The Islamic Veil in Civil Societies
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UZBEK WOMEN and the IMAGINING of UZBEKISTAN in the 1920S
Int. J. Middle East Stud. 34 (2002), 263–278. Printed in the United States of America Marianne Kamp PILGRIMAGE AND PERFORMANCE: UZBEK WOMEN AND THE IMAGINING OF UZBEKISTAN IN THE 1920s In August 1924, Anabibi Safaeva set off from her home city of Khiva, which was then the capital of the Xorezm People’s Republic, to study in Tashkent, which was the administrative center of the Turkistan Autonomous Soviet Socialist Republic. Safaeva traveled with some 160 students in a convoy of three boats down the Amu River toward the Aral Sea. However, misfortune befell Safaeva: her boat was attacked by basmachis, a bandit or rebel gang.1 The basmachis killed all twenty-two of the men in Safaeva’s group and carried off the women as captives. By the time that Safaeva was rescued, more than two months later, there was no longer a Xorezm People’s Republic or a Turkistan Republic; instead, Safaeva’s Khivan home was now in Uzbek- istan, and Tashkent, the goal of her academic pilgrimage, had become the capital of Uzbekistan. Safaeva waited for several years after her abduction before attempting to travel to Tashkent again, finally going there in 1927 to study at the Central Asian Communist University.2 She worked for the Communist Party of Uzbekistan as an activist in the Tashkent regional Women’s Division while she was studying, and in 1931 she was sent by the party to Uzbekistan’s Bukhara province to participate in the collectivization of agriculture. There she was poisoned, presumably by someone who opposed the state’s appropriation of land.3 Anabibi Safaeva was one of thousands of young women who joined in what Bene- dict Anderson refers to as the pilgrimage of modern education. -
The University of Chicago Old Elites Under Communism: Soviet Rule in Leninobod a Dissertation Submitted to the Faculty of the Di
THE UNIVERSITY OF CHICAGO OLD ELITES UNDER COMMUNISM: SOVIET RULE IN LENINOBOD A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE SOCIAL SCIENCES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF HISTORY BY FLORA J. ROBERTS CHICAGO, ILLINOIS JUNE 2016 TABLE OF CONTENTS List of Figures .................................................................................................................... iii List of Tables ...................................................................................................................... v Acknowledgements ............................................................................................................ vi A Note on Transliteration .................................................................................................. ix Introduction ......................................................................................................................... 1 Chapter One. Noble Allies of the Revolution: Classroom to Battleground (1916-1922) . 43 Chapter Two. Class Warfare: the Old Boi Network Challenged (1925-1930) ............... 105 Chapter Three. The Culture of Cotton Farms (1930s-1960s) ......................................... 170 Chapter Four. Purging the Elite: Politics and Lineage (1933-38) .................................. 224 Chapter Five. City on Paper: Writing Tajik in Stalinobod (1930-38) ............................ 282 Chapter Six. Islam and the Asilzodagon: Wartime and Postwar Leninobod .................. 352 Chapter Seven. The -
Nothing to Lose but Their Veils Failure and ‘Success’ of the Hujum in Uzbekistan, 1927-1953
Nothing to Lose but Their Veils Failure and ‘Success’ of the Hujum in Uzbekistan, 1927-1953 Word count: 25,896 Maarten Voets Student number: 01205641 Supervisors: Prof. Dr. Rozita Dimova, Prof. Dr. Bruno De Cordier A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of Master in East European Languages and Cultures. Academic year: 2016 – 2017 August, 2017 2 Abstract The title of this work is a reference to Marx’ famous quote, ‘The proletarians have nothing to lose but their chains.’ When the proletariat eventually took over control of the former Russian Empire after the October Revolution and the subsequent Russian civil war (1917 – 1923), they had to spread the revolution to the periphery; Central Asia. To gain support in Uzbekistan from the local (female) population the Communist Party commenced the Hujum campaign on the 8th of March 1927. This campaign targeted traditions that they considered derogatory to women, in particular the wearing of the local veil, or ‘paranja’. The campaign was a complete failure due to vehement Uzbek resistance. Yet, nowadays the paranja is little more than a museum piece. The veil disappeared from the street view from the 1950’s onwards. In my research I want to give an explanation for this delayed success. Yet, in a way the Hujum still carries on: both Central Asian and Western countries have a mixed stance on the modern variants of the paranja, as shown in the existence of burqa bans. I have analysed relevant events (such as Stalin’s purges, deportations, the battle against the Basmachi) from before, during, and after the initial Hujum and placed them inside a Gramscian framework to explain their effects on the civil and political society in Uzbekistan. -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
9783110726305.Pdf
Shared Margins ZMO-Studien Studien des Leibniz-Zentrum Moderner Orient Herausgegeben von Ulrike Freitag Band 41 Samuli Schielke and Mukhtar Saad Shehata Shared Margins An Ethnography with Writers in Alexandria after the Revolution This publication was supported by the Leibniz Open Access Monograph Publishing Fund. ISBN 978-3-11-072677-0 e-ISBN (PDF) 978-3-11-072630-5 e-ISBN (EPUB) 978-3-11-072636-7 DOI https://doi.org/10.1515/ 9783110726305 This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/ Library of Congress Control Number: 2021937483 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the internet at http://dnb.dnb.de. © 2021 Samuli Schielke and Mukhtar Saad Shehata Cover image: Eman Salah writing in her notebook. Photo by Samuli Schielke, Alexandria, 2015. Printing and binding: CPI books GmbH, Leck www.degruyter.com To Mahmoud Abu Rageh (1971–2018) Contents Acknowledgments ix On names, pronouns, and spelling xiii List of illustrations xiv Introduction: Where is literature? Samuli Schielke 1 Where is literature? 2 Anecdotal evidence 5 Outline of chapters 11 Part I. About writing Samuli Schielke, Mukhtar Saad Shehata 1 Why write, and why not stop? 15 An urge to express 16 ‘Something that has me in it’ 21 Why not stop? 27 A winding path through milieus 31 2 Infrastructures of imagination 39 The formation of scenes 43 A provincial setting 48 The Writers’ Union 51 Mukhtabar al-Sardiyat 54 El Cabina 56 Fabrica 60 Lines of division 63 Milieus at intersection 71 Openings and closures 73 3 The writing of lives 77 Materialities of marginality 79 The symposium as life 84 Being Abdelfattah Morsi 91 How to become a writer in many difficult steps 96 Holding the microphone 101 ‘I hate reality’ 105 ‘It’s a piece of me’ 107 Outsides of power 111 viii Contents Part II. -
Post-Communist Notes on Some Vertov Stills
YAT ES MCKEE Post-Communist Notes on Some Ve rtov Stills To read a work ...is to allow yourself to lose the bearing which assured you of your sovereign distance from the other, which assured you of the distinction between subject and object, active and passive, between past and present ( the latter can neither be suppressed nor ignored); lastly it is to lose your sense of the division between the space of the work and the world onto which it opens. CLAUDE LEFORT, "The Image of the Body and Totalitarianism" Islamism and avant-garde art ... les extremes se touchant. SUSAN BUCK-MORSS, Thinking Past Terror Still The still is still here-not quite present, but uncertainly remaining. It lingers, suspended and mute in the absence of the work, after the completion of its diegetic movement, afterwe think we've processed it at the level of experienceor cognition. Conventionally, we are trained to grasp it as a part of an absent totality, a stand-in that leads us back to a conscious memory of a specific scene, a general plot, an ideological 268 YATES MCKEE 1. Dziga Vertov, Man with a Movie Camera, 1929. Film still. operation, or a fo rmal convention. It is an agent of recalling and preserv ing, though it sometimes brings with it something we never fully experi enced, something that hits us in an untimely or belated way. However we assume it to operate, the still is a kind of ruin, bearing witness to violence in more ways than one. The present text takes this ruinous violence as its starting point, responding not to a self-contained work but to an image that has been arrested and cut offfrom its original context, detoured fromits presumed destination, exposed to unforesee able readings and reinscriptions. -
(UNIVERSITY) Manuscript
MINISTRY OF FOREIGN AFFAIRS OF THE RUSSIAN FEDERATION MOSCOW STATE INSTITUTE OF INTERNATIONAL RELATIONS (UNIVERSITY) Manuscript KHADEM MAKHSUS HOSSEINI, Leila TRANSFORMATION OF IRANIAN WOMEN’S CULTURAL IDENTITY Specialty: 24.00.01 – Theory and history of culture THESIS For PhD degree in Cultural Studies Scientific supervisor: Elena V. Voevoda, PhD, Doctor Habilitatus (Education) Moscow – 2018 2 CONTENTS Page INTRODUCTION ……………………………………………………… 3 CHAPTER 1. THE INFLUENTIAL FACTORS IN CONSTRUCTING IRANIAN WOMEN'S CULTURAL IDENTITY 14 1.1. The concept of cultural identity in the cultural and philosophical aspects ………………………………………………………………... 14 1.2. A comparative analysis of Judith Butler’s views on identity and Anthony Giddens’ structuration theory……………………................. 46 1.3. The role of Islam in constructing Iranian women's cultural identity ……………………………………………………………….. 57 1.4. Historical changes of social and cultural aspects of Iranian women's life ………………………………………………………….. 79 Chapter 1: Findings ………………………………………………….. 99 CHAPTER 2. MANIFESTATION OF TRADITIONAL AND MODERN CULTURAL IDENTITY OF IRANIAN WOMEN …… 103 2.1. Iranian Women's Cultural Identity Represented in their Bodies… 103 2.2. Veiling and Iranian Women's Cultural Identity ………………. 137 2.3. Iranian women's cultural identity in relation to their work and leisure time …………………………………………………………. 172 Chapter 2: Findings ………………………………………………….. 203 CONCLUSIONS ……………………………………………………….. 205 BIBLIOGRAPHY ……………………………………………………… 216 3 INTRODUCTION Research relevance. In the modern world, women play an increasingly important role in society: they actively participate in the social, economic, political and cultural life of their communities shaping the new image of their country. The issue of change in western women's role and identity during and after industrialization (referred to as one of the defining properties of modernity by A. -
Download SUR 15 In
ISSN 1806-6445 15 international journal on human rights Ziba Mir-Hosseini Criminalising Sexuality: Zina Laws as Violence Against Women in Muslim Contexts v. 8 • n. 15 • dec. 2011 Leandro Martins Zanitelli Biannual Corporations and Human Rights: The Debate Between Voluntarists and Obligationists and the Undermining Effect of Sanctions English Edition Interview with Denise Dora Former Ford Foundation´s Human Rights Officer in Brazil (2000-2011) IMPLEMENTATION AT THE NATIONAL LEVEL OF THE DECISIONS OF THE REGIONAL AND INTERNATIONAL HUMAN RIGHTS SYSTEMS Maria Issaeva, Irina Sergeeva and Maria Suchkova Enforcement of the Judgments of the European Court of Human Rights in Russia: Recent Developments and Current Challenges Cássia Maria Rosato and Ludmila Cerqueira Correia The Damião Ximenes Lopes Case: Changes and Challenges Following the First Ruling Against Brazil in the Inter-American Court of Human Rights Damián A. González-Salzberg The Implementation of Decisions from the Inter-American Court of Human Rights in Argentina: An Analysis of the Jurisprudential Swings of the Supreme Court Marcia Nina Bernardes Inter-American Human Rights System as a Transnational Public Sphere: Legal and Political Aspects of the Implementation of International Decisions Special Issue: Conectas Human Rights - 10 Years The Making of an International Organization from/in the South EDITORIAL BOARD ADVISORY BOARD Christof Heyns University of Pretoria (South Africa) Alejandro M. Garro Columbia University (United States) Emilio García Méndez University of Buenos Aires Bernardo Sorj Federal University of Rio de Janeiro / Edelstein (Argentina) Center (Brazil) Fifi Benaboud North-South Centre of the Council of Bertrand Badie Sciences-Po (France) Europe (Portugal) Cosmas Gitta UNDP (United States) Fiona Macaulay Bradford University (United Kingdom) Daniel Mato CONICET / National University of Tres de Febrero Flavia Piovesan Pontifi cal Catholic University of (Argentina) São Paulo (Brazil) Daniela Ikawa International Network on Economic, Social and J. -
Download Date 26/09/2021 10:00:58
Ecstatic Religious Expression within Islam Item Type text; Thesis-Reproduction (electronic) Authors Nettles Leavitt, Isolde Betty Blythe, 1950- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 10:00:58 Link to Item http://hdl.handle.net/10150/558213 ECSTATIC RELIGIOUS EXPRESSION WITHIN ISLAM by Isolde Betty Blythe Nettles Leavitt Copyright ©Isolde Betty Blythe Nettles Leavitt 1993 A Thesis Submitted to the Faculty of the Department of Near Eastern Studies In Partial Fulfillment of the Requirements For the Degree of Masters of Arts In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 9 3 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 'll P tt/r* J APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: William J. Wilson Professor ofiMkrale Eastern History 3 ACKNOWLEDGEMENTS My deepest gratude to Stephen Murray for his tireless efforts in the typing of this manuscript. -
Images of Women in the Cinema of Uzbekistan
Images of Women in the Cinema of Uzbekistan Nigora Karimova Institute of Fine Arts Studies, Academy of Sciences, Uzbekistan Introduction Uzbek cinematography was born during the active development of a new urban culture in Turkestan (Russian and Soviet Central Asia) at the beginning of the 20th century. Within only twenty years this young art began with making its first attempts at silent movies and produced great screen masterpieces such as “Tahir and Zuhra” (Тахир и Зухра), “Alisher Navoiy” (Алишер Навои), and “Adventures of Nasriddin” (Похождения Насреддина). During these years, a whole generation of women cinematographers were born and developed their craft from scratch, an achievement that can only be called legendary. Lolakhon Saifullina (Лолахон Сайфуллина), Valentina Sobberey (Валентина Собберей), Shahida Magzumova (Шахида Магзумова), Nazira Alieva (Назира Алиева), Yulduz Rizaeva (Юлдуз Ризаева), Lyutfihanum Sarymsakova (Лютфиханум Сарымсакова), Mariyam Yakubova (Марьям Якубова)―these are the representative names of a legendary generation, which are entered in the history of Uzbek visual culture of the 20th century in gold letters. The formation of cinema in Uzbekistan coincided with many social and political reforms of the Soviet state, including land and water reform, the fight against illiteracy, and the campaign for the liberation of women, or “Hujum” (which in Arabic means “attack”). Images of women of the new world were created during the Soviet era of silent cinema. In the mid-1930s, photographs of happy women 1 constituted 70 percent of the visual information in illustrated magazines and cinema journals for the mass audience, with almost no reports on political processes. The plots of all the “silent films” of the 1920s and 30s ―including “A Death Minaret” (Минарет смерти, 1925), “A Second Wife” (Вторая жена, 1927), “Leper” (Прокажённая, 1928), “Chador” (Чадра, 1930), and “Daughter of the Saint” (Дочь святого, 1932)―were built around the fate of a central female character. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Reclaiming Native Soil: Cultural Mythologies of Soil in Russia and Its Eastern Borderlands from the 1840s to the 1930s Permalink https://escholarship.org/uc/item/74g4p86x Author Erley, Laura Mieka Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Reclaiming Native Soil: Cultural Mythologies of Soil in Russia and Its Eastern Borderlands from the 1840s to the 1930s by Laura Mieka Erley A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Irina Paperno, Chair Professor Olga Matich Professor Eric Naiman Professor Jeffrey Skoller Fall 2012 Reclaiming Native Soil: Cultural Mythologies of Soil in Russia and its Eastern Borderlands from the 1840s to the 1930s © 2012 by Laura Mieka Erley Abstract Reclaiming Native Soil: Cultural Mythologies of Soil in Russia and Its Eastern Borderlands from the 1840s to the 1930s By Laura Mieka Erley Doctor of Philosophy in Slavic Languages and Literatures and the Designated Emphasis in Film Studies University of California, Berkeley Professor Irina Paperno, Chair This dissertation explores the cultural topos of soil in Russian and early Soviet culture. Centered on the Soviet project of land reclamation in Central Asia in the 1930s, this dissertation traces the roots of Soviet utopian and dystopian fantasies of soil to the ideological and discursive traditions of the 19th century. It considers how Soviet cultural, scientific, and political figures renovated and adapted 19th-century discourse in order to articulate for their own age the national, revolutionary, and utopian values attached to soil. -
Veils of Central Asia: Craft & Context June 17 - July 31, 2021
Veils of Central Asia: Craft & Context June 17 - July 31, 2021 Owen James Gallery is pleased to be able to present a private collection of Islamic veils from Central Asia. Dating to the Mid-20th Century, the veils offer a unique insight into the craft traditions, history and culture of the region. The veils originate mostly from Uzbekistan, where their long history is thought to stretch back to the rule of Tamerlane. Veil types and tendencies, and even usage itself, varied greatly with location and especially social class. With the invasion and subsequent control of the Soviet Union, many changes to the Uzbek social order were introduced. Among these was the Hujum (“assault”), begun by Stalin as a forced measure of gender equality. Initiated on International Women’s Day in 1927, the Hujum had complicated effects on the region. While women began to see a rise in literacy and other social gains, many people also saw it as cultural imperialism and erasure. Wearing the veil in defiance of the Soviets became a matter of national and religious resistance and pride. These veils are all handmade, and were considered family heirlooms to be handed down through generations. Each veil is as unique as the woman who made it. They are beautiful examples of the embroidery and needlework traditions of the region. In addition to embroidery and fabric (or horsehair) netting, the veils sometimes include playful and colorful beading, tassels and fringe. Some are quite austere, while others are brilliantly decorative. With their patina of time and use, they are intimate works of art full of life, tradition, family and history.