Arab Women and Education
Whether it was the impoverished desert village, the war torn hills of Beirut, affluent Barqais, the jet set in London and Paris, or the enclosed lives of women in a harem in Morocco, the female characters in these novels all shared five common threads that dealt with the family and the search for identity. In my reading of five novels about Arab women from backgrounds and in situations as diverse as I thought possible, I was surprised to find this common thread running through every piece of literature. In this paper, I will analyze the role the women’s families have in the education of the women, the role of women and families in the literature in political support and times of war, women’s health and family planning, and most of all what these issues do to the emerging identity of the Arab woman. In a society that is so oriented around the extended family, and in which elderly parents are rarely if ever sent to nursing homes, the family’s opinion weighs heavily on what a woman can and cannot do with her life. The examination of the manner in which education is regarded in the families of these women is critical for a better understanding of the decisions they make. In a traditionally patriarchal society where the man is the breadwinner, the assessment of the subject of work outside the home is also interesting. In a region so riddled with almost constant political and military upheaval, there has been bound to have been a change in the roles women in the family play in support of these political and military actions. Finally, the issue of identity is much more prominent in the more modern novels and the issue of the modern family versus the individual and the rise of the individual from the modern family plays very prominently in “In the Eye of the Sun” and Dreams of Trespass”. The Arab family, as Magida Salman writes, is where “the fate of women is being decided and unfolds” (Salman 7). Therefore, it is necessary to understand the huge impact the family has on the identity of Arab women. Identity as a concept is valuable as a center for cross-cultural understandings of human experience because it begins with the individual, and issues of identity in a literary context can act as a mirror for what is happening in the real world.
In the Hughes’ text, Women in World History: Volume 1, the chapter on Middle Eastern women focuses on how Islam affected their lives. Almost immediately, the authors wisely observe that “Muslim women’s rights have varied significantly with time, by region, and by class” (152). They continue with the warning that “there is far too much diversity to be adequately described in a few pages.” However, I argue that there is essential information and insight on said topic that the authors have failed to include, as well as areas of discussion with incomplete analyses. I will use Leila Ahmed’s book, Women and Gender in Islam: Historical Roots of a Modern Debate, as well as her essay entitled “Early Islam and the Position of Women: The Problem of Interpretation,” to cite the shortcomings of the text.
The word “jazz” is significant to America, and it has many meanings. Jazz could simply be defined as a genre or style of music that originated in America, but it can also be described as a movement which “bounced into the world somewhere about the year 1911…” . This is important because jazz is constantly changing, evolving, adapting, and improvising. By analyzing the creators, critics, and consumers of jazz in the context of cultural, political, and economic issue, I will illustrate the movement from the 1930’s swing era to the birth of bebop and modern jazz.
... to "appreciating or failing to appreciate" the work. For although it is doubtless a necessary condition for valuing a work of art that we should appreciate it, this simply returns us to our original question, viz how should the aesthetic merits and blemishes of a work be determined? To this question, no answer other than Hume's is provided.
The nature of aesthetics has puzzled many, where questions and reflections about art, beauty, and taste have intersected with our understanding of what a real art experience truly is. The notion of the aesthetic experience, an experience that differs from the everyday experiences, has been given great consideration by English art critic Clive Bell and American philosopher John Dewey since the beginning of the 20th century. Both have spent much deliberation on the distinctive character of aesthetic experience; yet have complete opposing ideas on how to go about understanding aesthetic experience’s ecosystem. Bell takes a formalist approach, as he thinks that to understand everything about a work of art, one has to only look at the work of art.
...to get infected whether hiding or not so they lived in happiness by completing everyday task. The art during this time came out with tombstones and death incorporated images rather gothic looking. From the late 14th to late 16th century, people’s artistic expressions were random, adjusted by ethnological growth, armed creations, and had different ways to go about belief in religion. (Johnson, 2003). When Europe transfigured into the ways of Constantine, Europe strayed back to christianity leaving a different impression on art for more than a thousand plus years. Artist of the medieval time strived to make every piece of art mirror the everyday scenery of the plague. Paintings and sculptures, during this time, represented life, death, bible configurations and important people which also filled the domes of churches and church entries
Graveyards were full, medicine failed, parents abandoned ill children and in just six months, millions had died. It was the beginning of the Black Death. It was a deadly plague that spread through Europe and Asia from the mid 1330’s -50’s. The cause of death for twenty million people, the survivors thought it was God’s anger at something they had done and, therefore, the end of the world. In Venice, ninety thousand died and in Florence, half the population. There were three types of the plague. The Bubonic plague was the most common, the Pneumonic Plague was less common and the Septicaemic Plague was the most deadly and rarest of them all.
8. Nawal El-Saadawi, "The Hidden Face of Eve, Women in the Arab World," translated and edited by Sherif Hettata, Zed Press, London, 1980, pg.33
It revolves around the issues of gender oppression, sexual assault, and importance of social status. Alifa Rifaat manages to express her opinions towards these themes by writing about a typical Egyptian marriage. She puts in focus the strong influence that a patriarchal society has. She also manages to prove how important social status is in society. The uses of literally elements such as theme and irony help express this view. It shows that in a typical Egyptian society women are commonly oppressed by all males in society
In order to properly define judgments of perception and judgments of experience, one must first examine the general framework for thought that precedes them. Kant begins by breaking cognition into two distinct parts: analytic and synthetic judgments (p. 9). Analytic judgments are simply statements about the status of some object, and essentially serve as definitions. Analytic judgments are true by virtue, as they “express nothing in the predicate but what has...
In our Women and Politics in the Middle East class this semester we watched three films that brought to surface social issues faced by women in the Middle East. Caramel, Divorce Iranian Style and Persepolis are films that speak of issues of taboo that are critical for women in the Middle East. The themes that connect all three films are social issues, female identity, and politics that are aimed against women’s rights. In all three films the protagonists are women who struggle with the government and society to get their rights in their own countries. Even though one film is a documentary and one film is a comedy/drama and the last one is a cartoon, all three of the films are similar in their themes and struggles. All three films show critical issues that women face in the Middle East on a daily bases.
You will realize the nationalists’ dream. You will learn foreign languages, have a passport, devour books, and speak like a religious authority. At the very least, you will certainly be better off than your mother.” Reading this masterpiece we can easily see the Middle East women’s dreams for education and freedom, things that we the women from the West taking as granted.
The lion’s share of the theories in regards to aesthetic values appears in the context of (classical) art and paintings. Using these theories as the base of my essay is still relevant, I believe, for the reason that the examples of modern aesthetic subjects, their values and unpredictable market behaviors brought forth above - vinyl records, Instagram apps and cameras – belong to the field of senses,
Aesthetics is the theoretical study of the arts and related types of behavior and experience. It is traditionally regarded as a branch of philosophy, concerned with the understanding of beauty and its manifestations in art and nature. However, in the latter 20th century there developed a tendency to treat it as an independent science, concerned with investigating the phenomena of art and its place in human life. Yet, what in a field with a hazy line in between being classified as a science or study of beliefs is considered data for determining what can be studied? It can simply be drawn to the only three things involved in the process of art : The creator, the person experiencing, and the art itself.
In cloud computing, the word cloud is used as a metaphor for “the internet”. So the cloud computing means “a type of internet-based computing”, where different services such as servers, storage and applications are delivered to an organization’s computers and devices through the internet.
Upon further inspection of the old adage, "Beauty is in the eye of the beholder?" one must assess if beauty contitutes a great work of art. If so, who determines what is beautiful. Art does not alwyas have to be about aesthtic beauty, it can be about something more-- a message that finds itself reverberated from the viewers mind. What one may constitue a great work of art, some may see as nothing more than glorified scribbling.