In this dissertation, I undertake an empirical analysis of Iranian punitive practices over the last century. In thiscontext, I set out to investigate three issues. First, I critically examine the claim that modernity is characterizedby a diminution of corporal punishments, considering both the older humanist-progressivist verions of this claim and therevisionist-Nietzschean versions that have been advanced by several scholars including Michel Foucault, David Rothman,Michael Ignatieff, John Langbein, Gerhard Oestreich and Marc Raeff. In particular, I examine the relationship betweenmodern torture and might be called the "disciplinary process" that is said to characterize modernization. Second, I evaluate Chomsky and Herman's hypothesis that developing societies are characterized by a specific economy of violence that might be described as "state terrorism." Third, I test the utility of Foucault's theoretical approach to the study of power. / Dans cette these, j'entreprends une analyse empirique des coutumes punitives iraniennes depuis un siecle. A cette fin, j'examine trois aspects. Premierement, j'examine d'une maniere critique le point de vue suivant lequel, la modernite se caracterise par une diminution des punitions physiques, tout en considerant l'interprétation traditionnelle humanistico-progressive de ce point de vue et les interpretations Nietzscheo-revisionnistes qui ont ete suggerees par plusieurs penseurs, tels que Michel Foucault, David Rothman, Michael Ignatieff, John Langbein, Gerhard Oestreich, et Marc Raeff. Plus precisement j'examine la relation entre la torture au XXieme siecle et ce que l'on pourrait appeler le "processus disciplinaire" qui, soi-disant, caracterise la modernisation. Deuxiemement, j'évalue les hypothèses de Noam Chomsky et d'Edward Herman suivant lesquelles les sociétés en voie de développement sont caractérisées par la violence d'une manière bien précise, et qui pourrait etre decrite comme "une économie de terrorisme d'état." Troisièmement, j'examine l'utilité de l'approche théorique de Michel Foucault pour l'etude du pouvoir. fr

The objective of this thesis is to analyze the Khatami Period of 1997-2005 in the Islamic Republic of Iran. The Reform Movement that brought Khatami to the presidency and the grounds of the incongruity between the discourse and the outcomes of the movement is examined. The reasons of this incongruity are the focus of this study. The structure of the thesis is as follows: In the first chapter, a brief summary of the history of democracy in Iran is examined, since in Iran without a historical perspective, it is hard to understand the developments of the era. In the second chapter, the state structure and political factions in the Islamic Republic of Iran are described by emphasizing the power centers and struggle between them. The third chapter explains, the social origins and the discourse of the reform movement. Lastly, in the fourth chapter, the Khatami period of 1997-2005 is analyzed. The period is studied in terms of power conflicts among the ruling elites and its reflection on the everyday life of the layman. Economic developments and street politics of the era are also examined in this chapter. International developments of the era are also studied with respect to their impacts on domestic politics.

To securitise an issue is to elevate it above politics to security status. At the global level, population growth has been securitised by a number of change agents. They have arrived at an understanding of population growth as existentially threatening and of population control as the best solution. This transformative process took place during the twentieth century and was enabled largely by the United Nations. However, in some Muslim states and societies where population growth is potentially threatening and securitisation of it is necessary, Islamic factors and agents might prevent this from happening. Events and experiences suggest that population control is antithetical to Islam. Muslim states and societies tend to experience higher growth and fertility rates than their non-Muslim counterparts. Furthermore, some Islamic agents have vocally opposed global and national population control objectives. Because of these two occurrences, Islam is assumed to be pro-natalist and anti-population control. It is also assumed that Islam is causal to high fertility and growth and the failure of control efforts. But is this necessarily true? Is population control antithetical to Islam? Moreover, will Islam and its agents prevent the securitisation of population growth by Muslim states and societies? These questions are explored through the case studies of Iran and Pakistan.

Zugl.: Münster (Westfalen), Univ., Diss., 2005

Thesis (Ph.D.) -- University of Western Sydney, Hawkesbury, 1995. / PnD thesis, School of Agriculture and Rural Development, Faculty of Agriculture and Horticulture, University of Western Sydney, Hawkesbury, 1995. Bibliography : leaves 324-337.

Univ., Diss.--Köln, 1992.

Thesis (Ph. D.)--University of Wisconsin, 1964. / eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 341-356.

Le théâtre persan moderne est véritablement né au XIXe siècle, avec la découverte du théâtre occidental. Les hommes politiques éclairés ont tenté de moderniser la Perse en envoyant des étudiants en France pour apprendre les sciences modernes. Rentrés au pays, ces étudiants avaient un vif intérêt pour la culture française, y compris pour le théâtre. En outre, en Perse, nous constatons également la montée d’une classe bourgeoise où se développaient des idées réformistes et néo-religieuses. C’est sur ce fond de réformes et de mutations économiques, politiques et sociales que se crée la nouvelle forme littéraire que constitue le théâtre persan moderne. Ainsi, Le Misanthrope de Molière a été traduit sous le nom de Gozâreš-e mardom goriz par Mirzâ Habib Esfahâni, un exilé politique (Istanbul, 1869), avec toutefois une grande liberté dans la restitution des noms des personnages et des traits de caractère, de sorte que le jeu était plus persan que français. En plus des adaptations directes, le théâtre persan a également été influencé par le théâtre classique français à travers les œuvres des hommes de théâtre persans comme Mirzâ Aghâ Tabrizi. Ses comédies traitent essentiellement, sur un mode ironique, de la corruption politique et des superstitions. Ces écrivains ont essayé de composer ou d’adapter des pièces modernes, généralement dans l’esprit de Molière, mettant en scène des personnages typiques, décrivant des épisodes à la fois comiques et satiriques qui témoignent d’une volonté de s’adresser à toutes les classes sociales. Étant donné ce lien évident entre théâtre persan et théâtre français, nous envisageons une analyse socio-historique des pièces persanes, surtout depuis la fin du XIXe siècle, qui souligne notamment leurs rapports avec l’œuvre de Molière, tout en mettant en évidence leurs enjeux culturels / The modern Persian theatre was trully born in the nineteenth century, thank to the discovery of the western theatre. Enlightened politicians have tried to modernise Persia, students were to be send sent to France in order to learn modern science. When these students were coming home they had a lively interest for French culture including its theatre. Moreover, in Persia, we can notice the rise of a middle class where reformist and neo-religious ideas developed themselves. This background is where economical, political and social reforms and changes emerged to create a new literary genre that is to be found in modern Persian theatre. Thus, Le Misanthrope by Molière was traduced by Gozâreš-e mardom goriz by Mirzâ Habib Esfahâni who was in a political exile (in Instanbul in 1869). Nevertheless he took great liberties in the characters’names and their personalities so that the acting was more Persian than French. In addition to direct adaptations, Persian theatre was also influenced by the Classic French theatre with the work of Persian playwrights such as Mirzâ Aghâ Tabrizi. His comedies are mainly ironic and about political corruption and superstitions. These writers tried to compose or adapt modern plays –often in Molière’s way- bringing typical characters to life, describing scenes that are at the same time comical and satirical. It was a mean a means to address their works to every social group. Because of this obvious link between Persian and French theatre. I am considering doing a socio-historical analysis of Persian plays especially from the end of the nineteenth century because they put to light the relation with Molière’s work but also highlight the cultural issues

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'Allegories of the Veil' analyses the relationship between architecture and clothing as architecture. It expands the meaning of dwelling and of dwelling places (as they have been defined and conceptualised by scholars such as Martin Heidegger and Edward Casey) from architecture to women's dress. People's awareness of space and their interaction with it are crucially mediated by where and how they dwell. Moreover, dwelling greatly influences behaviour. This study interrogates the way in which building belongs to dwelling. It conceptualises specific women's clothing (the traditional dress and the veil [chador in Farsi]) as a dwelling place that influences (limits) women's spatial awareness and movement in space. It argues that once women's clothing has shaped the behaviour and awareness of women (mirroring the organisation of social relations) it becomes like a habitus. In that sense, clothes are not only physical but also generative spaces which can be translated into social space (and vice versa). Last but not least, this study explores how the changing architectural cityscape of Iran has altered the meaning of private and public space in the country. It argues that contemporary domestic architecture in Iran has disturbed the continuity of design and architectural forms, which previously had been an inherent feature of all architectural spaces in the country, including women's clothing. These new forms disrupted the complementary relationship between the chador as an enclosed space and as an extension of the domestic sphere, as well as facilitating the fast encroachment of modernity on traditional architectural places, including the 'chādor'.