Nasrin Rahimieh

Nasrin Rahimieh is a professor of Comparative Literature at the University of California, Irvine.^[1]

Education

Rahimieh went to University of Alberta and earned a Ph.D. in Comparative Literature in 1988.^[1] Rahimieh was interested in researching areas such as: Iranian Cinema, Iranian Diaspora, Women's Writing and Modern Persian Literature.^[1]

Career

After Rahimeh immigrated to Canada, she began her career as professor in Alberta^[2]

She is a past-President of the International Society for Iranian Studies, Middle East Studies Association of North America, and Canadian Comparative Literature Association^[1]

Works

• Forugh Farrokhzad: Iconic Woman and Feminine Pioneer of New Persian Poetry, co-edited with Dominic Parzviz Brookshaw, London: I B Tauris, 2010, 236 pp
• Co-editor, special issue of Radical History Review, The Iranian Revolution Turns Thirty, 105 (Fall 2009), 187 pp
• Translation from Persian into English of the novel The Virgin of Solitude, by Taghi Modarressi, Syracuse: Syracuse University Press, 2008, 384 pp
• Co-editor, special issue of Multi-Ethnic Literature of the United States, Iranian American Literature, 33.2 (2008), 208 pp
• Missing Persians: Discovering Voices in Iranian Cultural Heritage, Syracuse: Syracuse University Press, 2001, 208 pp
• Oriental Responses to the West: Comparative Essays in Select Writers from the Muslim World, Leiden: E. J. Brill, 1990, 124 pp

Articles and Chapters in Books

• “Reflections of the Cold War in Modern Persian Literature, 1945-1979,” in Global Cold War Literature: Western, Eastern and Postcolonial Perspectives, ed. Andrew Hammond, New York: Routledge, 2012, 87-99.
• “Persian Incursions: The Transnational Dynamics of Persian Literature,” in A Companion to Comparative Literature, eds. Ali Behdad and Dominic Thomas, Oxford: Wiley-Blackwell, 2011, 296-311.
• “Capturing the Abject of the Nation in The House is Black,” in Forugh Farrokhzad, Poet of Modern Iran: Iconic Woman and Feminine Pioneer of New Persian Poetry, eds. Dominic P. Brookshaw and N Rahimieh, London: I B Tauris, 2010, 125-137.
• “Divorce Seen through Women's Cinematic Lens,” Iranian Studies 42:1 (2009): 97-112.
• “Hedayat’s Translations of Kafka and the Logic of Iranian Modernity” in Sadeq Hedayat: His Work and His Wondrous World, ed. Homa Katouzian. London: Routledge, 2008: 124-135.
• “Border Crossing,” Comparative Studies of South Asia, Africa and the Middle East 27.2 (2007): 225-232.
• “Manifestations of Diversity and Alterity in the Persian Literary Idiom,” in Critical Encounters: Essays on Persian Literature and Culture in Honor of Peter J. Chelkowski, eds. Mohamad Mehdi Khorrami and M. R. Ghanoonparvar, Costa Mesa: Mazda, 2007: 21-35.
• “Overcoming the Orientalist Legacy of Iranian Modernity,” Thamyris/ Intersecting No. 10 (2003): 147-63.
• “Capturing Cultural Transformation on Film: Makhmalbaf’s A Moment of Innocence,” Edebiyat 12 (2001): 195-214
• “Refocusing Alloula's Gaze: A Feminist Reading of The Colonial Harem,” in Atlantic Cross-Currents: Transatlantiques, eds. Susan Z. Andrade, Eileen Julien, Micheline Rice-Maximin, and Aliko Songolo, Trenton: Africa World Press, 2001: 91-100.
• “Framing Iran: A Contrapuntal Reading of Two Cinematic Representations of Post Revolutionary Iran,” Edebiyat 9 (1998): 249-275
• “Iranian-American Literature,” in New Immigrant Literatures of the United States: A Sourcebook, ed. Alpana Sharma Knippling, Westport, Connecticut: Greenwood Press, 1996: 109-124

Notes