Studying intellectual trends in Iran in a global historical context, this new intellectual history challenges many dominant paradigms in Iranian historiography and offers a new revisionist interpretation of Iranian modernity.

Since the Iranian Revolution of 1979, many Western observers of Iran have seen the country caught between Eastern history and 'Western' modernity, between religion and secularity. As a result, analysis of political philosophy preceding the Revolution has become subsumed by this narrative. Here, Afshin Matin-Asgari proposes a revisionist work of intellectual history, challenging many of the dominant paradigms in Iranian and Middle Eastern historiography and offering a new narration. In charting the intellectual construction of Iranian modernity during the twentieth century, Matin-Asgari focuses on broad patterns of influential ideas and their relation to each other. These intellectual trends are studied in a global historical context, leading to the assertion that Iranian modernity has been sustained by at least a century of intense intellectual interaction with global ideologies. Turning many prevailing narratives on their heads, the author concludes that modern Iran can be seen as, culturally and intellectually, both Eastern and Western.

More than a decade after the breakdown of the Soviet Empire and the reunification of Europe, historiographies and historical concepts still stood very much apart. This book talks about how there were no common efforts for joint interpretations and no attempts to reach a common understanding of central notions and concepts.

The exchange of art provides a vehicle for creative interaction between East and West, a process in which great civilizations preserve their own character while stimulating and enriching each other. Here scholar Michael Sullivan leads the reader through four centuries of exciting interaction between the artists of China and Japan and those of Western Europe. 24 color plates. 174 halftones.

The Cold War was not only about the imperial ambitions of the super powers, their military strategies, and antagonistic ideologies. It was also about conflicting worldviews and their correlates in the daily life of the societies involved. The term “Cold War Culture” is often used in a broad sense to describe media influences, social practices, and symbolic representations as they shape, and are shaped by, international relations. Yet, it remains in question whether — or to what extent — the Cold War Culture model can be applied to European societies, both in the East and the West. While every European country had to adapt to the constraints imposed by the Cold War, individual development was affected by specific conditions as detailed in these chapters. This volume offers an important contribution to the international debate on this issue of the Cold War impact on everyday life by providing a better understanding of its history and legacy in Eastern and Western Europe.

What connects Shiite passion plays with Brechts drama? Which of Goethes poems were inspired by the Quran? How can Ibn Arabis theology of sighs explain the plays of Heinrich von Kleist? And why did the Persian author Sadeq Hedayat identify with the Prague Jew Franz Kafka? One who knows himself and others will here too understand: Orient and Occident are no longer separable: in this new book, the critically acclaimed author and scholar Navid Kermani takes Goethe at his word. He reads the Quran as a poetic text, opens Eastern literature to Western readers, unveils the mystical dimension in the works of Goethe and Kleist, and deciphers the political implications of theatre, from Shakespeare to Lessing to Brecht. Drawing striking comparisons between diverse literary traditions and cultures, Kermani argues for a literary cosmopolitanism that is opposed to all those who would play religions and cultures against one another, isolating them from one another by force. Between Quran and Kafka concludes with Kermanis speech on receiving Germanys highest literary prize, an impassioned plea for greater fraternity in the face of the tyranny and terrorism of Islamic State. Kermanis personal assimilation of the classics gives his work that topical urgency that distinguishes universal literature when it speaks to our most intimate feelings. For, of course, love too lies between Quran and Kafka.