![]() Iranian literature, which has been flourishing since the 1980s. Simin Daneshvar is the forerunner of this "pink wave" of Simin Daneshvar: Remembering, Stating and Defending Identities and/or exploit diverse paths in order to become fully visible We propose here an analysis of the different ways in which Iranianįemale writers merge autobiographical elements and explore different Voices through creative forms of expression in which they publicly Hindrances that attempt to limit their autonomy, women raised their Variety of literary genres, styles and devices, thus creating a mirrorĮffect through which they manage to fully express their selves, whileĮxamining and exploring their own lives projected against the background It is to be underlined that, more than using what is generallyĭefined as "autobiography", Iranian women writers explore a That individual's life story on the Iranian plateau assumes more This does not mean that the genre of autobiography is completelyĭisregarded by Iranian female writers, quite the contrary, but rather The social engagement rather than being interested in individuals' Its citizens third, in this historical phase more than ever, IraniansĪre more concerned with a committed literature milieu that privileges ![]() Ideas through an autobiography, given the presence of a strictĬensorship that carefully checks every possible sign of dissent among Their country second, writers in Iran cannot explicitly express their Testimonial literature, as they know too well what's going on in First, local readers do not need this sort of Naturally, we do not find this kind of memoirs in Iran, for a Overturned by popular rage in the late 1970s. "Thousand-and-one nights" styled descriptions of Iran withĪpologetic arguments as a way to explain why their administration was Public - often with the help of a ghost-writer - combine some These writings, also written in English for an international Shah's sister and other notables of the precedent regime whoīasically try to defend their men's (and their own) politicalĭeeds. In this same category we can place the memoirs written by women whoīelonged to the pre-Revolution leadership, i.e., two formers queens, the Individuals who bear witness to social/political injustice. Quality, since they serve extra purposes such as the efforts of Non-Iranian readership, are celebrated for reasons beyond their literary Thus, these writings, all composed in English since they address a The author's personal vicissitudes, satisfy the WesternĪudience's expectation, as they confirm the common prejudice andĭistorted image of Iranian/Muslim women as exploited and oppressed. These best-seller memoirs, which basicallyĬonsist of condemnation of the present Iranian regime articulated around Global readership might be persuaded that this is Iranians'įavorite literary genre. Reverted to autobiography, but they have met such a success that the Writers from the diaspora, especially in the United States, often Us a totally different panorama: in fact, not only have Iranian women Men) who live in their country, as Iranian migration literature offers This consideration is applicable to women (and Majority of Iranian women (and men) still do not choose theĪutobiographical genre. However, their production confirms that the Officially, there are more than 400 women writers in presentĭay Iran whose literary output ranges from short stories to novels, from Mainly because now women are at the vanguard of Iranian literary Literary categories" (Hanaway, 1990, 63).Īfter more than twenty years, this situation has partially changed, ![]() "Western-style autobiography does not suit Persian cultural and Veiled woman has ever published the details of her personal life, letĪlone a novel or an autobiography" (Milani, 1990, 5) and that The speakers were concordant on the fact that "no Held a seminar on "Women's Autobiographies in Contemporary In 1988 the Center for Middle Eastern Studies at Harvard University
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