The Veil Of Najwa Character Acts As An Arc For Her Independence

Another aspect of the veil is the identity value, many women from different countries affirmed they feel that the veil is part of them; it is so important for them that “many women […] feel self-conscious, vulnerable, and even naked when they first walked on a public street without the veil […] as if they were making a display of themselves” – paragraph 22

“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.

Marjane Satrapi’s Persepolis introduces the Islamic veil as an attempt by the Iranian government to control women. Islamic radicals promised safety and security for those who abided by their rules. Rebels who refused to wear the headscarf were threatened with beating, rape or death. These modern women who fought against religious oppression met the minimal requirements of the government rules to safely live in the hostile environment. Through being forced to wear the veil, the control of the Islamic government drives its people to a rebellion.

"The Discourse of the Veil" Ahmed examines Amin’s recommendations regarding women and formed part of his thesis and how/why he believed that unveiling was key to the social transformation, which is important for unraveling the significance of the debate that his book provoked (Ahmed, 145). Ahmed discusses the origins and history as an idea of the veil which informs Western colonial discourse and 20th century-Arabic debate have several implications. The first implication is the evident connection between the issue of culture of women, as well as between the cultures of other men and the oppression of women, which was created by Western discourse. The idea that improving the status of women resulting in abandoning native customs was

In the exposition we meet our protagonist who is a young women of Islam who wears the traditional veil that muslim women are advised to wear under the law of the Quran were it says, “And tell the believing women to reduce some of their vision and guard their private parts and not expose their adornment except that which necessarily

One of these incidents occurs when Marjane is in art school. When the students were told that they needed to wear longer headscarves, Satrapi immediately responded that “as a student of art…I need to move freely to be able to draw.” She further questions “why is it that I, as a woman, am expected to feel nothing when watching these men with their clothes sculpted on but they, as men, can get excited by two-inches less of my head scarf?” here Marjane questions the restrictiveness of the veil and comments on the injustice in Muslim society and the gender inequality. The veil represent the repressions and the gender injustices in Iran. By revolting against the veil Marjane is able to protest the repressions. On hearing Marjanes complaint, the school administrators asked Satrapi to design her own veil. Marjane accepts this offer while still in the confines of the veil. Marjane designs the veil to suit the needs of the students and

The process of making decisions when growing up acts as a barrier, in particular the uncertainty and risk involved which makes the decision challenging and confusing. The post adolescence stage has Shafana in a bizarre stage of life where she must take full responsibility for her decisions and actions. In the beginning of the play the word veil is symbolic for the foreshadowing of the play “to recognize the veil of knowing and surrender to unknowing,” – Shafana. Here the veil is symbolic of the uncertainty that waits when escaping the societal criteria and transitioning to adulthood and life wearing the hijab. Shafana uses a monologue to expose her feelings of the

Through its ethnocentric tales and family based beliefs, Elizabeth Warnock Fernea’s Guests of the Sheik suggests that to find the true representation of Islamic culture, one must leave ethnocentrism behind. Not only will we discuss ethnocentrism and the cultural differences between Western and Middle Eastern societies, we will also take a look at the women of El Nahra and family within the differing societies.

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

The specific topic of this book is the oppression of women. Its overall purpose is to understand the women behind the veils and why the Muslim women take up the hijab. The purpose is also to show how

The author, Naheed Mustafa, starts out with two points of view others have of her, a “Muslim terrorist” or an oppressed woman (Mustafa 1). However, with these two points of view, Mustafa is suggesting that people only view her in these two ways because in their eyes a Muslim woman cannot be more. Then she introduces the hijab, a scarf which covers her neck, head, and throat, but explains that young Muslim women like her are “reinterpreting” the purpose of the hijab: give women absolute control over their bodies. According to Mustafa, the hijab does not only give women absolute control but freedom. Yet, others do not understand this concept or why a young woman who was born in a land that is free and full of opportunities like North America

Using specific illustrations from Maryse Conde's novel Segu, this is an essay that discusses how the coming of Islam to Bambar society affected that people's traditional, political, social and economic practices as well as challenging the Bambaras' religious beliefs.

Dreams of Trespass tells the story of a young girl growing up in a Moroccan, Muslim harem and how the world around her affects her childhood. The plot surrounds the main character, Fatima, and her mother’s want for more freedom outside of the harem and the frontiers. The reader gets an insider’s look at the appearance and structure of their home, as well as rules and activities that the women of the harem participated in or were allowed to do. All of this information has one thing in common: Islamic influence. During the time of the story, the 1940s, Islam contributed immensely to Moroccan culture, society, and politics.