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First 2 Pages UNIVERSITY OF CALIFORNIA, SAN DIEGO UNIVERSITY OF CALIFORNIA, IRVINE Political Performance of Violence: Palestinian Female Bombers and the Politics of Visual Representation A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of philosophy in Drama and Theatre by Rana Salimi Committee in Charge: Professor Emily Roxworthy (Chair) Professor Patrick Anderson Professor Babak Rahimi Professor Janet Smarr Professor Frank Wilderson III 2012 Copyright Rana Salimi 2012 All Rights Reserved The Dissertation of Rana Salimi is approved, and it is acceptable in quality and form for publication on microfilm and electronically: (Chair) University of California, San Diego University of California, Irvine 2012 iii My deepest gratitude goes to Professor Emily Roxworthy, my mentor and advisor, whose encouragement and enthusiasm over the years have helped me finish this dissertation. There is no doubt in my mind that without her genius guidance and expertise, this project could not have come this far. I would like to thank professors Janet Smarr, Frank Wilderson III, Babak Rahimi, and Patrick Anderson for accepting to be my committee members and for their support and advice in the past six years. The inspirations for this dissertation comes from two magnificent seminars I took with Professors Wilderson and Roxworthy; both of which opened doors for me to new ways of understanding theatre and performance. I am grateful to the department of Theatre and Dance for giving me the opportunity to conduct this research. I am very thankful to Professor Smarr for her concern, understanding, and help as the head of the Ph.D. program. Her patience and professionalism turned my first experience of independent teaching into a success. I appreciate all the emotional support and encouragement I have received from family members and friends without whom I would have given up long time ago. My special thanks to Dr. Aimee Zygmonsky for her countless hours of editing and counsel. I dedicate this dissertation to my dear parents, Forough and Bahman for their unconditional love , for teaching me the importance of rising against the injustice, and for believing in me. To Mona for her friendship and to Mani for making me laugh iv everyday. And to Arash for our years together and for teaching me the art of perseverance. v TABLE OF CONTENTS: Signature Page …………………………………………………………………………...iii Dedication ………………………………………………………………………………..iv Table of Contents ………………………………………………………………………..vi Vita ……………………………………………………………………………………….ix Abstract …………………………………………………………………………………...x Introduction ……………………………………………………………………………….1 Chapter One: The Political Performances and Relational Agency of the Female Bombers ……..27 Psychologically Disordered? ……………………………………………………...32 Vilification of Muslim Men and Muslim Culture ………………………………...40 Performing Motherhood …………………………………………………………..47 Reem Saleh al –Riyashi (Mother- Martyr) ………………………………………51 Fatima Omar Mahmud Al-Najar (Mother-Activist-Martyr) ………………..57 Umm Nidal (A Martyr’s Mother) …………………………………………...62 Chapter Two: The Body, What Else? The Female Bomber’s Body in Performance ……….........76 Agent (Political Performer) versus Object ………………………………………...80 Desexualized vs. Feminized body in hijab ………………………………………..97 Corporeal Absence vs. Metaphorical Presence …………………………………..110 Chapter Three: The Audience for the Spectacle of Conflict ……………………………………….135 The Spectacle of the Occupation ……………………………………………….....141 The Spectacle and the Theatricality of Resistance ………………………………...149 The Spectacle of Resistance ………………………………………………...149 The Theatricality of Resistance …………………………………………………155 Public Space as Stage ………………………………………………………….. 163 The Presence or Absence of the Local Audience in Visual Images ……………….168 Performing Resistance against the Spectacle ……………………………………..171 Bibliography …………………………………………………………………………...178 vi VITA, FIELDS OF STUDY Education: ! PhD. Department of Theatre and Dance, University of California San Diego & University of California, Irvine. Sep 2006- Sep 2012. (Political Performance of Violence: Palestinian Female Bombers and the Politics of Visual Representation). ! Master degree in Drama from university of Toronto, Toronto, Canada. September 2003-August 2004 ! Honors Bachelor degree in Drama and Speech Communication from University of Waterloo, Waterloo, Canada. January 2002- April 2003 ! Bachelor degree in Dramatic Literature from Azad University, Tehran,, Iran. October 1993-May 1996 o Dissertation title: Creative Dramatics for Children. (Supervisor: Prof. Shirin Bozorgmehr) o Thesis Play: What color is not among us? (A musical for children in Farsi) Awards: ! President’s Dissertation Year Fellowship 2011-2012 Research Interests ! Media representation of paramilitaries, resistant fighters in the Middle East ! Correlation between violence and hegemony ! Feminism, resistance, and representation ! Theatre in Iran ! Film and Theatre of/ about the Middle East Teaching Experience: ! Theatre Instructor, Iranian School of San Diego, Sep2005- 2012 ! Course lecturer, Middle East on Screen (TDGE 11), UCSD, Winter 2011 vii ! Language Instructor, Persian for Heritage Speakers, National University (Startalk), July 2010 ! Language Instructor, Persian for Heritage Speakers, Department of Linguistics, UCSD, Sep 2007 – June 2010 ! TDHT 10, Play Analysis, Department of Theatre and Dance, UCSD, Spring 2010 ! TDHT 101 , Women’s protest on stage and screen (Upper Level Course), UCSD, Winter 2010 ! Teaching Assistant, Sep 2008– June 2009, Theatre History Sequence (21, 22, 23), UCSD ! Guest Lecturer,Theatre History Sequence,Department of Theatre and Dance, UCSD Taziyeh, Iranian Passion Play Naq’ali, Iranian traditional solo-performance Theatre Experiences: ! Actor, Director, Writer; Street Performances in down town San Diego. Nov 2009, March 2010 ! Actor, Director, Writer; Green Movement, Mehregan Festival (sponsored by Persian Cultural Center), SDSU. Sep 2009 ! Dramaturge for “1001”, Dir: Kim Rubinstein, UCSD, Winter 2009 ! Part of the design team in Promotions, department of Theatre and Dance, UCSD, Fall 2008 ! Actor, Director, Writer; Puppet show: The Sun Garden, Poway Public Library, Fall 2007 ! Actor, The Story of Creation, Feb- Dec 2005 ! Head of Costume Design, Mr. Punch, Dir: Natalie Alvarez, U of Toronto, Canada, Spring 2004 ! Costume Designer, Knives in Hens, Dir: Natalie Harrower, U of Toronto, Canada, Fall 2003 ! Dramaturge for Loraine Kimsa Theatre for Young People, Toronto, Canada, Fall 2003 ! Writer, Director, Actor; Ring, U of Toronto, Canada, Winter 2004 ! Costume Shop assistance, U of Toronto, Canada, September 2003-August 2004 ! Prop Master, U of Waterloo, Canada, Fall 2002 ! Scenic Painter, U of Waterloo, Canada, Winter 2002 ! Lighting operator, U of Waterloo, Canada, Winter 2002 ! Wardrobe Make Up Assistance, U of Waterloo, Canada, Fall 2001- Winter 2002 viii Publication: ! “A Review of Scarlet Stone”, Peyk (Persian Cultural Bilingual Magazine), No. 137, Jan-Feb 2012, Pp. 28. Conference Presentations: ! Eight Biennial Iranian Studies Conference, Santa Monica, 27-30 May 2010 o Paper Presentation. “A New Voice on the Public Stage: Gordafarid, the First Female Naqqal in the Islamic Republic of Iran.” ! “Staging Middle East in Theatre and through Performance”, UC Riverside, April 2009. o Paper Presentation. “Performance of Power and resistance. Suicide Bombers in front of the camera.” ix ABSTRACT OF THE DISSERTATION Political Performance of Violence: Palestinian Female Bombers and the Politics of Visual Representation by Rana Salimi Doctor of Philosophy in Drama and Theatre UNIVERSITY OF CALIFORNIA, SAN DIEGO, 2012 UNIVERSITY OF CALIFORNIA, IRVINE, 2012 Professor Emily Roxworthy (Chair) The phenomenon of “suicide bombing” is not new, and yet the involvement of Muslim women in this violent political activity has received much media attention, especially since the Second Intifada. This dissertation challenges interpretations of female bombers in academic writing and in media presentations. Through the lens of performance studies, this dissertation offers a nuanced view of what violence means in present-day Palestinian culture. Viewing female bombers as political performers, I argue that their actions are evidence of the emergence of a new generation of Muslim women whose relational agency over their bodies allows them to claim a socio-political status equal to that of men. By transforming their bodies from visible signs of oppression to a x tool of political activism as weapons of destruction, these women have gained new identities and challenged the norms of Muslim patriarchy as well as Orientalist views of women. The female bombers have manipulated their assigned gender roles as mothers and daughters and have become the mothers of the whole nation. While their virtual presence in their farewell videos presents a deadly threat to their enemy, their performances of power and commitment contribute to the pedagogy of resistance and self-sacrifice. The semiotics of resistance illuminates the pedagogical purposes of the bombing attacks these women carry out. Palestinian resistance organizations create spectacles of resistance that feature the actions of women bombers prominently and turn public spaces into stages where the public can display its commitment to the struggle. The spectacles of resistance, aiming at reaching the Palestinian youth, are a response to spectacles of occupation created by the Israeli military that cast shadows on the daily lives of the residents of the occupied
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