A Case Study of Women and Graffiti in Egypt
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Egyptian Islamic and Secular Feminists in Their Own Context Assim Alkhawaja University of San Francisco, [email protected]
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Doctoral Dissertations Theses, Dissertations, Capstones and Projects 2015 Complexity of Women's Liberation in the Era of Westernization: Egyptian Islamic and Secular Feminists in Their Own Context Assim Alkhawaja University of San Francisco, [email protected] Follow this and additional works at: https://repository.usfca.edu/diss Part of the Feminist, Gender, and Sexuality Studies Commons, and the Near and Middle Eastern Studies Commons Recommended Citation Alkhawaja, Assim, "Complexity of Women's Liberation in the Era of Westernization: Egyptian Islamic and Secular Feminists in Their Own Context" (2015). Doctoral Dissertations. 287. https://repository.usfca.edu/diss/287 This Dissertation is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. The University of San Francisco COMPLEXITY OF WOMEN‘S LIBERATION IN THE ERA OF WESTERNIZATION: EGYPTIAN ISLAMIC AND SECULAR FEMINISTS IN THEIR OWN CONTEXT A Dissertation Presented to The Faculty of the School of Education International & Multicultural Education Department In Partial Fulfillment Of the Requirements for the Degree Doctor of Education By Assim Alkhawaja San Francisco May 2015 THE UNIVERSITY OF SAN FRANCISCO Dissertation Abstract Complexity Of Women‘s Liberation in the Era of Westernization: Egyptian Islamic And Secular Feminists In Their Own Context Informed by postcolonial/Islamic feminist theory, this qualitative study explores how Egyptian feminists navigate the political and social influence of the West. -
When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World
Religions 2015, 6, 1277–1313; doi:10.3390/rel6041277 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World Mark LeVine 1,2 1 Department of History, University of California, Irvine, Krieger Hall 220, Irvine, CA 92697-3275, USA; E-Mail: [email protected] 2 Center for Middle Eastern Studies, Lund University, Finngatan 16, 223 62 Lund, Sweden Academic Editor: John L. Esposito Received: 6 August 2015 / Accepted: 23 September 2015 / Published: 5 November 2015 Abstract: This article examines the explosion of artistic production in the Arab world during the so-called Arab Spring. Focusing on music, poetry, theatre, and graffiti and related visual arts, I explore how these “do-it-yourself” scenes represent, at least potentially, a “return of the aura” to the production of culture at the edge of social and political transformation. At the same time, the struggle to retain a revolutionary grounding in the wake of successful counter-revolutionary moves highlights the essentially “religious” grounding of “committed” art at the intersection of intense creativity and conflict across the Arab world. Keywords: Arab Spring; revolutionary art; Tahrir Square What to do when military thugs have thrown your mother out of the second story window of your home? If you’re Nigerian Afrobeat pioneer Fela Kuta, Africa’s greatest political artist, you march her coffin to the Presidential compound and write a song, “Coffin for Head of State,” about the murder. Just to make sure everyone gets the point, you use the photo of the crowd at the gates of the compound with her coffin as the album cover [1]. -
The Role of Political Art in the 2011 Egyptian Revolution
Resistance Graffiti: The Role of Political Art in the 2011 Egyptian Revolution Hayley Tubbs Submitted to the Department of Political Science Haverford College In partial fulfillment of requirements for the degree of Bachelor of Arts Professor Susanna Wing, Ph.D., Advisor 1 Acknowledgments I would like to extend my heartfelt gratitude to Susanna Wing for being a constant source of encouragement, support, and positivity. Thank you for pushing me to write about a topic that simultaneously scared and excited me. I could not have done this thesis without you. Your advice, patience, and guidance during the past four years have been immeasurable, and I cannot adequately express how much I appreciate that. Thank you, Taieb Belghazi, for first introducing me to the importance of art in the Arab Spring. This project only came about because you encouraged and inspired me to write about political art in Morocco two years ago. Your courses had great influence over what I am most passionate about today. Shukran bzaf. Thank you to my family, especially my mom, for always supporting me and my academic endeavors. I am forever grateful for your laughter, love, and commitment to keeping me humble. 2 Table of Contents Acknowledgements……………………………………………………....…………. 1 Introduction…………………………………………………………………….……..3 The Egyptian Revolution……………………………………………………....6 Limited Spaces for Political Discourse………………………………………...9 Political Art………………………………………………………………..…..10 Political Art in Action……………………………………………………..…..13 Graffiti………………………………………………………………………....14 Conclusion…………………………………………………………………......19 -
Women's Liberty in Religious Discourse
Vol. 9, No. 1, June 2021 page 11—22 https://jurnal.ugm.ac.id/poetika https://doi.org/10.22146/poetika.v9i1.61327 WOMEN’S LIBERTY IN RELIGIOUS DISCOURSE (NAWĀL AL-SA’DĀWĪ’S FANTASY IN ZĪNAH) Yulia Nasrul Latifi UIN Sunan Kalijaga Yogyakarta-Indonesia Email: [email protected] ABSTRACT Zīnah. This study focuses on the The objective of this research is to reveal Nawāl al-Sa’dāwī’s fantasy and to find out why she builds a fantasy inconsistenciesof women’s autonomy of the shackling in religious Symbolic. discourse Fantasy as depicted is also in an her estuary latest of novel, meaning that confirms the existence ofconcept a divided of fantasy and dialectical in Žižek’s subject theory that of continuessubjectivity, to movewhich in sees search fantasy of self-fulfillment. as a screen covering The research the lacks method and is hermeneutic, namely by interpreting the actions and fantasies of al-Sa’dāwī’ as a subject. The analysis shows that al-Sa’dāwī’s fantasyZīnah is her realization of a transcendental humanist religious discourse which gives women full autonomy, internally and externally. Zīnah, the main character in the novel, is a symbol of this autonomy. Internally, has been set free from the patriarchal shackles of religious discourses. Externally, Zīnah is able to change the structure and create a new humanist, transcendental, and progressive structure in religious discourse to liberate human beings. Zīnah is al-Sa’dāwī’s fantasy to cover up the lacks of Keywords:The Symbolic, liberty, the estuary woman, of meaning, religion, andZīnah, confirmation Nawāl al-Sa’dāwī, of her existence fantasy as a divided and dialectical subject. -
Window Cleaning Magazine
Window Cleaning Jul/Aug 2016 magazine This issue… and much, much more… Issue 18 Window Cleaning Magazine Editorial Hey Readers, Do you know what one secret of success is? Its very simple - you have to love what you do. I remember in my early days as a trainee print sales man, I would have discussions with my Sales Manager about the 80 or so cold calls I had made in that day. He would tell me that I needed to smile on the phone! At first I thought he was crazy. What did it matter if I was not smiling on a phone call? The person on the other end cannot tell either way, right? Wrong! Within ten seconds of starting a sales call, a prospect would be able to tell if they are talking to beauty or the beast. I learned that smiling actually helped with the tone of my voice, and it is one way of positively affecting its inflection. Without smiling you can sound monotone and therefore come across as boring, or worse uninterested in the sales call you initiated. The reason is not psychological but rather physiological. When you smile, the soft palate at the back of your mouth raises and makes the sound waves more fluid. Smiling helps your voice sound friendly, warm, and receptive. I began to have a cavalier approach to sales calls. I never worried about not closing the deal, I started to have fun with the calls….. And do you know what? It got results. The more fun I had, the more deals I would close and I thought less of the calls that never went anywhere at all. -
Jeanmichel Basquiat: an Analysis of Nine Paintings
JeanMichel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary. -
MELA Notes 80 (2007) Trips up to Marshall Street Put Us in Contact with the Yiddish Language and Mysterious Hebrew Letters on Synagogues and Stores
MELA NOTES Journal of Middle Eastern Librarianship Number 80 (2007) ISSN 0364-2410 Published by The Middle East Librarians Association Editor Review Editor Jonathan Rodgers Rachel Simon University of Michigan Princeton University Officers of the Middle East Librarians Association Ali Houissa, Cornell University President, 2005–2007 M. Lesley Wilkins, Harvard Law School Past-President, 2005–2007 Kristen Kern, Portland State University Vice-Pres./Program Chair, 2006–2007 William Kopycki, Univ. of Pennsylvania Secretary-Treasurer, 2004–2007 Jonathan Rodgers, University of Michigan Editor, 2004–2007 Basima Bezirgan, University of Chicago Member-at-large, 2005–2007 Joyce Bell, Princeton University Member-at-large, 2006–2008 John Eilts, Stanford University Melanet-L Listserve Manager, Interim John Eilts, Stanford University MELA Webmaster MELA Notes is published once a year, in spring and fall. It is distributed to members of the Association and subscribers. Membership dues of US $30.00 bring the Notes and other mailings. Subscriptions are US $30.00 per calendar year, or US $16.00 per issue for most back numbers. Address correspondence regarding subscriptions, dues, or membership information to: William Kopycki, Secretary-Treasurer MELA University of Pennsylvania Library 3420 Walnut Street Philadelphia PA 19104-6206 Address articles and other notices to: Address books for review to: Jonathan Rodgers Rachel Simon Editor, MELA Notes Review Editor, MELA Notes Near East Division, Hatcher Graduate Library Catalog Division Univ. of Michigan, Ann Arbor, MI 48109-1205 Princeton Univ. Library E-mail: [email protected] 1 Washington Road Phone: (734) 764-7555 Princeton, NJ 08544 Fax: (734) 763-6743 E-mail: [email protected] http://www.lib.umich.edu/area/Near.East/MELANotesIntro.html Articles and reviews must be submitted both in printed format by post and in electronic format by email attachment or disk. -
Juliana Abramides Dos Santos.Pdf
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Juliana Abramides dos Santos Arte urbana no capitalismo em chamas: pixo e graffiti em explosão DOUTORADO EM SERVIÇO SOCIAL SÃO PAULO 2019 Juliana Abramides dos Santos DOUTORADO EM SERVIÇO SOCIAL Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutora em Serviço Social sob a orientação do Prof. Dr. Antônio Carlos Mazzeo. 2019 Autorizo exclusivamente para fins acadêmicos e científicos, a reprodução total ou parcial desta tese de doutorado por processos de fotocopiadoras ou eletrônicos. Assinatura: Data: E-mail: Ficha Catalográfica dos SANTOS, JULIANA Abramides Arte urbana no capitalismo em chamas: pixo e graffiti em explosão / JULIANA Abramides dos SANTOS. -- São Paulo: [s.n.], 2019. 283p. il. ; cm. Orientador: Antônio Carlos Mazzeo. Co-Orientador: Kevin B. Anderson. Tese (Doutorado em Serviço Social)-- Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em Serviço Social, 2019. 1. Arte Urbana. 2. Capitalismo Contemporâneo. 3. Pixo. 4. Graffiti. I. Mazzeo, Antônio Carlos. II. Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em Serviço Social. III. Título.I. Mazzeo, Antônio Carlos. II. Anderson, Kevin B., co-orient. IV. Título. Banca Examinadora ------------------------------------- ------------------------------------- ------------------------------------- ------------------------------------- ------------------------------------- Aos escritores/as e desenhistas do fluxo de imagens urbanas. O presente trabalho foi realizado com apoio do Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) - Número do Processo- 145851/2015-0. This study was financed in part by the Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) - Finance Code 001-145851/2015-0. Esta tese de doutorado jamais poderia ser escrita sem o contato e apoio de inúmeras parcerias. -
Harold E. Hofmann
the En español: LawndaLian¡Vea la pagina 11! Winter 2014 • Vol. 19 • No 4 • www.lawndalecity.org • (310) 973-3200 HAROLD E. HOFMANN 1932 - 2013 Mayor Harold Hofmann Passes Away Need a First Class On the morning of November 16, 2013, longtime Lawndale Venue for Your Event? Mayor and City Councilmember Harold Hofmann passed away peacefully of natural causes at the age of 81 at his The Lawndale Community Center has four home in Lawndale. Mayor Hofmann was born in Monte- state-of-the-art rooms with full amenities bello, California and came to Lawndale at a very young age. that are available for reservation for private He continued to live in Lawndale for the rest of his life and functions such as: birthday parties, baby in the same house he grew up in. He attended Lawndale showers, wedding receptions, business public schools and graduated from Leuzinger High School meetings, family gatherings, formal and continued his education at El Camino College. He dining events, etc. Whatever event you served in the United States Army for two years during the are having, the Lawndale Community Korean conflict specializing in heavy equipment operation. Center has a room that is made for just for your event. The following spaces are Mayor Hofmann truly loved the City and its people and available for reservation for large and faithfully served the City of Lawndale and its residents for small groups: over 33 years on the City Council as a Councilmember and then as Mayor. He was a tireless worker who was dedicated to making Lawndale a better place • Full Main Event Room – to live for its residents. -
A History of Women's Liberation in Egypt
Portland State University PDXScholar University Honors Theses University Honors College 8-1-2017 Global Intersections: a History of Women's Liberation in Egypt Jordan Earls Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Earls, Jordan, "Global Intersections: a History of Women's Liberation in Egypt" (2017). University Honors Theses. Paper 506. https://doi.org/10.15760/honors.511 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Global Intersections: A History of Women’s Liberation in Egypt by Jordan Earls An undergraduate honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in University Honors and Social Science Thesis Adviser Taghrid Khuri Portland State University 2017 1 Introduction The struggle of women against constraints placed upon them because of gender is one historically shared worldwide and continues today. In 1989, Kimberlé Crenshaw coined the term “intersectional feminism” to describe how intersections of oppression impact women to varying degrees and argued that the goal of feminism must be to challenge these intersections. To not challenge these intersections is to, instead, reproduce them. Crenshaw demonstrates that the failure of American feminism to adequately interrogate the problems of racism caused feminism in the US to replicate and reinforce the racism women of color faced. Likewise, civil rights movements to end racism largely ignored the oppression of women by patriarchy and, in so doing, reproduced the subordination of women. -
Dissertation
Dissertation Titel der Dissertation „Staatsfeminismus in Ägypten - Perspektiven zur Manifestierung und Implementierung von Geschlechterpolitik oder Instrumentalisierung frauenbewegungsorientierter Anliegen?“ Verfasserin Mag. Maisa Khalil angestrebter akademischer Grad Doktorin der Philosophie (Dr.phil.) Wien, im März 2009 Studienkennzahl lt. Studienblatt: A 092 300 Dissertationsgebiet lt. Studienblatt: Politikwissenschaft 1. Betreuer/in: Univ.-Prof. Dr. Eva Kreisky 2. Betreuer/in Univ.-Doz. Dr. John Bunzl Inhaltsverzeichnis I Grundlagen 7 1 Einleitung 7 1.1 Einführung in das Thema ..................... 8 1.2 Fokus der Arbeit .......................... 14 1.3 Forschungsfragen, -thesen ..................... 18 1.4 Methodologische Überlegungen .................. 21 1.4.1 Wahl des postkolonialen Ansatzes ............. 22 1.4.2 Geschlecht als Forschungskategorie ............ 23 1.5 Methoden .............................. 29 1.5.1 Materialgewinnung und –auswertung ........... 30 1.5.2 Strukturiertes Vorgehen .................. 34 1.6 Bemerkung zur Übersetzung .................... 36 2 Theoretische Kontextualisierungen und Verhältnisse 38 2.1 Bedeutung religiöser Diskurse und religiös-motivierter Bewegungen im Verhältnis zu Staat im Rahmen der Analyse .. 38 2.1.1 Aspekte religiöser Legitimierung in staatlichen Strukturen 39 2.1.2 Politisierte religiöse Bewegungen und ihre Funktionalisierung staatlicher Politik ........... 42 2.1.3 Perspektiven religiös-motivierter politischer Bewegungen zu Geschlechterverhältnissen ......... 50 2.2 Bedeutung -
The Role of Street Art in State-Led Gentrification
The Role of Street Art in State-Led Gentrification Case Study on Mural Istanbul Hazal Türken Master’s Thesis Sociology, MDP in Cultural Policy Department of Social Sciences and Philosophy Faculty of Humanities and Social Sciences University of Jyväskylä Spring 2019 TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS ABBREVIATIONS 1 INTRODUCTION…………………………………………………………………….….1 1.1 Study Rationale & Research Scope……………………………………………………..2 1.2 Previous Research……………………………………………………………………....6 1.2.1 Art, Artist and Gentrification……………………………………………………..9 1.2.2 Artists as Agents of Urban Gentrification………………………………………..9 1.2.3 Aestheticisation of Gentrification & Gentrification of Graffiti………………….12 1.2.4 Gentrification through incorporation of arts into the public-policy …………..…14 1.3 Research Questions…………………………………………………………………....16 1.4 Thesis Structure……………………………………………………………………….17 2 CONTEXT……………………………………………………………………………... 18 2.1 Culture………………………………………………………………………………...19 2.2 Political Context………………………………………………………………………22 2.3 Urban Politics on Istanbul……………………………………………………………..25 2.4 Branding the City of Istanbul………………………………………………………….28 3 THEORY: GENTRIFICATION & STREET ART…....………………………………..31 3.1 Gentrification……………………………………………………………………….... 31 3.2 Street Art: Terms, Unwritten Rules & Legality…………………………………….....35 3.2.1 Street Art in Turkey………………………………………………..……………40 4 METHOD, METHODOLOGY & DATA………………………………………………45 4.1 Overview……………...………………………………………………………………45 4.1.1 Methodological Approach………..……………………………………………..45 4.1.2 The Research Design……………………………………………………………48