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Add to this the firm, hegemonic hold of Islamophobia and its attendant fetishisms and orientalist fascinations with all things Muslim, and you have a context primed for the publication of this book.Despite the allure of potential audiences/markets born of these current historical circumstances, however, Najmabadi does not kowtow to a desire for representations of trans Iran by rendering ethnographically stable subjects.
In January, the director and screenwriter could add a second Golden Globe to his wins with his sixth film, The Past.
NOTE: In 2017 I hitched with the thumb, because several iranian hitchers told me to do so, they were doing the same.
Also I noticed many times that locals gave me the thumb as a positive gesture, for example when taking selfies.
This historical and ethnographic study comes at a moment in which two popular American serials feature transgender characters, a time of growing attention to transgender rights and experiences in the American public sphere.
Yet it is also a time in which Iran continues to be an American foreign policy focus with the conclusion of nuclear talks and the loosening of sanctions while at the same time being represented in popular American and Canadian media as a nation ironically at the forefront of both transgender rights and homosexual oppression.
There’s some obvious tension between the United States and Iran, so there’s a few questions to be answered before you get your passport stamped.
Since America has imposed economic sanctions on Iran, be forewarned that ATMs will not work with your debit card.On the contrary, she explores a shape-shifting, subjective play, what she calls “the art of existence” (2), rendering a culturally situated practice of survival that slips and slides around what we in the West understand to be the continuum of gender.So rather than represent stable and coherent postoperative subjects who in the West might be understood to have found their “authentic selves,” Najmabadi examines how institutions like medicine, media, the state, and Islam, both as globalized epistemic formations and through their localized practices, come to constitute the complex lexicon through which Iranian trans and same-sex-desiring persons profess contingent and dynamic versions of self over time.Waiting for a ride can be a frustrating experience sometimes, but it is generally relatively easy to hitchhike here.Frustration comes when there is a driver stopping for you every few minutes and suggesting taking you to a bus terminal, and sometimes you may find it hard to explain that you travel at low budget and that you actually want to hitchhike.Najmabadi’s claims, too, are made contingently, given the rapidly changing religio-political context for sexuality in Iran (see especially chap. (roughly [End Page 676] translated as genus, which we can just as roughly understand as the collapsing of sex/gender) to illustrate the complexity of the sex/gender concept in Iranian modernity, carefully historicizing how it came into being differently than sex/ gender/sexuality has in the Western context.