Pub Date : 2023-03-01DOI: 10.1215/15525864-10256155
Liina Mustonen
This article looks at how specific gendered practices and ideas about female bodies were instrumentalized in the struggle for political authority during Egypt’s transitional period between 2011 and 2013. It argues that in the aftermath of the uprising, when Islamists won the parliamentary and presidential elections in Egypt, the figure of the “modern” woman gained renewed political significance. By exploring Egyptian English-language women’s lifestyle magazines, the article illustrates how socioeconomically privileged, Cairo-based women crafted “modern” female bodies and engaged in what Lila Abu-Lughod calls the “politics of modernity.” By delving into the world of Cairo’s wealthy and fashionable producers of lifestyle magazines, the article shows how specific bodily techniques and vocabularies of neoliberal feminism helped construct the idea of a “modern” woman. The “modern” female body then provided a location from which other bodies, considered traditional or not yet modern, could be judged. During Egypt’s transitional period, it was not the victimized Muslim woman who needed to be saved but the modern woman who felt that her lifestyle was under attack from Islamists. Based on an analysis of visual images and discourses, the article provides a contemporary example of the use of “modern” gendered subjecthood in creating hierarchies between women.
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Pub Date : 2023-03-01DOI: 10.1215/15525864-10256267
Hannah Elsisi
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Pub Date : 2023-03-01DOI: 10.1215/15525864-10256253
Fayrouz Yousfi
{"title":"Al-ʿUcha","authors":"Fayrouz Yousfi","doi":"10.1215/15525864-10256253","DOIUrl":"https://doi.org/10.1215/15525864-10256253","url":null,"abstract":"","PeriodicalId":45155,"journal":{"name":"Journal of Middle East Womens Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41922437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1215/15525864-10256141
Didem Unal Abaday
This article examines how the aggressive public discourse on feminist protest works at the current political moment in Turkey, when Muslim feminist subjects are at stake. It looks at the heated public debates on the 2019 Feminist Night Walk with a particular focus on the recent proliferation and concentration of the divergences and fault lines in the Muslim women’s movement. Drawing on the Foucauldian approach to the power-discourse-resistance nexus, it investigates different forms of gendered subjectivity in the reformist segments of the Muslim women’s movement that are produced in accordance with the changing contextual dynamics and explores whether these subjectivities are conventional/conformist or resistant. Along these lines, it provides a typology of two distinct modes of gendered Muslim subject formation at the intersection of Islam and feminism: hybrid subjectivities embracing the hegemonic terms of governmentality, and resistant Muslim feminist activists.
{"title":"Critical Pious Agency and Muslim Feminists’ Activism in the Age of Authoritarianism","authors":"Didem Unal Abaday","doi":"10.1215/15525864-10256141","DOIUrl":"https://doi.org/10.1215/15525864-10256141","url":null,"abstract":"\u0000 This article examines how the aggressive public discourse on feminist protest works at the current political moment in Turkey, when Muslim feminist subjects are at stake. It looks at the heated public debates on the 2019 Feminist Night Walk with a particular focus on the recent proliferation and concentration of the divergences and fault lines in the Muslim women’s movement. Drawing on the Foucauldian approach to the power-discourse-resistance nexus, it investigates different forms of gendered subjectivity in the reformist segments of the Muslim women’s movement that are produced in accordance with the changing contextual dynamics and explores whether these subjectivities are conventional/conformist or resistant. Along these lines, it provides a typology of two distinct modes of gendered Muslim subject formation at the intersection of Islam and feminism: hybrid subjectivities embracing the hegemonic terms of governmentality, and resistant Muslim feminist activists.","PeriodicalId":45155,"journal":{"name":"Journal of Middle East Womens Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48646902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1215/15525864-10256127
L. Bier
This article analyzes Egyptian print advertisements of gas stoves, refrigerators, and washing machines as a way to consider how the technopolitics of Egyptian modernity intersected with gender politics—both at the level of state policy and in everyday life—in the two decades following the 1952 revolution. It argues that the proliferation of advertisements for Egyptian-made stoves, refrigerators, and washing machines found in the popular press during this period envisioned domestic technology as a critical building block in a gendered social contract between the state and the Egyptian people. Aimed exclusively at women, such ads stressed values like pleasure, abundance, affordability, and leisure—a vision of society where every housewife could achieve her dreams and every family could have a modern kitchen. These idealized images were not a new feature of household advertisements. However, the language of pleasure, beauty, and happiness used to advertise household goods prior to the revolution became embedded in new gendered definitions of citizenship after it. Advertisements also depicted women as primary beneficiaries of Egyptian state socialism and, in doing so, papered over some of the tensions in the state’s plan to mobilize women as workers, housewives, and consumers.
{"title":"The Pleasures of Domesticity","authors":"L. Bier","doi":"10.1215/15525864-10256127","DOIUrl":"https://doi.org/10.1215/15525864-10256127","url":null,"abstract":"\u0000 This article analyzes Egyptian print advertisements of gas stoves, refrigerators, and washing machines as a way to consider how the technopolitics of Egyptian modernity intersected with gender politics—both at the level of state policy and in everyday life—in the two decades following the 1952 revolution. It argues that the proliferation of advertisements for Egyptian-made stoves, refrigerators, and washing machines found in the popular press during this period envisioned domestic technology as a critical building block in a gendered social contract between the state and the Egyptian people. Aimed exclusively at women, such ads stressed values like pleasure, abundance, affordability, and leisure—a vision of society where every housewife could achieve her dreams and every family could have a modern kitchen. These idealized images were not a new feature of household advertisements. However, the language of pleasure, beauty, and happiness used to advertise household goods prior to the revolution became embedded in new gendered definitions of citizenship after it. Advertisements also depicted women as primary beneficiaries of Egyptian state socialism and, in doing so, papered over some of the tensions in the state’s plan to mobilize women as workers, housewives, and consumers.","PeriodicalId":45155,"journal":{"name":"Journal of Middle East Womens Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46030355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1215/15525864-10256239
Z. Kostadinova
Say What Your Longing Heart Desires is an ethnography about the many ways Muslims pray and the relationship to the divine and the self, architected through prayer. It follows a group of educatedmiddle-class women in postrevolutionary Tehran over ten years. Through the life experiences of five women, Niloofar Haeri asks the reader to question established analytic frameworks in the anthropology of Islam on agency, the discursive traditions, and the often underestimated impact ordinary women exercise in the hermeneutics of Islam and liturgy. Critical to this analysis, as Haeri points out, is the generational aspect of her study. The women she studied came of age in 1979, around the time of the revolution, which changed the religious landscape in Iran. Before religion became imposed in public life, these women had spent their childhood learning the classical poetry of Islamic mystics as a particular child pedagogy in Iran. This poetic imagination has played a crucial role in shaping the knowledge of the divine, locally known as ʿerfan. After the revolution, the ʿerfan approach to religion experienced an unofficial diversification through many channels, such as doʾa prayer books, while simultaneously organized mystic groups were repressed. It is in the confluence of these two social moments that Haeri’s interlocutors assume a very particular role as carriers of the ʿerfan-inflected approach to religion, as a critique to the overaccentuated legalistic and clerical one, which dominated postrevolutionary Iran. The title, Say What Your Longing Heart Desires, taken from the second book of Rumi’sMasnavi, tells the story of a shepherd’s prayer andMoses’s anger on hearing it. The shepherd,with deep sincerity, promises God that if he ever finds him, hewill combhis hair, rub his feet, clean his house, and kill his lice. Moses, shocked, chastises the shepherd for blasphemy. He is, however, cautioned by God for failing to distinguish between qal (the
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Pub Date : 2023-03-01DOI: 10.1215/15525864-10390611
L. Sorbera, Alma Sinai
T his, Alma Sinai says of her workWitness, chosen for this issue’s cover, “is the first painting I did as an undergraduate student in 2010, while I was studying fine arts at RISD [Rhode Island School of Design]. A lot has changed since then, but also many things have stayed the same.” I correspondedwith Sinai in the last days of September 2022, during the early days of themass protests that shook Iran in the fall—revolts that,most likely,will be remembered as a feminist revolution. These are, suddenly and again, moving and thrilling times for everyonewho cares aboutwomen’s and human rights, timesfilled with hope, admiration, and fear. That is certainly so for an artist like Sinai,who was born and raised in Iran and studied at Tehran University of Art and then moved to the United States in 2010, and these feelings echoed in our email exchange. “The initial drawings of this painting weremade around the time of the greenmovement in 2009, and now that I’m revisiting it, another big movement is happening with women at its center. I wouldn’t directly link all of these together, but I do think that in some way it corresponds to the overall climate of this momentum.” Sinai thinks of herself as an interdisciplinary artist using printmaking, drawings, videos, and installations as her primary media: “The ideas in my works stem from an interpersonal realm, but they speak out to different individuals and communities that undergo abrupt and suspended situations in various scenarios.” The notions of repetition, entanglement, and being trapped in a certain situation while findingwaystodealwith, resolve, andtransformitare leitmotifs inherwork. InWitness we see a series of entangled headless and limbless female figures building a unified entity,which generates new coping, grappling, and determiningmechanisms.Women are always at the center of Sinai’s work, because she feels that she has a better understanding of women than of men, and a more intimate relation to their psychology.
Alma Sinai在谈到她被选为本期封面的作品《见证》时说，“这是我2010年在罗德岛设计学院学习美术时画的第一幅画。从那时起，情况发生了很大变化，但也有很多事情保持不变。”我在2022年9月的最后几天与Sinai通信，在秋季震撼伊朗的大规模抗议活动的早期，这些起义很可能会被人们铭记为女权主义革命。对于每一个关心妇女和人权的人来说，这是一个突然而激动人心的时刻，充满了希望、钦佩和恐惧。对于像西奈这样的艺术家来说，情况当然如此，他在伊朗出生和长大，在德黑兰艺术大学学习，然后于2010年移居美国，这些感受在我们的电子邮件交流中得到了回应。“这幅画的最初绘画是在2009年绿色运动期间绘制的，现在我重新审视它，另一场以女性为中心的大运动正在发生。我不会直接将所有这些联系在一起，但我确实认为，在某种程度上，它与这一势头的整体氛围相一致。西奈认为自己是一位跨学科的艺术家，将版画、绘画、视频和装置作为她的主要媒介：“我作品中的想法源于一个人际领域，但它们向不同的个人和社区发出声音，这些个人和社区在各种场景中经历了突然和暂停的情况。”，以及被困在某种情况下，同时找到处理、解决和转变工作主题的方法。在《见证》中，我们看到一系列纠缠在一起的无头无肢女性形象构建了一个统一的实体，产生了新的应对、斗争和决定机制。女性始终处于西奈工作的中心，因为她觉得自己对女性的理解比对男性的理解更好，而且与男性的心理关系更密切。
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Pub Date : 2023-03-01DOI: 10.1215/15525864-10256281
Rend Beiruti
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Pub Date : 2023-03-01DOI: 10.1215/15525864-10256197
E. Yüksel
Alyssa Gabbay’s new book consists of both descriptive and prescriptive research that analyzes the examples of bilateral descent in themedieval and earlymodern Islamic world (3). Aside from exemplifying three manifestations of bilateral descent, the book emphasizes Fatima as a possessor of female agency and an impressive precedent for recognizing bilateral descent in Sunni and Shiʿi societies. Alongside the introduction and the epilogue, the volume is organized into three main parts, each comprising two chapters. Gabbay’s study first examines the Sunni and Shiʿi texts belonging to Islam’s high textual tradition, including hadith collections, Qurʾan commentaries, and histories, while depicting Fatima fulfilling each function. The book continueswith the questions of how other women fulfilled these functions inmedieval and premodern Islamic societies (6). In her exploratory survey, Gabbay uses various other sources, such as biographical dictionaries, historical chronicles, endowment deeds, and poetry related to dynasties and empires (the Byzantine, Sassanid, Fatimid,Mughal, and Ottoman). The book’s first part, “Mothers,” conceptually explains how women can transmit their lineage to their children as men do. Reflecting on the concept of lineage, the first chapter deals with the diversity of medieval views and approaches to it. The chapter particularly focuses on the portrayals of Shiʿi images of Fatima as radiant and chaste, a source of her father’s progeny, and a carrier of her father’s characteristics, which can be aligned with the idea of the lineage transmitted by both mother and father. Associating these concepts with pre-Islamic examples and the ones of Mary and Jesus, Gabbay argues that motherhood and femininity discourses are key to the legitimacy of succession and sovereignty. In connection with the previous one, the second chapter illustrates the acceptance
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