Last Scene Underground draws the reader’s attention to the devastating repercussions of the post-1979 revolutionary period for secular people and the upper-middle classes in Iran; the traumatic aftereffects of the 1980–88 Iran-Iraq War; and the 1999 and 2009 student uprisings and their violent quashing by the government. In addition to the theme of postrevolutionary trauma, Varzi explores the lack of artistic freedom and freedom of expression in contemporary Iranian society. Last Scene Underground considers the risks taken by writers, playwrights, directors, and actors as they practice their art in a heavily censored environment where government agents scrutinize every performance and shut most of them down. The story begins with an incident that effectively conveys the atmosphere of fear and oppression in which the protagonists negotiate their everyday lives. Leili, a student at the University of Tehran,waits anxiously to pass through the gates to campus. A long line formsbehind another youngwomanwearing aflamboyant pinkheadscarf who stubbornly refuses the directive to remove her nail polish. A student jokes that the authorities should hurry up and arrest her so that the rest of them can get to their classes.The scene illustrates Iranians’ witty coping strategies, including making light of state attempts to control their attire, comportment, and thoughts. When Leili arrives at her Islamic morals class a few minutes late, she finds herself suddenly compelled to contradict the required answer to a question posed by her professor: “When is it appropriate for a layperson to interpret a spiritual leader’s decrees?” “Leili knows the answer is ‘Never.’ She glances down at her notebook and shifts in her seat. Her chest thumps. She fingers her gold chain, feeling for the delicate cross beneath her shirt. The cross beats back and forth against her chest like an out-of-whack pendulumorfleeting prayer . . . and shewhispers, ‘Always.’ There’s a collective gasp from the room” (5). Instead of

中文翻译：

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地下最后一幕：伊朗的民族志小说

《地下最后一幕》让读者注意到 1979 年后革命时期对伊朗世俗人民和中上层阶级的毁灭性影响；1980-88 年两伊战争的创伤后遗症；以及 1999 年和 2009 年的学生起义以及政府对他们的暴力镇压。除了后革命创伤的主题，瓦尔齐还探讨了当代伊朗社会缺乏艺术自由和言论自由的问题。Last Scene Underground 考虑了作家、剧作家、导演和演员在严格审查的环境中练习艺术时所承担的风险，在这种环境中，政府特工审查每场表演并关闭大部分表演。故事从一个事件开始，该事件有效地传达了主角们在日常生活中谈判的恐惧和压迫气氛。德黑兰大学的学生雷莉焦急地等待着穿过校门进入校园。另一名戴着艳丽粉红头巾的年轻女子身后排起了长队，她固执地拒绝去除指甲油的指令。一名学生开玩笑说，当局应该快点逮捕她，这样其他人才能上课。这一幕展示了伊朗人机智的应对策略，包括轻视国家试图控制他们的着装、举止和思想。当蕾莉迟到几分钟到达她的伊斯兰道德课时，她发现自己突然不得不反驳教授提出的问题的要求答案：“什么时候适合外行来解释精神领袖的法令？” ”雷莉知道答案是'从不。' 她低头看了看自己的笔记本，然后在座位上挪了挪。她的胸口砰砰直跳。她手指着她的金链子，摸着衬衫下面精致的十字架。十字架在她的胸前来回敲打，就像一个不正常的钟摆或短暂的祈祷。. . ”她低声说，“总是。” 房间里传来了集体的喘息声”（5）。代替 ’房间里传来一阵集体的喘息声”（5）。代替 ’房间里传来一阵集体的喘息声”（5）。代替