New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments. This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject.

This book highlights the role of cultural representations and perceptions, such as when Iran is represented in the French media as a rogue state obsessed with its nuclear programme, and when France is portrayed in the Iranian media as a decadent and imperialist country. Here, Laetitia Nanquette examines the functions, processes, and mechanisms of stereotyping and imagining the "other" that have pervaded the literary traditions of France and Iran when writing about each other. She furthermore analyzes Franco-Iranian relations by exploring the literary traditions of this relationship, the ways in which these have affected individual authors, and how they reflect socio-political realities. With themes that feed into popular debates about the nature of Orientalism and Occidentalism, and how the two interact, this book will be vital for researchers of Middle Eastern literature and its relationship with writings from the West, as well as those working on the cultures of the Middle East.

"Iran and Persian culture hold a distinct place in the imagination of nineteenth-century France; from the poetry of Victor Hugo and Armand Renaud to the travel writing of Jane Dieulafoy. This is the first monograph on the French reception of Iranian culture, history, and literature in the period spanning from Romanticism to the turn of the twentieth century. Covering both canonical and forgotten authors and comprising four genres: lyric poetry; history and historical fiction; travel-writing; and the performing arts, the book brings a new approach to the analysis of nineteenth-century French Orientalism: one that focuses on an individual civilisation rather than a generic 'Orient', looks beyond France's colonial empire, and considers the impact of genre. This results in a more nuanced picture, in which the dehumanising 'othering' famously described by Edward Said in Orientalism exists alongside examples of admiration, familiarisation, and identification. Nineteenth-century French writers tested the Occident/Orient dichotomy, emphasising it or eroding it based on the image of Iran that they sought to promote. These narratives ranged from the Aryan myth to an enthusiasm for Sufi poetry. The book also analyses the author's sources, which ranged from Persian literature, Islamic theology and Iranian cultural customs to Iranian architecture. The case of Iran thus gives us new transnational insights into nineteenth-century France's ambivalent definitions of cultural difference and their exploration in literature and the arts"--

A groundbreaking critique of the West's historical, cultural, and political perceptions of the East that is—three decades after its first publication—one of the most important books written about our divided world. "Intellectual history on a high order ... and very exciting." —The New York Times In this wide-ranging, intellectually vigorous study, Said traces the origins of "orientalism" to the centuries-long period during which Europe dominated the Middle and Near East and, from its position of power, defined "the orient" simply as "other than" the occident. This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding.

What can Dante tell us about Proust, and what can Proust tell us about Dante? In this book, Hartley follows a process of analogy, reading Dante's Divine Comedy and Proust's À la recherche du temps perdu in light of one another in order to offer new insights into both works. Navigating Dante and Proust's different literary and historical contexts, as well as the rich body of scholarship that their works have generated, Hartley explores in particular their treatments of subjectivity, authorship, and vocation. The book's comparative perspective brings a unique contribution to such debated issues as the universality of Dante's poem, Proust's elevation of art, and the relationship between gender and literary authority. Julia Hartley is a Leverhulme Early Career Fellow in the School of Modern Languages and Cultures, University of Warwick.

Iran and a French Empire of Trade examines the understudied topic of Franco-Persian relations in the long eighteenth century to highlight how rising tensions among Eurasian empires and revolutions in the Atlantic world were profoundly intertwined. Conflicts between Persia, Turkey, India and Russia, and European weapons-dealing with these empires occurred against a backdrop of climate change and food insecurities that destabilized markets. Takeda shows how the French state relied on "entrepreneurial imperialism" to extend commercial activities eastwards beyond the Mediterranean during this time, from Louis XIV's reign to Napoleon Bonaparte's First Empire. Organized as a collection of microhistories, her study showcases a colourful set of characters--rogue merchants from Marseille, a gambling house madam, a naturalized Greek-French drogman, and a bi-cultural Genevan-Persian consul, among others--to demonstrate how individuals on the fringes of French society spearheaded projects to foster ties between France and Persia. Considering the Enlightenment as a product of a connected world, Takeda investigates how trans-imperial adventurers, merchants, consuls, and informants negotiated treaties, traded commodities and arms, transferred knowledge, and introduced industrial practices from Asia to Europe. And she shows the surprising ways in which Enlightenment debates about regime changes from the Safavid to Qajar dynasties and Persia's borderland wars shaped French ideas about revolution andpolicies related to empire-building.

At a time when Iran is represented in the French media as a rogue state obsessed with its nuclear programme, and when France is portrayed in the Iranian media as a decadent and imperialist country, this book highlights the role of cultural representations and perceptions. Here, Laetitia Nanquette examines the functions, processes and mechanisms of stereotyping and imagining the 'other' that have pervaded the literary traditions of France and Iran when writing about each other. She furthermore analyses Franco-Iranian relations, exploring the literary traditions of this relationship, the ways in which these have affected individual authors and reflect socio-political realities. With themes that feed into popular debates about the nature of Orientalism and Occidentalism, and how the two interact, this book will be vital for researchers of Middle Eastern literature and its relationship with writings from the West, as well as those working on the cultures of the Middle East.