields and disciplinary training of historians and literary scholars can obscure for them the generic characteristics of texts that they do not ordinarily work with.

In the last few decades ritual interpretation of the Gāthās has replaced the biblical one as the dominant paradigm. The emphasis on the central role of ritual in the Avesta is well justified. This realization has given rise to the question of the role and meaning of ritual in the Gāthās. Marijan Molé had tried to argue that the Gāthās in fact describe and accompany a rite whose purpose was the preservation/renovation of the cosmic order. Students of the Gāthās working within the new paradigm have taken up Molé’s general frame. They have tried to show that the Gāthās, collectively or individually, is the text of a particular rite that served, among others, to preserve the cosmic order, especially the daily rise of the sun. The article questions the validity of this thesis. Its focus is on the version of the thesis we find in a number of recent publications by Jean Kellens. He tries to show that the first Gāthā (Ahunauuaitī) describes a unitary pre-dawn ritual that comprised a haoma rite and an animal sacrifice, and had cosmological and eschatological pretensions. His textual analyses and arguments are examined in some detail. The article concludes that Kellens's attempt must be deemed unsuccessful.

Ahmad Shamlu is the primary, most prolific and most popular engagé Persian poet of post-Mosaddeq Iran. While critics in general view Shamlu's poetry as a mirror reflecting the stages of modernist Persian poetics from Nima Yushij (1895-1960) onward, Reza Baraheni has also described it as "a biography of our society." As a sociological study of this very important Iranian writer, this essay provides a chronology and analysis of Shamlu's relationship with his reading public and "the people," an overview of the nature of modernist engagé Persian poetry in general, and an assessment of the influence the "committed" poet has been able to exercise on Iranian society during the past three decades, in" particular.

The Sasanian king Shapur I held a ten year series of campaigns against the Roman Empire. Returning to Iran after these campaigns, in order to immortalize his victories he built a series of reliefs and gave broad information in his famous work, Ka’be-ye Zardosht. However, the term he used to define himself in these articles, “King of Kings of Iranians and non-Iranians,” was not used on coins, which has become a subject of discussion. This work aims to clarify such arguments based on a unique drachm belonging to Shapur I which is present in the Elazig Museum of Archaeology and Ethnography.