By Lindsey Moore
Given a protracted heritage of illustration by way of others, what issues and strategies do Arab Muslim ladies writers, filmmakers and visible artists foreground of their presentation of postcolonial event?
Lindsey Moore’s groundbreaking publication demonstrates ways that ladies acceptable textual and visible modes of illustration, frequently in cross-fertilizing methods, in demanding situations to Orientalist/colonialist, nationalist, Islamist, and ‘multicultural’ paradigms. She presents an available yet theoretically-informed research by means of foregrounding tropes of imaginative and prescient, visibility and voice; post-nationalist melancholia and mother/daughter narratives; modifications of ‘homes and harems’; and border crossings in time, area, language, and media. In doing so, Moore strikes past notions of talking or taking a look ‘back’ to surround a various feminist poetics and politics and to stress moral kinds of illustration and reception.
Aran, Muslim, girl is particular within the eclectic physique of labor that it brings jointly. Discussing Algeria, Egypt, Jordan, Lebanon, Morocco, the Palestinian territories, and Tunisia, in addition to postcolonial Europe, Moore argues for larger integration of Arab Muslim contexts within the postcolonial canon. In a booklet for readers attracted to women's stories, historical past, literature, and visible media, we stumble upon paintings through Assia Djebar, Mona Hatoum, Fatima Mernissi, Ahlam Mosteghanemi, Nawal el Saadawi, Leila Sebbar, Zineb Sedira, Ahdaf Soueif, Moufida Tlatli, Fadwa Tuqan, and plenty of different girls.
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Additional info for Arab, Muslim, Woman: Voice and Vision in Postcolonial Literature and Film
Of following their Inclinations without danger of Discovery’ (Montagu 1965: 328). Montagu was the first European woman to gain access to imperial and upper-class h . arîm, establishing a precedent later exploited by an Victorian women travellers. Her letters reflect Enlightenment conceptions of observation as proof of truth that also enabled reflection upon the self. They also claim a perspective that was unavailable in real terms to European men. Montagu consciously establishes a tradition of women’s (re)writing, justifying her intervention on the basis of insights, as the frontispiece to the 1790 version of her text claims: ‘Drawn from Sources that have been inaccessible to other Travellers’.
An affirmative reading of European women’s oppositional engagement in Orientalist discourse is also proffered by Soueif’s The Map of Love (1999b), as we shall see in Chapter 5. However, I tend to agree with Yeg˘enog˘lu that eighteenth- and nineteenth-century European women travellers did not fundamentally destabilize a structure of knowledge/power which coded the Orient in particular ways. In particular, the repeated insistence upon an essence or truth ‘behind the veil’ implicates women in epistemic violence (Yeg˘enog˘lu 1998: 11).
I could not love anyone who removed my mother’s name from next to mine, who abolished her as if she did not exist. (1) The lost mother is thus (pre-)figured as the scene of another kind of writing. Before her death, Firdaus in Woman at Point Zero relays her story to a doctor researching the neuroses of women prisoners, who can be seen as approximate to el Saadawi who, as the Author’s Preface points out, conducted similar research) (el Saadawi 1990: i–iii). No passive interviewee, Firdaus challenges the perspective of her interlocutor.