Representing Middle Eastern Women: Feminism and Colonial Discourse

Schi̇ck, İrvi̇n Cemi̇l; Graham‐Brown, Sarah; Alloula, Malek; Kabbani, Rana

doi:10.2307/3177854

Cited by 20 publications

(5 citation statements)

References 2 publications

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“…To keep difference from becoming mere division, she believes indigenous scholars must take on a double burden. They must work toward an epistemological break with the prevailing paradigm while also reevaluating the structure of gender relations in their own societies (Lazreg, 1988; also see Schick, 1990;Spivak, 1990).…”

Section: Feminism/postmodernismmentioning

confidence: 99%

Who is the ‘Other‘?: A Postmodern Feminist Critique of Women and Development Theory and Practice

Parpart

1993

Development and Change

121

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In the last decade poststructural and postmodern critiques have increasingly dominated the world of scholarship. The grand theories of the past have been called into question; universals have been overtaken by particularities and difference. Feminist scholars have reacted to postmodernism in a number of ways. Some reject it outright, while others call for a synthesis of feminist and postmodern approaches. Many scholars and activists concerned with Third World issues, especially poverty and development, have rejected both feminism and postmodernism, dismissing them as First World preoccupations, if not indulgences. This article seeks to explore the relevance of postmodern feminism for Third World problems and analysis, particularly its utility for theorists and practitioners concerned with issues of women and development.

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Section: Feminism/postmodernismmentioning

confidence: 99%

Who is the ‘Other‘?: A Postmodern Feminist Critique of Women and Development Theory and Practice

Parpart

1993

Development and Change

121

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“…One reason frequently cited by scholars for the unveiling movement was the imported values of Western colonialists who controlled much of the Middle East prior to World War II. Schick, (1990) stated that since the colonial powers viewed the niqab as a sign of backwardness and oppression, they encouraged women to remove the veil. As veiled women became more familiar with European ideas, unveiling became "ever more clearly the symbol of an era of new hopes and desires, and of aspirations of modernity" (Ahmed, 2011).…”

Section: Current Controversy About Niqabmentioning

confidence: 99%

Misconception of Islamic Apparel, Niqab: A Phenomenological Approach

Chowdhury

Elmetwally

Bakar

2017

JKMJC

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Communication is a social process in which individuals use symbols to establish and interpret meaning in their environment. Artifact is a valuable source of communication in our historical and everyday life. The Islamic artifacts use in daily life constantly support or contradict our beliefs, values and self identities. Muslim communities have traced the authenticity and legitimacy their customary practices of Islamic attire by the guidance of the Quran and Hadith. The purpose of this qualitative study is to examine and explore the meanings, structures and the essence of the perceived experience of Muslim niqab wearing women within a phenomenological manner. Niqab wearing is women's individual choice and empowerment, and its expression is Islamic identity. Now a days niqab wearing is controversial issue due to misunderstanding among Muslim and non-Muslim community. The goal of this study is to investigate a detailed and comprehensive understanding of the Islamic concept of niqab wearing women. The expected result of this research will contribute to a critical discussion on the rationale of controversy of niqab wearing, especially in the perspective of abuse, and justify women's right in context of Islamic culture based on Quranic obligation that will not create political and cultural discrimination in the society.

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“…Thus, in countries such as Saudi Arabia, Egypt, Morocco, or Iran, the style of veil -or the type of fabrics out of which the veil is made -constitutes a visible marker of rank, social status, or ideological affiliation (El Guindi, 1999). Furthermore, the veil might additionally be imbued with aesthetic and erotic connotations (Schick, 1990), something that bears comparison to what occurs with high heels or the corset in Western culture. In contrast to those visions that regard the veil as an element that eroticizes the female body, for other factions of the Muslim female population, the practice of hijab entails a vindication against the objectification of women's bodies.…”

Section: Introductionmentioning

confidence: 99%

The politics of hijab in Monica Ali’s Brick Lane

Pereira-Ares

2013

The Journal of Commonwealth Literature

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In Brick Lane, Monica Ali problematizes the practice of hijab both implicitly and explicitly. To this end, the British Bangladeshi writer does not simply open the discussion within the fictional world of the novel. She also creates a series of characters whose dressed bodies silently project a broad spectrum of attitudes towards hijab, attitudes that range from the rejection to the ardent celebration of such a practice. Relying on socio-cultural studies on the subject, the present contribution intends to examine the politics of hijab as represented in Brick Lane, demonstrating how the novel fictionalizes many of the competing discourses which have surrounded the question of hijab in recent decades.

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Representing Middle Eastern Women: Feminism and Colonial Discourse

Cited by 20 publications

References 2 publications

Who is the ‘Other‘?: A Postmodern Feminist Critique of Women and Development Theory and Practice

Who is the ‘Other‘?: A Postmodern Feminist Critique of Women and Development Theory and Practice

Misconception of Islamic Apparel, Niqab: A Phenomenological Approach

The politics of hijab in Monica Ali’s Brick Lane

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