Hegemonic Women In The Middle East

“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 question of “why feminism?” has been presented to a number of female artists who deal with strong constructions of gender in their work. The answer, overwhelmingly, has been the desire to modify stereotypes about women that have prevailed in male-dominated art history. In the 1960’s, women who explored “feminist” issues in their art were criticized, causing mass mobilization and conscious raising as to what, exactly, was the purpose of feminist art (Crowell, 1991). Since that time, women have been trying desperately to overturn the art world and rescind the traditional stereotypes and images that have plagued them. Feminist artists created somewhat of a unified front during that

Women's rights in the Middle East have always been a controversial issue. Although the rights of women have changed over the years, they have never really been equal to the rights of a man. This poses a threat on Iran because women have very limited options when it comes to labor, marriage and other aspects of their culture. I believe that equal treatment for women and men is a fundamental principal of international human rights standards. Yet, in some places like Iran, discriminatory practices against women are not only prevalent, but in some cases, required by law. In this essay I will explain to you the every day life of an every day Islamic woman living in Iran. You will be astonished by what these women have endured through the

“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

One of the most controversial topics concerning Muslim women’s rights is the idea of the veil. It is believed by some Muslims that the veil is an Islamic obligation that all Muslim women must adhere to. But nowadays, the veil can have different meanings that are not necessarily religious. In her article “Reinventing the Veil,” Leila Ahmed addresses some of the different meanings that the veil can have. Marjane Satrapi explores one of those meanings in her animated autobiography Persepolis (2008). In Persepolis, Marjane tells the story of her rebellion against the Iranian Islamist regime that takes over Iran, oppresses women, and forces them to wear the veil. What was interesting to me was seeing Marjane wear the veil without being oppressed, although she does not believe in it, and is being forced to wear it. In Persepolis, Marjane Satrapi escapes being a subject to the Iranian Islamist ideology by establishing her individual identity through transforming the veil from a means of oppression into a means of feminist rebellion.

Abayas, shailas, burkas, and chadors: all are forms of veiling in the Middle East, and all are perceived as symbols of oppression and patriarchy by the West. The veil worn by a Middle Eastern woman is striking and beautiful in its simplicity and elegance. The hijab, the most common form of veiling, leaves only the face visible with the neck and hair completely covered. Onlookers are in awe at the mystery and symbolism associated with the many veils created out of fine, exotic silk. But such notions of oppression and patriarchy often associated with veiling are not only inherently biased and ironic – it would be interesting to explore the symbolism behind a mini-skirt or a pair of five-inch heels, no? – but they are also inaccurate. Although veiling has most definitely been used in the Middle East as a “mechanism in the service of patriarchy, a means of regulating and controlling women’s lives” (Hoodfar, 5), it has also been used as a mode for rebellion and self-expression. Marjane Satrapi, an Iranian woman who grew up during the Islamic revolution, resisted the regime and the universalizing nature of the veil in the hope that she could maintain her individual identity whilst communicating her political ideologies. By examining the way in which the veil is represented in Satrapi’s graphic memoir, Persepolis, while also considering the history of veiling in Iran, it will become evident that the veil is not just a political tool used by male chauvinists; it also presents an

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*

Women’s rights in the Middle East have always been a controversial issue. Although the rights of women have changed over the years, they have never really been equal to the rights of a man. This poses a threat on Iran because women have very limited options when it comes to labor, marriage and other aspects of their culture. I believe that equal treatment for women and men is a fundamental principal of international human rights standards. Yet, in some places like Iran, discriminatory practices against women are not only prevalent, but in some cases, required by law. In this essay I will explain to you the every day life of an every day Islamic woman living in Iran. You will be astonished by what these women

In the today’s society, it may appear that women’s rights have been propelled forward by equal opportunity sanctions. However, taking a more concise look at different spectrums, such as the art world, it appears that many women are still being snubbed despite their artistic abilities. In

The fictional accounts of women’s experiences in Fadia Faqir’s, Pillars of Salt, illustrate issues articulated by women’s rights activists in the Middle East. Traditional roles of women and men and a mythology of femininity and masculinity are juxtaposed with the disparate realities of the characters. The damaging forces of colonial rule, war, and Westernization are also exposed.

Religion goes hand in hand with culture, and in the Muslim countries this is very apparent. The cultural importance of men over women may have stemmed from religion, however it was further recognized when imperialist countries introduced capitalism and class divides. “Islam must combat the wrenching impact of alien forces whose influence in economic, political, and cultural permutations continues to prevail” (Stowasser 1994, 5). Now, instead of an agrarian state where both men and women had their place, difficulties have formed due to the rise in education and awareness that women can and do have a place in society beyond domestic living Though women are not equal to men anywhere around the

In the book, Women in the Middle East, a Saudi Arabian proverb states, "A girl possesses nothing but a veil and a tomb" (Harik and Marston 83). The key words, "veil" and "tomb" lend evidence to the fact that many Middle Eastern women lack identity symbolized by the “veil” and lack the right of ownership except for their veil and the tomb. This statement further enforces the notion that many women in the Middle East are expected to serve and tolerate the oppression of the men in their lives throughout their lives on this earth. Moreover, it confirms that many of these women do not get the opportunity to obtain education, join the work force, and even participate in the political affairs of the country. This arrangement further helps the

The Secular Feminism of the Western Society does not understand Islamic feminism which is inclusive with Islam. Western feminists see Islam as oppressive in nature and Western Feminism does not recognize the struggle of the women of the Middle East and does little to help their plight where they yearn for basic rights women in the West take for granted. Where Islamic feminism is very strong is in Iran where women deal with oppression within their everyday lives.

Although Western feminism started in the 1900s, yet, it didn’t reach the Islamic world until most recently, a couple of hundred years later than the West. Despite the fact that both of the feminism movements come from totally different back grounds, and they are affected by different history and culture, still, both of them aimed for women’s best interests. Muslim women were profoundly feeling aggrieved by the discrimination they have against them. They stereotypical reputation about them in the West, and their presentation in the Western media didn’t help either. They started and supported a new fight to regain themselves the equal status they were granted by Islam centuries ago. Muslim women didn’t like to be looked at as being backward and oppressed by men in a male-dominant world. According to the feminist historian Margot Badran, “Islamic feminism is a feminist discourse and practice articulated within an Islamic paradigm. Islamic feminism, which derives its understanding and mandate from the Qur 'an, seeks rights and justice for women, and for men, in the totality of their existence.” (Badran, 2001)