Sociopolitical Context

Emphasis on the importance of social-political fabric and its effect on the urbanization and economic system that are aspects of urbanization life is one of the necessities during the Achaemenid Period. This study was conducted based on the deductive-inductive method. First, written sources (clay inscription of Persepolis and classic authors) have been used to achieve general information about the social-political fabric of Fars during Achaemenid Period then archeological evidence remained from the economic system of Achaemenid period in Central Fars was analyzed within this framework. No coin, including Shahi or so-called Satrapy, has been discovered from archaeological excavations in Iran, even. It seems that Achaemenid Empire had no plan for monetary economic development, and coin promotion and use in transactions despite its wide territory and regular discipline. On the contrary, it seems that Darius and his successors considered coin as a political instrument used to convey and show the message of the political and military power of the Achaemenid king at that ear not as a tool for the economic system. Therefore, studies focused on clay inscriptions of Persepolis and evaluated works of authors indicate that the sociopolitical fabric of Iranian society, especially Fars has been traditional and based on agriculture and husbandry during Achaemenid Era. As we know, the city was not shaped during the Achaemenid period despite the presence of urban structures, such as social sophistication, specialism, and the modern administrative system of the ear; therefore, coin use was not institutionalized in the economy of that era.

This article examines the reception and interpretation of Shakespeare’s works in modern-day Iran, beginning with an overview of the Qajar Dynasty (1789–1925) and focusing on Post-Revolutionary Iran. The study aims to illuminate an often-overlooked aspect: a significant shift in attitudes toward Shakespeare’s plays between pre- and post-Revolutionary Iran, shaped by the dominant policies and ideologies of each era. Prior to the 1979 Iranian Revolution, adaptations of Shakespearean works such as Macbeth and Hamlet demonstrated discernible political orientations. In contrast, post-Revolution adaptations, including Tardid and Mortal Wound, adopted a more sophisticated moralistic perspective. This transformation extended not only to thematic content but also to the medium of adaptation. During the pre-Revolution period, Shakespeare’s plays were primarily translated into dramatic performances. However, the post-Revolutionary era saw a shift toward visual adaptations, including cinematic productions and home-video renditions. The contrast between these periods offers insights into Iran’s contemporary outlook, revealing the interplay between historical power structures and the reception of Shakespeare’s works. This study highlights the extent to which prevailing systems of authority shape the acceptance and adaptation of cultural expressions across distinct historical contexts.