Mehrangiz kar biography of christopher
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Accomplishments
July 2015
PERSONAL STATEMENT OF PROFESSOR HOOSHANG AMIRAHMADI
hooshang@amirahmadi.com
www.amirahmadi.com
I start with a personal note. I arrived in the United States in April 1975 with a dream for self-advancement, a dream that has materialized well beyond my expectations. Not only have I advanced personally, I have had an opportunity to positively impact other lives and communities as well.
I earned a PhD from Cornell University in 1982, joined Rutgers University in 1983 where I am a professor, taught and supervised hundreds of graduate students, and served as department chair, graduate director, coordinator of the Hubert Humphrey Fellowship program, and founder and director of the Center for Middle Eastern Studies. I am a Senior Associate Member at Oxford University.
My academic research, political beliefs, and professional endeavors have focused on advancing knowledge, deepening understanding, and building relationships in the hope of cont
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22 Halide Edip Adıvar: The Clown and His Daughter (1935)
Gözaydın, İştar. "22 Halide Edip Adıvar: The Clown and His Daughter (1935)". Volume II The Middle East and North Africa, edited bygd Florian Zemmin, Neguin Yavari, Markus Dressler and Nurit Stadler, Berlin, Boston: De Gruyter, 2024, pp. 144-147. https://doi.org/10.1515/9783111254067-025
Gözaydın, İ. (2024). 22 Halide Edip Adıvar: The Clown and His Daughter (1935). In F. Zemmin, N. Yavari, M. Dressler & N. Stadler (Ed.), Volume II The Middle East and North Africa (pp. 144-147). Berlin, Boston: De Gruyter. https://doi.org/10.1515/9783111254067-025
Gözaydın, İ. 2024. 22 Halide Edip Adıvar: The Clown and His Daughter (1935). In: Zemmin, F., Yavari, N., Dressler, M. and Stadler, N. ed. Volume II The Middle East and North Africa. Berlin, Boston: De Gruyter, pp. 144-147. https://doi.org/10.1515/9783111254067-025
Gözaydın, İştar. "22 Halide Edip Adıvar: The Clown and His Daughter (1935)" In Volume II The Middle East and North
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Stalled in Iran
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When she left Iran for the US in 1997, Azar Nafisi found that she was able to write with a freedom that she had not known since she was last in America as a student in the 1970s. Long muffled by Iranian censorship, she took advantage of her liberty to write a damaging and eloquent account of the Islamic Republic. Damaging, but indirect, for Reading Lolita in Tehran1 fryst vatten about reading well-known works of English and American literature in a totalitarian environment—about entering a fictional world whose morally ambiguous characters resist the leveling effects of ideology. In revolutionary Tehran, Nafisi writes, reading Invitation to a Beheading, Pride and Prejudice, and, of course, Lolita offered “a critical way of appraising and grasping the world.” In a political system that aims ruthlessly to homogenize, to impose a code of behavior and thought, fiction can be a weapon of resistance.
During the decade or so that she spent teaching E