{"id":2760,"date":"2018-05-26T11:23:52","date_gmt":"2018-05-26T11:23:52","guid":{"rendered":"http:\/\/www.angahmag.com\/?p=2760"},"modified":"2021-09-08T13:04:05","modified_gmt":"2021-09-08T13:04:05","slug":"issue-5","status":"publish","type":"post","link":"http:\/\/en.angahmag.com\/index.php\/2018\/05\/26\/issue-5\/","title":{"rendered":"Issue 5"},"content":{"rendered":"\n

Ketab-e-Hafteh, The eternal book<\/h1>\n\n\n\n

Ketab-e-Hafteh, The Eternal Book” was the subject of the fifth issue of Angah art and culture magazine. “After fifty and some years, Ketab-e-Hafte is still one of the most pleasant cultural magazines in Iran,” says Arash Tanhai in the editorial. Fateh sahba Writes in the first Article of this issue: \u201c\u201cIn the middle of weekly low-level and hefty and serious monthly magazines, Ketabe-e-Hafte was a gem, And it was a stormy start for the history-making 1960s’ young adults and adolescents\u201d.<\/p>\n\n\n\n

Ahmad Shamloo’s most important press activity is Ketab-e-Hafte, and it’s impossible to discuss Ketab-e-Hafte without addressing Shamloo.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

In his piece “Name of all Shamloo’s poetry,” Ali Amir Riahi talks about his meeting with Aida Shamloo and the ever-casting shadow of Shamloo on his wife, even after his death: \u201cWhen you see her, you’ll be astounded at how careful she is to keep in his shadow. To never be seen by herselves. She is careful not to draw attention to herself because of her efforts for Ketab-e-Kooch\u201d’.<\/p>\n\n\n\n

There are many images and illustrations, such as Morteza Momayez illustrations, attached to the articles that recall the Ketab-e-Hafte and Shamloo. In the middle of the magazine, there are 20 pages of Ketab-e-Hafte covers, each with the name of the editor and the cover artist for that issue. The fifth issue of Angah Magazine was released under the editorial direction of Arash Tanhai.<\/p>\n\n\n\n

Table Of content<\/strong><\/h3>\n\n\n\n

7<\/p>\n\n\n\n

Editorial<\/p>\n\n\n\n

> Arash Tanhai<\/p>\n\n\n\n

8<\/p>\n\n\n\n

Sunday morning peak<\/p>\n\n\n\n

> Fateh Sahba<\/p>\n\n\n\n

10<\/p>\n\n\n\n

Background and the era of Ketab-e-Hafteh \/ Keyhan-e-Hafteh<\/p>\n\n\n\n

> Seyed Farid Ghasemi<\/p>\n\n\n\n

16<\/p>\n\n\n\n

Name of all Shamloo\u2019s poems,<\/p>\n\n\n\n

A meeting with Shamloo\u2019s Aida<\/p>\n\n\n\n

> Ali Amir Riahi<\/p>\n\n\n\n

26<\/p>\n\n\n\n

No reason for me without you<\/p>\n\n\n\n

> Seyfollah Samadian<\/p>\n\n\n\n

32<\/p>\n\n\n\n

Ketab-e-Hafteh and the cultural development industry<\/p>\n\n\n\n

> Ali Bakhtiyari<\/p>\n\n\n\n

38<\/p>\n\n\n\n

Creative potion, rebellious and wise<\/p>\n\n\n\n

> Farzad Moghadam<\/p>\n\n\n\n

44<\/p>\n\n\n\n

My drawings became one of the features of Ketab-e-Hafteh, Interview with Morteza Momayez<\/p>\n\n\n\n

> Firouzeh Saberi<\/p>\n\n\n\n

62<\/p>\n\n\n\n

Until further notice: Long live Momayez<\/p>\n\n\n\n

> Sa\u2019ed Meshki<\/p>\n\n\n\n

72<\/p>\n\n\n\n

One person writers council<\/p>\n\n\n\n

> Asadollah Amraee<\/p>\n\n\n\n

76<\/p>\n\n\n\n

When I go to the portraits<\/p>\n\n\n\n

> Alireza Yazdani<\/p>\n\n\n\n

82<\/p>\n\n\n\n

The Intellectuals and the youth were attracted to Keyhan through Ketab-e-Hafteh. Interview with Javad Mojabi<\/p>\n\n\n\n

> Hossein Ganji<\/p>\n\n\n\n

90<\/p>\n\n\n\n

Ketab-e-Hafteh for us and those who will come<\/p>\n\n\n\n

> Aboutorab Khosravi<\/p>\n\n\n\n

94<\/p>\n\n\n\n

The verdict, The fugitive and the overnight passers<\/p>\n\n\n\n

> Rasoul Nazarzadeh<\/p>\n\n\n\n

98<\/p>\n\n\n\n

Uncriticizable Myth of Shamloo<\/p>\n\n\n\n

> Mahdi Salimi<\/p>\n\n\n\n

104<\/p>\n\n\n\n

A look into the Gilgamesh<\/p>\n\n\n\n

And its persian translation in Ketab-e-Hafteh<\/p>\n\n\n\n

> Javad Atefeh<\/p>\n\n\n\n

114<\/p>\n\n\n\n

Shamloo in Afghanistan. Interview with Yaghoob Yasna<\/p>\n\n\n\n

> Haroon Majidi<\/p>\n\n\n\n

118<\/p>\n\n\n\n

Ardeshir Mohasses and Ahmad Shamloo after fifty years<\/p>\n\n\n\n

> Seyed Amir Soghrati<\/p>\n\n\n\n

150<\/p>\n\n\n\n

Absence of women in Ketab-e-Hafteh<\/p>\n\n\n\n

> Shooka Hosseini<\/p>\n\n\n\n

156<\/p>\n\n\n\n

Urban text in Manouchehr Safa\u2019s stories<\/p>\n\n\n\n

> Hadith Motaghi<\/p>\n\n\n\n

162<\/p>\n\n\n\n

Ketab-e-Hafteh gave credit to popular culture . Interview with Ali Bolukbashi<\/p>\n\n\n\n

> Nava Bamdad<\/p>\n\n\n\n

166<\/p>\n\n\n\n

Poetry in Ketab-e-Hafteh<\/p>\n\n\n\n

> Farzin Parsikia<\/p>\n\n\n\n

176<\/p>\n\n\n\n

Shaping culture as a department of economics<\/p>\n\n\n\n

> Ali Nili<\/p>\n\n\n\n

180<\/p>\n\n\n\n

Ketab-e-Hafteh Through the lens of cinema<\/p>\n\n\n\n

> Hengameh Nahid<\/p>\n\n\n\n

184<\/p>\n\n\n\n

From Ketab-e-Hafteh to imigratiion<\/p>\n\n\n\n

> Meraj Ghanbari<\/p>\n\n\n\n

190<\/p>\n\n\n\n

Small Hafteh exhibition<\/p>\n\n\n\n

> Elnaz Vahid Fathi<\/p>\n\n\n\n

194<\/p>\n\n\n\n

Searching for Ketab-e-Hafteh<\/p>\n\n\n\n

> Farzaneh Ghobadi<\/p>\n\n\n\n

202<\/p>\n\n\n\n

Ketab-e-Hafteh as the fashion of the era. Interview with Ali Asghar Haj Seyedjavadi<\/p>\n\n\n\n

> Fateh Sahba<\/p>\n\n\n\n

208<\/p>\n\n\n\n

Masoud Etemad zadeh, M. A. Beh Azinor the editor of Ketab-e-Hafteh. Interview with Mohammad Ali Amoei<\/p>\n\n\n\n

> Kabootar Arshadi<\/p>\n\n\n\n

214<\/p>\n\n\n\n

Keteb-e-Jom\u2019e proceeding Ketab-e-Hafteh. Interview with A. Pashaei<\/p>\n\n\n\n

> Hossein Ganji<\/p>\n\n\n\n

220<\/p>\n\n\n\n

Cultural twins. Interview with Mohammad Ebrahimian<\/p>\n\n\n\n

> Zeynab Lak<\/p>\n\n\n\n

224<\/p>\n\n\n\n

In a limbo between poetry and picture<\/p>\n\n\n\n

> Ali Alaei<\/p>\n\n\n\n

230<\/p>\n\n\n\n

Blessed be the another beginning<\/p>\n\n\n\n

> Farid Moradi<\/p>\n\n\n\n

238<\/p>\n\n\n\n

Geography of Ketab-e-Hafteh<\/p>\n\n\n\n

> Matin Amiri<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

Ketab-e-Hafteh, The eternal book Ketab-e-Hafteh, The Eternal Book” was the subject of the fifth issue of Angah art and culture magazine. “After fifty and some years, Ketab-e-Hafte is still one of the most pleasant cultural magazines in Iran,” says Arash Tanhai in the editorial. Fateh sahba Writes in the first Article of this issue: \u201c\u201cIn […]<\/p>\n","protected":false},"author":1,"featured_media":2994,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,13,14,6],"_links":{"self":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2760"}],"collection":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/comments?post=2760"}],"version-history":[{"count":1,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2760\/revisions"}],"predecessor-version":[{"id":3010,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2760\/revisions\/3010"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/media\/2994"}],"wp:attachment":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/media?parent=2760"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/categories?post=2760"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/tags?post=2760"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}