Hawwa最新文献

One of the most important themes in lyrical literature is love with the beloved at the core of this topic. The physical beauty of the beloved has a great effect on the lover, leading to describing the beloved’s body as a common tradition in Romantic poetry. The aim of this study is to investigate and analyze the characteristics of the beloved with a descriptive-analytical method, focusing on contemporary Kurdish poetry of Īlam. The results of my study show that the characteristics of the beloved can be categorized into seven items. The descriptions of the beloved in the poems by the poets of Īlam are both beautiful and diverse, totaling about seventy. The portrayal of the beloved is completely realistic; the poets describe her eyes, hair, lips and breasts, respectively. Particularly notable is the emphasis on the beloved’s big intoxicating eyes which captivate the minds of the Kurdish poets. It is interesting to note that in contrast to Persian poetry which favors dark eyes, Kurdish poetry praises blue eyes more. Other differences are the simple language used in Kurdish poetry with less attention to complex imagery as well as the pleasant and intimate relationship with the beloved in Kurdish poetry compared to Persian poetry which employs a much more complicated language and imagery. In many cases, the lover complains about being neglected by the beloved. Poets in Kurdish poems opt for simple imagery, drawing on elements from their surroundings such as flowers, vegetables, constellations and animals. This choice reflects their lifestyle which includes activities like agriculture, animal husbandry and hunting. Overall, the portrayal of the beloved in these poems reflects a deep appreciation for beauty and nature as well as a connection to traditional Kurdish culture and lifestyle.

This essay engages a broad geographic, demographic, and chronological scope on the topic of colonialism and Islamic reform to avoid the reinforcement of colonial era inventions and gender(ed) myths across education, the law, enslavement, hierarchies of gender, and Islamic reform. This essay argues that understanding women and gender in various colonial contexts is an important avenue for recovering the restorative work that women have done to reject colonial ideologies throughout history. Reflecting upon scholarship situated at the intersection of modern Islamic thought and feminism, new possibilities emerge to reframe the meaning of justice and freedom in this historiography and beyond.

Most divorces in Palestine come about through a private unregulated agreement between the spouses referred to as “ṭalāq bit-taradi” (consensual ṭalāq), often called mukhalaʿa or mubāraʾa. Over the last century, women’s economic rights in the unilateral ṭalāq have increased. At the same time, the number of consensual ṭalāq has risen. While the consensual ṭalāq provides a way out of an unwanted marriage for women, it hardly represents a form of ‘gender equality’. Rather, it is a field where kin-patriarchy is asserting itself through women’s dependence on agnates to reach an agreement and to bear the cost of such divorces. Furthermore, the consensual ṭalāq invites abuse and economic extortion from husbands. As the Islamic shariʿa court condemns such behaviour, our study nevertheless finds that the court facilitates the consensual ṭalāq by setting the bar for litigated divorce too high and by letting time pass.

This paper deconstructs the ways the image of Fāṭima Zarrīn-Tāj Baraghānī, known as Tahirih Qurrat al-ʿAyn (d. 1852), has been distorted in academic works and in anti-Bahā’ī polemics. The misrepresentations of Tahirih in these works range from disconnecting her from the source of her inspiration, to accusations of immorality, to denying her knowledge, to denying her poetry, to depicting her as a militant figure. It is suggested that misogyny, religious prejudice, selective as well as uncritical use of primary sources, and agenda driven scholarship explain the misrepresentations.

Tahirih Qurrat al-ʿAyn has come to be seen as the first Iranian woman to openly advocate for the rights of women and the first feminist of her country. But it was among the women’s avant-garde in Europe that she first gained the stature of a feminist heroine. Discussing five cases in five nations, this article will show how Tahirih became, across cultural borders, a source of inspiration to Europe’s women avant-garde, especially throughout the second half of the long 19th century, and will suggest some reasons for the decline of public interest in the figure of Tahirih, especially in the period after the second world war.