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women rights in islamic system
women rights in islamic system
essay on women rights in islam
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In “speechless” Shirin Neshat’s black and white photography of a half of her face wearing a black veil. Having focus on the proportions of the face gives an emotional intensity manifested in her melancholic facial expressions. It also brings the audience to a close exposure, which uncovers the truth by digging more into those lame details. One eye is directly looking at that revealed, powerful, and muscular look that obviously referred to “women in mourning” theory by her desperate look of supressed freedom and deep sorrow.
The gun may look like a vicious circle, but when we get closer we realise that it is a gun, which symbolizes the social violence used against this suppressed woman. The geometric forms emphasize the perspectival ideology about women in Islam. The gun is simply interpreted power, and essentials of protection that makes a connection between freedom and oppression that was a major conflict with Neshat’s real life. The waves of the black cloth show a part of her veil, still the darkness makes it look very vague and absurd. In Islamic culture veil signifies to protection but Iranian society used it as a means of suppression, and accordingly the veil was spread widely during the Islamic revolution in Iran. The shape of the black veil is slightly unattached to show the struggle between women’s desire in freedom and religious provision.
The woman’s face was blurred and covered by those written sacred verses from the Quran on her face. Face is a powerful emotional body part that exposes the inner feelings, but here in this artwork it was meant to suppress all this facial power to reflect how a Muslim woman in Iran is being neglected under the name of religion, though all reli...
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...connection between symbolizing cultural issues, and women in Islam by using three basic elements. Neshat’s photograph has a cultural perspective, and psyche effect on women; it communicates with women who fight for liberty, and rights, and who expect to see cultural, and social improvements. The challenge of her work has interpreted the role of women especially women in Islam. The morality of her work is building the opposite reality of Islam that most people see it biased and violence. Her philosophies of her art have reflected her real life by revealing her experience since she was exiled from her native country because of the immoral ideology of Islam in Iran. “Speechless” photograph artwork has introduced the concepts of feminism art, which is expressing women’s feeling through media. This form is frequently referred to Neshat’s artwork especially “speechless”.
In conclusion, the book is well set, with a good introduction and interactive body. It has been recommended for used in literature in both secondary school and colleges. This will help the intended to have an awareness of women life in prison and faces of loss, hope, and human attitude and emotions in the prison life. The volume can be termed as companion for females both in the prison and outside prison. The issue racism has been well exposed in the book and the role of women artist in racism.
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
In fewer words, Jon Berger’s Ways of Seeing discusses how humans see the world and he does so through the lens of art, seeing as he is an art historian. Specifically, in chapter three, he brings to attention how the portrayal of women in art and in the world is contingent on the male eye and its ideals. Women have been oppressed in their sense of selves because men dictate what they prefer in a women. Even in this day in age, a woman’s self-worth banks on the acceptance of men. Her only way of making a way in the world is by impressing men with hyper-sexual and or submissive tactics because that tradition has been drilled into all of our brains since Adam and Eve.
In the chapter “The Veil,” Satrapi’s graphic novel displays a connection with advertisements; that being a theme of oppression toward women. In the chapter “The Veil,” Satrapi introduces her readers to her life in 1980. A frame from “The Veil,” Satrapi includes a caption and image that 1980 was the year when wearing the veil became enforced by the law (681). The frame prior to the enforcement of the veil explains that the reason behind this law is due to ‘The Islamic Revolution’ (681). With these two frames, readers see that new laws such as the veil were enforced due to “religious” reasons because the government. Having men in government enforce such laws on women demonstrates the control they are attempting to gain. Women face oppression in advertisements similarly by society telling women how they are seen and how they should look. The types of advertisements that target women this way are sexual advertisements. An example of an advertisement oppressing a woman is displayed in Dolce & Gabbana. Dolce & Gabbana created an adver...
This investigation will examine a few key works by the anonymous female artist group know in popular culture as the Guerrilla Girls. In this essay it will reveal several prominent themes within the groups works that uncover the racial and gender inequalities in politics, art and pop culture with the use of humor. These collaborating artists work and operate with a variety of mediums, their works display a strong message concerned with activism connected by humor allowing the Guerrilla Girls to communicate and resonate a more powerful message to the viewer. The ways in which this collaborating group has employed many questions and facts against the hierarchy and historical ideologies which have exploited women and their roles in art. This investigation will allow the reader to identify three areas in which the Guerrilla Girls apply a certain forms of humor to transform society’s view on the prominent issue of gender in the art world. These specific ploys that are performed by the Guerrilla Girls are in the way they dress, the masks they wear, pseudonymous names of dead women artists and the witty factual evidence in their works. These are all examples to evoke audiences in challenging not only the art society which dictates the value and worth of women in art but also to confront yourself and your own beliefs in a way that makes audiences rethink these growing issues.
The aim of this essay is analyse women´s images in The Yellow Wallpaper and in The Awakening, since the two readings have become the focus of feminist controversy.
The picture is a scale in which the female side is higher than the male side. Women have always been since as less than a man, an outlook that can be traced all the way back to the bible. According to the bible, Eve was created from Adams rib, which was supposed to be construed as his loving her because she was made of his flesh has been corrupted that women are less than a man. Even the United States, the pioneer of freedom and rights, still pays a woman less than a man. A women’s opinion is still doubted or in some cases not even listened to especially when they hold positions of power. In third world countries, if a woman is attacked or raped it is her fault, just because she is a woman. Infanticide, the killing of female babies, is still predominant in areas all over the world. Mothers rid themselves of girl children so that they don’t have to worry about dishonor or providing a dowry. This killing of females is also represented in the art. This artwork should remain on Tejon Street as a reminder as how far we have come as women and how we have much work ahead of us in order to get true
Perhaps the main reason I liked this book was the unfaltering courage of the author in the face of such torture as hurts one even to read, let alone have to experience first-hand. Where men give in, this woman perseveres, and, eventually, emerges a stronger person, if that is even possible. The book’s main appeal is emotional, although sound logical arguments are also used. This book is also interesting as it shows us another face of Nasir – the so-called “champion of Arab nationalism” – who is also the enemy of pan-Islamism. The book is also proof of history repeating itself in modern-day Egypt.
In the book, Women in the Middle East, a Saudi Arabian proverb states, "A girl possesses nothing but a veil and a tomb" (Harik and Marston 83). The key words, "veil" and "tomb" lend evidence to the fact that many Middle Eastern women lack identity symbolized by the “veil” and lack the right of ownership except for their veil and the tomb. This statement further enforces the notion that many women in the Middle East are expected to serve and tolerate the oppression of the men in their lives throughout their lives on this earth. Moreover, it confirms that many of these women do not get the opportunity to obtain education, join the work force, and even participate in the political affairs of the country. This arrangement further helps the Middle Eastern men to view women as their properties, servants, or even as slaves. Ultimately, there are three main reasons why Middle Eastern men engage in the act of oppressing their women.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
She makes the case that Western feminists have radically misinterpreted the veil. For many Muslim women, the veil acts as a divide between the public and private. The veil may actually liberate women from “the intrusive, commodifying, basely sexualizing Western gaze”. The veil frees women from the oppressive hyper-sexualization of found in Western culture. Reducing the veil to a symbol of oppression disregards the possibility of female agency outside a Western feminist paradigm. The veil has the potential to liberate women in the public space. Projecting our Western notions of sexuality and gender roles denies the possibility of different forms of sexual
Frida Kahlo’s honest, often bizarre, self-portraits reflect a beauty beyond the physical--- an impishness in the wide eyes, a small smirk teasing at the corners of her mouth. In her renderings, her cheeks are always heavily rouged, and exotic flowers adorn her raven hair. Self-Portrait in a Velvet Dress uses the contrast of light --- Kahlo’s glowing skin --- and dark--- the black background, and in doing so, this painting not only communicates the subject’s outward beauty. It also points to an unspoken turmoil inside of the painter: as dark as the night sky and as deep as rolling sea.
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
Feminism has been an extremely controversial and significant subject over the centuries. The issue of equality between men and women have been questioned and exceedingly debated upon, why men were treated and considered the ‘superior’ gender. During the 1960’s, civil rights, protests against war and gay and lesbian movements were at its peak. It was the period of time, which the Feminist art movement had emerged, also known as the “second-wave” of feminism, shifting away from modernism. Women wanted to gain equal rights as men within the art world. Feminist artists such as Cindy Sherman, Carolee Schneemann and Hannah Wilke pursued to change the world and perspectives on women through their artworks, specifically in body art. Their goal was to “influence cultural attitudes and transform stereotypes.” (DiTolla. T, 2013)
Published in 1984, The Unbearable Lightness of Being by Milan Kundera is based on two women and two men (the adulterous surgeon, Tomas, his wife, Tereza, Tomas’s mistress, Sabina, and Sabina’s one of many affairs, Franz) around the late 1960s when the Soviet Union invaded and occupied Czechoslovakia. Kundera establishes a motif on cameras throughout the novel, interpreting how the camera possesses the power . Throughout historic and modern times, camera has served one as a source of power to capture, preserve the earnest depiction of what surrounds him or her, but also as a source of weapon.