DOCSLIB.ORG

Afghan-Girls.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Afghan-Girls.Pdf Thema 2 Inter-persoonlijk functioneren: Twee kunstwerken presenteren Voor deze opdracht heb ik 2 foto’s van Afghaanse meisjes gekozen. Beide kijken ze je doordringend aan en zie je veel emotie en leed. Als ik deze afbeeldingen zie dan denk ik aan hoe goed wij het hebben. Hoe blij wij mogen zijn dat we naar school mogen en kunnen. Nu heb ik het erg druk met school en mijn dochtertje van 1 jaar oud. Maar als ik deze beelden zie dan denk ik, wat klagen we nu? We razen maar voorbij en staan te weinig stil bij de dingen die we zo gewoon vinden. Af en toe moeten we met onze neus op de feiten gedrukt worden om dit te zien. Als docent zou ik hier iets mee kunnen doen in bijvoorbeeld een opdracht. Om leerlingen stil te laten staan bij de dingen die ze maar heel normaal vinden. Afghan Girl Sharbat Gula Het Afghaanse meisje is op de foto een jaar of 13. Door een aanval op haar dorp van Russische gevechtshelikopters verloor ze haar beide ouders. Met haar grootmoeder en andere gezinsleden vluchtte ze te voet naar Pakistan waar ze in een vluchtelingenkamp terecht kwam. Steve McCurry maakte de bekende foto van haar bij het schooltje van dat vluchtelingenkamp. In 1985 verscheen de foto op de cover van de National Geographic. Het is haast onmogelijk om Afghaanse vrouwen te fotograferen zonder dat hun gezicht bedekt is. De indringende groene ogen die je recht van voren aankijken kregen wereldwijd bekendheid als ‘Afghan Girl’. De foto stond symbool voor de ellendige omstandigheden van vluchtelingen en voor de Afghaanse oorlog. Afghanistan was vrijwel afgesloten van de westerse media door het Taliban-regiem. Dit droeg er aan bij dat we jarenlang niet wisten wie dit meisje was. Steve McCurry had inmiddels al 10 jaar naar haar gezocht maar haar niet kunnen vinden. Een aantal vrouwen beweerde dat zij het meisje waren en er waren mannen die beweerde met haar getrouwd te zijn. Uiteindelijk werd ze gevonden toen ze een jaar of 30 was. Ze heet Sharbat Gula, was getrouwd en had inmiddels 3 dochters. Door vergelijking met de irissen werd dit vast gesteld. Ze kon zich die ene keer dat ze gefotografeerd was nog goed herinneren maar ze had geen idee van de wereldwijde impact van haar portret. Voor het maken van de 2e foto moest eerst worden ingepraat op haar broer en haar man. Haar contact met mannen is zeer beperkt. Normaal leeft ze volgens de islamitische wet, met bedekt gelaat. Ze was trots dat ze het symbool was geworden van de veerkracht van haar volk. Daardoor gaf ze toestemming voor het 2e portret. Uiteindelijk volgde er nog een coverstory en een televisiedocumentaire van haar. Ook werd er een fonds opgericht die zich inzet voor de opleidingen van Afghaanse meisjes. Waarnemingsaspecten, vorm/kleur/lijn/compositie/licht/textuur/structuur Haar ogen kijken je indringend en veelzeggend aan. Je ziet de angst in haar ogen. De achtergrond heeft dezelfde kleur als haar irissen. De rode doek omlijst haar gezicht. De fotograaf Steve McCurry maakt gebruik van het natuurlijke licht, geen flitser. Waardoor er mooie zachte schaduwen in haar gezicht te zien zijn. De structuur van de doek om haar hoofd is goed te zien. Het is bijna alsof ze recht tegenover je zit en je recht aan kijkt. Context, Biografie, maatschappelijke context Steve McCurry is een Amerikaanse fotojournalist. Hij begon tijdens de Russische bezetting van Afghanistan, daarvoor trok hij inheemse kleding aan en verstopte fotorolletjes in de zomen. De foto stond symbool voor de ellendige omstandigheden van vluchtelingen en voor de Afghaanse oorlog. Expressie, wat wilde de fotograaf ermee zeggen? Hij wilde laten zien wat de gevolgen zijn van de oorlog en de ellendige omstandigheden van vluchtelingen. Vooral de impact op de onschuldige burgers. Interpretatie, Hoe beleef ik het, wat zegt het over mij? De angstige blik in haar ogen roept emoties op. Je leeft met haar mee zodra je in die groene ogen kijkt. Het zegt iets over het leed in de wereld door onder andere oorlogen. Hoe blij we mogen zijn dat we hier niet constant in angst hoeven te leven. Afghan Girl Bibi Aisha Het 16-jarige meisje Bibi Aisha werd uit haar huis gesleept en gestraft door de Taliban omdat ze weggelopen was bij haar aanstaande man. Ze werd omsingeld door mannen die haar hoofd naar voren hielden. Ze sneden haar neus en oren af. Ze verloor haar bewustzijn en stikte bijna in haar bloed. Ze werd voor dood achtergelaten. Ze wist naar het huis van haar oom te kruipen maar hij weigerde om haar te helpen. Uiteindelijk werd ze door Amerikaanse militairen geholpen en mee naar Amerika genomen. Ze was met haar 12e uitgehuwelijkt aan deze man die haar mishandelde en in de stal bij de dieren liet slapen. In Amerika kreeg ze in eerste instantie een neusprothese zoals ook in films worden gebruikt. Bibi heeft al een beetje Amerikaans leren spreken en heeft al vele Amerikaanse beroemdheden ontmoet. Ze heeft een operatie voor een permanente neus aangeboden gekregen en verblijft in een gastgezin. Ze zijn bang dat haar zus het zelfde lot begaat. Waarnemingsaspecten, vorm/kleur/lijn/compositie/licht/textuur/structuur Ze kijkt een beetje voorzichtig vanuit haar ooghoeken naar je. Alsof ze je niet vertrouwd. Haar paarse sluier hangt beschermend om haar heen. Het lijkt wel of ze zicht daar een beetje achter verschuilt. Of dat ze zich niet op haar gemak voelt omdat we haar afgesneden neus kunnen zien. De effen achtergrond zorgt ervoor dat we niet afgeleid worden van het portret. Context, biografie, maatschappelijke context Het is een ‘World press foto’ in 2011, genomen door de Zuid-Afrikaanse Jodie Bieber. Het laat ons zien hoe meedogenloos de Taliban te werk gaat. De Taliban wilde door het afsnijden van haar neus en oren, laten zien wat er met je gebeurd als je niet aan hen gehoorzaamt. Als ze niet naar haar land terugkeert, komen de daders vrij. Er is nu voor de politie te weinig bewijs dat er een misdaad is gepleegd. Ze moet gaan bewijzen dat haar neus en oren zijn afgesneden. Expressie, wat wilde de fotograaf ermee zeggen? Dat je volgens het geloof van de Taliban moet leven en er naar gehoorzamen anders kan dit ernstige gevolgen hebben, desnoods met de dood tot gevolg. Interpretatie, Hoe beleef ik het, wat zegt het over mij? Het feit dat haar neus ontbreekt, komt shockerend en akelig over. Je vraagt je direct af wat het verhaal er achter is. Onvoorstelbaar dat mensen elkaar zoiets aan kunnen doen. Het feit dat haar eigen oom haar niet eens wilde helpen zegt hoe bang de mensen zijn voor de gevolgen van de Taliban Feedbackformulier presentatie-technieken NAAM STUDENT: Mariska Gerritsen DOELGROEP PRESENTATIE: Deze les zullen jullie je powerpointpresentatie presenteren aan medestudenten. Aan de hand van dit formulier kunnen jullie elkaar feedback geven m.b.t. presentatievaardigehden. Taalgebruik (mondeling & schriftelijk): Goed verstaanbaar en duidelijk. Expressie & oogcontact: Ik keek veel naar de foto’s maar af en toe keek je ook naar de groep. Stemgebruik & intonatie: Ik schijn eentonig te praten maar daar was niet iedereen het mee eens. Het is een puntje waar ik op kan letten. Lichaamstaal & gebaren: Niet veel maar genoeg lichaamstaal. Interactiviteit: Door oogcontact te maken met de groep. Inspelen op de doelgroep: Het is heel toegankelijke tekst. Goed te begrijpen. Overige feedback: Ik vind zelf dat ik erg zenuwachtig was. .
Load more

Recommended publications
  • Celebration and Rescue: Mass Media Portrayals of Malala Yousafzai As Muslim Woman Activist
    Celebration and Rescue: Mass Media Portrayals of Malala Yousafzai as Muslim Woman Activist A Thesis Submitted to the Faculty of Drexel University by Wajeeha Ameen Choudhary in partial fulfillment of the Requirements for the degree of Doctor of Philosophy November 2016 ii iii Dedication To Allah – my life is a culmination of prayers fulfilled iv Acknowledgements This dissertation would not have possible without the love and support of my parents Shoukat and Zaheera Choudhary, my husband Ahmad Malik, and my siblings Zaheer Choudhary, Aleem Choudhary, and Sumera Ahmad – all of whom weathered the many highs and lows of the thesis process. They are my shoulder to lean on and the first to share in the accomplishments they helped me achieve. My dissertation committee: Dr. Brent Luvaas and Dr. Ernest Hakanen for their continued support and feedback; Dr. Evelyn Alsultany for her direction and enthusiasm from many miles away; and Dr. Alison Novak for her encouragement and friendship. Finally, my advisor and committee chair Dr. Rachel R. Reynolds whose unfailing guidance and faith in my ability shaped me into the scholar I am today. v Table of Contents ABSTRACT ……………………..........................................................................................................vii 1. INTRODUCTION AND LITERATURE REVIEW...………….……………………………………1 1.1 Introduction ………………………………………………………………………………………...1 1.1.1 Brief Profile of Malala Yousafzai ……….………...…………...………………………………...4 1.2 Literature Review ………………………………………………………………………………….4 1.2.1 Visuality, Reading Visual
    [Show full text]
  • Gender and the Violence(S) of War and Armed Conflict EMERALD STUDIES in CRIMINOLOGY, FEMINISM and SOCIAL CHANGE
    Gender and the Violence(s) of War and Armed Conflict EMERALD STUDIES IN CRIMINOLOGY, FEMINISM AND SOCIAL CHANGE Series Editors Sandra Walklate, School of Social Sciences, Monash University, Australia. Kate Fitz-Gibbon, School of Social Sciences at Monash University and Monash Gender and Family Violence Prevention Centre, Australia. Jude McCulloch, Monash University and Monash Gender and Family Violence Prevention Centre, Australia. JaneMaree Maher, Centre for Women’s Studies and Gender Research, Sociology, Monash University, Australia. Emerald Studies in Criminology, Feminism and Social Change offers a platform for innovative, engaged, and forward-looking feminist-informed work to explore the interconnections between social change and the capacity of criminology to grap- ple with the implications of such change. Social change, whether as a result of the movement of peoples, the impact of new technologies, the potential consequences of climate change, or more commonly identified features of changing societies, such as ageing populations, inter-genera- tional conflict, the changing nature of work, increasing awareness of the problem of gendered violence(s), and/or changing economic and political context, takes its toll across the globe in infinitely more nuanced and inter-connected ways than previously imagined. Each of these connections carry implications for what is understood as crime, the criminal, the victim of crime and the capacity of criminology as a disci- pline to make sense of these evolving interconnections. Feminist analysis, despite its contentious relationship with the discipline of criminology, has much to offer in strengthening the discipline to better understand the complexity of the world in the twenty-first century and to scan the horizon for emerging, possible or likely futures.
    [Show full text]
  • Steve Mccurry
    Steve McCurry One of Today’s Most Outstanding Photographers Topics Steve McCurry is an American War photojournalist best known for his What he offers you photograph, Afghan Girl that Featured in magazines around the Afghanistan originally appeared in the National globe, Steve McCurry is a master Geographic magazine. photographer who has produced Poverty Throughout his distinguished many of the world’s iconic images, career he has continued to cover having endured countless Religion international conflicts, including situations of grave danger. Driven the Iran-Iraq war, Beirut, by an innate curiosity and sense Happiness Cambodia, the Philippines, the of wonder about the world and Gulf War, and Afghanistan. His everyone in it, he shares vivid and Children and Women work has been featured worldwide thought-provoking insights into his in magazines and he is a frequent uncanny ability to cross USA 11/9 contributor to National boundaries of language and Geographic. He has twice been culture to capture stories of awarded the World Press Photo human experience. Award, which has come to be regarded as the most prestigious How he presents Publications international award for One of today’s finest image photojournalism in the world. makers, Steve McCurry’s high content presentations bring you 2009 Afghan Girl was named as "the closer to this man of exceptional most recognized photograph" in courage who has achieved The Unguarded Moment the history of the National memorable and moving work, 2007 Geographic magazine including a modern Mona Lisa In the Shadow of Mountains In detail (Afghan Girl). 2006 Steve McCurry began studying film Looking East history cinematography and Languages filmmaking at Penn State in 1968, He presents in English.
    [Show full text]
  • Steve Mccurry ’74
    Steve McCurry ’74 Steve McCurry is quite simply one of the finest, most highly regarded photographers in the world. He graduated from the College of Arts and Architecture with a B.A. cum laude in cinematography, whereupon he joined a newspaper. After two years he set out for India to freelance and begin his career in earnest. Spending the majority of his time in Southeast Asia, McCurry supported himself through his freelance work for a number of years. However, it was his photographs of rebel-controlled Afghanistan just before the Russian invasion in the 1980s that brought him to world attention. Disguised in native garb and pretending to be mute, McCurry crossed the Pakistan border into Afghanistan to emerge into safety later with rolls of film sewn into his clothes—film that, because it contained compelling images that were among the first of the conflict, was quickly published worldwide. His coverage won the Robert Capa Gold Medal for Best Photographic Reporting from Abroad—an award dedicated to photographers exhibiting exceptional courage and enterprise. Since then, McCurry has covered many areas of international and civil conflict, including Beirut, Cambodia, the Philippines, the Gulf War, the Iran-Iraq war, and the disintegration of the former Yugoslavia. McCurry’s images of the devastation of the World Trade Center in 2001 are considered standouts in the documentation of that attack. Says McCurry, “Most of my photos are grounded in people. I look for the unguarded moment, the essential soul peeking out, experience etched on a person’s face. I try to convey what it is like to be that person—a person caught in a broader landscape that I guess you’d call the human condition.” Throughout his career he has put himself at risk to record images of every major conflict of the last twenty years: he has been arrested and chained in Pakistan, survived a plane crash in Yugoslavia, was beaten and nearly drowned in India by crowds at a religious festival, and was nearly killed by a Mujahadeen faction.
    [Show full text]
  • Educator Resource Guide Table of Contents
    © JOEL SARTORE EDUCATOR RESOURCE GUIDE TABLE OF CONTENTS THE ANNENBERG SPACE FOR PHOTOGRAPHY 03 HISTORy • EXHIBITs • DeSIGN 04 FeATURES WITHIN THE SPACE THE CURRENT EXHIBIT: THE POWER OF PHOTOGRAPHY: NATIONAL geOGRAPHIC 125 YEARS 05 Age ReCOMMENDATION • OVERVIEW 06 BIOGRAPHIES OF THE FeATURED ARTISTS EDUCATOR ReSOURCE GUIDE 08 PRE-VISIT ACTIVITIES 14 EXHIBITION ACTIVITY 16 POST-VISIT REFLECTIVE QUESTIONS © 2009 JULIUS SHULMAN & JUERGEN NOGAI 18 ADDITIONAL RESOURCES FROM ANNENBERG LEARNER 23 PHOTO CREDITS 02 THE ANNENBERG SPACE FOR PHOTOGRAPHY HISTORY • EXHIBITS • DESIGN HISTORY The Annenberg Space for Photography opened to the public on March 27, 2009. It is the first solely photographic cultural destination in the Los Angeles area. The Photography Space is an initiative of the Annenberg Foundation and its board of directors. Its creation builds upon the Foundation’s long history of supporting visual arts. EXHIBITS The Annenberg Space for Photography does not maintain a permanent collection of photographs; instead, exhibitions change every four to six months. The content of each show varies and appeals to a wide variety of audiences. DESIGN The interior of the Space is influenced by the mechanics of a camera and its lens. The central, circular Digital Gallery is contained within the square building much as a convex lens is contained within a camera. The Digital Gallery’s ceiling features an iris-like design reminiscent of the aperture of a lens. The aperture design also enhances the Gallery’s acoustics. The Print Gallery curves around the Digital Gallery, representing the way film scrolls within a camera. The curvature of the ceiling line in the Print Gallery mimics the design of a film canister.
    [Show full text]
  • Aestheticization of Asia in Documentary Photographs
    THE ART OF DOCUMENTARY PHOTOGRAPHY: Aestheticization of Asia in Documentary Photographs Silvia Genovese MASTER DISSERTATION Submitted for the degree of Master in Asian Studies Specialization in South Asian Studies Leiden University, Leiden, The Netherlands, 2017. Supervisor: Sanjukta Sunderason i ABSTRACT The purpose of this research is to show how Asian countries appear to be aestheticized in documentary photographs, often considered as reliable evidence of reality, and to understand to what extent this is influencing the knowledge “Western” countries have on Asia. Starting from the analysis of current theories on photography and art, I will see how they can be applied to documentary photography, regarded as a practice that only aims at informing the public. Then, tracing back to colonial photography, I will show how documentary photography appears to present an aesthetic of its own, which has had a fundamental role in the structuring and circulation of fantasies, sentiments and ideas between “Western” countries and Asia. Besides, I will determine to what extent this aestheticization of Asian countries has been fostered by contemporary magazines, such as National Geographic. Finally, through the analysis of some of the most iconic images by the documentary photographer Steve McCurry, I wish to show how in the name of artistry, the documentary practice is failing in providing the viewer with visual documents. ii To Americo and Enza iii ACKNOWLEDGEMENTS First, I would like to thank my supervisor Sanjukta Sunderason for giving me the opportunity to combine photography and Asia, two things I am interested in personally. Thank you for your support through fruitful and inspiring discussions that helped me in exploring new avenues.
    [Show full text]
  • For Immediate Release Famed Photographer Steve Mccurry Brings Iconic Photos to Sundaram Tagore Singapore
    FOR IMMEDIATE RELEASE FAMED PHOTOGRAPHER STEVE MCCURRY BRINGS ICONIC PHOTOS TO SUNDARAM TAGORE SINGAPORE EXHIBITION TITLE: Steve McCurry: The Iconic Photographs EXHIBITION DATES: January 16 to February 21, 2016 PRESS PREVIEW: Friday, January 15, 5 to 6 pm VIP PRIVATE PREVIEW WITH THE ARTIST: Friday, January 15, 6 to 9 pm VERNISSAGE DURING ART AFTER DARK: Friday, January 22, 6 to 9 pm VENUE: Gillman Barracks CONTACT US: +65 6694 3378 / [email protected] A young monk runs along the wall over his peers at the Shaolin Monastery in Henan Province, China, 2004, ultrachrome print, 40 x 60 inches/101.6 x 152.4 cm; © Steve McCurry Singapore, December 1, 2015–Sundaram Tagore Singapore is pleased to announce an exhibition of iconic images by world-renowned photographer Steve McCurry. Best known for his evocative color images, the American photographer specially selected fifty-three photographs for this exhibition, including images from Afghanistan, Burma, China, Thailand, Pakistan, Turkey, Tibet and Sri Lanka, as well as a large body of work from India. The images, many of which have become modern icons, span more than thirty years his career. Steve McCurry was born in 1950 in a suburb of Philadelphia, Pennsylvania. He studied film at Pennsylvania State University and after graduating cum laude he worked as a photojournalist for a local newspaper. Upon visiting India in 1978, the first of countless visits, McCurry embarked on what were to become the formative years of his astonishing career. As the Soviet-Afghan war commenced and Western journalists were prohibited from entering Afghanistan, McCurry crossed the border from Pakistan.
    [Show full text]
  • From Sydney Smith
    from Sydney Smith < > to date Wed, Sep 1, 2010 at 1:51 PM hide details Sep 1 subject MEDIA INQUIRY - Aisha / Nazia Blog mailed-by gmail.com Dear Mr. Hairan, I am a reporter for media ethics news website StinkyJournalism.org (See more about us below my signature). I read your story on your blog and Huffington Post about Time and CNN's Aisha and had a few questions for a report on our site. 1. Have you confronted CNN or Time directly? Have you had any contact with them? 2. Have you had any direct comment with the woman Nazia/Aisha since the CNN and Time covers? 3. Do you have any other comments regarding your claims the story is fake? Have you had any support in your claims? Thank you very much for your time. Regards, Sydney Smith, reporter As background : Art Science Research Laboratory, www.asrlab.org , a not-for-profit, co-founded by Rhonda Roland Shearer, adjunct lecturer at the School of Journalism and Mass Communication, University of Iowa, and her late husband, Harvard professor and scientist, Stephen Jay Gould. ASRL is a non-partisan journalism ethics program in which students and young journalists work with professional researchers to promote the media's use of scientific methods and experts before publication. We also publish investigations of factual errors and ethical breaches by media outlets, www.StinkyJournalism.org . Alexa ranks StinkyJournalism.org in the Top 20 most visited news media watchdogs. (In context, Columbia Journalism Review is ranked 3rd- 4th on list). from Abdulhadi Hairan < to Sydney Smith < > date Thu, Sep 2, 2010 at 10:17 AM hide details Sep 2 subject Re: MEDIA INQUIRY - Aisha / Nazia Blog mailed-by gmail.com signed-by gmail.com Dear Sydney, Thank you for your email and the questiosn as well for your interest in the story.
    [Show full text]
  • The UK's Foreign Policy Towards Afghanistan and Pakistan
    1 House of Commons Foreign Affairs Committee The UK’s Foreign Policy towards Afghanistan and Pakistan Written Evidence This is a volume of submissions, relevant to the inquiry ‘The UK’s Foreign Policy towards Afghanistan and Pakistan’, which have been reported to the House. Only those submissions written specifically for the Committee have been included. 2 List of written evidence 1 Foreign and Commonwealth Office 3 2 The Henry Jackson Society 73 3 Christian Aid 84 4 Oxfam GB 88 5 British and Irish Agencies Afghanistan Group (BAAG) 100 6 James Fergusson, author and journalist 109 7 Matt Waldman, independent Afghanistan analyst 114 8 Gerard Russell MBE, Research Fellow, Harvard Kennedy School’s Carr Center for Human Rights Policy 124 9 Dr Sajjan M. Gohel, International Security Director, Asia-Pacific Foundation 130 10 Professor Sultan Barakat & Mr Steven A. Zyck, Post-war Reconstruction & Development Unit, University of York 175 11 Professor Philip M. Taylor, University of Leeds 183 12 Andrew Watt 187 13 Chris Coverdale, Campaign to Make Wars History 194 14 BBC World Service 205 15 Professor Shaun Gregory 213 16 Roman Solodchenko 217 17 Correspondence between the Chair and the Prime Minister 221 18 Supplementary written evidence from Sir Sherard Cowper-Coles KCMG LVO 222 3 Written Evidence from the Foreign and Commonwealth Office SUMMARY Why Afghanistan and Pakistan Matter to UK Interests 1. Afghanistan and Pakistan are this Government’s top priorities in Foreign Affairs. Violent extremism in both countries poses a threat to UK interests and to regional stability and claims the lives of thousands of civilians and security personnel.
    [Show full text]
  • Pdfs/Ai Informe Do- Nes 2011.Pdf] AL-ALI, Nadje Y PRATT, Nicola (2010): What Kind of Liberation? Women and the Occu- Pation of Iraq
    Debajo del burka. Discursos visuales sobre las múltiples formas de violencia ejercidas sobre las mujeres afganas Beneath the burqa. Visual representations about Violence against Afghan Women Esmeralda Ballesteros Doncel Universidad Complutense de Madrid [email protected] Recibido el 5 de febrero de 2014. Aceptado el 6 de octubre de 2014. BIBLID [1134-6396(2015)22:1; 157-187] RESUMEN En Afganistán las personas del sexo femenino son diana de múltiples formas de violencia, en los ámbitos privado y público. En este artículo se examinan, mediante discursos visuales, algunas de las formas de agresión de que son objeto mujeres y niñas en aquel territorio. Los reportajes fotográficos de cinco profesionales constituyen la base documental de este análisis para aproximar una realidad tan dramática como desconocida. Las instantáneas capturadas por las cámaras de Bronstein, Mattews, McCurry, Sánchez y Wahidy proyectan, desde distintas gramáticas, los problemas de inequidad que soportan las afganas en todo su ciclo vital. Esta aportación empírica apuesta por la observación virtual de representaciones visuales como una estrategia analítica que puede ser incorporada a nuestras prácticas investigadoras, enriqueciendo los procesos de análisis de la realidad social y política en la sociedad internacional. Palabras clave: Mujeres afganas. Sociología Visual. Violencia de género. Fotografía documental. ABSTRACT In Afghanistan, violence against women is widespread in the private and public spheres. This paper examines five visual discourses about some forms of aggression against women and girls. The snapshots captured by the cameras of Bronstein, Matthews, McCurry, Sanchez and Wahidy exhibit from different grammars about the problems of inequity in Afghanistan. This empirical contribution assay virtual observation as an analytic strategy of visual research methods.
    [Show full text]
  • Rescuing the Women of Afghanistan: Gender, Agency and the Politics of Intelligibility
    Rescuing the Women of Afghanistan: Gender, Agency and the Politics of Intelligibility A Thesis Submitted to the University of Manchester for the degree of Doctor of Social Science in the Faculty of Humanities 2011 Thomas A. Gregory School of Social Sciences Contents Pages Abstract ......................................................................................................................................... 4 Declaration ................................................................................................................................... 5 Copyright Statement ................................................................................................................... 5 Acknowledgements ..................................................................................................................... 6 Abbreviations ............................................................................................................................... 8 Introduction ................................................................................................................................. 9 Chapter Breakdown .............................................................................................................. 13 A Note on Methodology ...................................................................................................... 17 1 Symbols of Helplessness: Afghan Women and the Narrative of Rescue ................. 27 1.1 The Bush Administration’s Narratives of Rescue .....................................................
    [Show full text]
  • From Cape Town to Kabul
    FROM CAPE TOWN TO KABUL This book is written with passion for and deep experience of struggles for women’s rights in different parts of the globe. Professor Andrews deals with the vexed issue of the role of local cultures in defining women’s rights in both South Africa and Afghanistan. She departs from the traditional western feminist goal of autonomy for women and argues instead for recognition of women’s “conditional interdependence”. This book is bold and insightful, a rich comparative analysis, with a transformational purpose. Hilary Charlesworth, The Australian National University, Australia In this fascinating read, the author addresses the critical complexities of women’s rights in transitional societies. Developing the intriguing concept of “conditional interdependence”, she challenges feminist conceptualizations based primarily on personal autonomy. Whether in her native South Africa or Afghanistan, progress occurs only with the support of the community of women AND men. Adrien K. Wing, University of Iowa College of Law, USA FromFrom Cape Cape Town Town to toKabul Kabul From Cape Town to Kabul RethinkingRethinkingGovernance Strategies GovernanceStrategies for forPursuing Pursuing for Women’s W for omen’sJustice Justice Rethinking Strategies for Pursuing Women’s andandHuman EnvironmentalHuman REnvironmentalights Rights Human Rights SustainabilitySustainability LessonsLessons across across natural natural resource resource sectorssectors in sub-Saharan in sub-Saharan Africa Africa EditedEdited by by MerlePENELOPEMerlePENELOPE Sowman
    [Show full text]