Welcome to the Institute of Iranian Studies
The Institute of Iranian Studies at the University of St Andrews was formally launched on 31st October 2006 by Seyyid Mohammad Khatami. The foundation of the Institute was made possible through a generous benefaction the centre-piece of which will be a Persian language library. These books will be selected from a full list of Iranian publications and will reflect the strengths of the University of St Andrews in History, Politics and International Relations. The collection, which will be housed in the Main Library, will be the largest resource of its kind in the United Kingdom, if not Western Europe, and will form the basis of research and teaching in all aspects of Iranian Studies at St Andrews.
The function of the Institute is to encourage and facilitate research and teaching in all aspects of Iranian civilisation and culture. The philosophy of the Institute is inclusivity and engagement. While the principle beneficiaries of the Institute’s resources will be students and staff at the University of St Andrews, the collection and the research facilities will be open to all interested parties subject to a letter of introduction and registration.
The proceedings of the conference, on Iranian Historiography is due for publication this year by I B Tauris. For detail see here.
Professor Ansari's recent book length study of the 'Politics of Nationalism in Modern Iran' is due for publication with Cambridge University Press in 2012.
Ali Ansari, explores the idea of nationalism in the creation of modern Iran. It does so by considering broader developments in national ideologies which took place following the emergence of the European Enlightenment, and showing how these ideas were taken up by a non-European state. The book charts a course through twentieth-century Iran, analyzing the growth of ideas and their impact on the state, and demonstrating the connections between historiographical and political developments. In so doing, the study shows just how the different regimes manipulated ideologies of nationalism and collective historical memory, to suit their own ends. Firmly relocating Reza Shah within the context of the Constitutional Revolution the study argues that his son’s identification with a monarchy by Divine Right bore a greater resemblance to, and facilitated the religious nationalism that catapulted Ayatollah Khomeini to power on the back of a populist and highly personalized mythology. Drawing on hitherto untapped sources, the book concludes that it was the revolutionary developments and changes that occurred during the first half of the twentieth century, which paved the way for the radicalisation that was to follow
17th, 18th and 19th June 2016
‘Culture and Cultural Production in Iran: Past and Present’
School of Modern Languages and Institute of Iranian Studies
This conference aspires to encourage the application of the evolving approaches to the study of culture to the history of artistic production in Iran. The unifying element of the conference, therefore, is artistic cultural production and the spaces in which it has occurred as an aesthetic, economic, socio-political phenomenon in Iran, particularly during the last two hundred years. We welcome a variety of submissions: from those that offer overviews of a particular form in a given period, to very specific studies of individual artists, works, practices, or material culture. We are also interested in the role these cultural products have played in the expansion of the concept of art and 'the redistribution of the sensible'— what can be seen and heard in society due to the machination of political, cultural and religious aesthetics that confine these sounds and images in a hierarchical system of values. Of particular interest are also those papers that explore the theoretical aspects of the meaning and functions of art in Iran by studying specific topics. The conference, thus aims to encourage analytical and theoretical discussions on the multiplicity of locations that art (literature, cinema, theatre, music, dance, visual arts, architecture, etc.) occupies in Iranian discourse on modernity and post-industrial contemporaneity.