Moscow's ties with the Islamic Republic of Iran underwent dramatic fluctuations following Ayatollah Ruhollah Khomeini's triumphant return to Tehran in 1979. After a prolonged implosion, they fitfully expanded, shaped not only by the rush of current events but by centuries of ingrained practices and prejudices. By summer 2006, as Iran forged ahead with its nuclear program and Shia-based forces flexed their muscles across the Middle East, Russian-Iranian relations again appeared to be on the threshold of an entirely new dynamic. Drawing on firsthand interviews as well as primary and secondary sources, John Parker delineates Moscow's motives and approaches to dealing with the resurgent Tehran, weaving into the public record the recollections and analyses of Russian politicians, diplomats, and experts who dealt directly with Iran both under the Pahlavi monarchy and after the 1979 Islamic Revolution. Parker also emphasizes other touchstones of relations between the two countries, including their complex dealings in 1992 immediately after the Soviet Union's collapse and when they backed opposing sides in the civil war in Tajikistan yet nourished mutual interests on other issues. The depth of his analysis sheds light on the more recent repercussions of the September 11 terrorist attacks for Afghanistan and Iraq, for the Middle East as a whole, and for Iran's accelerating nuclear program.

Reportedly, the prophet Muhammad told his followers that after he was gone prophecy would come only through "true dreams." Based on this and other statements, early Muslims created what might be called a theology of dreams. Dreams were regarded as an important means used by God to guide the faithful, especially after the cessation of Koranic revelation. However, since these dreams were often symbolic, they required interpretation, and early Muslims wrote numerous manuals dedicated to deciphering their meaning. Utilizing manuscripts preserved in Middle Eastern mosques and libraries, this book offers the first comprehensive account of the early Muslim tradition of dream interpretation. In addition to describing how and when the tradition developed, author John C. Lamoreaux discusses the social context in which dream interpretation arose and its role in the intellectual life of the time. He demonstrates that early Muslims considered dream interpretation a fully orthodox theological discipline, one sanctioned both by the Koran and the example of the prophet Muhammad.

People in Western societies have long been interested in their dreams and what they mean. However, few non-Muslims in the West are likely to seek interpretation of those dreams to help them make life-changing decisions. In the Islamic world the situation is quite different. Dreaming and the import of visions are here of enormous significance, to the degree that many Muslims believe that in their dreams they are receiving divine guidance: for example, on whether or not to accept a marriage proposal, or a new job opportunity. In her authoritative new book, Elizabeth Sirriyeh offers the first concerted history of the rise of dream interpretation in Islamic culture, from medieval times to the present. Central to the book is the figure of the Prophet Muhammad - seen to represent for Muslims the perfect dreamer, visionary and interpreter of dreams. Less benignly, dreams have been exploited in the propaganda of Islamic militants in Afghanistan, and in apocalyptic visions relating to the 9/11 attacks. This timely volume gives an important, fascinating and overlooked subject the exploration it has long deserved.

Every mental activity is dominated by the law of "bipolarity": to every instinct there corresponds a counter-instinct; to every virtue, a vice; to every manifestation of strength, some weakness. One can never understand the nature of man so long as one fails to take into consideration this fact. My work treats of the secrets of the human soul. It would be unfair to appraise humanity on the basis of the results of these investigations. For this work deals specifically with the evil in human nature, and only with the evil. But we must not forget that there is also another side. Perhaps I can make myself clear best through an example: A stranger comes into some town unfamiliar to him; he looks over very thoroughly and with great enthusiasm its monuments of art; he is charmed by the beautiful sights which culture has provided. He then departs believing he has become thoroughly acquainted with the town. Another traveller says to himself, - after having gone through the program suggested by the usual traveller's guide: Now I want to look into the reverse side of the life of this place! He knows that the pompous formal life has its seamy side, and he discovers once more that only he is able truly to appraise the light side of the picture who has familiarized himself also with its shadows

Over the past decade Iranian films have received enormous international attention, garnering both critical praise and popular success. Combining his extensive ethnographic experience in Iran and his broad command of critical theory, Michael M. J. Fischer argues that the widespread appeal of Iranian cinema is based in a poetics that speaks not only to Iran’s domestic cultural politics but also to the more general ethical dilemmas of a world simultaneously torn apart and pushed together. Approaching film as a tool for anthropological analysis, he illuminates how Iranian filmmakers have incorporated and remade the rich traditions of oral, literary, and visual media in Persian culture. Fischer reveals how the distinctive expressive idiom emerging in contemporary Iranian film reworks Persian imagery that has itself been in dialogue with other cultures since the time of Zoroaster and ancient Greece. He examines a range of narrative influences on this expressive idiom and imagery, including Zoroastrian ritual as it is practiced in Iran, North America, and India; the mythic stories, moral lessons, and historical figures written about in Iran’s national epic, the Shahnameh; the dreamlike allegorical world of Persian surrealism exemplified in Sadeq Hedayat’s 1939 novella The Blind Owl; and the politically charged films of the 1960s and 1970s. Fischer contends that by combining Persian traditions with cosmopolitan influences, contemporary Iranian filmmakers—many of whom studied in Europe and America—provide audiences around the world with new modes of accessing ethical and political experiences.

Mitra and her brother Babak are exiled royals living on the streets as orphaned beggars. Babak possesses a strange gift of being able to know someone's dreams, and soon they find themselves on the road to Bethlehem in this biblical epic.

Dodson reads the dreams in the Gospel of Matthew (1:18b-25; 2:12, 13-15, 19-21, 22; 27:19) as the authorial audience. This approach requires an understanding of the social and literary character of dreams in the Greco-Roman world. Dodson describes the social function of dreams, noting that dreams constituted one form of divination in the ancient world, and looks at the theories and classification of dreams that developed in the ancient world. He then moves on to demonstrate the literary dimensions of dreams in Greco-Roman literature. This exploration of the literary representation of dreams is nuanced by considering the literary form of dreams, dreams in the Greco-Roman rhetorical tradition, the inventiveness of literary dreams, and the literary function of dreams. The dreams in the Gospel of Matthew are then analyzed in this social and literary context. It is demonstrated that Matthew's use of dreams as a literary convention corresponds to the script of dreams in other Greco-Roman narratives. This correspondence includes the form of the Matthean dreams, dreams as a motif of the birth topos (1:18b-25), the association of dreams and prophecy (1:22-23; 2:15, 23), the use of the double-dream report (2:12 and 2:13-15), and dreams as an ominous sign in relation to an individual's death (27:19). An appendix considers the Matthean transfiguration as a dream-vision report.