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Historically, in India, we have instances of both unveiling and veiling that have been initiated by Indian Muslim women. The early 20th century saw many Muslim women joining the national movement, giving up veiling, feeling this was the only way for them to change their own, and the country's, future. Almost a hundred years later, the hijab continues to be a bone of contention in India, though in very different ways. On one hand, the rape threats that hijabi/non-hijabi women frequently encounter in the cyber world reflect the extreme desperation of the aggravated Hindutva millennials who are made to believe that unveiling Muslim women is their right while a large segment of Indian Muslim women are increasingly convinced that wearing the hijab is their constitutional prerogative. This collection of essays, primarily from India but also with a couple from Bangladesh and Iran, complicates the relationship between Muslim women and the hijab. Moving away from predictable interpretations that see the hijab merely as an instrument of Muslim women’s oppression, the essays here, from a variety of perspectives including historical, ethnographic, and political, demonstrate that not only have Muslim women covered/ or uncovered their heads for different reasons, but the head cloth itself has had different forms depending on the region or period of history. The essays track the reasons why clothing, especially women’s attire, is very often a site of contestation and provide ways to hear and understand the ways in which Muslim girls or women make their own sartorial choices. They also offer ways of interpreting the stakes in banning the hijab in different parts of the world, and the implications of the ban on Muslim women, the wider community and the very idea of citizenship itself.
In Articulating the Ḥijāba, Mariam Rosser-Owen analyses for the first time the artistic and cultural patronage of the ‘Amirid regents of the last Cordoban Umayyad caliph, Hisham II, a period rarely covered in the historiography of al-Andalus. Al-Mansur, the founder of this dynasty, is usually considered a usurper of caliphal authority, who pursued military victory at the expense of the transcendental achievements of the first two caliphs. But he also commissioned a vast extension to the Great Mosque of Cordoba, founded a palatine city, conducted skilled diplomatic relations, patronised a circle of court poets, and owned some of the most spectacular objects to survive from al-Andalus, in ivory and marble. This study presents the evidence for a reconsideration of this period.
This book addresses the reception of Islamic visual culture by the northern Iberian kingdoms, by systematically comparing works of art from both sides and fleshing out their historical context. This study includes figurative and iconographic motifs, architectural forms, and even the spolia from constructions and Arabic inscriptions that were embedded in Christian buildings. The Islamic visual culture of al-Andalus was often transformed as it was recreated by Christian hands, bringing to the fore various nuances in the relationship between the two religious communities. Artistic transfer was conditioned by social coexistence between Christians and Muslims—both in the caliphate al-Andalus and in the northern realms—and military conflict. To approach the different ways in which Andalusi visual culture was received in the northern kingdoms, while embracing the vast diversity of case studies available, this book is divided into three thematic sections: Reinterpretation, Appropriation, and Artistic Transfers. This book will be of interest to scholars working in art history, visual culture, and medieval studies.
Exploring the aristocratic villas and court culture of C?ba, during its 'golden age' under the reign of the Umayyad dynasty (r. 756-1031 AD), this study illuminates a key facet of the secular architecture of the court and its relationship to the well-known Umayyad luxury arts. Based on textual and archaeological evidence, it offers a detailed analysis of the estates' architecture and gardens within a synthetic socio-historical framework. Author Glaire Anderson focuses closely on the C?ban case study, synthesizing the archaeological evidence for the villas that has been unearthed from the 1980s up to 2009, with extant works of Andalusi art and architecture, as well as evidence from the Arabic texts. While the author brings her expertise on medieval Islamic architecture, art, and urbanism to the topic, the book contributes to wider art historical discourse as well: it is also a synthetic project that incorporates material and insights from experts in other fields (agricultural, economic, and social and political history). In this way, it offers a fuller picture of the topic and its relevance to Andalusi architecture and art, and to broader issues of architecture and social history in the caliphal lands and the Mediterranean. An important contribution of the book is that it illuminates the social history of the C?ban villas, drawing on the medieval Arabic texts to explain patterns of patronage among the court elite. An overarching theme of the book is that the C?ban estates fit within the larger historical constellation of Mediterranean villas and villa cultures, in contrast to long-standing art historical discourse that holds villas did not exist in the medieval period.
The Politics of the Headscarf in the United States investigates the social and political effects of the practice of Muslim-American women wearing the headscarf (hijab) in a non-Muslim state. The authors find the act of head covering is not politically motivated in the US setting, but rather it accentuates and engages Muslim identity in uniquely American ways. Transcending contemporary political debates on the issue of Islamic head covering, The Politics of the Headscarf in the United States addresses concerns beyond the simple, particular phenomenon of wearing the headscarf itself, with the authors confronting broader issues of lasting import. These issues include the questions of safeguarding individual and collective identity in a diverse democracy, exploring the ways in which identities inform and shape political practices, and sourcing the meaning of citizenship and belonging in the United States through the voices of Muslim-American women themselves. The Politics of the Headscarf in the United States superbly melds quantitative data with qualitative assessment, and the authors smoothly integrate the results of nearly two thousand survey responses from Muslim-American women across forty-nine states. Seventy-two in-depth interviews with Muslim women living in the United States bolster the arguments put forward by the authors to provide an incredibly well-rounded approach to this fascinating topic. Ultimately, the authors argue, women's experiences with identity and boundary construction through their head-covering practices carry important political consequences that may well shed light on the future of the United States as a model of democratic pluralism.
This work demonstrates that the veil, the garment known in Islamic cultures as the hijab, holds within its folds a semantic versatility that goes far beyond current cliches and homogenous representations.
The author of Women and Gender in Islam chronicles Islamic women's use of the veil, an article of clothing that fell out of use in the 1940s, but now is worn by most Muslim women and has sparked debate around the world.
The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50 specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)