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The aftermath of the Iranian revolution
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After the Iranian Revolution of 1979 Iran became a nation led by a Muslim theocracy. In the years following the revolution, women’s presence in the public sphere actually increased under Sharia law. This increase can be explained in two main ways: conservative and religious women tended to feel more comfortable in the post-revolution public because every woman had to adhere by strict dress codes, which allowed a sense of anonymity. On the other hand, more liberal women increased their presence as a sort of retaliation towards the government, proving that regulations placed specifically on women would not push them out of the public, but rather motivate them to establish their place in the public sphere. In the post-revolution era women gained …show more content…
These presumptions are influences by an inherently Western way of thinking that assumes that non-Western nations are oppressive or under-developed. In fact, the reason for the Iranian Revolution was to depose the Shah and to force the government to represent the Iranian people well (see figure 1, the tearing down of the Shah’s statues after he left Iran). This thought that women were in fact being pushed out of the public sphere, however, did occur in some first-hand accounts of Tehranian women. In the memoir Reading Lolita in Tehran, the life stories of eight women living in Tehran in the 1980s to 1990s show the displeased attitudes towards the government that some women held. One account of a woman named Mahshid tells of her unhappiness with the head covering law, not because she did not want to wear one, but because it took away the meaning. Nafisi states: “Before the revolution, (Mahshid) had worn the scarf as a testament to her faith. Her decision was a voluntary act. When the revolution forced the scarf on others, her action became …show more content…
This can be attributed, in part, to Ayatollah Khomeini’s want to include “women in social, political, educational and economic activities. He took every opportunity to make clear that he didn’t want women to go back into isolation.” This understanding of Khomeini’s ideals might seem contradictory to his strict fundamental Islamic beliefs, but they may have served his more of a political purpose than religious in some cases. When looking at the
With such a unanimous resentment, particularly in the dominating religious sect of Iran, it is important to address the ideologies within the religion enforce the country’s patriarchal social structure, i.e. the “form of social organization in which males dominate females” (text 38). Furthermore, with the Islamic Revolution of 1979, these attitudes were the driving force behind many of the discriminatory laws that confined women in Iran to a life defined by its limitations.
Heroes and victims—these common roles are found in “The Joy of Reading and Writing: Superman and Me,” by Sherman Alexie, and in Azar Nafisi's, “From Reading Lolita in Tehran.” Both Alexie and Nafisi were shaped by the societies into which they were born, turning to literature to escape from the confinements of their existence. Sherman Alexie is an Indian who works with students openly in the Catholic school system to help the students of the reservation find their own way into the world, while Azar Nafisi, a native of Iran, works with her most trusted and brightest students, taking them "underground" for lectures in order to conceal her educational efforts from her country’s regime. Together, these authors might be viewed as dangerous by their cultures. Each is an example of individuals who took the lot they were cast in life and used their abilities and educations to help others. In the world we live in today, the concept of personal freedom is a matter of perspective, and the society that an individual is born into greatly influences their reality.
Women’s rights in the Middle East are being restricted, therefore there are many different reactions. Some people were in favor of women having equal rights while there are some who are against women to have the same rights. Since before times, many countries in the Middle East have been taking women for granted and minimized their rights by telling them they can't do something or selling them as if they were prized. When women were treated as prizes it was a practice in Afghanistan called Ba’ad that used women as the compensation, for example a story of a girl named Sakina. She was a consolation prize so that her brother could marry a woman and the Jirga system told her she had to marry a 80 year old guy when she was like 18. This tells me
Women have always been thought of as something that needed to be controlled in Muslim culture. Their bodies are a source of shame that must be covered during prayer and also in the public (Mir-Hosseini 2007: 3). Veiling, done by a hijab or chador, is when women either wear a headscarf to cover themselves or they wear a veil that covers their entire body, excluding her hands and eyes (Mir-Hosseini 2007: 1; Mir-Hosseini 2003: 41; Berger 1998: 93; Smith-Hefner 2007: 390-391; Brenner 1996: 674; El Guindi 1999: 6). Veiling is used as a tool for oppression. By having women veil themselves, it enforces the control by the male run and male dominated society (Mir-Hosseini 2007: 7). Also, the punishment for women appearing without a veil transitioned as the concept of veiling was addressed, transitioning from seventy-four lashes, to being arrested and held between ten days and two months for being “immodest” women and offending public morality, or fined 50,000 to 500,000 rials (Mir-Hosseini 2007: 8). The oppression of veiling is perpetuated through the thought that it is a woman’s religious duty to wear one, condemning foreigners and women in society if they refuse. Although it is a tool for oppression, there was resistance the oppression. In ...
In conclusion, the Iranian artist, Shirin Neshat, gave a TedTalk in December 2010 that outlined the role of Iranian artists in how the west perceives Iran and the changing position of women in Iranian culture as the political and cultural situation slowly shifts. In the end, what Neshat managed to convey through this talk was her desire for the west to consider the biased information that tends to front our news headlines in recent years, and further study could reveal why these negatives are often emphasised by the west. Although Neshat is in self-imposed exile from Iran, she still manages to highlight to the west the issues her country faces. Consequently, Neshat causes many peoples’ focus to shift towards Iran’s rich history and the strength of the Iranian people today and therefore helps to inspire people to continue the struggle for freedom.
Women in Iran don’t have this luxury.They never got the choice to wear what they wanted to because religious customs were enforced into the law. In “Persepolis 2: The Story of a Return”, Satrapi states, Little details made a big difference in the fight against the rule(Satrapi,84). When some of the women defied the laws set by the government, they discreetly had demanded their freedom.Makeup or colored clothing displayed their demand. They wanted to express themselves so they rebelled with these little actions risking arrest. Their choice of clothes was never given to them so they demanded the right by rebelling. After years of not being able to express themselves they felt as though they were representing the community with the same clothes, but they wanted their own. Azar Nafisi says in “Reading Lolita in Tehran”,” Does she realize how dangerous she can be when every stray gesture is a disturbance to public safety?”(Nafisi,83). The author emphasizes that many actions and clothing are banned so there is opportunity to rebel. Rebelling is demanding for it to be changed. Clothing and movements can be an act that represents the demand. This granted them the ability to rebel and
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.
Throughout history women were taught that they needed to learn how to sing, play a piano, keep up with the latest current events, socialize, etc. in order to maintain their status as a woman. However, they were only taught to learn these various things on a minimal level in order to entertain a crowd, make simple conversation, and appear wealthy and educated. This was especially this case in Iran in the 1930’s. Women were/still are pressured to embody a modest personality and style. Women were especially not expected to be poets and/or film directors. Regardless of the societal standards Forugh Farrokhzad was held to, she had an influential career as a poet thus becoming a bold female voice that was able to express what it meant to be a feminist
There are many examples throughout the text that specifically focus on the overbearing treatment of women. During the country's revolution there is a shift to extremely conservative religious conviction that force women to cover themselves head to toe while in public. Ultimately, Nafisi refuses to wear a veil while teaching at the University of Tehran which leads to her expulsion. These examples presented throughout the text along with various outside sources, can be a tool to interpret and scrutinize the oppressive treatment of people in unjust societies like that of Iran's.
Overall, Islam and Gender is a valuable addition to the field of ethnography by examining the everyday struggles, experience, and involvement of women within the Islamic law. Hosseini targets a Western audience and hopes to leave them with a better understanding of the Islamic judiciary system and Iranian feminism. She successfully provides her readers with an unprejudiced account of the shari’ah and family law, and even includes the ideologies of those opposing her personal beliefs. Hosseini specifically requests Muslim women to take a stand develop their own local, Islamic feminist movement and openly advocates new discourse within Islamic jurisprudence.
Tohisi, Nayereh. "Iranian Women and Gender Relations in Los Angeles." California Dreams and Realities: Readings for Critical Thinkers and Writers. Ed. Sonia Maasik, and J F. Solomon. 3rd ed. Boston: Bedford/St. Martin's Press, 1993. 149-159. Print.
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 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
Marjane Satrapi’s graphic novel, Persepolis, makes important strides toward altering how Western audiences perceive Iranian women. Satrapi endeavors to display the intersection of the lives of some Westerners with her life as an Iranian, who spent some time in the West. Satrapi, dissatisfied with representations she saw of Iranian women in France, decided to challenge them. In her words, “From the time I came to France in 1994, I was always telling stories about life in Iran to my friends. We’d see pieces about Iran on television, but they didn’t represent my experience at all. I had to keep saying, ‘No, it’s not like that there.’ I’ve been justifying why it isn’t negative to be an Iranian for almost twenty years. How strange when it isn’t something I did or chose to be?” (Satrapi, “Why I Wrote Persepolis” 10). In acknowledging both Eastern and Western feminism, Satrapi’s novel humanizes the female Iranian perspective in a way that can easily digested by Western audiences.
To understand the changing role of women starting during the Islamic Revolution, it is important to briefly review the lives of Iranian women and the role of Islam during the final years of the secular regime of the Shah. Mohammad Reza Shah was disliked by the majority of Iranian population, but his secular and prominent Western attitude allowed for some reforms of women’s rights in Iran. For example, in 1963 he created a reform program which would eventually be known as the “White Revolution,” which included suffrage for women (Beck and Nashat 114). This decision led to a violent reaction, especially from strong Islamic leaders such as Ayatollah Khomeini, whom would eventually play a pivotal role in the revolution and women’s rights. Although the Shah allowed for women’s reform, he was popularly known as a dictator and appeared to be in complete favor of maintaining a traditional patriarchal society.