DOCSLIB.ORG

English Linguistics 1 Gender Equality Discourse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
English Linguistics 1 Gender Equality Discourse English Linguistics 1 A.A. 2019 – 2020 Esercitazioni (James) Gender Equality Discourse (051-2097241; [email protected]) 1 Contents page 1 Guidelines on essay assessment, writing and style 3 2 Feminism: Overview 8 3 The Struggle for Identity. A Doll’s House: Henrik Ibsen. Woman Work: Maya Angelou 9 4 United Nations Population Fund. Frequently asked questions about gender equality 12 5 Gender Equality is a Myth! Essay by Beyoncé Knowles-Carter 15 6 The Gender Wage Gap: A Civil Rights Issue for Our Time, essay by Maya L. Harris 16 7 Equal Rights for Women, speech by Shirley Chisholm (1969) 19 8 Marriage, Motherhood and Men, essay by Anna O’Leary 21 9 Gender Equality is Your Issue Too, 2014 UN address by Emma Watson 25 10 TED Talk ‘Why we have too few women leaders’, by Sheryl Sandberg 28 11 Ursula Le Guin. Background information and comment on Address 33 12 A Left-Handed Commencement Address. Speech (1983) by Ursula Le Guin 35 13 Gloria Steinem. Women’s Conference article on Gloria Steinem. 37 14 Gloria Steinem’s Commencement Speech to Vassar 38 15 Let Girls Learn. Information booklet 44 16 Let Girls Learn speech by Michelle Obama 49 17 TED Talk ‘For these women, reading is a daring act’, by Laura Boushnak 53 18 Malala Yousafzai, informational articles 55 19 Malala Yousafzai, Nobel Lecture 2014 58 20 Are Women Devalued By Religions, essay by Sister Joan Chittister 63 21 Are Women Devalued By Religions, comment 66 22 Feminism is over, the battle is won. Time to move on. Article by Emily Hill 69 All the copyrighted materials included in this ‘dispensa’ belong to the respective owners and, following fair use guidelines, are hereby used for educational purposes only. 2 1 Assessing writing: criteria Exam: 500-word essay. Time: 90 minutes. Use of an English-English dictionary allowed 1 Appropriacy (9 points) Has the student focused on the question and respected the length? Fully answers the question in depth. Answers the question in sufficient depth to cover the main points. There are some unnecessary or irrelevant ideas. There are too many minor issues or irrelevant ideas dealt with. Shorter than the required length. Does not answer the question e/o much shorter than the required length. 2 Structure and organization (9 points) Does the essay have a structure? Is there an introduction and conclusion? Is the body divided into paragraphs which are linked? There is a suitable introduction and conclusion. Paragraphs and sentences link up and make the essay easy to read and the text easy to understand. Paragraphs follow a general to specific structure. There is an introduction and conclusion. Paragraphs and sentences generally link up and make the essay quite easy to read and the text quite easy to understand. Paragraphs generally follow a general to specific structure. There is an introduction and conclusion although they may be rather brief. The sequence of paragraphs may show some weaknesses. There is sometimes a lack of cohesion. Information structuring may not always be adequate. There may not be a suitable introduction or conclusion. Sequencing of the paragraphs is insufficient. There is a general lack of structure in paragraphs. Cohesion generally not up to the task. It is difficult for the reader to follow the ideas or understand the text in parts. The essay is unstructured, or structured in a way that prevents understanding. Very few sentence-linking devices appear, and these are usually used incorrectly. 3 3 Language (9 points) This relates to the use of the functional language and accuracy in grammar. Mistakes are not significant. A wide range of functional language is used which is appropriate for the essay question. Vocabulary is appropriate throughout. Appropriate academic style is used. Occasional mistakes occur, which do not prevent understanding. A good range of functional language is used which is appropriate for the question. Vocabulary is mostly appropriate throughout. Academic style is used for most of the essay. Repeated mistakes occur which sometimes prevent understanding. Some functional language is used. Vocabulary is not always appropriate, and the style is sometimes not academic. There are a large number of very serious mistakes. Meaning is often unclear. There is only limited use of functional language. Vocabulary and style are frequently inappropriate. The student has very little control over grammar and vocabulary, and is unable to make the meaning clear to a reader; or the language is clearly not the student’s own. 4 Presentation (3 points) This concerns the overall appearance of the essay: layout, spacing, spelling and punctuation. The essay is extremely well presented and easy to read with no mistakes in spelling or punctuation. The essay is well presented and easy to read with only a few mistakes in spelling or punctuation. This essay is readable, but mistakes in spelling and punctuation interfere with the smooth flow of reading. Teacher resource – photocopiable (adapted). EAP Essentials © 2008 Garnet Publishing Ltd. 4 Writing in an academic style 1 Use formal rather than informal language. i) Avoid contracted forms ii) Avoid colloquial language iii) Avoid punctuation indicating your attitude 2 Be concise and precise i) Try to use one-word verbs instead of phrasal verbs ii) Avoid vague words common in speech iii) Avoid etc., and so on. iv) Use nominal groups to express ideas efficiently 3 Use impersonal language i) Avoid using I to express your opinion ii) Avoid addressing the reader as you 4 Be cautious in what you say i) Avoid generalizations ii) Avoid words that express your emotions rather than evidence iii) Use hedges to qualify your statements Exercise Below are twelve sentences. Improve them by using an appropriate academic style. Follow the order of criteria on the previous page. 1 Use formal rather than informal language. i) Ursula Le Guin told her audience that women weren’t ‘dumb’. ii) The speech contains loads of examples of sexual discrimination. iii) Her speech is said to have made a MASSIVE impact!!!!!!! 2 Be concise and precise i) She brought up the issue during a debate in the U.S. House of Representatives. ii) Government policy can have a big impact. iii) Mrs. Obama addressed numerous issues, ‘education’, ‘work’ etc. iv) The pay gap is widening and this is causing particular concern among women politicians. 3 Use impersonal language i) I think that this speech will be remembered for many years to come. ii) You can see the results in the workplace. 4 Be cautious in what you say i) No girls have access to education in Nigeria. ii) It is ridiculous to think that such problems can be solved by government intervention. iii) The problem is widespread in the Middle East. 5 Writing an Argumentative Essay The three stages of essay writing: 1 Tell the reader what you are going to tell them (introduction: paragraph one) 2 Tell them (body: paragraphs two, three and four) 3 Tell them what you have told them (conclusion: paragraph five) Introductory paragraph Introduces the topic. Provides thesis statement The first sentence(s) introduce(s) the topic of the essay in an interesting way. The thesis statement is the most important sentence in the entire essay. It presents the essay topic and your position on the topic and indicates the main ideas that will be discussed in the body paragraphs. Body paragraphs The body of an essay consists of three paragraphs. Each body paragraph explains in detail one of the main ideas expressed in the thesis statement. There are three parts to a body paragraph: 1 a topic sentence 2 supporting sentences 3 a concluding sentence (optional) The topic sentence The first sentence – the topic sentence – expresses the topic of the paragraph It provides a controlling idea about the topic. All information in the paragraph supports the controlling idea. Supporting sentences Supporting sentences explain and develop the topic sentence. They present logical thoughts, evidence, and explanations in support of the controlling idea. Concluding sentence The paragraph may end with a concluding thought on the paragraph topic. It may also show a transition to the next paragraph. The concluding paragraph The conclusion consists of three elements: a restated thesis, a summary of main ideas, (and a final thought). The thesis is restated in words different from those in the introduction. The main ideas from each of the body paragraphs are summarized as a reminder to the reader. NB The introduction and conclusion (together) should account for approximately 20% of the word count (100-110 words). 6 FIVE-PARAGRAPH ESSAY STRUCTURE INTRODUCTORY PARAGRAPH INTRODUCTION OF GENERAL TOPIC SPECIFIC TOPIC THESIS STATEMENT BODY PARAGRAPH ONE TOPIC SENTENCE SUPPORTING SENTENCES (CONCLUDING SENTENCE) BODY PARAGRAPH TWO TOPIC SENTENCE SUPPORTING SENTENCES (CONCLUDING SENTENCE) BODY PARAGRAPH THREE TOPIC SENTENCE↓ SUPPORTING SENTENCES (CONCLUDING SENTENCE) CONCLUDING PARAGRAPH RESTATED THESIS SUMMARY/REITERATION OF MAIN IDEAS 7 2 Feminism: overview The feminist movement is often thought to have included three waves: The first wave in the nineteenth and early twentieth centuries The second wave chiefly in the 1960s-1970s The third wave from the 1990s to the present day. First-wave feminism of the late nineteenth and early twentieth centuries included the ideas of the New Woman. This concept was a reaction to the cult of domesticity that characterized the Victorian era. The New Woman was educated, capable of earning her own living and politically aware. She was able to decide for herself who her partner might be and whether to have children. She was often depicted wearing more comfortable clothes and defying social norms to create a better world for women. The women’s suffrage movement focused on gaining votes for women and equal property rights.
Load more

Recommended publications
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Wearing an Authentic Arab Body: New Masculinities in Contemporary Photography Permalink https://escholarship.org/uc/item/6wv5964b Author Amin, Alessandra Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Wearing an Authentic Arab Body: New Masculinities in Contemporary Photography A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Alessandra Amin 2015 ABSTRACT OF THE THESIS Wearing an Authentic Arab Body: New Masculinities in Contemporary Photography by Alessandra Amin Master of Arts in Art History University of California, Los Angeles, 2015 Professor Saloni Mathur, Chair Representations of the veiled woman dominate Western collections of contemporary Middle Eastern art. They are also, however, symbolically inextricable from power structures that propagate derogatory tropes of Arab culture, and their proliferation hinders more incisive inquiries into issues of gender in the Middle East. This paper examines how two Middle Eastern photographers, responding to this predicament, have begun to posit new ways of representing resistant bodies, departing from the tired trope of the veil and, in fact, from the female body altogether. An alternative framework for contesting gender relations in the Middle East and associated Western stereotypes can be found in photographic explorations of masculinity, such as Tanya Habjouqa’s Fragile Monsters (2009) and Tamara Abdul Hadi’s Picture an Arab Man (2009). I argue that these works represent a potential for new and productive inquiries, and innovative means of articulating gendered bodies as resistant to imperialist categories of gender and sexuality.
    [Show full text]
  • Realism in Rawiya P2 Nae / Realism in Rawiya
    NAE TOURING EXHIBITION REALISM IN RAWIYA P2 NAE / REALISM IN RAWIYA Image credit, Cover: Tanya Habjouqa, from the Women of Gaza series, 2009. Image below: Newsha Tavakolian, from the Listen series, 2011. REALISM INTRODUCTION The New Art Exchange is proud to present Realism in Rawiya: Photographic Stories from the Middle East. IN RAWIYA: Rawiya meaning ‘she who tells a story’ in Arabic, are the first all-female photographic collective to emerge from the Middle East. This exhibition, curated by New PHOTOGRAPHIC Art Exchange and Saleem Arif Quadri MBE, is Rawiya’s first major survey in the UK. The show comprises 56 framed images (with the option of producing select STORIES FROM works as large-scale photo murals), a video piece, copies of interpretation and a beautifully produced exhibition catalogue. Realism in Rawiya presents the THE MIDDLE work of Myriam Abdelaziz, Tamara Abdul Hadi, Laura Boushnak, Tanya Habjouqa, Dalia Khamissy and Newsha EAST Tavakolian. Established in 2009 the idea of the collective was to provide a supportive platform for female photographers in the Middle East. In addition, each of the six artists were united in their desire to tell the stories of their region in their own words. This was in response to the misrepresentations presented by the global press, which they observed whilst working as photojournalists across the Arab world. This shared experience inspired the members to create their own platform, to present what they felt to be the wider political and social stories currently going unseen. P3 NAE / REALISM IN RAWIYA Image Credit: Tanya Habjouka, from The Fragile Monsters: Arab Body Building series, 2009.
    [Show full text]
  • ATHARI-THESIS-2017.Pdf (2.192Mb)
    RETELLING THE GLOBAL CONTEMPORARY A CASE STUDY: SHE WHO TELLS A STORY WOMEN PHOTOGRAPHERS FROM IRAN AND THE ARAB WORLD MUSEUM OF FINE ARTS, BOSTON, AUGUST 27, 2013–JANUARY 12, 2014 NATIONAL MUSEUM OF WOMEN IN THE ARTS, WASHINGTON, D.C., APRIL 08–JULY 31, 2016. _______________ A Thesis Presented to The Faculty of the School of Art University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Arts _______________ By Maryam Athari May 2017 i RETELLING THE GLOBAL CONTEMPORARY A CASE STUDY: SHE WHO TELLS A STORY WOMEN PHOTOGRAPHERS FROM IRAN AND THE ARAB WORLD MUSEUM OF FINE ARTS, BOSTON, AUGUST 27, 2013–JANUARY 12, 2014 NATIONAL MUSEUM OF WOMEN IN THE ARTS, WASHINGTON, D.C., APRIL 08–JULY 31, 2016. _________________________ Maryam Athari APPROVED: _________________________ Rex Koontz, Ph.D. Committee Chair _________________________ Roberto Tejada, Ph.D. _________________________ Sandra Zalman, Ph.D. _________________________ Andrew Davis, Ph.D. Dean, Kathrine G. McGovern College of the Arts ii RETELLING THE GLOBAL CONTEMPORARY A CASE STUDY: SHE WHO TELLS A STORY WOMEN PHOTOGRAPHERS FROM IRAN AND THE ARAB WORLD MUSEUM OF FINE ARTS, BOSTON, AUGUST 27, 2013–JANUARY 12, 2014 NATIONAL MUSEUM OF WOMEN IN THE ARTS, WASHINGTON, D.C., APRIL 08–JULY 31, 2016 _______________ An Abstract of a Thesis Presented to The Faculty of the Department of School of Art University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Arts _______________ By Maryam Athari May, 2017 iii ABSTRACT This thesis analyzes an exhibition that is a site for discussing the global contemporary in its relation to a specific selection of photographs that aimed to define a geographic area— Iran and the Arab World.
    [Show full text]
  • Special Report No
    SPECIAL REPORT NO. 475 | AUGUst 2020 UNITED STATES INSTITUTE OF PEACE www.usip.org Disengagement and Reconciliation in Conflict-Affected Settings By Leanne Erdberg Steadman Contents Introduction ...................................3 Conflict and Terrorism ............... 6 Disorder and Structure ............... 9 Communities and Groups ......... 13 Individual Well-Being ................ 18 From Risks to Strengths .......... 20 Taliban fighters in Afghanistan, on March 13, 2020, where more than two decades of fighting have created widespread trauma. (Photo by Jim Huylebroek/New York Times) Summary • Peacebuilding tools and approach- • Policymakers should consider in- • In conflict settings where victims, es can help transform the societal vestments that serve multiple pur- bystanders, and adherents have structures, group relationships, and poses and consider how, in chal- experienced destruction and trau- individual attitudes needed to effec- lenging conflict and postconflict ma, the keys to enabling a future tively disengage and reconcile those settings, disengaged persons might not solely defined by their past re- who engaged in violent extremism, participate in stabilization activities. quires focusing on their capacity even in conflict-affected contexts. • Because violent extremism is for change and their well-being. • In conflicts characterized by the in- deeply social, efforts that promote • Counterterrorism policies should volvement of terror organizations, meaningful disengagement and therefore begin to embrace the enabling people to disengage from reconciliation would benefit from possibility that looking for resilien- violent extremism and fostering com- being communal in nature, accru- cies might be more important than munity reconciliation will be a neces- ing benefits to both formerly violent addressing all potential risk factors. sary component of stabilization. individuals and to society at large.
    [Show full text]
  • Sans Titre 2
    Laura Boushnak Laura Boushnak is a Kuwaiti-born Palestinian photographer, whose work focuses on women, literacy and education reform in the Arab world. Boushnak’s documentary project “I Read I Write” explores the role of literacy in improving the lives of Arab women, and the barriers they face to accessing education. After completing a BA in sociology at the Lebanese University, Boushnak began her photography career covering news for the Associated Press in Lebanon. She later worked as a photo editor and photographer for agence France-Presse (AFP) at its Middle East hub in Cyprus and its headquarters in Paris. Her nine-year wire service experience included covering hard news in conflicts such as the war in Iraq and the 2006 Israel-Hezbollah war. Her photographs have been published in the New York Times, The Guardian, The National Geographic, Le Monde and many more. Since 2008 Laura has been working as an independent photographer, devoting more time to her long-term projects. Her work has been exhibited in galleries and museums around the world. Boushnak was recently awarded the first Getty Images/ lean-in editorial grant. She is a 2014 TED Global Fellow. In 2013 she was the overall winner of the Terry O’neil Photography award in the UK, and received an honorable mention in the UNICEF photo award. Her work I Read I Write: Egypt- Illiteracy series was acquired by the British Museum in 2012, and in private collections. Boushnak co-founded RAWIYA collective, the first all female photo collective in the Middle East. 63 Spottiswood Park Road - 088651, Singapore + 65 6221 2686, [email protected].
    [Show full text]
  • Azusapacificuniversity
    AzusaPacificUniversity April 7, 2015 Upper Turner Campus Center Letter From the Organizer Welcome to TEDxAzusaPacificUniversity! Hello, I’m Brooke Van Dam, the organizer and licensee of TEDxAzusaPacificUniversity. I am also your host for the day. We are so thrilled that you here with us, whether it’s in person or via our live stream. TEDxAzusaPacificUniversity was an idea that originated from conversations with my colleagues in the Office of Research. In my current role as Interim Director of the Center for the Research of Ethics and Values (CREV), I wanted to find a way to engage students, staff and faculty with new ideas and concepts. TEDx seemed the perfect way to bring everyone together in celebration of knowledge. Our speakers are all affiliated with APU in some way. This event highlights the amazing variety of innovation, experience, vision and philosophies that exist right here in our midst. We chose the theme Inspiring Ideas and Meaning to spark the desire within all of us to be inspired and through that, to find meaning in our lives. Enjoy the day! Sincerely, Brooke Van Dam, Ph.D. TEDxAzusaPacificUniversity Organizer @brookevandam AzusaPacificUniversity Schedule 1 pm – Event Begins Jim Daichendt “The Streets as Canvas” Michael Bruner “The Amnesia Industry” Bryan Clay “Run Your Race” Angela Lee Duckworth “The Key to Success? Grit” (Official TED Talk) 2:15 pm – BREAK 2:35 pm – Event Resumes Leslie Wickman “Is the Conflict Between Science and Religion Real?” Ryan Hartwig “The Myth of Meaningful Work” Laura Boushnak “For These Women, Reading is a Daring Act” (Official TED Talk) 3:30 pm – BREAK 3:50 pm – Event Resumes John Thornton “Flipping Rich” Ed Barron “The Flywheel Effect” Speaker Bios G.
    [Show full text]
  • Sana Gallery Newsletter 4
    NEWSLETTER 21 January 2013 Click here to see our website HAPPY NEW YEAR Follow Sana Gallery on Twitter Dear friends, Like Sana Gallery on Facebook We wish you all a Happy New Year. At Sana Gallery, 2013 begins with our exhibition, "Ordinary Lives: Women of the Middle East," featuring a poignant selection of works by artist Rania Matar. Later in 2013, we will be exhibiting, among others, the dinstinguished Lebanese painter Raouf Rifai and the award-winning Palestinian Kuwaiti photographer Laura Boushnak. We will also exhibit other outstanding talents from Saudi Arabia, Yemen, Kuwait and elsewhere. If you have questions or would MEDIA REVIEWS like additional information, Please contact us: We are delighted with the strength of the media reviews our exhibitions and artists have received, and dedicate this newsletter to summarizing these. Athina Boardman Commercial Director +65 8404 4620 [email protected] Ophélie Guillerot Gallery Manager +65 9716 2294 [email protected] Assaad Razzouk Founder +65 8328 4162 [email protected] RANIA MATAR Rania Matar's photography was highlighted by Bloomberg (14 December 2012), where Frederik Balfour commented that "[her] images are powerful because of their intimate nature, and because they challenge stereotypes about Middle Eastern women and modesty". Le Monde (18 January 2013) commented that "to highlight the transformation [of a child-woman into a woman], Rania Matar has accepted to be the invisible mirror of these girls, suspending all judgment, with the empathy and tenderness of a mother sometimes seeping through." In addition, she was extensively reviewed in Singapore's flagship daily newspaper, the Straits Times (11 December 2012 and 21 December 2012), where Arts Editor Akshita Nanda commented "being born in Lebanon to a Palestinian father and a Lebanese mother allows her insider access to ordinary women living in extraordinary circumstances, perhaps the aftermath of Lebanon's 15 year civil war or the disputed territories of the West Bank".
    [Show full text]
  • Exhibition Guide
    Realism in Rawiya PHOTOGRAPHIC STORIES FROM THE MIDDLE EAST 18 FEBRUARY TO 16 MAY 2015 Exhibition Guide Realism in Rawiya is a touring exhibition by New Art Exchange (NAE), Nottingham curated by NAE and Saleem Arif Quadry. Laura Boushnak Untitled, from the I Read I Write series, 2009 - 2012 Laura Boushnak is a Palestinian photographer born © Laura Boushnak in Kuwait. As an Arab woman, who was raised, educated and has worked in several Arab countries, she is committed to presenting projects that highlight the position of women in the Arab world. I Read I Write (2009 - 2012) responds to the 2005 UN Arab Human Development Report which indicated that Arab countries collectively have one of the highest rates of female illiteracy in the world. The photographs in this series focus on the importance of education and the major barriers that many women Untitled, from the I Read I Write series, 2009 - 2012 © Laura Boushnak face in accessing education, such as: poverty, cultural constraints, minimum public spending on education and outdated teaching methods. Dalia Khamissy Born in Beirut, Dalia Khamissy’s work revolves around the social and socio-political stories in the Middle Eastern region, documenting mostly the aftermath of Lebanon’s wars and issues concerning Untitled, from The Missing: Lebanon series, women’s rights. 2010-ongoing © Dalia Khamissy The Missing: Lebanon (2010 - ongoing) presents the reality of the parents who are demanding to know the fate of their loved ones that disappeared during the Lebanese civil war between 1975 and 1990. 17,000 people remain officially missing in Lebanon after being abducted or killed at the hands of different Lebanese militias and other groups involved in the conflict.
    [Show full text]
  • IS Jihadists Claim Paris Attacks That Killed
    SUBSCRIPTION SUNDAY, NOVEMBER 15, 2015 SAFAR 2, 1437 AH www.kuwaittimes.net Arabic Israel razes Egypt’s woes Russia pays threatened by homes of four erode Sisi’s doping dominance Palestinians image of price with of English5 in West8 Bank invincibility IAAF ban IS jihadists 15claim Paris18 Min 11º Max 25º attacks that killed 128 High Tide 00:18 & 14:14 France vows ‘merciless’ response • Concert hall, stadium, cafes targeted Low Tide 07:40 & 19:33 40 PAGES NO: 16698 150 FILS PARIS: Islamic State jihadists yesterday claimed a series of coordinated attacks by gunmen and suicide bombers in Paris that killed at least 128 people in scenes of car- nage at a concert hall, restaurants and the national stadi- um. French President Francois Hollande also blamed the Islamist extremist group for the bloodshed and called the coordinated assault on Friday night at six different sites an “act of war”. Authorities identified the body of a French national known to the intelligence services near the Bataclan con- cert hall, where 82 people were killed by armed men who had shouted “Allahu akbar” (“God is greatest!”) before gunning down concert-goers. Police sources said he was probably one of those who stormed the building as around 1,500 people were watching a Californian rock band. The discovery of Syrian and Egyptian passports near the body of other of assailants appeared to justify fears over the threat posed to Europe by extremism in the Middle East. SEE PAGES 10, 11, 14, 20 & 40 The attacks, which saw the first-ever suicide bombings on French soil, were “prepared, organized and planned overseas, with help from inside (France) which the inves- tigation will establish,” Hollande said.
    [Show full text]
  • Women of the Middle East Tell Their Story
    Women of the Middle East tell Their Story A Palestinian all-female auto racing team, transsexuals in Jerusalem, cluster bomb survivors trying to rebuild their lives, Iranian mother’s of martyrs who visit their son’s grave twice a week and parents in Lebanon who continue to wait for the 17,000 missing to come home. These are among the stories from Realism in Rawiya - a presentation of the first all-female photographic collective to emerge from the Middle East: Rawiya. A collective body of work from photographers Realism in Rawiya (25 January – 20 April) bridges the worlds of documentary and art and is the group’s first major exhibition following their success at the 2011 FORMAT photography festival. Director of Programmes, New Art Exchange, Melanie Kidd, said the show - which has a specific focus on gender and identity - captures the vision of the Rawiya: which translates from Arabic to ‘she who tells a story’. “This exhibition captures and presents rich, diverse, eclectic, first-hand accounts of women from the Middle East. They are stories that both evoke a sense of universal humanity and challenge the status quo of racism and orientalism often presented in mainstream media,” she said. All artists in Rawiya established their individual careers as photojournalists by working for news agencies and publications across the Arab world. By living and reporting in the region, they gained an insider’s view of the extremities of these settings, whilst also observing how their reportage could become reframed in the international media’s final edit of events. Many artists in Rawiya have also lived the stories they tell, like Dalia Khamissy (currently in Beirut) whose work The Missing: Lebanon (2010 – ongoing) echo’s her own experience of her father’s kidnap when she was seven-years old.
    [Show full text]
  • Cluster Munition Monitor 2017 Cluster Munition Monitor 2017
    CLUSteR MUNITION MONITOR 2017 CLUSTER MUNITION MONITOR 2017 Monitoring and Research Committee, ICBL-CMC Governance Board Danish Demining Group · Handicap International Human Rights Watch · Mines Action Canada Research team leaders · ICBL-CMC staff experts © August 2017 by International Campaign to Ban Landmines–Cluster Munition Coalition (ICBL-CMC). All rights reserved ISBN: 978-2-9701146-1-1 Front cover photograph © Syria Civil Defence, June 2017 Back cover photographs © Syria Civil Defence, June 2017 and © Laura Boushnak, February 2017 Cover and text design by Lixar I.T. Inc. Layout by The Tenth Planet. Landmine and Cluster Munition Monitor provides research and monitoring for the Cluster Munition Coalition (CMC) and the International Campaign to Ban Landmines (ICBL) and is a formal program of the ICBL-CMC. For more information visit www.the-monitor.org or email [email protected]. Landmine and Cluster Munition Monitor makes an effort to limit the environmental footprint of reports by publishing all of our research reports online. This report is available online. Detailed country profiles are available online at www.the-monitor.org/cp CLUSTER MUNITION COALITION The Cluster Munition Coalition (CMC) is an international civil society campaign working to eradicate cluster munitions and prevent further harm from these weapons. The CMC works through its members to change the policy and practice of governments and organizations and to raise awareness of the devastation that cluster munitions cause. The CMC is committed to the 2008 Convention on Cluster Munitions as the best framework for ending the use, production, stockpiling, and transfer of cluster munitions and for destroying stockpiles, clearing contaminated areas, and assisting affected communities.
    [Show full text]
  • ENDURING POWER: the Middle Eastern and Iranian Woman’S Story — Photography Exhibit — Resource Center for Nonviolence, Santa Cruz, CA November 2 – December 17, 2015
    ENDURING POWER: the Middle Eastern and Iranian Woman’s Story — Photography Exhibit — Resource Center for Nonviolence, Santa Cruz, CA November 2 – December 17, 2015 – Artist Bios - Razan Alzayani is a Bahrain born photographer who has been working in the Gulf region as a visual storyteller for over five years, continually enjoying the interplay of working with still and video mediums. She currently works as a video journalist for the AssociatedPress based in Dubai. Prior to that, Razan worked as a multimedia producer and later as a staff photojournalist for The National Newspaper based in Abu Dhabi. With a degree from Boston University, an impressive resume and several awards over the last two years, she is a very strong contributor to this exhibition, showcasing her passion for issues that involve women and communities that are often misrepresented or that are hard to access. http://razanalzayani.com/ Twitter @ralzayani Instagram @razanalzayani Laura Boushnak is a Kuwaiti-born Palestinian photographer. Her work ranges from conflict photography to pictorial storytelling. After completing a BA in sociology at the Lebanese University, Boushnak began her photography career covering news for the Associate Press in Lebanon, and later as a photo editor and photographer for Agence France ‐ Presse (AFP). Her nine-year wire service experience included covering hard news in conflicts such as the war in Iraq and the 2006 Israel‐Hesbollah war. Her photographs have been published in the New York Times, The Guardian, The National Geographic, and Le Monde, among others. Since 2008, Boushnak has been working as a freelance photographer, devoting more time to her long‐term projects and focusing on Arab women and education as highlighted in her “I Read I Write” series, seen here as part of the Enduring Power exhibition.
    [Show full text]