Major Works
Hamid Dabashi’s books are Iran: A People Interrupted, which traces the last two hundred year's of Iran's history including analysis of cultural trends, and political developments, up to the collapse of the reform movement and the emergence of the presidency of Mahmoud Ahmadinejad. Dabashi argues that "Iran needs to be understood as the site of an ongoing contest between two contrasting visions of modernity, one colonial, the other anticolonial".
His book Theology of Discontent, is a study of the global rise of Islamism as a form of liberation theology. His other book Close Up: Iranian Cinema, Past, Present, Future is the founding text on modern Iranian cinema and the phenomenon of (Iranian) national cinema as a form of cultural modernity – featured even in the Lonely Planet travel guide for Iran. In his essay "For the Last Time: Civilizations", he has also posited the binary opposition between “Islam and the West” as a major narrative strategy of raising a fictive centre for European modernity and lowering the rest of the world as peripheral to that centre.
In Truth and Narrative, he has deconstructed the essentialist conception of Islam projected by Orientalists and Islamists alike. Instead he has posited, in what he calls a “polyfocal” conception of Islam, three competing discourses and institutions of authority – which he terms “nomocentric” (law-based), “logocentric” (reason-based) and “homocentric” (human-based) – vying for power and competing for legitimacy. The historical dynamics among these three readings of “Islam”, he concludes, constitutes the moral, political and intellectual history of Muslims.
Among his other work — which has been translated into many languages — are his essays Artist without Borders (2005), Women without Headache (2005), For the Last Time Civilization (2001) and "The End of Islamic Ideology" (2000).
Hamid Dabashi is also the author of numerous articles and public speeches, ranging in their subject matters from Islamism, feminism, globalised empire and ideologies and strategies of resistance, to visual and performing arts in a global context.
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