By Michael M. J. Fischer
Fischer unearths how the special expressive idiom rising in modern Iranian movie reworks Persian imagery that has itself been in discussion with different cultures because the time of Zoroaster and historical Greece. He examines a number narrative impacts in this expressive idiom and imagery, together with Zoroastrian ritual because it is practiced in Iran, North the USA, and India; the mythic tales, ethical classes, and ancient figures written approximately in Iran’s nationwide epic, the Shahnameh; the dreamlike allegorical global of Persian surrealism exemplified in Sadeq Hedayat’s 1939 novella The Blind Owl; and the politically charged motion pictures of the Sixties and Nineteen Seventies. Fischer contends that via combining Persian traditions with cosmopolitan affects, modern Iranian filmmakers—many of whom studied in Europe and America—provide audiences all over the world with new modes of gaining access to moral and political studies.
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Additional resources for Mute Dreams, Blind Owls, and Dispersed Knowledges: Persian Poesis in the Transnational Circuitry
In the Iranian tradition this triad is slightly modified. It is Varuna who seems to lose his name and some of his prominence, being called by one of his epithets "son of the waters" (Apam Napat). Mithra takes on some of the sterner judging attributes and becomes more prominent. Covenants are sworn by Mithra in the presence of fire, and several forms of ordeal by fire are used to enforce social order. Pouring molten lead on the accused's breast in fact becomes the mechanism of purification at the Last Judgment.
Photo byalltlior. g Atash Nyayis: 4-6). istence through an elaborate process of taking fire from multiple sources, placing over each source fire a ladle with holes and sandal wood and allowing the sandalwood to catch fire, then combining these pu rifications of the source fires in a further series of purifying steps. Two small stone stands are to the west of the fire and hold sandalwood (esm) and frankincense (hili) to be offered to the fire. 17ln the middle of the pavi is a stone ritual table with implements for the ceremony.
Eight priests took parL1 .. The zot performs the role ofOhrmazd, seated cross-legged on a platform, with his back to the north, the side ofthe demons. The Taspi plays the role of all the other seven priests. stationing himself in the position of the priest who had special responsibility for the fire; he represents Sorush, guardian of both the material world and especially of the transfer of souls after death between this world and the next. In order to perform the ritual, both priests must undergo a severe purification: the nine-day long bareshtlllm.