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24 produkter
24 produkter
Häftad, Engelska, 2004
350 kr
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Praise for the first edition:"An impressive collection of more than 50 pieces—essays, poems, folktales, short stories, memoirs, film scripts, lectures/speeches—by Arab women challenging the widely accepted view of Middle Eastern women as submissive non-thinkers to whom feminism is a foreign concept." —Booklist"Anyone interested in good writing should read [Opening the Gates]. Here are first-class stories with the energy and freshness we expect from a beginning." —Doris Lessing, The Independent"This collection of stories, speeches, essays, poems and memoirs bears fierce testimony to a tradition of brave Arab feminist writing in the face of subjugation by a Muslim patriarchy."—Publishers Weekly"This impressive collection of writings by Arab women . . . represent[s] a powerful series of vignettes by women who were both insightful and gifted, into the lives of women who have lived 'behind the veil' over the last 100 years."—Arab Book World"An expression of indigenous, intrepid feminism in the Arab world."—Ms."Opening the Gates succeeds not because of its methodology, but because of the stories the women tell."—Voice Literary Supplement
Inbunden, Engelska, 2019
2 151 kr
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"These writings on war by Middle Eastern and South Asian women are passionate, bitter, and deeply attached to place and circumstance. They should be part of our essential reading. At the tail end of this century, they help to remap a vivid, splintering world".--Meena Alexander, author of "Fault Lines". Lightning Print On Demand Title
Häftad, Engelska, 2000
676 kr
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This provocative collection addresses the ways in which Arab women writers are using Islam to empower themselves, and theorizes the conditions that have made the appearance of these new voices possible.
E-bok
PDF, Engelska, 2018784 kr
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The experiences of women in twentieth-century wars in South Asia and the Middle East challenge the concept of the separation of front and homefront and of family and society common to most modern western wars. Women there have not only entered into what was once considered male-only territory in men''s roles wearing men''s clothing, but more important, they have entered explicitly as women playing a variety of roles in the conflicts surrounding them. Their self-conscious, self-confident presence has changed the nature of that territory. This anthology reflects the realization that through their writing, women have created a new mythology of the war-peace paradox—one that is grounded in the reality of their own lives. The works collected here illustrate the many ways in which women have become active participants in social conflict and military battles, speaking of war not only as an extraordinary but also as an ordinary experience of coping with violence and conflict on a daily basis. Women''s involvement with the rituals of violence does not begin or end with traditional war; their daily struggles for survival stretch seamlessly into the more public arena of political war. In this anthology, Drs. Cooke and Rustomji-Kerns offer a collection of journal entries, interviews, fiction, and poetry by twentieth-century Middle Eastern and South Asian women writing about war and political conflicts. Some of the works were written in English, but the majority were translated specifically for this anthology and are published here for the first time in English. Blood Into Ink is an important and much-needed addition to the rapidly growing literature on war and peace. The anthology will greatly enlarge our understanding of the role of women in one of the most central of human concerns.
E-bok
Engelska, 2018784 kr
Läs direkt efter köp
The experiences of women in twentieth-century wars in South Asia and the Middle East challenge the concept of the separation of front and homefront and of family and society common to most modern western wars. Women there have not only entered into what was once considered male-only territory in men''s roles wearing men''s clothing, but more important, they have entered explicitly as women playing a variety of roles in the conflicts surrounding them. Their self-conscious, self-confident presence has changed the nature of that territory. This anthology reflects the realization that through their writing, women have created a new mythology of the war-peace paradox—one that is grounded in the reality of their own lives. The works collected here illustrate the many ways in which women have become active participants in social conflict and military battles, speaking of war not only as an extraordinary but also as an ordinary experience of coping with violence and conflict on a daily basis. Women''s involvement with the rituals of violence does not begin or end with traditional war; their daily struggles for survival stretch seamlessly into the more public arena of political war. In this anthology, Drs. Cooke and Rustomji-Kerns offer a collection of journal entries, interviews, fiction, and poetry by twentieth-century Middle Eastern and South Asian women writing about war and political conflicts. Some of the works were written in English, but the majority were translated specifically for this anthology and are published here for the first time in English. Blood Into Ink is an important and much-needed addition to the rapidly growing literature on war and peace. The anthology will greatly enlarge our understanding of the role of women in one of the most central of human concerns.
Häftad, Engelska, 1997
338 kr
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In a book that radically and fundamentally revises the way we think about war, Miriam Cooke charts the emerging tradition of women's contributions to what she calls the "War Story," a genre formerly reserved for men. Concentrating on the contemporary literature of the Arab world, Cooke looks at how alternatives to the master narrative challenge the authority of experience and the permission to write. She shows how women who write themselves and their experiences into the War Story undo the masculine contract with violence, sexuality, and glory. There is no single War Story, Cooke concludes; the standard narrative--and with it the way we think about and conduct war--can be changed. As the traditional time, space, organization, and representation of war have shifted, so have ways of describing it. As drug wars, civil wars, gang wars, and ideological wars have moved into neighborhoods and homes, the line between combat zones and safe zones has blurred. Cooke shows how women's stories contest the acceptance of a dyadically structured world and break down the easy oppositions--home vs. front, civilian vs. combatant, war vs. peace, victory vs. defeat--that have framed, and ultimately promoted, war.
Häftad, Engelska, 2014
261 kr
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In the 1970s, one of the most torrid and forbidding regions in the world burst on to the international stage. The discovery and subsequent exploitation of oil allowed tribal rulers of the U.A.E, Qatar, Bahrain, and Kuwait to dream big. How could fishermen, pearl divers and pastoral nomads catch up with the rest of the modernized world? Even today, society is skeptical about the clash between the modern and the archaic in the Gulf. But could tribal and modern be intertwined rather than mutually exclusive? Exploring everything from fantasy architecture to neo-tribal sports and from Emirati dress codes to neo-Bedouin poetry contests, Tribal Modern explodes the idea that the tribal is primitive and argues instead that it is an elite, exclusive, racist, and modern instrument for branding new nations and shaping Gulf citizenship and identity - an image used for projecting prestige at home and power abroad.
E-bok
Engelska, 2023560 kr
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In a book that radically and fundamentally revises the way we think about war, Miriam Cooke charts the emerging tradition of women''s contributions to what she calls the "War Story," a genre formerly reserved for men. Concentrating on the contemporary literature of the Arab world, Cooke looks at how alternatives to the master narrative challenge the authority of experience and the permission to write. She shows how women who write themselves and their experiences into the War Story undo the masculine contract with violence, sexuality, and glory. There is no single War Story, Cooke concludes; the standard narrative—and with it the way we think about and conduct war—can be changed.As the traditional time, space, organization, and representation of war have shifted, so have ways of describing it. As drug wars, civil wars, gang wars, and ideological wars have moved into neighborhoods and homes, the line between combat zones and safe zones has blurred. Cooke shows how women''s stories contest the acceptance of a dyadically structured world and break down the easy oppositions—home vs. front, civilian vs. combatant, war vs. peace, victory vs. defeat—that have framed, and ultimately promoted, war.In a book that radically and fundamentally revises the way we think about war, Miriam Cooke charts the emerging tradition of women''s contributions to what she calls the "War Story," a genre formerly reserved for men. Concentrating on the contemporary lite
E-bok
Engelska, 2014418 kr
Läs direkt efter köp
In the 1970s, one of the most torrid and forbidding regions in the world burst on to the international stage. The discovery and subsequent exploitation of oil allowed tribal rulers of the U.A.E, Qatar, Bahrain, and Kuwait to dream big. How could fishermen, pearl divers and pastoral nomads catch up with the rest of the modernized world? Even today, society is skeptical about the clash between the modern and the archaic in the Gulf. But could tribal and modern be intertwined rather than mutually exclusive? Exploring everything from fantasy architecture to neo-tribal sports and from Emirati dress codes to neo-Bedouin poetry contests, Tribal Modern explodes the idea that the tribal is primitive and argues instead that it is an elite, exclusive, racist, and modern instrument for branding new nations and shaping Gulf citizenship and identity—an image used for projecting prestige at home and power abroad.
Del 14 - Cambridge Middle East Library
War's Other Voices
Women Writers on the Lebanese Civil War
Inbunden, Engelska, 1988
1 330 kr
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This book challenges the assumption that men write of war, women of the hearth. The Lebanese war has seen the publication of many more works of fiction by women than by men. Miriam Cooke has termed these women the Beirut Decentrists, as they are decentred or excluded from both literary canon and social discourse. Although they may not share religious or political affiliation, they do share a perspective, which holds them together. The author traces the transformation in consciousness that has taken place among women who observed and recorded the progress towards chaos in Lebanon. During the so-called 'two-year' war of 1975-6 little comment was made about those (usually men in search of economic security) who left the saturnalia of violence, but with time attitudes changed. Women became aware that they had stayed out of a sense of responsibility for others and that they had survived. Consciousness of survival was catalytic: the Beirut Decentrists began to describe a society that had gone beyond the masculinisation normal in most wars and achieved an almost unprecedented fernininisation. Emigration, the expected behaviour for men before 1975, was rejected. Staying, the expected behaviour for women before 1975, became the sine qua non for Lebanese citizenship. The writings of the Beirut Decentrists offer hope of a way out of the anarchy. If men and women could espouse the Lebanese women's sense of responsibility, the energy that had fuelled the unrelenting savagery could be turned to reconstruction. But that was before the invasion of 1982.
Häftad, Engelska, 2014
592 kr
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In a century torn by violent civil uprisings, civilian bombings, and genocides, war has been an immediate experience for both soldiers and civilians, for both women and men. But has this reality changed our long-held images of the roles women and men play in war, or the emotions we attach to violence, or what we think war can accomplish? This provocative collection addresses such questions in exploring male and female experiences of war--from World War I, to Vietnam, to wars in Latin America and the Middle East--and how this experience has been articulated in literature, film and drama, history, psychology, and philosophy. Together these essays reveal a myth of war that has been upheld throughout history and that depends on the exclusion of "the feminine" in order to survive. The discussions reconsider various existing gender images: Do women really tend to be either pacifists or Patriotic Mothers? Are men essentially aggressive or are they threatened by their lack of aggression? Essays explore how cultural conceptions of gender as well as discursive and iconographic representation reshape the experience and meaning of war.The volume shows war as a terrain in which gender is negotiated. As to whether war produces change for women, some contributors contend that the fluidity of war allows for linguistic and social renegotiations; others find no lasting, positive changes. In an interpretive essay Klaus Theweleit suggests that the only good war is the lost war that is embraced as a lost war. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Inbunden, Engelska, 2016
2 701 kr
Skickas inom 3-6 vardagar
In a century torn by violent civil uprisings, civilian bombings, and genocides, war has been an immediate experience for both soldiers and civilians, for both women and men. But has this reality changed our long-held images of the roles women and men play in war, or the emotions we attach to violence, or what we think war can accomplish? This provocative collection addresses such questions in exploring male and female experiences of war--from World War I, to Vietnam, to wars in Latin America and the Middle East--and how this experience has been articulated in literature, film and drama, history, psychology, and philosophy. Together these essays reveal a myth of war that has been upheld throughout history and that depends on the exclusion of "the feminine" in order to survive. The discussions reconsider various existing gender images: Do women really tend to be either pacifists or Patriotic Mothers? Are men essentially aggressive or are they threatened by their lack of aggression? Essays explore how cultural conceptions of gender as well as discursive and iconographic representation reshape the experience and meaning of war.The volume shows war as a terrain in which gender is negotiated. As to whether war produces change for women, some contributors contend that the fluidity of war allows for linguistic and social renegotiations; others find no lasting, positive changes. In an interpretive essay Klaus Theweleit suggests that the only good war is the lost war that is embraced as a lost war. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Häftad, Engelska, 1996
238 kr
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This is a study of Arab writers such as Ghada al-Samman, Hanan al-Shaikh, Emily Nasrallah and Etel Adnan. It presents a constructive literary approach to the ravages of the civil war in the Lebanon. The ways in which women's consciousness is awakened in terms of female liberation is a theme.
Inbunden, Engelska, 2007
1 366 kr
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From 1970 until his death in 2000, Hafiz Asad ruled Syria with an iron fist. His regime controlled every aspect of daily life. Seeking to preempt popular unrest, Asad sometimes facilitated the expression of anti-government sentiment by appropriating the work of artists and writers, turning works of protest into official agitprop. Syrian dissidents were forced to negotiate between the desire to genuinely criticize the authoritarian regime, the risk to their own safety and security that such criticism would invite, and the fear that their work would be co-opted as government propaganda, as what miriam cooke calls “commissioned criticism.” In this intimate account of dissidence in Asad’s Syria, cooke describes how intellectuals attempted to navigate between charges of complicity with the state and treason against it.A renowned scholar of Arab cultures, cooke spent six months in Syria during the mid-1990s familiarizing herself with the country’s literary scene, particularly its women writers. While she was in Damascus, dissidents told her that to really understand life under Hafiz Asad, she had to speak with playwrights, filmmakers, and, above all, the authors of “prison literature.” She shares what she learned in Dissident Syria. She describes touring a sculptor’s studio, looking at the artist’s subversive work as well as at pieces commissioned by the government. She relates a playwright’s view that theater is unique in its ability to stage protest through innuendo and gesture. Turning to film, she shares filmmakers’ experiences of making movies that are praised abroad but rarely if ever screened at home. Filled with the voices of writers and artists, Dissident Syria reveals a community of conscience within Syria to those beyond its borders.
Häftad, Engelska, 2007
378 kr
Skickas inom 5-8 vardagar
From 1970 until his death in 2000, Hafiz Asad ruled Syria with an iron fist. His regime controlled every aspect of daily life. Seeking to preempt popular unrest, Asad sometimes facilitated the expression of anti-government sentiment by appropriating the work of artists and writers, turning works of protest into official agitprop. Syrian dissidents were forced to negotiate between the desire to genuinely criticize the authoritarian regime, the risk to their own safety and security that such criticism would invite, and the fear that their work would be co-opted as government propaganda, as what miriam cooke calls “commissioned criticism.” In this intimate account of dissidence in Asad’s Syria, cooke describes how intellectuals attempted to navigate between charges of complicity with the state and treason against it.A renowned scholar of Arab cultures, cooke spent six months in Syria during the mid-1990s familiarizing herself with the country’s literary scene, particularly its women writers. While she was in Damascus, dissidents told her that to really understand life under Hafiz Asad, she had to speak with playwrights, filmmakers, and, above all, the authors of “prison literature.” She shares what she learned in Dissident Syria. She describes touring a sculptor’s studio, looking at the artist’s subversive work as well as at pieces commissioned by the government. She relates a playwright’s view that theater is unique in its ability to stage protest through innuendo and gesture. Turning to film, she shares filmmakers’ experiences of making movies that are praised abroad but rarely if ever screened at home. Filled with the voices of writers and artists, Dissident Syria reveals a community of conscience within Syria to those beyond its borders.
E-bok
PDF, Engelska, 2007544 kr
Läs direkt efter köp
From 1970 until his death in 2000, Hafiz Asad ruled Syria with an iron fist. His regime controlled every aspect of daily life. Seeking to preempt popular unrest, Asad sometimes facilitated the expression of anti-government sentiment by appropriating the work of artists and writers, turning works of protest into official agitprop. Syrian dissidents were forced to negotiate between the desire to genuinely criticize the authoritarian regime, the risk to their own safety and security that such criticism would invite, and the fear that their work would be co-opted as government propaganda, as what miriam cooke calls “commissioned criticism.” In this intimate account of dissidence in Asad’s Syria, cooke describes how intellectuals attempted to navigate between charges of complicity with the state and treason against it.
A renowned scholar of Arab cultures, cooke spent six months in Syria during the mid-1990s familiarizing herself with the country’s literary scene, particularly its women writers. While she was in Damascus, dissidents told her that to really understand life under Hafiz Asad, she had to speak with playwrights, filmmakers, and, above all, the authors of “prison literature.” She shares what she learned in Dissident Syria. She describes touring a sculptor’s studio, looking at the artist’s subversive work as well as at pieces commissioned by the government. She relates a playwright’s view that theater is unique in its ability to stage protest through innuendo and gesture. Turning to film, she shares filmmakers’ experiences of making movies that are praised abroad but rarely if ever screened at home. Filled with the voices of writers and artists, Dissident Syria reveals a community of conscience within Syria to those beyond its borders.
E-bok
Engelska, 2004784 kr
Läs direkt efter köp
This provocative collection addresses the ways in which Arab women writers are using Islam to empower themselves, and theorizes the conditions that have made the appearance of these new voices possible.
E-bok
PDF, Engelska, 2004784 kr
Läs direkt efter köp
This provocative collection addresses the ways in which Arab women writers are using Islam to empower themselves, and theorizes the conditions that have made the appearance of these new voices possible.
Inbunden, Engelska, 2016
2 144 kr
Skickas inom 10-15 vardagar
On March 17, 2011, many Syrians rose up against the authoritarian Asad regime that had ruled them with an iron fist for forty years. Initial successes were quickly quashed, and the revolution seemed to devolve into a civil war pitting the government against its citizens and extremist mercenaries. As of late 2015, almost 300,000 Syrians have been killed and over half of a total population of 23 million forced out of their homes. Nine million are internally displaced and over four million are wandering the world, many on foot or in leaky boats. Countless numbers have been disappeared. These shocking statistics and the unstoppable violence notwithstanding, the revolution goes on.The story of the attempted crushing of the revolution is known. Less well covered has been the role of artists and intellectuals in representing to the world and to their people the resilience of revolutionary resistance and defiance. How is it possible that artists, filmmakers and writers have not been cowed into numbed silence but are becoming more and more creative? How can we make sense of their insistence that despite the apocalypse engulfing the country their revolution is ongoing and that their works participate in its persistence? With smartphones, pens, voices and brushes, these artists registered their determination to keep the idea of the revolution alive. Dancing in Damascus traces the first four years of the Syrian revolution and the activists’ creative responses to physical and emotional violence.
Häftad, Engelska, 2016
605 kr
Skickas inom 10-15 vardagar
On March 17, 2011, many Syrians rose up against the authoritarian Asad regime that had ruled them with an iron fist for forty years. Initial successes were quickly quashed, and the revolution seemed to devolve into a civil war pitting the government against its citizens and extremist mercenaries. As of late 2015, almost 300,000 Syrians have been killed and over half of a total population of 23 million forced out of their homes. Nine million are internally displaced and over four million are wandering the world, many on foot or in leaky boats. Countless numbers have been disappeared. These shocking statistics and the unstoppable violence notwithstanding, the revolution goes on.The story of the attempted crushing of the revolution is known. Less well covered has been the role of artists and intellectuals in representing to the world and to their people the resilience of revolutionary resistance and defiance. How is it possible that artists, filmmakers and writers have not been cowed into numbed silence but are becoming more and more creative? How can we make sense of their insistence that despite the apocalypse engulfing the country their revolution is ongoing and that their works participate in its persistence? With smartphones, pens, voices and brushes, these artists registered their determination to keep the idea of the revolution alive. Dancing in Damascus traces the first four years of the Syrian revolution and the activists’ creative responses to physical and emotional violence.
E-bok
Engelska, 2016784 kr
Läs direkt efter köp
On March 17, 2011, many Syrians rose up against the authoritarian Asad regime that had ruled them with an iron fist for forty years. Initial successes were quickly quashed, and the revolution seemed to devolve into a civil war pitting the government against its citizens and extremist mercenaries. As of late 2015, almost 300,000 Syrians have been killed and over half of a total population of 23 million forced out of their homes. Nine million are internally displaced and over four million are wandering the world, many on foot or in leaky boats. Countless numbers have been disappeared. These shocking statistics and the unstoppable violence notwithstanding, the revolution goes on.
The story of the attempted crushing of the revolution is known. Less well covered has been the role of artists and intellectuals in representing to the world and to their people the resilience of revolutionary resistance and defiance. How is it possible that artists, filmmakers and writers have not been cowed into numbed silence but are becoming more and more creative? How can we make sense of their insistence that despite the apocalypse engulfing the country their revolution is ongoing and that their works participate in its persistence? With smartphones, pens, voices and brushes, these artists registered their determination to keep the idea of the revolution alive. Dancing in Damascus traces the first four years of the Syrian revolution and the activists’ creative responses to physical and emotional violence.
E-bok
PDF, Engelska, 2016784 kr
Läs direkt efter köp
On March 17, 2011, many Syrians rose up against the authoritarian Asad regime that had ruled them with an iron fist for forty years. Initial successes were quickly quashed, and the revolution seemed to devolve into a civil war pitting the government against its citizens and extremist mercenaries. As of late 2015, almost 300,000 Syrians have been killed and over half of a total population of 23 million forced out of their homes. Nine million are internally displaced and over four million are wandering the world, many on foot or in leaky boats. Countless numbers have been disappeared. These shocking statistics and the unstoppable violence notwithstanding, the revolution goes on.
The story of the attempted crushing of the revolution is known. Less well covered has been the role of artists and intellectuals in representing to the world and to their people the resilience of revolutionary resistance and defiance. How is it possible that artists, filmmakers and writers have not been cowed into numbed silence but are becoming more and more creative? How can we make sense of their insistence that despite the apocalypse engulfing the country their revolution is ongoing and that their works participate in its persistence? With smartphones, pens, voices and brushes, these artists registered their determination to keep the idea of the revolution alive. Dancing in Damascus traces the first four years of the Syrian revolution and the activists’ creative responses to physical and emotional violence.
E-bok
Engelska, 2012255 kr
Läs direkt efter köp
In 1928, a young Lebanese woman, Nazira Zeineddine al-Halabi, wrote a book called "Unveiling and Veiling", an indictment of patriarchal oppression in which she boldly stated that the veil was un-Islamic, directly challenging the teachings of "wiser" male scholars. Considered by many an attack on Islam, it rocked the Muslim world and was banned by many clerics, although it quickly went into a second edition and was translated into several languages. In this latest addition to Makers of the Muslim World series, Miriam Cooke offers an intimate portrait of the life and work of this pioneering champion of Islamic feminism.
Inbunden, Engelska, 2010
389 kr
Skickas inom 7-10 vardagar
In 1928, a young Lebanese woman, Nazira Zeineddine al-Halabi, wrote a book called "Unveiling and Veiling", an indictment of patriarchal oppression in which she boldly stated that the veil was un-Islamic, directly challenging the teachings of "wiser" male scholars. Considered by many an attack on Islam, it rocked the Muslim world and was banned by many clerics, although it quickly went into a second edition and was translated into several languages. In this latest addition to Makers of the Muslim World series, Miriam Cooke offers an intimate portrait of the life and work of this pioneering champion of Islamic feminism.