Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Women rights in islamic system
Women rights in islamic system
Essay on women rights in islam
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Women rights in islamic system
In “speechless” Shirin Neshat’s black and white photography of a half of her face wearing a black veil. Having focus on the proportions of the face gives an emotional intensity manifested in her melancholic facial expressions. It also brings the audience to a close exposure, which uncovers the truth by digging more into those lame details. One eye is directly looking at that revealed, powerful, and muscular look that obviously referred to “women in mourning” theory by her desperate look of supressed freedom and deep sorrow.
The gun may look like a vicious circle, but when we get closer we realise that it is a gun, which symbolizes the social violence used against this suppressed woman. The geometric forms emphasize the perspectival ideology about women in Islam. The gun is simply interpreted power, and essentials of protection that makes a connection between freedom and oppression that was a major conflict with Neshat’s real life. The waves of the black cloth show a part of her veil, still the darkness makes it look very vague and absurd. In Islamic culture veil signifies to protection but Iranian society used it as a means of suppression, and accordingly the veil was spread widely during the Islamic revolution in Iran. The shape of the black veil is slightly unattached to show the struggle between women’s desire in freedom and religious provision.
The woman’s face was blurred and covered by those written sacred verses from the Quran on her face. Face is a powerful emotional body part that exposes the inner feelings, but here in this artwork it was meant to suppress all this facial power to reflect how a Muslim woman in Iran is being neglected under the name of religion, though all reli...
... middle of paper ...
...connection between symbolizing cultural issues, and women in Islam by using three basic elements. Neshat’s photograph has a cultural perspective, and psyche effect on women; it communicates with women who fight for liberty, and rights, and who expect to see cultural, and social improvements. The challenge of her work has interpreted the role of women especially women in Islam. The morality of her work is building the opposite reality of Islam that most people see it biased and violence. Her philosophies of her art have reflected her real life by revealing her experience since she was exiled from her native country because of the immoral ideology of Islam in Iran. “Speechless” photograph artwork has introduced the concepts of feminism art, which is expressing women’s feeling through media. This form is frequently referred to Neshat’s artwork especially “speechless”.
When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
Fatemeh Fakhraie’s essay “Scarfing it Down,” explains how Muslim women suffer because of what they wear. Fakhraie blogs about Muslim women in her website she explains; “Seeing ourselves portrayed in the media in ways that are one-dimensional and misleading." Several people judge Muslim's by their appearance because they assume they're a bad person. The author of this essay wants the reader to know that Muslim women wearing a hijab are not a threat to the world.
The article “My Body Is My Own Business” by Naheed Mustafa is about an Islamic women’s principle that putting on her usual headscarf, or Hijab, actually empowers her as a female, contrary to the popular principle that the hijab represents male oppressiveness. She ex...
In conclusion, the book is well set, with a good introduction and interactive body. It has been recommended for used in literature in both secondary school and colleges. This will help the intended to have an awareness of women life in prison and faces of loss, hope, and human attitude and emotions in the prison life. The volume can be termed as companion for females both in the prison and outside prison. The issue racism has been well exposed in the book and the role of women artist in racism.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
In fewer words, Jon Berger’s Ways of Seeing discusses how humans see the world and he does so through the lens of art, seeing as he is an art historian. Specifically, in chapter three, he brings to attention how the portrayal of women in art and in the world is contingent on the male eye and its ideals. Women have been oppressed in their sense of selves because men dictate what they prefer in a women. Even in this day in age, a woman’s self-worth banks on the acceptance of men. Her only way of making a way in the world is by impressing men with hyper-sexual and or submissive tactics because that tradition has been drilled into all of our brains since Adam and Eve.
Lila Abu-Lughod’s article titled, “Do Muslim Women Really Need Saving?” takes a closer look at the problematic ethnocentric approach many have when trying to gain an understanding of another culture that may be foreign to that individual. In this analytical paper, Lughod looks at women in Islam, specifically the treatment of women and how it might be utilized as a justification for invading into a country and liberating its people. The country Lughod refers to in her article is Afghanistan, and Lughod points out the misunderstanding from the people to the Bush administration like First Lady Laura Bush who believed that intervention was necessary to free women from the captivity of their own homes. It is important to consider the role that different lenses play into all of this, especially when one’s lenses are being shaped by the media. Depictions of covered women secluded from society leave a permanent image in the minds of many, who would then later support the idea of liberation. This paper will discuss that the practice of using propaganda when referring to the lifestyle in the Middle East is not exclusive to the U.S; rather it has been utilized throughout history. Additionally, we will take a closer look on the importance of symbols, such as veils in this case; help to further emphasize the cause to liberate. Finally, we will analyze Lughod’s plea towards cultural relativism and away from liberal imperialism.
In the chapter “The Veil,” Satrapi’s graphic novel displays a connection with advertisements; that being a theme of oppression toward women. In the chapter “The Veil,” Satrapi introduces her readers to her life in 1980. A frame from “The Veil,” Satrapi includes a caption and image that 1980 was the year when wearing the veil became enforced by the law (681). The frame prior to the enforcement of the veil explains that the reason behind this law is due to ‘The Islamic Revolution’ (681). With these two frames, readers see that new laws such as the veil were enforced due to “religious” reasons because the government. Having men in government enforce such laws on women demonstrates the control they are attempting to gain. Women face oppression in advertisements similarly by society telling women how they are seen and how they should look. The types of advertisements that target women this way are sexual advertisements. An example of an advertisement oppressing a woman is displayed in Dolce & Gabbana. Dolce & Gabbana created an adver...
The aim of this essay is analyse women´s images in The Yellow Wallpaper and in The Awakening, since the two readings have become the focus of feminist controversy.
Frida Kahlo’s honest, often bizarre, self-portraits reflect a beauty beyond the physical--- an impishness in the wide eyes, a small smirk teasing at the corners of her mouth. In her renderings, her cheeks are always heavily rouged, and exotic flowers adorn her raven hair. Self-Portrait in a Velvet Dress uses the contrast of light --- Kahlo’s glowing skin --- and dark--- the black background, and in doing so, this painting not only communicates the subject’s outward beauty. It also points to an unspoken turmoil inside of the painter: as dark as the night sky and as deep as rolling sea.
The religion of Islam was imposed upon Iranians, whether they liked it or not. Marjane and her classmates “...didn’t like to wear the veil, especially since we didn’t understand why we had to”(Satrapi 3). The young girls were against wearing the veil because they were not practicing
Perhaps the main reason I liked this book was the unfaltering courage of the author in the face of such torture as hurts one even to read, let alone have to experience first-hand. Where men give in, this woman perseveres, and, eventually, emerges a stronger person, if that is even possible. The book’s main appeal is emotional, although sound logical arguments are also used. This book is also interesting as it shows us another face of Nasir – the so-called “champion of Arab nationalism” – who is also the enemy of pan-Islamism. The book is also proof of history repeating itself in modern-day Egypt.
Feminism has been an extremely controversial and significant subject over the centuries. The issue of equality between men and women have been questioned and exceedingly debated upon, why men were treated and considered the ‘superior’ gender. During the 1960’s, civil rights, protests against war and gay and lesbian movements were at its peak. It was the period of time, which the Feminist art movement had emerged, also known as the “second-wave” of feminism, shifting away from modernism. Women wanted to gain equal rights as men within the art world. Feminist artists such as Cindy Sherman, Carolee Schneemann and Hannah Wilke pursued to change the world and perspectives on women through their artworks, specifically in body art. Their goal was to “influence cultural attitudes and transform stereotypes.” (DiTolla. T, 2013)
Nawal El Saadawi is an Egyptian psychiatrist, feminist and an activist who has written many books on the subject of Middle Eastern women, and the practice of female genital cutting in the society. Initially, she went to this prison in order to do research in a female inmates, and their experience in the prison. However, after a while she got interested in meeting the woman he who had killed a man and had been sentenced to hanging. She based this book on her encounter with Firdaus and Firdau’s life story. Firdaus story is the contemporary story of sexism, discrimination and sexual abuse that occurs all around the world. She is abused by her father, her uncle, her husband and her one true love. Throughout the book, author shows the difficulty of being a woman in the patriarchal society during 1970’s in Egypt. At the same time, the entire book really perpetuates the stereotype that western culture has about gender discrimination in Middle Eastern nations.
Published in 1984, The Unbearable Lightness of Being by Milan Kundera is based on two women and two men (the adulterous surgeon, Tomas, his wife, Tereza, Tomas’s mistress, Sabina, and Sabina’s one of many affairs, Franz) around the late 1960s when the Soviet Union invaded and occupied Czechoslovakia. Kundera establishes a motif on cameras throughout the novel, interpreting how the camera possesses the power . Throughout historic and modern times, camera has served one as a source of power to capture, preserve the earnest depiction of what surrounds him or her, but also as a source of weapon.