In occasione dell’ottantesimo anniversario del Museo nazionale dell’Iran, una mostra ospita circa cinquanta opere del Louvre parigino e apre riflessioni sulla diplomazia culturale.

In Iran, Kant is one of the most widely read Western philosophers. His works have been acknowledged by a broad variety of philosophical and political camps and discussed in relationship to Islamic philosophers such as Ibn Sina and Mulla Sadra. This study examines the contexts and approaches to Kant s reception in Iran and shows how Kant s thought has maintained a solid place in Iranian philosophical discourse.".

The reception of child immunization in Iran today can be explained by the conjunction of several factors. Firstly, the Pasteur Institute of Teheran (established in 1921) initiated the vaccine transfer, while the successive public health policies developed and systematised it. Since the Islamic Revolution, the application of the Expanded Program of Immunization has allowed the Islamic Republic of Iran to reach the fourth world-wide rank for immunisation of child populations. The socio-cultural appropriation of the technique can also be explained (...) by its integration into the popular preventive practices (such as magic and religious rituals) as well as a specific treatment of the collective/individual question. This paper describes some results of a qualitative anthropological research conducted in Teheran and the rural district of Hassanâbâd (near Isfahân) between 1991 and 1992. (shrink)

Głównym celem artykułu jest prezentacja wyobraźni poetyckiej i doświadczeń grupy twórców skupionej w 2 Korpusie Polskim w czasie II wojny światowej, jak również analiza jej najbardziej charakterystycznych motywów w kontekście tradycji polskiego romantyzmu, „odgrywanych” na trasie i w rolach poetów-żołnierzy Korpusu. Studium wykorzystuje wszystkie tomiki poetyckie, a także inne literackie publikacje wytworzone na długiej trasie ze Związku Sowieckiego, gdzie trzon Korpusu się uformował w 1941–1942, przez Bliski Wschód, Włochy, aż do ostatniej stacji – emigracji, najczęściej w Londynie. Materiał ten jest (...) analizowany w nawiązaniu do badań nad polską poezją czasu II wojny oraz porównawczych studiów nad polską tradycją romantyczną, zwłaszcza literaturą Wielkiej Emigracji. Ten porównawczy punkt widzenia i metoda stosowane są we wszystkich częściach ułożonej chronologicznie analizy. Od prezentacji zróżnicowanego życia kulturalnego Korpusu, przechodzi ona do zwięzłego zobrazowania grupy ponad 80 czynnych w nim poetów. Studium skupia się na analizie głównego tematu, który formuje postrzeganie czasu w świecie przedstawionym przez żołnierską poezję: motywu drogi czy ścieżki. Odsłania fenomen pewnego zbliżenia nader różnych „szkół” i stylów (od awangardy i futuryzmu, poprzez neoromantyzm do tekstów kabaretowych) pod naciskiem doświadczeń wojny i wygnania, jak również siły wielkiej romantycznej tradycji poezji polskiej, która formowała się na podobnej trasie: od Rosji, Syberii, przez Bliski Wschód, do Włoch, gdzie Polacy walczyli pod Napoleonem, do Londynu i Paryża – centrów Wielkiej Emigracji. Toposy męczeństwa, wzmocnione przez Syberię i pobyt na Ziemi Świętej, bezdomności, doświadczeń bojowych, „zdrady” zachodnich sojuszników (Teheran, Jałta) są efektywnie „odświeżone” w takim właśnie komparatystycznym podejściu. (shrink)

The front page of the [New York] Times on July 16, 1951, serves to outline, quickly enough, the situation of the world into which The Catcher in the Rye made such a successful and relatively well-publicized entrance. The main action of the world, the chief events of its days were occurring within a framework of struggle between two systems of life, two different ways of organizing human being socially, politically, economically. The opposition between East and West, between socialist and capitalist, (...) was determining what happened in Kaesong, Budapest, Madrid, Teheran, Washington, New York. Name-calling the Administration, Republicans threw out the term "socialist," and the bid for millions to build schools in the five boroughs of New York would finally have to dovetail with allocations of taxes for defense. The review of The Catcher in the Rye in the back pages of the Times made no mention of any of this. The kind of reality reported on the front page belonged to one world; the new novel was about to be assimilated into another, into the world of culture, which was split from politics and society. And this separation repeated itself in other reviews: typically, they did not mention the framework of world history contemporary with the novel; they did not try to relate Catcher to that framework even to the extent of claiming that there was only a partial relationship or complaining, however simplistically, that there was none. Our concern from here on will be to try to sketch what reviewers and what academic critics after them did see in the novel and what they might have seen in it. We are interested in the conceptual frameworks, the alternatives to history, they used to respond to and interpret Catcher as they passed it on to its millions of lay readers. Carol Ohmann is currently working on a book about Charlotte Bronte, George Eliot, and Virginia Woolf. Her previous contribution to Critical Inquiry, "Virginia Woolf's Criticism: A Polemic Preface" , appeared in the December 1974 issue. Richard Ohmann's most recent book is English in America: A Radical View of the Profession. Both are professors in the department of English at Wesleyan University, and contributed "CRITICAL RESPONSE: Universals and the Historically Particular" to Critical Inquiry in the Summer 1977 issue. (shrink)

World War II broke out as the result of an alliance between Germany and Soviet Union with the aim to conquer and partition Poland. Having broken off the treaty of friendship and co-operation, Germany attacked the USSR in 1941, forcing the Soviet Union to change sides from that of a German ally to the ally of the anti-German coalition. In 1943, following the German discovery of the graves of Polish officers murdered by Soviet forces in Katyń, Stalin declared that the (...) crime had been committed by the German army and broke off diplomatic relations with the Polish Government-in-Exile in London which had requested that an official investigation be launched by the Red Cross committee in Geneva. Some one hundred German officers were sentenced to death for the Katyń massacre as the result of Stalin’s prosecution trials. 50 years later, the world was rocked by the discovery of a document signed by Stalin ordering the execution of Polish officers in Katyń.In a secret meeting in 1943 in Teheran, President Roosevelt and Stalin agreed on the plan to annex Poland’s eastern territories.The decision to stage an independent fight for independence during the Warsaw Uprising was justified by the inevitable approach of the Red Army, the fear of German reprisal actions for disobeying the order to participate in fortification works, the fear of a spontaneous uprising fuelled by a Soviet radio broadcast in Polish which appealed to the people of Warsaw to put up a fight against the oppressor.Stalin’s decision to withhold the Soviet offensive and ban American and British planes carrying humanitarian aid for Warsaw from landing in Soviet airports contributed to the downfall of the Uprising. The Warsaw Uprising was a cue for the civil outbreaks that followed in Slovakia, Romania, Bulgaria, Paris and Prague. The halt on the Soviet Army’s offensive, which enabled the German forces to eliminate the Polish centre of political command subordinate to the Government-in-Exile in London, limited the European territory that fell subject to Soviet supremacy. The memory of the heroic fight put up by the entire population of Warsaw deterred the Soviet Union’s ambitions to curtail Poland’s sovereignty. (shrink)

À travers une lecture de la presse périodique comportant des perspectives religieuses diverses, ainsi que des sources et archives diplomatiques, cet article pose la question de l’émergence de la pratique de danse de couple européenne à Téhéran dans la première moitié du xxe siècle. Notre enquête révèle l’existence d’une anxiété nationaliste autour du problème des relations de genre lié à la présence du corps militaire des Alliés qui ont su infiltrer le milieu urbain et la vie sociale iranienne notamment par (...) la pratique de la danse. Par un examen critique des discours sur la performance du genre incorporée par ces pratiques « modernes » de danse de couple a Téhéran, on observe l’importance des liens établis entre la sociabilité du corps dansant, l’érotisme (shahvat), la nudité, la pratique de la prostitution, et la notion d’une modernité « imitée ». En contextualisant la réception de ces danses vis-à-vis de la scène politique iranienne de l’époque on remarque que chacun de ces éléments a servi à l’élaboration d’un discours nationaliste sur les danses de couple qui seront construites et vues par les contemporains comme complices avec des phénomènes du colonialisme et de l’impérialisme menaçant l’esprit de l’Iran et de l’Islam. (shrink)