Shahr-e No by Kavesh Golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (Iran, Iran, 1975-1977)
This article discusses Kaveh Golestan’s album Shahr-e No as a testimony to the impoverished living conditions of women in prostitution. We understand his photos as a political discourse and criticism of the Pahlavi Dynasty. However, we treat the use of veil in some poses as a representation of the h...
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Universidade Estadual de Campinas
2022
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| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/16601 |
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| author | Ricci Molina, Ana Maria Barbosa, Francirosy Campos Ricci Molina, Ana Maria Barbosa, Francirosy Campos Ricci Molina, Ana Maria Barbosa, Francirosy Campos |
| author_facet | Ricci Molina, Ana Maria Barbosa, Francirosy Campos Ricci Molina, Ana Maria Barbosa, Francirosy Campos Ricci Molina, Ana Maria Barbosa, Francirosy Campos |
| author_sort | Ricci Molina, Ana Maria |
| collection | Portal da Incubadora de Periódicos Científicos, Acadêmicos e Educacionais |
| container_reference | PROA: Revista de Antropologia e Arte; Vol. 10 No. 2 (2020); 12-37 |
| description | This article discusses Kaveh Golestan’s album Shahr-e No as a testimony to the impoverished living conditions of women in prostitution. We understand his photos as a political discourse and criticism of the Pahlavi Dynasty. However, we treat the use of veil in some poses as a representation of the hijab. Prostitution was configured as an anti-Islamic environment and the prostitute woman in an antagonistic position to that promoted by tradition and sexual ethics in Islam. Thus, through the analysis of the images according to a religious perspective, we understand that Kaveh Golestan’s political critique of the Government extends also to Iranian society and Muslim communities, in order to give visibility and belonging to those portrayed. |
| first_indexed | 2025-10-08T14:31:00Z |
| format | Online |
| id | ojs-article-16601 |
| institution | Universidade Estadual de Campinas |
| issn | 2175-6015 |
| language | por |
| last_indexed | 2025-10-08T14:31:00Z |
| publishDate | 2022 |
| publisher | Universidade Estadual de Campinas |
| record_format | ojs |
| spelling | ojs-article-166012023-03-27T12:48:55Z Shahr-e No by Kavesh Golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (Iran, Iran, 1975-1977) Shahr-e No de Kavesh Golestan: una posible lectura de las dimensiones política y religiosa de las fotografías de mujeres prostituidas (Irán, 1975-1977) Shahr-e No de Kavesh Golestan: uma leitura possível das dimensões política e religiosa de fotosde mulheres prostituras (Teerã, Irã, 1975-1977) Ricci Molina, Ana Maria Barbosa, Francirosy Campos Ricci Molina, Ana Maria Barbosa, Francirosy Campos Ricci Molina, Ana Maria Barbosa, Francirosy Campos Prostituição Religião Gênero Fotografia Prostitution Religion Gender Photography Prostituci´ón Religión Género Fotografía This article discusses Kaveh Golestan’s album Shahr-e No as a testimony to the impoverished living conditions of women in prostitution. We understand his photos as a political discourse and criticism of the Pahlavi Dynasty. However, we treat the use of veil in some poses as a representation of the hijab. Prostitution was configured as an anti-Islamic environment and the prostitute woman in an antagonistic position to that promoted by tradition and sexual ethics in Islam. Thus, through the analysis of the images according to a religious perspective, we understand that Kaveh Golestan’s political critique of the Government extends also to Iranian society and Muslim communities, in order to give visibility and belonging to those portrayed. Este artículo analiza el álbum Shahr-e No de Kaveh Golestan como testimonio de las paupérrimas condiciones de vida de las mujeres que ejercen la prostitución. Entendemos sus fotos como un discurso político y una crítica a la dinastía Pahlavi. Sin embargo, tratamos el uso del velo en algunas poses como una representación del hijab. La prostitución se configuró como un entorno anti-islámico y la mujer prostituta en una posición antagónica a lo que promueve la tradición y la ética sexual en el Islam. Así, a través del análisis de las imágenes según un corte religioso, entendemos que la crítica política de Kaveh Golestan al gobierno se extiende también a la sociedad iraní y a las comunidades musulmanas, en aras de la visibilidad y la pertenencia de las mujeres retratadas. Esse artigo discute o álbum Shahr-e No, de Kaveh Golestan, como testemunho das condições de vida empobrecida de mulheres na prostituição. Compreendemos suas fotos como um discurso político e de crítica à Dinastia Pahlavi. Todavia, tratamos do uso de véu em algumas poses como uma representação do hijab. A prostituição se configurou como um ambiente anti-islâmico e a mulher prostituta em posição antagônica ao promovido pela tradição e a ética sexual no Islã. Assim, através da análise das imagens segundo um recorte religioso, entendemos que a crítica política de Kaveh Golestan sobre o Governo se estende também para a sociedade iraniana e comunidades muçulmanas, a fim de visibilidade e pertencimento das retratadas. Universidade Estadual de Campinas 2022-09-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Text Texto Avaliado pelos pares Texto application/pdf https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/16601 10.20396/proa.v10i2.16601 PROA: Revista de Antropologia e Arte; Vol. 10 No. 2 (2020); 12-37 PROA: Revista de Antropologia e Arte; Vol. 10 Núm. 2 (2020); 12-37 Proa: Revista de Antropologia e Arte; v. 10 n. 2 (2020); 12-37 2175-6015 por https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/16601/11951 Iran; Century XX Irán; Siglo XX Irã; Século XX Copyright (c) 2020 Proa: Revista de Antropologia e Arte https://creativecommons.org/licenses/by/4.0/ |
| spellingShingle | Ricci Molina, Ana Maria Barbosa, Francirosy Campos Ricci Molina, Ana Maria Barbosa, Francirosy Campos Ricci Molina, Ana Maria Barbosa, Francirosy Campos Prostituição Religião Gênero Fotografia Prostitution Religion Gender Photography Prostituci´ón Religión Género Fotografía Shahr-e No by Kavesh Golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (Iran, Iran, 1975-1977) |
| title | Shahr-e No by Kavesh Golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (Iran, Iran, 1975-1977) |
| title_full | Shahr-e No by Kavesh Golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (Iran, Iran, 1975-1977) |
| title_fullStr | Shahr-e No by Kavesh Golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (Iran, Iran, 1975-1977) |
| title_full_unstemmed | Shahr-e No by Kavesh Golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (Iran, Iran, 1975-1977) |
| title_short | Shahr-e No by Kavesh Golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (Iran, Iran, 1975-1977) |
| title_sort | shahr-e no by kavesh golestan: a possible reading of the religious and political dimensions of photographs of women prostitutes (iran, iran, 1975-1977) |
| topic | Prostituição Religião Gênero Fotografia Prostitution Religion Gender Photography Prostituci´ón Religión Género Fotografía |
| url | https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/16601 |
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