Traces the emergence of literary history, showing how Iranians and South Asians drew from their shared heritage to produce a 'Persianate modernity'.

From the ninth to the nineteenth centuries, Persian was the pre-eminent language of learning far beyond Iran, stretching from the Balkans to China. In this book, Alexander Jabbari explores what became of this vast Persian literary heritage in the nineteenth and twentieth centuries in Iran and South Asia, as nationalism took hold and the Persianate world fractured into nation-states. He shows how Iranians and South Asians drew from their shared past to produce a 'Persianate modernity', and create a modern genre, literary history. Drawing from both Persian and Urdu sources, Jabbari reveals the important role that South Asian Muslims played in developing Iranian intellectual and literary trends. Highlighting cultural exchange in the region, and the agency of Asian modernizers, Jabbari charts a new way forward for area studies and opens exciting possibilities for thinking about language and literature.

This book shows how Persianate poetics and communist internationalism brought together 20th-century writers from across Eurasia.

The dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature.

For centuries, Persian was the language of power and learning across Central, South, and West Asia, and Persians received a particular basic education through which they understood and engaged with the world. Not everyone who lived in the land of Iran was Persian, and Persians lived in many other lands as well. Thus to be Persian was to be embedded in a set of connections with people we today consider members of different groups. Persianate selfhood encompassed a broader range of possibilities than contemporary nationalist claims to place and origin allow. We cannot grasp these older connections without historicizing our conceptions of difference and affiliation. Mana Kia sketches the contours of a larger Persianate world, historicizing place, origin, and selfhood through its tradition of proper form: adab. In this shared culture, proximities and similarities constituted a logic that distinguished between people while simultaneously accommodating plurality. Adab was the basis of cohesion for self and community over the turbulent eighteenth century, as populations dispersed and centers of power shifted, disrupting the circulations that linked Persianate regions. Challenging the bases of protonationalist community, Persianate Selves seeks to make sense of an earlier transregional Persianate culture outside the anachronistic shadow of nationalisms.

The Routledge Handbook of Persian Literary Translation offers a detailed overview of the field of Persian literature in translation, discusses the development of the field, gives critical expression to research on Persian literature in translation, and brings together cutting-edge theoretical and practical research. The book is divided into the following three parts: (I) Translation of Classical Persian Literature, (II) Translation of Modern Persian Literature, and (III) Persian Literary Translation in Practice. The chapters of the book are authored by internationally renowned scholars in the field, and the volume is an essential reference for scholars and their advanced students as well as for those researching in related areas and for independent translators of Persian literature.

Modernist Iranian art represents a highly diverse field of cultural production deeply involved in discussing questions of modernity and modernization as practiced in Iran. This book investigates how artistic production and art criticism reflected upon the discourse about gharbzadegi (westoxification), the most substantial critique of Iran's adaptation of Western modernity, and ultimately proved to be a laboratory for the negotiation of an anti-colonial concept of an Iranian artistic modernity, which artists and critics envisioned as a significant other to Western colonial modernity. In this book, Katrin Nahidi revisits Iranian modernist art, aiming to explore a political and contextualized interpretation of modernism. Based on extensive fieldwork, interviews, and archival research, Nahidi provides a history of modernist art production since the 1950s and reveals the complex political agency underlying art historiographical processes. Offering a key contribution to postcolonial art history, Nahidi shows how Iranian artistic modernity was used to flesh out anti-colonial concepts and ideas around Iranian national identity.