This article examines the early history of Iranian communism through two Persian translations of The Communist Manifesto (1923 and 1951), situating them within broader debates on Soviet cultural politics, Iranian modernism, and the politics of translation. By analyzing the rhetorical strategies and conceptual vocabularies employed by translators, the study highlights how Persian intellectuals mediated Marxism through local traditions of political thought and literary modernism. The 1923 translation by Sayyid Muhammad Dihgan drew on Perso-Islamic notions of justice and temporality, asserting Iran’s coevalness with the West and aligning Marxist concepts with late Qajar reformist discourse. In contrast, the 1951 Moscow-sponsored translation, produced under the auspices of the Tudeh Party, reflected Cold War cultural rivalries, privileging secular and nationalist vocabularies and erasing Islamic political resonances. Juxtaposing these two translations, the article rethinks Iranian Marxism not as a mere extension of Soviet influence but as a contested field of cultural mediation and conceptual innovation.

El surgimiento de la banca en Hispanoamérica durante la década de 1820 tuvo implicaciones en la estabilidad financiera de los nuevos estados independientes y en los modos con los que los actores económicos locales desarrollaban sus negocios. La aparición de novedosos instrumentos de pago, como billetes y cheques bancarios, habilitó transacciones con base en una infraestructura hasta entonces desconocida localmente. Los cheques permitieron el empleo de depósitos y sobregiros como medios para la concreción de pagos, expresando la emergencia del dinero bancario propiamente dicho. Aplicando el Análisis de Redes Sociales sobre la información del archivo bancario, el presente artículo propone explicar los mecanismos que permitieron la difusión de aquel instrumento, propiciando su admisibilidad en la economía de un Estado naciente.

This article presents an examination of the utilization of a conceptual metaphor that maps the art of poetry onto the craft of lapidary in the works of Niẓāmī Ganjavī (1141–1209), a prominent Persian poet known for his innovative use of poetic imageries and literary devices. This conceptual metaphor, as defined in cognitive linguistics, originates from the Persian cultural context and serves as a tangible way for Niẓāmī to express his abstract ideas regarding poetry’s beauty, elegance, and worth. This study contributes to a more comprehensive understanding of the efficacy of this prevalent metaphorical framework in explicating the art of poetry and its related subjects through close reading and textual analysis of excerpts from Niẓāmī’s works, in which this metaphor operates as an underlying element. Additionally, this examination illuminates some aspects of Niẓāmī’s distinctive literary style. More broadly, relying on Niẓāmī’s poetry, this article delivers a perspective on the literary conventions of medieval Iranian courts, particularly with regard to the perception of poetry and the societal status of those who engaged in poetic production.