خرید ایبوک Veil Obsessed

برای دانلود ایبوک Veil Obsessed : Representations in Literature, Art, and Media و خرید کتاب وسواس حجاب: بازنمایی در ادبیات، هنر و رسانه بر روی کلید خرید در انتهای صفحه کلیک کنید. پس از اتصال به درگاه پرداخت هزینه و تکمیل مراحل خرید، لینک دانلود کتاب ایمیل می شود.این ایبوک در فرمت PDF اورجینال به زبان انگلیسی ارسال می شود.نسخه الکترونیکی کتاب قابلیت کپی برداری copy و Paste دارد.

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خرید کتاب Veil Obsessed

دانلود رایگان کتاب Veil Obsessed

Discussions surrounding the veil often run along essentialist and ahistorical lines, associating Islam with oppression, shame, and honor. Contributing to these stereotypes, the media in both the East and the West obsessively condemn or valorize practices of veiling. In Veil Obsessed, Umme Al-wazedi and Afrin Zeenat present a range of essays to complicate and challenge the dialogue around the veil, exploring its symbolic, religious, and cultural significance. Scholars from a variety of fields analyze and critique the use of the veil in literature, film, television, and the fine arts. Considering the multiple perceptions of the veil, this volume shows that the meaning of hijab can be natural or constructed, real or metaphorical, and religious or political, when it is presented through the media, in the teachings of Islam, and in upholding it as a national symbol of a nation-state. There are inherent tensions among the ideas concerning the power of hijab. Does wearing it give agency to women or does it represent oppression, thereby creating and perpetuating stereotypes? How an individual sees their relationship with the self, family and community, and the nation-state dictates their choice of whether to wear the veil. In exploring the wide range of portrayals, the editors pose critical questions about perceptions of the veil and the dangers of ignoring its multiplicity.

دانلود ایبوک وسواس حجاب: بازنمایی در ادبیات، هنر و رسانه

بحث‌های پیرامون حجاب اغلب بر اساس خطوط ذات‌گرایانه و غیرتاریخی پیش می‌رود و اسلام را با ظلم، شرم و ناموس مرتبط می‌داند. رسانه‌ها در شرق و غرب با کمک به این کلیشه‌ها، شیوه‌های حجاب را با وسواس محکوم می‌کنند یا ارزش قائل می‌شوند. ام الواضدی و عفرین زینت در کتاب وسواس حجاب، مجموعه‌ای از مقالات را ارائه می‌کنند تا گفت‌وگو پیرامون حجاب را پیچیده و به چالش بکشند و اهمیت نمادین، مذهبی و فرهنگی آن را بررسی کنند. محققان رشته های مختلف به تحلیل و نقد استفاده از حجاب در ادبیات، سینما، تلویزیون و هنرهای زیبا می پردازند. با توجه به برداشت‌های چندگانه از حجاب، این جلد نشان می‌دهد که معنای حجاب زمانی می‌تواند طبیعی یا ساختنی، واقعی یا استعاری، مذهبی یا سیاسی باشد که از طریق رسانه‌ها، در آموزه‌های اسلام و در حمایت از آن به عنوان نماد ملی یک دولت-ملت مطرح شود. تنش های ذاتی در میان ایده های مربوط به قدرت حجاب وجود دارد. آیا پوشیدن آن به زنان عاملیت می بخشد یا نشان دهنده ظلم است و در نتیجه کلیشه ها را ایجاد و تداوم می بخشد؟ اینکه چگونه یک فرد رابطه خود را با خود، خانواده و جامعه و دولت-ملت می بیند، انتخاب پوشیدن حجاب را به او دیکته می کند. ویراستاران در کاوش در گستره وسیعی از تصویرها، سؤالات انتقادی در مورد برداشت از حجاب و خطرات نادیده گرفتن کثرت آن مطرح می کنند.

فهرست مطالب Veil Obsessed – Al-wazedi

Table of Contents Select all

1. Front Matter (pp. i-vi) Front Matter (pp. i-vi) https://doi.org/10.2307/jj.7994661.1https://www.jstor.org/stable/jj.7994661.1

Table of Contents (pp. vii-viii)

Table of Contents

(pp. vii-viii) https://doi.org/10.2307/jj.7994661.2

Acknowledgments (pp. ix-xii)

Acknowledgments

(pp. ix-xii) https://doi.org/10.2307/jj.7994661.3

Introduction: The Hijab (pp. 1-18)

Introduction: The Hijab

(pp. 1-18)

Umme Al-wazedi and Afrin Zeenathttps://doi.org/10.2307/jj.7994661.4

The ancient and modern history of hijab and its resurgence in our time form an important aspect of the representation of women and Islam in literature, film and television, and the fine arts. Veiling, or hijab, as a practice has existed for thousands of years. Yet in Europe, the United States, and some countries in South Asia, the hijab is often presented through misconceptualizations. The discussions on hijab recurrently run along essentialist and ahistorical lines, associating Islam with ideologies of oppression, shame, and honor. The media in both the East and the West obsessively condemn or valorize practices of hijab….Part 1. Beyond Orientalism and Colonialism : The Lasting Influence of the Colonial Gaze

• 1 Manipulations of the Veil in Victorian Imaginings of The 1001 Nights (pp. 21-37) 1 Manipulations of the Veil in Victorian Imaginings of The 1001 Nights (pp. 21-37) Michael James Lundellhttps://doi.org/10.2307/jj.7994661.5https://www.jstor.org/stable/jj.7994661.5Edward Lane’s description of visiting Egypt for the first time in 1825 is a definitive example of generalized Western apprehensions about the veil. It is a covering for Lane and other Westerners to examine, remove, eroticize, fear, and possibly be charmed by. It is also a representation that can be and has been essentialized and generalized to represent entire countries, cultures, and religions through the lens of Western inspection, with as little input from the people being “studied” as possible. Edward Said’s Orientalism (1978) refers to these methodologies as problematic in their “generalization about ‘the Orient’ [that] drew its power…

2 Unveiling the Colonial Blind Spot in The Battle of Algiers (pp. 38-63)

2 Unveiling the Colonial Blind Spot in The Battle of Algiers

(pp. 38-63)

Abdullah A. Hasanhttps://doi.org/10.2307/jj.7994661.6

The Battle of Algiers, a black-and-white docufiction film by the Italian director Gillo Pontecorvo, received much acclaim for being objective when it was released in 1966 (Solinas 1973, ix). However, despite avoiding explicit political statements, the film deserves acknowledgment for its profound treatment of social and cultural issues in the struggle of decolonization. One of the topics the film adds much needed complexity to is the veil, especially how the veil’s unconventional utilization in the revolution transpires as symptom of the shifting role of women in a society that colonial discourse presents as obstinately backward. The extent to which the…

3 Roots and Routes of the Veil in the Maghreb (pp. 64-74)

3 Roots and Routes of the Veil in the Maghreb

(pp. 64-74)

Rachida Yassinehttps://doi.org/10.2307/jj.7994661.7

Women’s bodies are used everywhere to symbolize and project collective ideals. Perhaps nowhere has this been more the case than in the Maghreb, where women’s bodies, women’s dress, women’s presence in particular spaces have always been used as a way of characterizing a host of moral, political, and religious notions. Both Eurocentric and Islamocentric discourses on Maghrebi Muslim women seem to be framed by the dichotomy between Islamic tradition and Western modernity. In the former discourse, the Muslim woman is victimized by Islamic tradition and can be liberated only through the magical act of removing the veil. The latter is…

Part 2. Immigrant Women and the Veil in Fiction : Patriarchy, Negotiations, and Agency

• 4 Fictionizing the Veil: Patriarchy, Matriarchy, and Jihad in Fadia Faqir’s Willow Trees Don’t Weep (pp. 77-88) 4 Fictionizing the Veil: Patriarchy, Matriarchy, and Jihad in Fadia Faqir’s Willow Trees Don’t Weep (pp. 77-88) Dallel Sarnouhttps://doi.org/10.2307/jj.7994661.8https://www.jstor.org/stable/jj.7994661.8The terrorist attacks on the Twin Towers and the Pentagon on September 11, 2001, were a turning point in the history of the United States of America. The event was also a major climacteric for Arabs and hyphenated people of Arabic origins, who have witnessed a terrifying rise in phobia since this event, often the outcome of a biased misrepresentation of Arabs and Muslims. Muslim and Arab women in particular can be considered a main target of anti-Arab and anti-Muslim expression. The latest bans on wearing the burka (face veil), the headscarf, and the burkini (Islamic swimsuit for women) have…

Part 3. Television and the Veil : Reinforcement of the Veil

• 5 Veiling and Ideology: The Islamic State’s Use of Iranian TV Series to Propagate Its Gender Ideals through Veiling (pp. 91-108) 5 Veiling and Ideology: The Islamic State’s Use of Iranian TV Series to Propagate Its Gender Ideals through Veiling (pp. 91-108) Cherie Taraghihttps://doi.org/10.2307/jj.7994661.9https://www.jstor.org/stable/jj.7994661.9Compulsory veiling has been enforced in Iran since 1980. Within the borders of the country, no female, regardless of nationality, creed, or religion, is permitted to enter a public space without covering her head and body. As an issue, compulsory veiling has been controversial since the very first days of the revolution. It is a staunch and extremely symbolic aspect of state ideology, a signature cultural issue that is an essential part of the regime’s identity. As such, veiling itself cannot be easily questioned, but the significance of the various types of veiling that have emerged over the years since…

Part 4. Cinema and the Veil : Dismantling the Master Narrative

• 6 Representations of Veiling in Bollywood Cinema (pp. 111-143) 6 Representations of Veiling in Bollywood Cinema (pp. 111-143) Nishat Haiderhttps://doi.org/10.2307/jj.7994661.10https://www.jstor.org/stable/jj.7994661.10Foregrounding the frames of veiled women in Bollywood cinema, this chapter examines the ways in which these frames dominate and seduce by investing power in the signifier, trope, and description of veiling unveiling reveiling in films. The trope of the veiled woman is so powerful a motif that, as Meyda Yegenoglu argues, There is always more to the veil than the veil (qtd. in Lewis and Mills 2003, 14). Though often dialogized on the screen as a signifier that silences Muslim women’s sexuality, the veil also represents a liberating force, a recovery of the female space, a reclamation of the…

7 Veiled Anxieties in Mani Ratnam’s Bombay (pp. 144-164)

7 Veiled Anxieties in Mani Ratnam’s Bombay

(pp. 144-164)

Afrin Zeenathttps://doi.org/10.2307/jj.7994661.11

The practice of veiling is, in reality, not unique to Islam or to Muslims but has been carried out in various religions and cultures since the very beginning of human civilization. In India, the purdah system, a form of veiling and segregation of women that limits women’s movement, was practiced by both Hindu and Muslim elite women since colonial days. The short story “Sultana’s Dream” (1905) by Begum Rokeya Sakhawat Hossain subverts the prevalent practice through her portrayal of a fictional Ladyland, where the practice of purdah (veiling) enforced by Muslim patriarchs is questioned. Loaded with revolutionary potential, Hossain’s avant-garde…

Part 5. Toward a New Discourse : Who Creates the Image?

• 8 The Enduring Controversy over Veiling in Western Europe Today (pp. 167-180) 8 The Enduring Controversy over Veiling in Western Europe Today (pp. 167-180) Sahar Amer and Martine Antlehttps://doi.org/10.2307/jj.7994661.12https://www.jstor.org/stable/jj.7994661.12Veiling for Muslims living in western Europe today remains challenging and poses the question of individual freedom to practice one’s religion. If you are a Muslim woman living in France, for example, and you wear any sort of face covering or veil, you have no chance of being employed in the public sphere or government sector. If you are a schoolgirl in France, and you decide to adopt the hijab, you must essentially forfeit your education. And if perchance you happen to be a Muslim who wears the niqab, the face-covering veil, you are not allowed to be in public…

9 The Veil in Public Space: Critique, Participation, Citizenship (pp. 181-204)

9 The Veil in Public Space: Critique, Participation, Citizenship

(pp. 181-204)

Joseph L. V. Donicahttps://doi.org/10.2307/jj.7994661.13

The Muslim feminist poet Mohja Kahf writes in the poem “My Body Is Not Your Battle Ground,” “My hair will not bring progress and clean water … nor will it save us from our attackers” (qtd. in Layton 2010, 105). In Kahf’s poem, the concern over wearing or not wearing the veil is a reductive focus in the discussion of the role of the veil in public life. The veil’s role in public life has come under well-documented attacks about what exactly it symbolizes and who should be able to wear it. Broader, public conceptions of the veil have been…

Contributor Biographies (pp. 207-210)

Contributor Biographies

(pp. 207-210) https://doi.org/10.2307/jj.7994661.14

Index (pp. 211-221)

Index

(pp. 211-221) https://doi.org/10.2307/jj.7994661.15

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