Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
3
result(s) for
"Immigrants Iran Biography."
Sort by:
Taking cover : one girl's story of growing up during the Iranian Revolution
This coming-of-age memoir, set during the Iranian Revolution, tells the true story of a young girl who moves to Tehran from the U.S. and has to adjust to living in a new country, learning a new language, and starting a new school during one of the most turbulent periods in Iran's history. When five-year-old Nioucha Homayoonfar moves from the U.S. to Iran in 1979, its open society means a life with dancing, women's rights, and other freedoms. But soon the revolution erupts and the rules of life in Iran change. Religion classes become mandatory. Nioucha has to cover her head and wear robes. Opinions at school are not welcome. Her cousin is captured and tortured after he is caught trying to leave the country. And yet, in the midst of so much change and challenge, Nioucha is still just a girl who wants to play with her friends, please her parents, listen to pop music, and, eventually, have a boyfriend. Will she ever get used to this new culture? Can she break the rules without consequences? Nioucha's story sheds light on the timely conversation about religious, political, and social freedom, publishing in time for the 40th anniversary of the Iranian Revolution.
Book
Exiled Memories
\"I feel I am the wandering Jew who has no place to which she belongs. I thought I could settle down, but can't imagine staying. Whenever I bought a bar of soap and two came in the package, I thought there would be no need to buy a package of two because I would never last through the second. Why? Because I knew I was returning to Iran -- tomorrow. So too, I would buy the smallest size of toothpastes and jars of oil. Putting down roots here is an impossibility.\"These are the words of one Iranian emigre, driven from Tehran by the revolution of 1979. They are echoed time and again in this powerful portrayal of loss and survival. Impelled by these word and her own concerns about nationality and identity, Zohreh Sullivan has gathered together here the voices of sixty exiles and emigres. The speakers come from various ethnic and religious backgrounds and range in age from thirteen to eighty-eight. Although most are from the middle class, they work in a variety of occupations in the United States. But whatever their differences, here they engage in remembering the past, producing a discourse about their lives, and negotiating the troubled transitions from one culture to another.Unlike man other Iranian oral history projects,Exiled Memorieslooks at the reconstruction of memory and identity through diasporic narratives, through a focus on the Americas rather than on Iran. The narratives included here reveal the complex ways in which events and places transform identities, how overnight radical s become conservatives, friends become enemies, the strong become weak. Indeed, the narratives themselves serve this function -- serving to transfer or transform power and establish credibility. They reveal a diverse group of people in the process of knitting the story of themselves with the story of the collective after it has been torn apart.
eBook
Unsaying Life Stories: The Self-Representational Art of Shirin Neshat and Ghazel
By analyzing the similarities and differences between the art and art practice of Neshat and Ghazel, this article seeks to examine the way that their art simultaneously deconstructs stereotypes of Iran while offering more encompassing representations. In \"un-saying\" their life stories, these artists struggle not to \"be said\" by others. Through use of the camera, they develop a \"telling-self,\" not merely telling \"about\" themselves. This study explores the ambivalent consciousness of Neshat and Ghazel and the strategies that they use to negotiate and articulate their place between cultures. It holds considerable relevance for understanding the profound negotiations that occur today in the classrooms, streets, and homes of the increasingly diverse United States. By including the art and lives of a particular marginalized group within the classroom, included are not only many thousands of young Iranian-Americans but, by extension, also other immigrants who are trying to find their place and value within American history. By analyzing the ways in which hybrid Iranian artists have used the camera as a critical practice to negotiate their identity and place between cultures, students of all backgrounds would be encouraged to use the camera as a means of challenging existing stereotypes while making and distributing counter-images that ring true to their lives. (Contains 13 figures and 40 endnotes.)
Journal Article