Analysis Of Belooking On Women

Westerners often hear of how oppressed women are in Saudi Arabia. As a result, one might expect these women to be vocal about their challenges living in such a country. However, contrary to the assumption that they are unhappy, they are quick to defend their country, saying that their often overbearing abayas are parts of their tradition. These women say that they still enjoy freedoms and that “[i]t is Western women… who have been manipulated into becoming the toys of men” (Kristof 272). Even so, they still receive unequal treatment from men. Saudi women journalists must stay in their own rooms when they work while men do not. Because of these types of segregated and deleterious practices, Nicholas Kristof argues in his essay “Saudis in Bikinis” that the West is not being paternalistic in trying to advocate for women’s rights in Saudi Arabia; they are trying to free women who have never tasted true liberty. It is

One Saudi woman, Lana, criticizes American women for displaying their bodies in public, debating that women in Saudi Arabia are free rather than the women in Western Civilization. Lana disparaged Western culture by asking “Why should I show my legs and breasts to men? Is that really freedom?'' This becomes a trend for the answers Kristof had gathered that Saudi women believe they are the ones “free from sexual harassment, free from pornography, free from seeing their bodies used to market cars and colas. It is Western women, they say, who have been manipulated into becoming the toys of men,” demonstrating how Saudi women defend their traditions and essentially attack what is foreign to their

“Women and Gender in Islam” by Leila Ahmed was published in 1992, at a time when research on Arab women was a young, newly emerging field of study. Leila Ahmed is an Egyptian American writer and feminist. Her text “Women and Gender in Islam” targets proclaimed feminists, both western and non-western, as the intended audience. The text is involved with the discourse of gender, the discourses of women, the discourses of feminist, and colonial and post-colonial discourses.

The Ugly Truth About Beauty by Dave Barry is a humorous essay, which uses techniques like satire including exaggeration, that gives the reader a funny yet accurate portrayal of women and their beauty standards compared to standards set for men. Barry uses satire, humor to criticize the faults of others, to connect with his audience. Although Barry loves to make funny points throughout his essay he constantly weaves in serious facts and examples of this issue. Barry will make a valid point then immediately follow it up with exaggeration. His use of satire in the essay makes the reading light and enjoyable while showing the reader the double standards of beauty.

The writer sits, their fingers lay gently across the lettering of a keyboard. Images and words swirl through their mind, formulating the perfect literary storm. Yet their hands refuse to type. Even with the perfect story in mind, the writer must first choose the most effective mode of discourse to properly communicate their desired message. Every piece of literature, whether it be a poem or a novel, contains either one or various types of this communication. Rachel Lloyd, the author of Girls Like Us: Fighting for a World Where Girls Are Not for Sale, uses a total of four modes of this dissertation. These include description, narration, exposition and argument, and each contributes to the message of Lloyd’s memoir, some more effectively than

“Life is full of unhappiness and most of it caused by women (Harik and Marston 11)”. For women in the Middle East life is faced with great and unequal odds, as their human rights are limited, due to Islamic beliefs and that of patriarchy. From their daily actions at home to their physical appearance, Middle Eastern women are portrayed as quiet, faceless women veiled from head to toe. While this image is just another stereotype, women in the middle do face many obstacles and challenges of creating their own identity as they are frequently denied a voice in their rights. Living in a society dominated by men life is not, but regardless women in the Middle East, predominantly Muslims, continue to fight for

Persepolis: The Story of a Childhood by Marjane Satrapi is a graphic novel that provides insight into a young girl living in Iran during the hardship of war. Persepolis takes place during the childhood of Marjane Satrapi. It gives a background of the Islamic Revolution and the war in Iran. Satrapi attempts to guide herself in a corrupted world filled with propaganda. She tries to develop her own morality concerning religion, politics, and humanity. Satrapi was blessed enough to have high class status and parents who had an open mindset about the world around them. Thanks to her slightly alternative lifestyle, she is able to reconstruct gender norms that society has set by depicting the different ways women resist them. “Do Muslim Women Really Need Saving? Anthropological Reflections on Cultural Relativism and Its Others” by Lila Abu-Lughod is an essay detailing the misconceptions surrounding the veil. Through this essay we can see how colonial feminism, the form of feminism in which western women push for a western way of living on their third world counterparts, has shined a negative light on cultures all around the world - particularly Islamic women. The essay shows how women who don’t conform to American societal structures are labeled as women who urgently require saving. Through this essay one can develop a thorough understanding of the veil itself and the many representations it holds to different entities. Although in Persepolis: The Story of a Childhood Satrapi

The extent and degree of information and detail written in this article about each represented author and their contributing works can ultimately be seen as one of the articles main strengths. However, although this article gives a vast amount of information on the women’s opinions and beliefs the article at times seems disassembled and erratic. The flow of the article is somewhat hard to follow, and without an increased measure of concentration, the ability of the reader to comprehend and decipher whom the author is speaking of can be lost. Also, with the extensive amounts of information and detail that each female author contributes to the argument, readers are bombarded with data to interpret and distinguish upon. With the author of the article not decisively choosing the strongest points of argument from each author, the information becomes overwhelming and possibly confusing at times.

In recent years, America’s attention has been gripped by stories of women who have escaped from the Middle East. Each has a unique story, but they all have the same themes of oppression, abuse, and domination. Americans rushed onto the scene ready to “save” Middle Eastern women and many of the activists are now been highly praised for the influence they made in the region. Others, however, have come to question whether the Muslim women in the Middle East really needed the U.S. to rescue them from Islam. *Insert Thesis*

An Examination On Sociocultural “Marking” of Women – Rhetorical Analysis of “There Is No Unmarked Woman” by Deborah Tanen

Popular culture is often a reflection of society; both literature and the media have the capacity to cement ideas in the minds of readers and viewers. In many cases, the notions and stories glorified by the media refrain from sharing a true depiction of society and are narrow-minded in their focus. Recently, the feminist movement has denounced popular culture for its ignorance, fighting for a more realistic portrait to be painted by those with the power to reach millions. Specifically, both Roxane Gay’s Bad Feminist and Chimamanda Ngozi Adichie’s “The Danger of a Single Story” share how the classic gender stereotypes seen in popular culture are unable to capture the full spectrum of stories that define society, and are limiting in their portrayals of women. Moreover, both authors share personal stories, reference prominent world figures, and cite relevant statistics in their works. Therefore, in both Bad Feminist and “The Danger of a Single Story”, Roxane Gay and Chimamanda Ngozi Adichie appeal to readers pathos, logos, and ethos in order to construct the argument that the single story of women in popular culture is stereotypical and restrictive.

Gender Roles and Stereotypes Explored in Judy Mann's The The Difference: Growing Up Female in America and Bernard Lefkowitz's Our Guys

Generally feminist criticism examines how men and women are presented in artifacts. The human race has a

Laura Mulvey understands Sherman’s Untitled Film Stills as to be rehearsing this structure of the ‘male gaze’, “The camera looks; it captures the female character in a parody of different voyeurisms. It intrudes into moments in which she is ungraded, sometimes undressed, absorbed into her own world in the privacy of her own environment. Or it witnesses a moment in which her guard drops and she is suddenly startled by the presence, unseen and off-screen watching her.”[v]

This is a significant aspect of the course because the article examines the strengths and weaknesses of femininity through a cultural Muslim perspective and the reading is a prime example of how ideologies regarding race affect those involved. In class we have discussed the significances of social constructs and how assumptions are made on the basis of physical characteristics. In this situation, identity is related to gender as Muslim women are categorized as both good/respectful and rebellious/evil individuals because they are apart of a culture where they are both oppressed and liberated simultaneously.