{"id":2785,"date":"2021-06-02T18:35:41","date_gmt":"2021-06-02T15:05:41","guid":{"rendered":"http:\/\/www.angahmag.com\/?p=2785"},"modified":"2021-06-29T11:50:55","modified_gmt":"2021-06-29T11:50:55","slug":"issue-12","status":"publish","type":"post","link":"http:\/\/en.angahmag.com\/index.php\/2021\/06\/02\/issue-12\/","title":{"rendered":"Issue 12"},"content":{"rendered":"\n

\u00a0Many faces of Laleh-zar<\/h2>\n\n\n\n

The twelfth issue of Angah magazine was released in the fall of 2020, with the subject “Laleh-Zar Street, The nightingale”.<\/p>\n\n\n\n

\u201cThere is no shared knowledge of laleh-zar, since to have a shared knowledge of something, there must be comprehension, yet laleh-zar is an unknown location\u201d. This issue starts with this sentence. In the opening article, Navid Pourmohammad Reza poses a crucial question to the reader: “Which Laleh-zar?” He argues that the laleh-zar in popular culture, such as movies and novels, and in people’s minds is vastly different than it is now. And it’s because of this discrepancy that admitting the truth is hard.<\/p>\n\n\n\n

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

In an interview with Aida Maftahi, Darioush Asadzadeh believes that the Lahleh-zar of the past is even more intriguing than the Champs-\u00c9lys\u00e9es of Paris. Pirooz Hanachi, the Tehran governor, argues in another interview with Hossein Shahrabi on the significance of manuplicy in having a more cultural and peaceful Laleh-zar with a more appropriate economic model. In an interview with Angah, Bijan Shafei points out that the development of Laleh-zar into an electric store hub is a natural one.<\/p>\n\n\n\n

Laleh-zar has affected literature as well, as Ali Masoudnia explores a few works by well-known Iranian authors and attempts to interpret them. True, the past Laleh-zar was a magnificent, nice-smelling, and stylish Laleh-zar, but the reality remains that Laleh-zar has survivors, who are best defined by Ashkan Gholipour as “sole witnesses of Laleh-zar, crumpled portraits with Infectious wound of memories.”<\/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

Which Laleh-zar?<\/p>\n\n\n\n

> Navid Pourmohammad Reza<\/p>\n\n\n\n

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

Laleh-zar, The eternal spirit, Interview with Darioush Asadzadeh<\/p>\n\n\n\n

> Aida Meftahi<\/p>\n\n\n\n

24<\/p>\n\n\n\n

Background and the time of Laleh-zar, Interview with Bijan Shafei<\/p>\n\n\n\n

> Amirhossein Taheri and Navid Pour Mohammad Reza<\/p>\n\n\n\n

42<\/p>\n\n\n\n

The raree show of Ali Hatami<\/p>\n\n\n\n

> Mohsen Azarm<\/p>\n\n\n\n

50<\/p>\n\n\n\n

Crowded loneliness of a street<\/p>\n\n\n\n

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

58<\/p>\n\n\n\n

A street leading to hell<\/p>\n\n\n\n

> Ali Masoudnia<\/p>\n\n\n\n

68<\/p>\n\n\n\n

Passing Laleh-zar, Interview with Mohsen Godarzi<\/p>\n\n\n\n

> Navid Pourmohammad Reza<\/p>\n\n\n\n

84<\/p>\n\n\n\n

Exiting the pelvis<\/p>\n\n\n\n

> Ali Gholipour<\/p>\n\n\n\n

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

Laleh-zar of Kimiai, Kimiai of Laleh-zar<\/p>\n\n\n\n

> Sina Khazime<\/p>\n\n\n\n

102<\/p>\n\n\n\n

Laleh-zar street in the light of Laleh-zar Garden<\/p>\n\n\n\n

> Hamed ValadKhani<\/p>\n\n\n\n

108<\/p>\n\n\n\n

Dream of the city for Laleh-zar, Interview with Pirooz Hanachi<\/p>\n\n\n\n

> Hossein Shahrabi<\/p>\n\n\n\n

116<\/p>\n\n\n\n

Laleh-zar or Iron city<\/p>\n\n\n\n

> Kamran Adl<\/p>\n\n\n\n

124<\/p>\n\n\n\n

Burned from the lips of candles<\/p>\n\n\n\n

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

138<\/p>\n\n\n\n

I remember<\/p>\n\n\n\n

> Robert Safarian<\/p>\n\n\n\n

144<\/p>\n\n\n\n

Bitter sunset<\/p>\n\n\n\n

> Jalal Tehrani<\/p>\n\n\n\n

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

The Captive<\/p>\n\n\n\n

> Mansour Delrish<\/p>\n\n\n\n

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

Laleh-zar, from Glory to lementation<\/p>\n\n\n\n

> Ebrahim Haghighi<\/p>\n\n\n\n

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

A look at the first Laleh-zar<\/p>\n\n\n\n

> Ahmad Masjed Jamei<\/p>\n\n\n\n

172<\/p>\n\n\n\n

More Laleh-zar, Interview with Alireza Taghaboni<\/p>\n\n\n\n

> Sina Dadkhah<\/p>\n\n\n\n

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

The Slavary shop<\/p>\n\n\n\n

> Aida Moradi Ahani<\/p>\n\n\n\n

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

Mystery of the mansion<\/p>\n\n\n\n

> Milad Daraei<\/p>\n\n\n\n

198<\/p>\n\n\n\n

Laleh-zar inhabitants of Qajar and Pahlavi era<\/p>\n\n\n\n

> Maryam Mirzaei<\/p>\n\n\n\n

204<\/p>\n\n\n\n

Leftovers of Laleh-zar<\/p>\n\n\n\n

> Ashkan Gholipour<\/p>\n\n\n\n

212<\/p>\n\n\n\n

Analyzing the truth from nostalgia<\/p>\n\n\n\n

> Zahra Molouki<\/p>\n\n\n\n

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

A house to lighten up a street<\/p>\n\n\n\n

> Yaser Jaffari<\/p>\n\n\n\n

228<\/p>\n\n\n\n

Laleh-zar of Vartan<\/p>\n\n\n\n

> Banousheh Farhat<\/p>\n\n\n\n

232<\/p>\n\n\n\n

Laleh-zar in garbage<\/p>\n\n\n\n

> Aida Meftahi<\/p>\n\n\n\n

244<\/p>\n\n\n\n

Like Orpheus<\/p>\n\n\n\n

> Sepideh Sami<\/p>\n\n\n\n

246<\/p>\n\n\n\n

Laleh-zar and a little bit more<\/p>\n\n\n\n

> Elham Ahmadpour<\/p>\n\n\n\n

250<\/p>\n\n\n\n

Laleh-zar narrated by paintings and painters<\/p>\n\n\n\n

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

\u00a0Many faces of Laleh-zar The twelfth issue of Angah magazine was released in the fall of 2020, with the subject “Laleh-Zar Street, The nightingale”. \u201cThere is no shared knowledge of laleh-zar, since to have a shared knowledge of something, there must be comprehension, yet laleh-zar is an unknown location\u201d. This issue starts with this sentence. […]<\/p>\n","protected":false},"author":1,"featured_media":2972,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,27,28,6],"_links":{"self":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2785"}],"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=2785"}],"version-history":[{"count":1,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2785\/revisions"}],"predecessor-version":[{"id":2973,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/posts\/2785\/revisions\/2973"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/media\/2972"}],"wp:attachment":[{"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/media?parent=2785"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/categories?post=2785"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/en.angahmag.com\/index.php\/wp-json\/wp\/v2\/tags?post=2785"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}