Medieval German literature refers to literature written in Germany, stretching from the Carolingian dynasty; various dates have been given for the end of the German literary Middle Ages, the Reformation (1517) being the last possible cut-off point.

Old High German

The Old High German period is reckoned to run until about the mid-11th century, though the boundary to Early Middle High German (second half of the 11th century) is not clear-cut.

Epic Poetry

The most famous work in OHG is the Hildebrandslied, a short piece of Germanic alliterative heroic verse which besides the Muspilli is the sole survivor of what must have been a vast oral tradition. Another important work, in the northern dialect of Old Saxon, is a life of Christ in the style of a heroic epic known as the Heliand.

Lyric Poetry

Works include the short but splendid Ludwigslied, celebrating the victory of the Frankish army, led by Louis III of France, over Danish (Viking) raiders at the Battle of Saucourt-en-Vimeu on 3 August 881. There is also the incomplete Das Georgslied about the life of Saint George, and the Wessobrunn Prayer, a praise of Creation and a plea for strength to withstand sin.

Other Literature

Works include the Evangelienbuch (Gospel harmony) of Otfried von Weissenburg, the Latin-German dictionary Abrogans, the magical Merseburg Incantations, and the Old High German translation of the theologian Tatian.

Middle High German

Middle High German proper runs from the beginning of the 12th century. In the second half of the 12th century, there was a sudden intensification of activity, leading to a 60-year "golden age" of medieval German literature referred to as the mittelhochdeutsche Blütezeit (1170-1230). This was the period of the blossoming of MHG lyric poetry, particularly Minnesang (the German variety of the originally French tradition of courtly love). The same sixty years saw the composition of the most important courtly romances. These are written in rhyming couplets, and again draw on French models such as Chrétien de Troyes, many of them relating Arthurian material. The third literary movement of these years was a new revamping of the heroic tradition, in which the ancient Germanic oral tradition can still be discerned, but tamed and Christianized and adapted for the court. These high medieval heroic epics are written in rhymed strophes, not the alliterative verse of Germanic prehistory.

Epic Poetry

The Kaiserchronik is one of the first monuments of Middle High German. The three key authors of courtly romances are Hartmann von Aue, Gottfried von Strassburg, and Wolfram von Eschenbach, in particular his Parzival, which is regarded as one of the supreme literary achievements of the period. The revamping of the heroic tradition is visible in works like the Nibelungenlied and Kudrun. Another epic of the High Middle Ages is Herzog Ernst; other authors include Konrad von Würzburg, Rudolf von Ems, and Ulrich von Türheim.

Lyric Poetry

The most impressive example of Early Middle High German literature is the Annolied. It was about the beginning of the 12th century that Ava became the first woman to write poetry in German. The "big name" of Minnesang is Walther von der Vogelweide, but there are many others, and some of their melodies have survived. Other notable works include the incomplete Christherre-Chronik, a 13th-century world chronicle from Thüringen, and the works of Heinrich Frauenlob.

Urban literature

From the later 13th century, we see the rise of urban literature, which becomes the dominant force from the mid-14th century onwards. This urbanization and the introduction of printing in the 15th century are the main developments marking the very vague boundary between late medieval and early modern German literature.

Lyric Poetry

The first important urban author was the Viennese chronicler Jans der Enikel. Other poets include Hans Folz, Johannes von Tepl, and Sebastian Brant.

Judeo-German

From the late 13th century, there is evidence of the beginnings of the Yiddish language, which in the early phase is a variety of Middle High German, not distinct enough even to be described as a dialect, but written in Hebrew characters. In its early phase, it is normally referred to as Judeo-German; from the 15th century it becomes Old Yiddish. Poems in this idiom belong equally to the fields of Medieval German Studies and Jewish/Yiddish studies.

Epic Poetry

Notable works include the 14th-century Dukus Horant (a narrative poem known as the "Jewish Kudrun") or the 15th-century Bovo Bukh, the most popular chivalric romance in the Yiddish language.

Further reading

The most comprehensive guide to this literature currently available in English is the first three volumes of the Camden House History of German Literature, with a chapter in volume four on the transition to the modern period (various editors, Camden 2004-5). A good single-volume guide to the classical period is Francis Gentry's A Companion to Middle High German Literature to the Fourteenth Century, Brill 2002.

See also

History of the German language

Baroque German literature

Category:Middle High German literature Category:Old High German literature

Alphonsus Johannes Maria Diepenbrock (2 September 1862 in Amsterdam – 5 April 1921) was a Dutch composer, essayist and classicist.

Life and work

Diepenbrock was not a musician by training. Brought up in a prosperous Roman Catholic family, although he showed musical ability as a child, the expectation was that he would enter a university rather than a conservatory. And so he studied classics at the University of Amsterdam, gaining his doctorate cum laude in 1888 with a dissertation in Latin on the life of Seneca. The same year he became a teacher, a job which he held until 1894, and his decision to devote himself to music. As a composer, he had been completely self-taught from an early age.

He created a musical idiom which, in a highly personal manner, combined 16th-century polyphony with Wagnerian chromaticism, to which in later years was added the impressionistic refinement that he encountered in Debussy's music.

His predominantly vocal output is distinguished by the high quality of the texts used. Apart from the Ancient Greek dramatists and Latin liturgy, he was inspired by, among others, Goethe, Novalis, Vondel, Brentano, Hölderlin, Heine, Nietzsche, Baudelaire and Verlaine.

As a conductor, he performed many contemporary works, including Gustav Mahler's Fourth Symphony (at the Concertgebouw) as well as by Fauré and Debussy.

Throughout his life, Diepenbrock continued his interests in the wider cultural sphere, remaining a classics tutor and publishing works on literature, painting, politics, philosophy and religion. Indeed during his lifetime his musical skills were often overlooked. Nonetheless, Diepenbrock was very much a respected figure within musical circles. He counted amongst his friends Mahler, Richard Strauss and Arnold Schoenberg.

Works

Missa in die festo 1891,

Te Deum 1897,

Ik ben in eenzaamheid niet meer alleen 1898,

Hymne an die Nacht 1899,

Vondels vaart naar Agrippine 1903,

Im Grossen Schweigen 1906,

Die Nacht 1911,

Marsyas 1910,

Gijsbreght van Aemstel 1912,

De Vogels 1917,

Elektra 1920

References

Biography

External links

Category:1862 births Category:1921 deaths Category:Dutch composers Category:Romantic composers Category:Dutch classical scholars Category:Dutch essayists Category:People from Amsterdam

Region	Critical Theory
Era	20th / 21st-century philosophy
Color	#B0C4DE
Image name	Hamid-Dabashi.png
Name	Hamid Dabashi
Birth date	June 15, 1951
School tradition	Postcolonialism, critical theory
Main interests	Liberation theory, Literary theory, Aesthetics, Cultural theory, Sociology of Culture
Influences	Nietzsche, Weber, Heidegger, Levinas, Foucault, Fanon, Adorno, Said, Shamlou
Notable ideas	Trans-Aesthetics, Radical Hermeneutics, Anti-colonial Modernity, Will to Resist Power, Dialectics of National Traumas and National Art Forms, Phantom Liberties

Hamid Dabashi () born 1951 in Ahvaz is an Iranian-American Professor of Iranian Studies and Comparative Literature at Columbia University in New York City.

He is the author of over twenty books. Among them are his Theology of Discontent; several books on Iranian cinema; Staging a Revolution; an edited volume, Dreams of a Nation: On Palestinian Cinema; and his one-volume analysis of Iranian history .

Biography

Born and raised in southern city of Ahvaz in Iran, Dabashi was educated in Iran and then in the United States, where he received a dual Ph.D. in sociology of culture and Islamic studies from the University of Pennsylvania in 1984, followed by a postdoctoral fellowship at Harvard University. He wrote his dissertation on Max Weber’s theory of charismatic authority with Philip Rieff, the most distinguished Freudian cultural critic. He lives in New York with his wife and colleague Golbarg Bashi.

Major works

Hamid Dabashi’s books are , which traces the last two hundred year's of Iran's history including analysis of cultural trends, and political developments, up to the collapse of the reform movement and the emergence of the presidency of Mahmoud Ahmadinejad. Dabashi argues that "Iran needs to be understood as the site of an ongoing contest between two contrasting visions of modernity, one colonial, the other anticolonial".

His book Theology of Discontent, is a study of the global rise of Islamism as a form of liberation theology. In this book Dabashi coined the term “colonial modernity," which refers to the paradoxical reception of the European project of Enlightenment modernity by the rest of the world, whereby non-Europeans are assigned subjectness precisely at the moment of the denial of their historical agency.

His other book is the founding text on modern Iranian cinema and the phenomenon of (Iranian) national cinema as a form of cultural modernity – featured even in the Lonely Planet travel guide for Iran. In his essay "For the Last Time: Civilizations", he has also posited the binary opposition between “Islam and the West” as a major narrative strategy of raising a fictive centre for European modernity and lowering the rest of the world as peripheral to that centre.

In Truth and Narrative, he has deconstructed the essentialist conception of Islam projected by Orientalists and Islamists alike. Instead he has posited, in what he calls a “polyfocal” conception of Islam, three competing discourses and institutions of authority – which he terms “nomocentric” (law-based), “logocentric” (reason-based) and “homocentric” (human-based) – vying for power and competing for legitimacy. The historical dynamics among these three readings of “Islam”, he concludes, constitutes the moral, political and intellectual history of Muslims.

Among his other work — which has been translated into many languages — are his essays Artist without Borders (2005), Women without Headache (2005), For the Last Time Civilization (2001) and "The End of Islamic Ideology" (2000).

Hamid Dabashi is also the author of numerous articles and public speeches, ranging in their subject matters from Islamism, feminism, globalised empire and ideologies and strategies of resistance, to visual and performing arts in a global context.

Philosophy

Among the distinctive aspects of Dabashi’s thinking are a philosophical preoccupation with geopolitics and the transaesthetics of emerging art forms that correspond to it. Dabashi’s principle work in which his political and aesthetic philosophy becomes historically anchored is his work on the rise of national cinema. There he contends that the only way out of the paradox of colonial modernity is the creative constitution of the postcolonial subject via a critical conversation with the historical predicament of the colonial subject. Dabashi argues that it is on the aesthetic site that the postcolonial subject must articulate the politics of her emancipation. In this respect, Dabashi’s major theoretical contribution is the collapsing of the binary opposition between the creative and the critical, the true and the beautiful, the poetics and the politics etc. On the colonial site, Dabashi argues in a memorable dialogue with Nietzsche and Heidegger, the Will to Power becomes the will to resist power. (Citation needed)

In an essay on Qur’anic hermeneutics, “In the Absence of the Face” (2000), Dabashi has also taken the Derridian correspondence between the signifier and the signified and expanded it from what he considers its “Christian Christological” context and read it through a Judeo-Islamic frame of reference in which, Dabashi proposes, there is a fundamental difference between a sign and a signifier, a difference that points to a metaphysical system of signification that violently force-feed meaning into otherwise resistant and unruly signs. It is from this radical questioning of the legislated semantics of signs incarcerated as signifiers that Dabashi has subsequently developed a notion of non-Aristotelian mimesis, as best articulated in his essay on Persian Passion Play, "Ta’ziyeh: A Theater of Protest" (2005). Here he proposes that in Persian Passion Play, we witness an instantaneous, non-metaphysical and above all transitory, correspondence between the signifier and the signified and thus the modus operandi of the mimesis is not predicated on a permanent correspondence in any act of representation. There are serious philosophical implications to this particular mode of non-representational representation that Dabashi has extensively examined in his essays on the work of the prominent artist Shirin Neshat. Dabashi’s political dedication to the Palestinian cause, and his work on Palestinian cinema, has an added aesthetic dimension in which he is exploring the crisis of mimesis in national traumas that defy any act of visual, literary, or performative representation.

Dabashi’s primarily feminist concerns are articulated in a series of essays that he has written on contemporary literary, visual and performing arts. There his major philosophical preoccupation is with the emergence of a mode of transaesthetics (“art without border”) that remains politically relevant, socially engaged and above all gender conscious. In his philosophical reflections, he is in continuous conversation with Jean Baudrillard, the distinguished French philosopher, and his notion of “transaesthetics of indifference”. Contrary to Baudrillard, Dabashi argues that art must and continues to make a difference and empower the disenfranchised.

In a critical conversation with Immanuel Kant, the founding father of European philosophical modernity, Dabashi has articulated the range of social and aesthetic parameters now defining the terms of a global reconfiguration of the sublime and the beautiful—in terms radically distanced from their inaugural articulation by Kant. His essays on transaesthetics, where these ideas are articulated, have been published in many languages by major European museums.

So far in his political thought, Dabashi has been concerned with the emerging patterns of global domination and strategies of regional resistance to them. Equally important to Dabashi’s thinking is the global geopolitics of labour and capital migration migration.

Film and art

Hamid Dabashi has been principal advisor for many globally recognized artists and filmmakers; most recently he was the chief consultant to Ridley Scott in his making of Kingdom of Heaven (2005, Fox Twentieth Century, Hollywood, USA). Scott defended his film by saying that it was approved and verified by Dabashi, he also said that in his opinion, Dabashi is "an important man in New York".

Dabashi was the chief consultant to Hany Abu-Assad's “Paradise Now” (2005), awarded the Golden Globe for best foreign language film and an Academy Award nominee in the same category, and Shirin Neshat’s “Women without Men” (2006).

Professor Dabashi has also served as jury member on many international art and film festivals, most recently the Locarno International Festival in Switzerland. In the context of his commitment to advancing trans-national art and independent world cinema, he is the founder of Dreams of a Nation, a Palestinian Film Project, dedicated to preserving and safeguarding Palestinian Cinema. For his contributions to Iranian cinema, Mohsen Makhmalbaf, the Iranian film-maker called Dabashi "a rare cultural critic".

Public commentary and criticism

Professor Dabashi has been a commentator on a number of political issues, often regarding the Middle East, Columbia University, American foreign policy, or a combination of those.

Columbia University

In 2004, Professor Dabashi was involved in a dispute at Columbia University between Jewish students and pro-Palestinian professors, which included accusations of antisemitism against the professors. According to the New York Times, Dabashi was mentioned principally because of his published political viewpoints, and that he canceled a class to attend a Palestinian rally. The New York chapter of the American Civil Liberties Union sided with the professors. An ad hoc committee formed by Lee C. Bollinger, Columbia University's president, reported in March 2005 that they could not find any credible allegations of antisemitism, but did criticize the university's grievance procedures, and recommended changes. However, the committee was criticized for failing to examine an article in which Dabashi wrote that Israelis suffer from "a vulgarity of character that is bone-deep and structural to the skeletal vertebrae of its culture."

In 2002, Dabashi sharply criticized Rabbi Charles Sheer (who was the university's Jewish chaplain between 1969 and 2004) after he sharply criticized several professors for cancelling their classes to attend pro-Palestinian rallies. Dabashi wrote in the Columbia Spectator that Rabbi Sheer "has taken upon himself the task of mobilizing and spearheading a crusade of fear and intimidation against members of the Columbia faculty and students who have dared to speak against the slaughter of innocent Palestinians."

In an interview with the Electronic Intifada in September 2002, Dabashi referred to the pro-Israel lobby as "Gestapo apparatchiks" and that "The so-called "pro-Israeli lobby" is an integral component of the imperial designs of the Bush administration for savage and predatory globalization." He also criticized "fanatic zealots from Brooklyn" who have settled on Palestinian lands. Dabashi has also harshly criticized the New York Times for what he describes as a bias towards Israel, stating that he paper is "the single most nauseating propaganda paper on planet."

Responding to Dabashi’s Al-Ahram essay, Columbia University President Lee Bollinger said, “I want to completely disassociate myself from those ideas. They’re outrageous things to say, in my view.” Jonathan Rosenblum, director of Jewish Media Resources, later wrote that "Dabashi apparently subscribes to Lamarkian genetics [that an organism can pass on characteristics that it acquired during its lifetime to its offspring]. Not only have the alleged actions of Israeli Jews effected changes in their very bone structure, but those changes are transmitted to subsequent generations. Dabashi’s depiction of the debased Jewish physiognomy is racism pure and simple." In The Bulletin, Herb Denenberg wrote that Dabashi's article "is not borderline racism. It’s as gross and obvious as racism can get."

In a sworn statement submitted to the US Commission on Civil Rights, Dabashi stated that he has not expressed, nor ever harbored, any anti-Semitic sentiments and that the 2004 Al-Ahram essay was being misconstrued. He has also criticized pro-Israel groups in the United States, saying that the "pro-Israeli Zionist lobby in the US banked and invested heavily in infiltrating, buying, and paying for all the major and minor corridors of power." In the same article, Dabashi endorsed cultural and academic boycotts of Israel.

Victor Luria

In September 2004, Victor Luria, a Ph.D. student who worked in a Columbia genetics lab and who served in the Israeli military in 1998, sent an email to Dabashi sharply criticizing him for an article he wrote in Al-Ahram in which wrote that black soldiers in Israel are "mesmerized pigeons now under the spell of a cobra." Luria wrote that during his service in the Israeli military, Black soldiers were always treated equally. Dabashi forwarded the email to several top Columbia officials, including Columbia's provost Alan Brinkley, claiming that Luria had engaged in "conduct unbecoming of a student of Columbia University." Dabashi also stated that he felt physically threatened by Luria, and asked for campus security to be notified "to protect my person from a potential attack by a militant slanderer," although he added that he would not contact the police "for the time being." Brinkley subsequently told Dabashi that he was overreacting, that there was nothing threatening about Luria's email and that he would not notify campus security.

Criticism of the movie "300"

Dabashi criticized the film 300, the 2007 movie which depicts the of Battle of Thermopylae in 480 BC of 300 Spartans against the Persian Empire. Dabashi stated that the director Zack Snyder is "fearful of all the racialised minorities in and out of the United States—Jews, Muslims, Asians, Africans, Latinos—gathering storm around his white-washed racism." Dabashi also stated "That monstrosity that Snyder pictures marching towards Thermopylae is the American empire -- and that band of brothers that stood up to that monstrosity are those resisting this empire: they are the Iraqi resistance, the Palestinians, Hizbullah."

Criticism of Lee Bollinger's Comments on Ahmadinejad and Allegations of White Supremacy

Following Columbia University President Lee Bollinger's statements on Iranian President Mahmoud Ahmadinejad during Ahmadinejad's visit to Columbia in September 2007 (in which Bollinger stated that the Iranian President was a "petty and cruel dictator" who lacked the "intellectual courage" to offer real answers on denying the Holocaust) Dabashi wrote that Bollinger's statements were "the most ridiculous clichés of the neocon propaganda machinery, wrapped in the missionary position of a white racist supremacist carrying the heavy burden of civilizing the world." Dabashi further stated that Bollinger's comments were "propaganda warfare … waged by the self-proclaimed moral authority of the United States" and that "Only Lee Bollinger's mind-numbing racism when introducing Ahmadinejad could have made the demagogue look like the innocent bystander in a self-promotional circus." In addition, Dabashi wrote that when Bollinger made these comments, "Nothing short of the devil incarnate, the Christian Fundamentalist in Bollinger thought, was sitting in front of him" and that Bollinger's "shamelessly racist" comments were "replete with racism."

Judith Jackson, a professor of epidemiology at Columbia who is the co-coordinator of Scholars for Peace in the Middle East, criticized Dabashi for his remarks, stating that Dabashi's article was "sheer demagoguery" and that "attributing President Bollinger's remarks or behavior to racism is absurd." In a 2006 essay, Dabashi referred to the World Trade Center towers (which were destroyed by the attacks of September 11, 2001) as "two totem poles of U.S. empire in New York.".

Dabashi has also sharply criticized Iranians living in the United States who support a US policy of regime change in Iran. In August 2008, Dabashi wrote that:

"A band of useless expatriate Iranians are now swarming Washington D.C. hotel lobbies and the White House and State Department offices, seeking a pathetic role and a lucrative salary for regime change in Iran, doing nothing but wasting our tax money, while registering their ignoble names in the annals of a maligned nation. History is now recording their shameful names and will deal with them in proper time -- Abbas Milani, Mohsen Sazegara, Amir Taheri, Azar Nafisi, Ramin Ahmadi, Roya Hakakian, and an ilk of reprehensible names next to them."

Reading Lolita in Iran and Azar Nafisi

In 2006, Dabashi sharply criticized Azar Nafisi for her book Reading Lolita in Tehran, stating that "By seeking to recycle a kaffeeklatsch version of English literature as the ideological foregrounding of American empire, Reading Lolita in Tehran is reminiscent of the most pestiferous colonial projects" and accusing her of being a "native informer and colonial agent."

Nafisi responded to Dabashi's criticism by stating that she is not, as Dabashi claims, a neoconservative, that she opposed the Iraq war, and that she is more interested in literature than in politics. In an interview, Nafisi stated that she's never argued for an attack on Iran and that democracy, when it comes, should come from the Iranian people (and not from US military or political intervention). She added that while she is willing to engage in "serious argument...Debate that is polarized isn't worth my time." She stated that she did not respond directly to Dabashi because "You don't want to debase yourself and start calling names."

Views on Barack Obama and John McCain

During the 2008 Presidential election, Dabashi criticized democratic presidential nominee Barack Obama for "falling right into the oldest trap that the American Zionist cabal has in its bag of tricks" and criticized him for giving "Jerusalem to a band of white European colonial settlers," arguing instead that "Jerusalem belongs to Palestinians." Dabashi concluded by writing that Obama's pro-Israel stance "spells out the particulars of his own moral depravity and political cowardice." However, Dabashi stated the Obama was preferable to Republican Candidate John McCain because "even if [Obama] has sold his soul, ... he used to have one. That is not the case with McCain."

Selected bibliography

Islamic and Iranian studies

Islamic Liberation Theology Resisting the Empire By Hamid Dabashi

* 2008 Islamic Liberation Theology; Resisting the Empire. Routledge

2007 . New York, New Press.

2005 Theology of Discontent: The Ideological Foundations of the Islamic Revolution in Iran. (Second Edition) with a New Introduction. New York, New York University Press (1993). New Edition, New Brunswick, NJ, Transaction Publishers..

2005 "Ignaz Goldziher and the Question Concerning Orientalism,” as an Introduction to a new Edition of Ignaz Goldziher’s Muslim Studies. New Brunswick, NJ, Transaction Publishers.

2000 “The End of Islamic Ideology,” Social Research. Volume 67, Number 2, Summer 2000. pp. 475–518.

1999 Staging a Revolution: The Art of Persuasion in the Islamic Republic of Iran. (With Peter Chelkowski). London, Edward Booth-Clibborn Editions.

1993 "Historical Conditions of Persian Sufism during the Seljuk Period." In Leonard Lewisohn (ed.), Classical Persian Sufism: From Its Origins to Rumi. London and New York, Khaniqahi Nimatallahi Publishers.

1992 Authority in Islam: From the Rise of Muhammad to the Establishment of the Umayyads. Second Edition. New Brunswick, NJ & London, Transaction Books. Winner of the 1990 Association of American Publishers Award in the category of religion and philosophy.

1989 Expectation of the Millennium: Shi’ism in History. With S.H. Nasr and S.V.R. Nasr. New York, State University of New York Press.

1989 "By What Authority? —The Formation of Khomeini's Revolutionary Discourse, 1964-1977." Social Compass, vol. 36, no. 4, December 1989.

1988 Shi’ism: Doctrines, Thought, and Spirituality. With S.H. Nasr, and S.V.R. Nasr. New York, State University of New York Press.

1986 "Symbiosis of Religious and Political Authorities in Islam." In Thomas Robbins and Roland Robertson (eds.), Church-State Relations: Tensions and Transitions. New Brunswick, NJ, and London, Transaction Books.

1986 "The Sufi Doctrine of 'The Perfect Man' and a View of the Hierarchical Structure of the Islamic Culture." Islamic Quarterly, vol. 30, no. 2, Second Quarter, 1986.

1989 "Modern Shi’i Thought". The Oxford Encyclopedia of the Modem Islamic World.

Islamic philosophy

1999 Truth and Narrative: The Untimely Thoughts of Ayn al-Qudat al-Hamadhani. London, Curzon Press.

1996 "The Philosopher/Vizier: Khwajah Nasir al-Din al-Tusi and His Isma’ili Connection." In Farhad Daftari (ed.), Studies in Isma’ili History and Doctrines. Cambridge, Cambridge University Press, 1996.

1994 "Khwajah Nasir al-Din al-Tusi: The Philosopher/Vizier." In Oliver Leaman (ed.), A History of Islamic Philosophy. London, Routledge.

1994 "Mir Damad and the School of Isfahan.” In Oliver Leaman (ed.), A History of Islamic Philosophy. London, Routledge.

1994 "Ayn al-Qudat: That Individual." In Oliver Leaman (ed.), A History of Islamic Philosophy. London, Routledge.

1990 "Danish-namah-yi AIa'i”. Encyclopædia Iranica.

1990 "Mir Damad". The Routledge Encyclopedia of Philosophy.

Visual, performing arts and aesthetics

2005 “Artists without Borders: On Contemporary Iranian Art” in Octavio Zaya (Ed), Contemporary Iranian Artists: Since the Revolution (San Sebastian, Spain: Museum of Contemporary Art, 2005). In English, Spanish, and Catalan.

2005 “Shirin Neshat: Transcending the Boundaries of an Imaginative Geography” in Octavio Zaya (Ed), The Last Word. San Sebastian, Spain, Museum of Modern Art. In English and Spanish.

2005 “Women without Headaches: On Shirin Neshat’s ‘Women without Men.’” Berlin, Germany, Hamburger Bahnhof, Museum für Gegenwart. In English and German.

2005 “Ta’ziyeh: Theater of Protest,” in The Drama Review (TDR).

2002 “Bordercrossings: Shirin Neshat’s Body of Evidence,” Catalogue of Castello di Rivoli Retrospective on Shirin Neshat. Turin, Italy. January 2002.

2000 “In the Absence of the Face,” Social Research, Volume 67, Number 1. Spring 2000. pp. 127–185.

1993 Parviz Sayyad's Theater of Diaspora. Costa Mesa, CA, Mazda.

World cinema

2008 Makhmalbaf at Large: The Making of a Rebel Filmmaker. London, I. B. Tauris.

2006 Dreams of a Nation: On Palestinian Cinema]. Edited, with an Introduction. London and New York, Verso.

2006 Masters and Masterpieces of Iranian Cinema. Washington DC, Mage.

2004 Yami Karano Kobo] (The Light Arisen from the Darkness: On Mohsen Makhmalbaf) —in Japanese, Tokyo.

2002 “Dead Certainties: Makhmalbaf’s Early Cinema,” in Richard Tapper (Eds), Studies in Iranian Cinema. London, I.B. Tauris.

2001 Close up: Iranian Cinema, Past, Present, Future. London and New York, Verso, 2001. [Translated into Arabic, Japanese, Spanish, and Turkish].

1999 “Mohsen Makhmalbaf’s Moment of Innocence,” in Rose Issa and Sheila Whitaker (Eds), Life and Art: The New Iranian Cinema. London, The British Film Institute, 1999. pp. 115–128.

Persian and comparative literature

2007 The Adventures of Amir Hamza. Introduction. Random House Modern Library. .

2003 "Nima Yushij and Constitution of a National subject," Oriente Moderno, Volume xxii (lxxxiii), 2003.

1994 "Of Poetics, Politics and Ethics: The Legacy of Parvin E’tesami. In Heshmat Moayyad (ed.), Once a Dewdrop Accosted a Rose: Essays on the Poetry of Parvin E’tesami. Costa Mesa, CA: Mazda Publishers.

1988 "Forough Farrokhzad and the Formative Forces of Iranian Culture." In Michael C. Hillmann (ed.), Forough Farrokhzad: A Quarter Century Later. Literature East and West.

1985 "The Poetics of the Politics: Commitment in Modern Persian Literature." Iranian Studies, Special Issue, The Sociology of the Iranian Writer, ed. by Michael C. Hillmann, vol. 18, nos. 2-4, Spring-Autumn, 1985.

Year? "Persian Literature" for The Oxford Encyclopedia of the Modem Islamic World.

Postcolonial theory

2008 Islamic Liberation Theology: Resisting the Empire. New York, Routledge.

2001 “For the Last Time: Civilizations,” International Sociology. September 2001. Volume 16 (3): 361-368.

2001 “No soy subalternista,” in Ileana Rodriguez (Ed), Convergencia de Tiempos: Estudios subalternos / contextos latinoamericanos estado, cultura, subalternidad. Atlanta, GA: Editions Rodopi b.v. 2001. pp. 49–59.

References

External links

Official Web site

Academic site at Columbia University

Persian Biography, Makhmalbaf Film House.

Op-eds

Hamid Dabashi speaks in the documentary film on Omar Khayyām, Intoxicating Rhymes and Sobering Wine, YouTube (48 sec).

[http://www.legalleft.org/?page_id=137 Hamid Dabashi speaks at Harvard Law School

Category:American sociologists Category:American literary critics Category:American art critics Category:American film critics Category:American historians Category:American anti-war activists Category:Iranian democracy activists Category:Columbia University faculty Category:Harvard University alumni Category:Iranian historians Category:Iranian academics Category:American people of Iranian descent Category:Iranian literary critics Category:Iranologists Category:Islamic studies scholars Category:Literary historians Category:People from Ahvaz Category:Persian writers Category:University of Pennsylvania alumni Category:1951 births Category:Living people Category:Critical theorists