Moments of Silence: Authenticity in the Cultural Expressions by Arta Khakpour, Shouleh Vatanabadi, Mohammad Mehdi Khorrami

By Arta Khakpour, Shouleh Vatanabadi, Mohammad Mehdi Khorrami

The Iran-Iraq warfare used to be the longest traditional struggle of the 20 th century. The reminiscence of it might have light within the wake of more moderen wars within the area, however the harrowing evidence stay: over a million squaddies and civilians lifeless, thousands extra completely displaced and disabled, and a whole iteration marked via prosthetic implants and teen martyrdom. those similar evidence were instrumentalized via agendas either international and family, but additionally aestheticized, defamiliarized, readdressed and reconciled by way of artists, writers, and filmmakers throughout an array of identities: linguistic (Arabic, Persian, Kurdish), non secular (Shiite, Sunni, atheist), and political (Iranian, Iraqi, internationalist). legitimate discourses have unsurprisingly attempted to dominate the method of creation and distribution of warfare narratives. In doing so, they've got overlooked and silenced different voices.  

Centering on novels, movies, memoirs, and poster artwork that gave aesthetic expression to the Iran-Iraq conflict, the essays collected during this quantity current a number of views at the war’s most complicated and underrepresented narratives. those students don't naively declare to symbolize an authenticity missing in authentic discourses of the conflict, yet particularly, they name into query the idea of authenticity itself. discovering, identifying, and making a language which may exhibit any type of fact at all—collective, nationwide, or private—is the main preoccupation of the texts and reviews during this varied assortment.

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Extra info for Moments of Silence: Authenticity in the Cultural Expressions of the Iran-Iraq War, 1980-1988

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The last Jew” of Iraq thus becomes inadvertently embroiled in the ongoing Sunni-Shi‘a conflict. The novel contrasts the happy party atmosphere in Zaki’s house during Nizar’s visit with the deep sorrow and mourning in the neighboring house of Samia. Zaki’s adjacent house is also destroyed in the process, obliterating a history of neighborly respect and co-existence. Zaki’s revelation to Aida at the beginning of the novel that “in fact, all I want is to be the last Jew in this place, which they say used to be paradise” does not materialize.

Millennia of mixing and intermingling from antiquity to the modern era offer evidence of cultural syncretism across the region and beyond. In 1971, Shah Mohammad Reza Shah Pahlavi organized festivities for the 2,500-year celebration of the Persian Empire that began with Cyrus the Great. ” In this sense, the Persians are not only partly Arabs, and vice versa, but they are also partly Greeks. ” Although Outcast begins with a speech by the protagonist who is honored by the president during the Iran-Iraq War, it relays the history of animosity that paved the way for the Iran-Iraq War, as reported in the memoir-within-the-novel: 20 21 22 Events in Iran and reactions in our country have disrupted my writing routine.

The Shi‘a Siham, Samia’s daughter-in-law, does not hide her perception of “the Jew” as polluted (nijes), while the Sunni agent of the genocidal regime, the high-ranking mukhabarat officer, Nizar, saves the life of the Jewish protagonist. Such complexities also apply to the war zone between Israel and its neighbors. The dislocation of Shlomo’s family to Israel is represented in the novel as a matter neither of love for Zion nor of persecution by the Iraqi regime, but merely the consequence of a shaky domestic situation where Israel becomes an alternative for Shlomo’s wife escaping an irresponsible husband.

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