古怪的伊斯兰和穆斯林美国

IF 0.2 Q4 WOMENS STUDIES Meridians-Feminism Race Transnationalism Pub Date : 2021-10-01 DOI:10.1215/15366936-9547980
Taneem Husain
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引用次数: 0

摘要

在美国当前的文化和政治气候中,对穆斯林的刻板印象,如破坏性的恐怖分子和被压迫的罩袍妇女,无处不在。对于穆斯林美国人来说,打破这些刻板印象是令人担忧的:仅仅反对这些刻板印象是不够的。美国穆斯林经常被要求构建他们身份的核心方面——尤其是宗教、性别和性——这样他们就能被美国主流情感所接受,从而成为“好”的穆斯林。这篇文章通过乌萨马·阿尔沙比2011年的电影《亵渎》来想象一个“酷儿”的穆斯林,从而理论化了这种好与坏二分法的另一种选择。《亵渎》以穆娜为中心,她是一名穆斯林阿拉伯裔美国职业施虐狂,试图调和她反常的性行为与她的宗教身份。在这样做的过程中,她解开了对她作为一个主宰者的角色和她的穆斯林身份的理解,质疑了这些类别的界限。本文运用酷儿色彩批判和BDSM的女权主义理论,探讨了穆娜是如何要求人们承认她的伊斯兰性取向和反常的伊斯兰教的,以及她如何在不认同这些类别的过程中驾驭紧张局势的。虽然她试图承认不可避免地失败了,但穆娜继续坚持伊斯兰的性行为/反常的伊斯兰教,通过消耗在整部电影中困扰她的精灵。这篇文章展示了穆纳是如何拒绝屈服于本质化身份的紧张关系——特别是通过将宗教与变态的性联系起来——来反驳美国穆斯林身份的标准单一观点的。最后,通过强调非规范和反常的宗教实践如何帮助建立酷儿对身份的看法,本文扩展了酷儿理论对穆斯林身份的新兴分析。
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Queering Islam and Muslim Americanness
In the United States’ current cultural and political climate, stereotypes of Muslims, such as the destructive terrorist and oppressed burqa-clad woman, are ever-present. For Muslim Americans, breaking outside of these stereotypes is fraught: merely contesting these stereotypes is insufficient for inclusion. Muslim Americans are often required to construct central aspects of their identities—particularly religion, gender, and sexuality—so they become acceptable to mainstream American sensibilities, thus becoming “good” Muslims. This essay theorizes an alternative to this good/bad binary by imagining a “queer” Muslimness through Usama Alshaibi’s 2011 film Profane. Profane centers on Muna, a Muslim Arab-American professional dominatrix who attempts to reconcile her perverse sexuality with her religious identity. In doing so, she unravels understandings of both her role as a dominatrix and her Muslim identity, questioning the boundaries of these categories. Using queer of color critique and feminist theorizing on BDSM, this essay examines how Muna demands recognition of her Islamic sexuality and perverse Islam, navigating tensions as she disidentifies with these categories. While her attempts at recognition inevitably fail, Muna continues to insist on Islamic sexuality/perverse Islam by consuming the jinn that haunts her throughout the film. This essay demonstrates how Muna’s refusal to succumb to tensions of essentialized identity—particularly through linking religion and perverse sexuality—works to refute the standard monolithic view of Muslim American identity. Ultimately, in emphasizing how nonnormative and perverse religious practice helps build queer perspectives on identity, this paper expands queer theory’s burgeoning analyses on Muslim identity.
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