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Reading Lolita in Tehran: A Memoir in Books (2003)

de Azar Nafisi

Altres autors: Marie-Hélène Dumas (Traductor)

Altres autors: Mira la secció altres autors.

MembresRessenyesPopularitatValoració mitjanaMencions
12,901278468 (3.62)490
This is the story of Azar Nafisi's dream and of the nightmare that made it come true. For two years before she left Iran in 1997, Nafisi gathered seven young women at her house every Thursday morning to read and discuss forbidden works of Western literature. They were all former students whom she had taught at university. They were unaccustomed to being asked to speak their minds, but soon they began to open up and to speak more freely, not only about the novels they were reading but also about themselves, their dreams and disappointments. Nafisi's account flashes back to the early days of the revolution, when she first started teaching at the University of Tehran amid the swirl or protests and demonstrations. Azar Nafisi's tale offers a fascinating portrait of the Iran-Iraq war viewed from Tehran and gives us a rare glimpse, from the inside, of women's lives in revolutionary Iran.… (més)
  1. 91
    Persepolis: The Story of a Childhood de Marjane Satrapi (Eustrabirbeonne, kgodey)
  2. 80
    The Handmaid's Tale de Margaret Atwood (hsanch)
    hsanch: A parallel kind of story. Fundamentalist's come in many flavors and women often get the short end. A chilling a well-paced tale.
  3. 40
    Mil sols esplèndids de Khaled Hosseini (readerbabe1984)
  4. 30
    The Annotated Lolita de Vladimir Nabokov (bertilak)
  5. 31
    Things I've Been Silent About: Memories de Azar Nafisi (AuraNefertari)
  6. 10
    Censoring an Iranian Love Story de Shahriar Mandanipour (the_awesome_opossum)
  7. 21
    El llibreter de Kabul de Åsne Seierstad (unlucky)
  8. 10
    Prisoner of Tehran: A Memoir de Marina Nemat (Cecrow)
    Cecrow: Non-fiction: teenager sentenced to death for 'political crimes' in 1982, but who lived to tell her story.
  9. 10
    Jews Without Money de Michael Gold (Usuari anònim)
    Usuari anònim: The work that inspired Azar Nafisi's political thinking in relation to literature.
  10. 00
    The Republic of Imagination: America in Three Books de Azar Nafisi (kerryperry42)
  11. 00
    Not Without My Daughter de Betty Mahmoody (Cecrow)
    Cecrow: Another woman's experience in Iran, albeit more sensational.
  12. 12
    Bel Canto de Ann Patchett (readerbabe1984)
  13. 01
    Dentelles et tchador : La vie dans l'Iran des mollahs de Armin Arefi (Eustrabirbeonne)
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» Mira també 490 mencions

Anglès (266)  Italià (5)  Castellà (4)  Neerlandès (1)  Hebreu (1)  Totes les llengües (277)
Es mostren 1-5 de 277 (següent | mostra-les totes)
Difficult subject to read about. Reading it in 2024 makes it feel a bit dated since it is gotten so much worse for women. ( )
  kakadoo202 | Feb 18, 2024 |
Voglio iniziare questa recensione ringraziando Azar Nafisi, perché una dichiarazione d’amore così bella nei confronti della letteratura mi ha sciolto il cuore e mi ha ricordato con forza perché leggere è un’esperienza tanto appagante.

Avevo paura che Leggere Lolita a Teheran mi avrebbe annoiato perché non avevo letto gran parte dei libri citati; e invece, da brava insegnante, Nafisi mi ha fatto solo venire voglia di leggere ancora di più. Ammetto però che non vi troverete nessuna novità in tema di interpretazione delle opere, quindi se siete del mestiere è possibile che in alcuni punti vi annoierete.

I momenti che ho preferito sono quelli nei quali si vede il potere della letteratura, la sua capacità di abbattere le barriere, di farci andare laddove da solə avremmo troppa paura ad addentrarci. La letteratura, lasciata libera di esprimersi, non conosce pudori, diktat o manicheismo: quanto di piace – e quanto riesce a metterci a disagio – la sua capacità di farci vedere la complessità del mondo senza bisogno di spiegarla, semplicemente mostrandocela.

Altrimenti perché spaventerebbe così tanto i regimi di tutto il mondo e di tutte le epoche? Ci ricordiamo sempre del potere della letteratura quando ci viene portata via: fino ad allora pare che la lettura sia solo un passatempo da perdigiorno, da gente annoiata che nella vita non fatica abbastanza. E invece la lettura è una di quelle attività che rendono la vita bella, ricca e piacevole: se non ha la considerazione che merita, qualcosa non va. Ne sappiamo qualcosa anche noi... ( )
  lasiepedimore | Jan 12, 2024 |
I was so interested in the subject, I wanted to know about the student's lives in Tehran and the experience of freedom this class gave them. I only got through 10%.

While what I listed above that is definitely a part of the book, the majority of it seems to be about the author, her experience, and how it affected her. In the first 10% I read, there is an almost exhausting amount of 'I's and 'me's. As some other reviews have said, it does come off as self-important. ( )
  eurydactyl | Jul 20, 2023 |
interdisciplinary
great for students of AP literature ( )
  pollycallahan | Jul 1, 2023 |
The subject matter is compelling, but I found the framing awkward and the literary connections forced. At times it feels a bit like an Iranian Dead Poets Society, and Nafisi makes sure we are aware of the Western cultural capital that allows her to intellectually transcend the strictures of the Islamic state. Like Satrapi's Persepolis, this seems intended for a Western audience and is written from a place of privilege. The young women in her reading group are not really developed as people - we are given details about their lives, but in the end they feel interchangeable, and that they were used to illustrate the conflicts women face in a theocracy. ( )
  jonbrammer | Jul 1, 2023 |
Es mostren 1-5 de 277 (següent | mostra-les totes)
The charismatic passion in the book is not simply for literature itself but for the kind of inspirational teaching of it which helps students to teach themselves by applying their own intelligence and emotions to what they are reading.
afegit per mikeg2 | editaThe Guardian, Paul Allen (Sep 13, 2003)
 
[A]n eloquent brief on the transformative powers of fiction--on the refuge from ideology that art can offer to those living under tyranny, and art's affirmative and subversive faith in the voice of the individual.
afegit per jburlinson | editaNew York Times, Michiko Kakutani (Mar 15, 2003)
 
A spirited tribute both to the classics of world literature and to resistance against oppression.
afegit per jburlinson | editaKirkus (Feb 15, 2003)
 

» Afegeix-hi altres autors (9 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
Nafisi, Azarautor primaritotes les edicionsconfirmat
Dumas, Marie-HélèneTraductorautor secundaritotes les edicionsconfirmat
Flothuis, MeaTraductorautor secundarialgunes edicionsconfirmat
García de la Hoz, María LuzTraductorautor secundarialgunes edicionsconfirmat
Lambert, J. K.Dissenyadorautor secundarialgunes edicionsconfirmat
Saltzman, AllisonDissenyador de la cobertaautor secundarialgunes edicionsconfirmat
Serrai, RobertoTraductorautor secundarialgunes edicionsconfirmat
Has d'iniciar sessió per poder modificar les dades del coneixement compartit.
Si et cal més ajuda, mira la pàgina d'ajuda del coneixement compartit.
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Data original de publicació
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Pel·lícules relacionades
Epígraf
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To whom do we tell what happened on the
Earth, for whom do we place everywhere huge
Mirrors in the hope that they will be filled up
And will stay so?

- Czeslaw Milosz,  "Annalena"
Dedicatòria
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In memory of my mother, Nezhat Nafisi
for my father, Ahmad Nafisi,
and my family: Bijan, Negar and Dara Naderi
Primeres paraules
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In the fall of 1995, after resigning from my last academic post, I decided to indulge myself and fulfill a dream.
Citacions
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What we search for in literature is not much reality but the epiphany of truth.
Darreres paraules
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(Clica-hi per mostrar-ho. Compte: pot anticipar-te quin és el desenllaç de l'obra.)
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Editor de l'editorial
Creadors de notes promocionals a la coberta
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Wikipedia en anglès (2)

This is the story of Azar Nafisi's dream and of the nightmare that made it come true. For two years before she left Iran in 1997, Nafisi gathered seven young women at her house every Thursday morning to read and discuss forbidden works of Western literature. They were all former students whom she had taught at university. They were unaccustomed to being asked to speak their minds, but soon they began to open up and to speak more freely, not only about the novels they were reading but also about themselves, their dreams and disappointments. Nafisi's account flashes back to the early days of the revolution, when she first started teaching at the University of Tehran amid the swirl or protests and demonstrations. Azar Nafisi's tale offers a fascinating portrait of the Iran-Iraq war viewed from Tehran and gives us a rare glimpse, from the inside, of women's lives in revolutionary Iran.

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