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The course of history has been greatly defined by political and social events of tremendous significance; revolutions. Several of the most influential international alliances and feuds of the twenty-first century were generated by these occurrences, and states such as Russia and Iran have managed to deeply impact the international world order through their revolutionary behavior and ideology. It is due to its complexity and historical impact that the study of revolutions has informed the theoretical analyzes of political scientists. This study discusses prominent theories of revolution to provide an analytical framework: Marxism, Modernization, Relative Deprivation, and Mobilization. The thesis then assesses these theories by applying them to two of the most influential revolutions of the twentieth century: The Bolshevik Revolution of 1917 in Russia and the Muslim Revolution of 1979 in Iran. Each case study addresses the economic, social, and political conditions present prior to each society’s respective revolution. A final comparison of both case studies, based on revolutionary theories, reveals the specific variables necessary for the formation and success of revolutionary movements.

The main object of this paper is an attempt to illustrate the present situation of TeheranUniversity Central Library and its 17 faculty libraries. The main aspects of these librarieswhich will be discussed are collections, staffing, management, shelving, cataloguing and thelibrary users. The findings of a survey which was conducted by the author in Iran in thesummer 1995 form the main basis of the discussions.Some of the problems in these libraries are mentioned and the possible solutions arerecommended.The study also examines the role and effect of the Islamic Revolution and de-westernizationpolicy of the present regime on these libraries.A historical background of higher education, foundation of the University of Teheran,librarianship and the whole range of libraries in Iran are discussed briefly.

This thesis considers the transformation of Iranian-Israeli ties following the 1979 Iranian Revolution from a Western-allied relationship to a covert, scandalous relationship, specifically in the context of the Iran-Iraq War. I also look at the Iranian and Israeli narratives and compare the religious, historical, ideological and psycho-political underpinnings that reveal significant similarities between these two superficially diametrically opposed states, and ultimately shaped the complex and misunderstood relationship between the two countries. / text

“Freedom isn't free”; an English expression that Kurds in Iran used it during Iranian revolution (1979) in a new context: a nation who wants freedom and democracy, must pay the price.This study describes what the Kurds as minority have done for freedom and democratization during the Iranian revolution; it analyses later what have the Iranian Kurds get paid. Kurdish question in Iran after the last revolution is the central question here. The purpose is to answer why the revolution as a political opportunity didn’t offer or provide the Kurds demands. The study explains why political situation in Iranian Kurdistan changed for the “worse” after revolution while they participated in the uprising with their hands and hoped for the “best”.A qualitative case study that proceeds Will Kymlicka's theory about minority rights and Robert Dahl's theory of democracy to examine the degree of both the Kurds' capacity to democratize their territory and to describe in-depth understanding of the ability of revolution and the new government to deal with Kurdish question democratically. / <p>2023-01-20</p>

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This thesis analyzes five selected memoirs by Iranian women written after the Iranian Revolution of 1979 within the framework of the pre and post Revolution Period. These memoirs are thought as constituting a shift within the Iranian Literature by women. The memoir writing tradition in Iran which was absent before the revolution and boomed afterwards is the first topic of discussion with its catalysing factors. These memoirs are handled within the larger framework of Iranian literary tradition. The study mainly analyses the common characteristics and issues in these five memoirs, and the changes in the women&rsquo / s lives after the revolution as depicted within the memoirs.

La culture en général et l’art, en particulier, occupent une position unique dans la structuration d’une société. En dépit des conflits, des convulsions politiques et idéologiques qu’a connu depuis un siècle, l’Iran d’aujourd’hui n’est plus un pays sous le joug politique d’une théocratie obscurantiste. Contrairement aux discours bruyants et actions hostiles de dirigeants islamiques qui provoquent si facilement l’attention du grand public en Occident, l’expression artistique iranienne reste très peu connue du public du monde entier. C’est à partir d’une réalisation plastique personnelle qu’ont été évalués que les véritables représentants et porte-parole d’une société iranienne progressiste ne sont plus ses politiques, mais bien ses artistes. Les artistes iraniens essaient de montrer la voix d’un autre Iran, celle d’un pays à l’histoire plurimillénaire, mais toujours aussi épris de culture et avide de liberté.Très attachées à leur histoire et leur culture, les oeuvres des artistes iraniens s’élaborent entre héritage et innovation. Lesquelles font état d’univers où un langage symbolique, ostensiblement hybride, se construit entre traditions ancestrales et modernité postrévolutionnaire. Par le biais de différents types médiums contemporains, comme la photographie, la performance, l’installation, la vidéo, ces oeuvres témoignent de la recherche d'un geste et d'un langage susceptibles de reconstruire la mosaïque du réel. Le regard des artistes, construit par leurs codes culturels, ne les empêche cependant pas de prendre en considération les actuels problèmes sociaux et politiques. Par contre, les artistes iraniens détournent intelligemment la réalité de façon métaphorique et symbolique pour transmettre le contenu de leur message au monde entier. De cette manière, l’art contemporain iranien, a pu s’épanouir sur la scène internationale et a pu attirer l’attention de quelques collectionneurs du marché de l’art et de commissaires d’exposition internationaux, durant ces dernières décennies. / Culture in general and art in particular, occupy a unique position in the structure of society. Despite the conflicts, political and ideological convulsions has been known for a century, Iran today is no longer a country under the political yoke of theocracy obscurantist. Unlike the noisy speech and actions hostile Islamic leaders who so easily cause the attention of the general public in the West, Iranian artistic expression is very little known to the public worldwide. This is from a personal realization plastic what evaluated as true representatives and spokespersons of Iranian society progressive are no longer policies, but its artists. Iranian artists trying to show the voice of another Iran, a country with a history thousands of years, but still as loving culture and eager for freedom. Very attached to their history and culture, the works of Iranian artists to develop between heritage and innovation which indicate universe where a symbolic language, ostensibly hybrid builds between traditions and modernity post-revolutionary. Through different mediums contemporaries, such as photography, performance, installation, video, these works reflect the research gesture and language may reconstruct the mosaic of reality. The regard of artists, built by their cultural codes, however, does not prevent to consider the current social and political problems. By against, Iranian artists intelligently divert the reality of metaphorical and symbolic way to transmit the content of their message to the world. In this way, Iranian contemporary art, has been able to flourish on the international scene and has attracted the attention of some collector’s art market and international exhibition curators, in recent decades.

This study investigates the causes of the Iranian revolution of 1978-79. To this end, the different theories of revolution are reviewed in Chapter One. Chapter Two provides a discussion of the historical background of the country and the role the clergy played in shaping its political development. Socioeconomic and political factors which contributed to the outbreak of this revolution are examined in the following two chapters. Finally, an attempt is made to draw some conclusions on whether existing theories of revolution can fully explain the Iranian upheaval of 1978-79 or not. For the preparation of this study United States government documents and Iranian and English language scholarly works were consulted.