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Iranian women tell in their own words what the revolution attempted and how they responded. The Islamic revolution of 1979 transformed all areas of Iranian life. For women, the consequences were extensive and profound, as the state set out to reverse legal and social rights women had won and to dictate many aspects of women's lives, including what they could study and how they must dress and relate to men. Reconstructed Lives presents Iranian women telling in their own words what the revolution attempted and how they responded. Through a series of interviews with professional and working women in Iran—doctors, lawyers, writers, professors, secretaries, businesswomen—Haleh Esfandiari gathers dramatic accounts of what has happened to their lives as women in an Islamic society. She and her informants describe the strategies by which women try to and sometimes succeed in subverting the state's agenda. Esfandiari also provides historical background on the women's movement in Iran. She finds evidence in Iran's experience that even women from "traditional" and working classes do not easily surrender rights or access they have gained to education, career opportunities, and a public role.
Women presented the first effective challenge to the Islamic regime and the clerical authority in post-revolutionary Iran. Women's activism in support of their legal rights and personal freedom, however, did not develop into a strong movement against the rising fundamentalism. The Iranian socialists did not support women's autonomous organizations. The convergence of the Left's populism with Islamic populism, and the influence of the Iranian/Shiite political culture that promotes male authority and female submission, could not reconcile with women's claims to individual rights, choice, and personal freedom and their struggle for autonomy and self-determination in private or public life.
A definitive survey of the Iranian women's movement from its origins in the Pre-Pahlavi period to its status under Khomeini.
While much has been written about the impact of the 1979 Islamic revolution on life in Iran, discussions about the everyday life of Iranian women have been glaringly missing. Women in Place offers a gripping inquiry into gender segregation policies and women’s rights in contemporary Iran. Author Nazanin Shahrokni takes us onto gender-segregated buses, inside a women-only park, and outside the closed doors of stadiums where women are banned from attending men’s soccer matches. The Islamic character of the state, she demonstrates, has had to coexist, fuse, and compete with technocratic imperatives, pragmatic considerations regarding the viability of the state, international influences, and global trends. Through a retelling of the past four decades of state policy regulating gender boundaries, Women in Place challenges notions of the Iranian state as overly unitary, ideological, and isolated from social forces and pushes us to contemplate the changing place of women in a social order shaped by capitalism, state-sanctioned Islamism, and debates about women’s rights. Shahrokni throws into sharp relief the ways in which the state strives to constantly regulate and contain women’s bodies and movements within the boundaries of the “proper” but simultaneously invests in and claims credit for their expanded access to public spaces.
This book examines the women's movement in Iran and its role in contesting gender relations since the 1979 revolution. Looking at examples from politics, law, employment, environment, media and religion and the struggle for democracy, this book demonstrates how material conditions have important social and political consequences for the lives of women in Iran and exposes the need to challenge the dominant theoretical perspectives on gender and Islam. A truly fascinating insider's look at the experiences of Iranian women as academics, political and civil society activists, this book counters the often inaccurate and misleading stereotyping of Iranian women to present a vibrant and diverse picture of these women's lives. A welcome and unique addition to the vibrant and growing literature on women, Islam, development, democracy and feminisms.
Osanloo Arzoo presents an ethnographic study that explores how conceptions of liberal entitlements fused with a discourse of equality in Islam in the post-revolutionary era to inform & shape women's perceptions of rights.
Iran's continued retention of discriminatory laws stands in stark contrast to the advances Iranian women have made in other spheres since the Revolution in 1979. Leila Alikarami here aims to determine the extent to which the actions of women's rights activists have led to a significant change in their legal status. She argues that while Iranian women have not yet obtained legal equality, the gender bias of the Iranian legal system has been successfully challenged and has lost its legitimacy. More pertinently, the social context has become more prepared to accommodate legal rights for women. Highlighting the key challenges that proponents of gender equality face in the Muslim context, Alikarami attempts to ascertain the causes of Iran's failure to ratify the CEDAW and questions whether and to what extent interpretations of Islamic principles prevent Iran from doing so. Applying feminist legal theory to contemporary Iran, Alikarami's approach re-evaluates the underlying principles that have shaped the struggle for equal rights between the sexes.
Annotation. Nineteenth-century neoclassical sculpture was a highly politicized international movement. Based in Rome, many expatriate American sculptors created works that represented black female subjects in compelling and problematic ways. Rejecting pigment as dangerous and sensual, adherence to white marble abandoned the racialization of the black body by skin color. & InThe Color of Stone,Charmaine A. Nelson brilliantly analyzes a key, but often neglected, aspect of neoclassical sculpture—color. Considering three major works—Hiram Powers’s Greek Slave, William Wetmore Story’s Cleopatra, and Edmonia Lewis’s Death of Cleopatra—she explores the intersection of race, sex, and class to reveal the meanings each work holds in terms of colonial histories of visual representation as well as issues of artistic production, identity, and subjectivity. She also juxtaposes these sculptures with other types of art to scrutinize prevalent racial discourses and to examine how the black female subject was made visible in high art. & By establishing the centrality of race within the discussion of neoclassical sculpture, Nelson provides a model for a black feminist art history that at once questions and destabilizes canonical texts. & Charmaine A. Nelson is assistant professor of art history at McGill University.
National Union of Women in Iran=ETEHAD-e MELLI-e ZANAN.
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