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When Special Forces veteran Steve Wilson returns to Kabul as security chief to the minister of interior, he is disillusioned with the corriuption and violence that has overtaken the country he fought to free. Relief worker Amy Mallory arrives in Afghanistan ready to change the world. She soon discovers that as a Western woman, the challenges are monumental. Afghan native Jamil returns to his homeland seeking work, but a painful past continues to haunt him. All three are searching for truth and freedom when a suicide bombing brings them together on Kabul's dusty streets.--From publisher's description.
Three foreigners living in war-ravaged Afghanistan--Jamil, a newly-converted Christian; relief worker Amy Mallory; and Special Forces veteran Steve Wilson--search for love and freedom in a country where religious injustice runs rampant.
In this biography, Ula Taylor explores the life and ideas of one of the most important, if largely unsung, Pan-African freedom fighters of the twentieth century: Amy Jacques Garvey (1895-1973). Born in Jamaica, Amy Jacques moved in 1917 to Harlem, where she became involved in the Universal Negro Improvement Association (UNIA), the largest Pan-African organization of its time. She served as the private secretary of UNIA leader Marcus Garvey; in 1922, they married. Soon after, she began to give speeches and to publish editorials urging black women to participate in the Pan-African movement and addressing issues that affected people of African descent across the globe. After her husband's death in 1940, Jacques Garvey emerged as a gifted organizer for the Pan-African cause. Although she faced considerable male chauvinism, she persisted in creating a distinctive feminist voice within the movement. In her final decades, Jacques Garvey constructed a thriving network of Pan-African contacts, including Nnamdi Azikiwe, Kwame Nkrumah, George Padmore, and W. E. B. Du Bois. Taylor examines the many roles Jacques Garvey played throughout her life, as feminist, black nationalist, journalist, daughter, mother, and wife. Tracing her political and intellectual evolution, the book illuminates the leadership and enduring influence of this remarkable activist.
Veiled women in the West appear menacing. Their visible invisibility is a cause of obsession. What is beneath the veil more than a woman? This book investigates the preoccupation with the veiled body through the imaging and imagining of Muslim women. It examines the relationship between the body and knowledge through the politics of freedom as grounded in a ‘natural’ body, in the index of flesh. The impulse to unveil is more than a desire to free the Muslim woman. What lies at the heart of the fantasy of saving the Muslim woman is the West’s desire to save itself. The preoccupation with the veiled woman is a defense that preserves neither the object of orientalism nor the difference embodied in women’s bodies, but inversely, insists on the corporeal boundaries of the West’s mode of knowing and truth-making. The book contends that the imagination of unveiling restores the West’s sense of its own power and enables it to intrude where it is ‘other’ – thus making it the centre and the agent by promising universal freedom, all the while stifling the question of what freedom is.
Ingrid Bergman's engaging screen performance as Sister Mary Benedict in The Bells of St. Mary's made the film nun a star and her character a shining standard of comparison. She represented the religious life as the happy and rewarding choice of a modern woman who had a "complete understanding" of both erotic and spiritual desire. How did this vibrant and mature nun figure come to be viewed as girlish and naive? Why have she and her cinematic sisters in postwar popular film so often been stereotyped or selectively analyzed, so seldom been seen as women and religious? In Veiled Desires--a unique full-length, in-depth study of nuns in film--Maureen Sabine explores these questions in a groundbreaking interdisciplinary study covering more than sixty years of cinema. She looks at an impressive breadth of films in which the nun features as an ardent lead character, including The Bells of St. Mary's (1945), Black Narcissus (1947), Heaven Knows, Mr. Allison (1957), Sea Wife (1957), The Nun's Story (1959), The Sound of Music (1965), Change of Habit (1969), In This House of Brede (1975), Agnes of God (1985), Dead Man Walking (1995), and Doubt (2008). Veiled Desires considers how the beautiful and charismatic stars who play chaste nuns, from Ingrid Bergman and Audrey Hepburn to Susan Sarandon and Meryl Streep, call attention to desires that the veil concealed and the habit was thought to stifle. In a theologically and psychoanalytically informed argument, Sabine responds to the critics who have pigeonholed the film nun as the obedient daughter and religious handmaiden of a patriarchal church, and the respectful audience who revered her as an icon of spiritual perfection. She provides a framework for a more complex and holistic picture of nuns on screen by showing how the films dramatize these women's Christian call to serve, sacrifice, and dedicate themselves to God, and their erotic desire for intimacy, agency, achievement, and fulfillment.
In 1906 Atlanta, after a summer of inflammatory headlines and accusations of black-on-white sexual assaults, armed white mobs attacked African Americans, resulting in at least twenty-five black fatalities. Atlanta's black residents fought back and repeatedly defended their neighborhoods from white raids. Placing this four-day riot in a broader narrative of twentieth-century race relations in Atlanta, in the South, and in the United States, David Fort Godshalk examines the riot's origins and how memories of this cataclysmic event shaped black and white social and political life for decades to come. Nationally, the riot radicalized many civil rights leaders, encouraging W. E. B. Du Bois's confrontationist stance and diminishing the accommodationist voice of Booker T. Washington. In Atlanta, fears of continued disorder prompted white civic leaders to seek dialogue with black elites, establishing a rare biracial tradition that convinced mainstream northern whites that racial reconciliation was possible in the South without national intervention. Paired with black fears of renewed violence, however, this interracial cooperation exacerbated black social divisions and repeatedly undermined black social justice movements, leaving the city among the most segregated and socially stratified in the nation. Analyzing the interwoven struggles of men and women, blacks and whites, social outcasts and national powerbrokers, Godshalk illuminates the possibilities and limits of racial understanding and social change in twentieth-century America.
This book analyzes the implication of secular/liberal values in Western and human rights law and its impact on Muslim women. It offers an innovative reading of the tension between the religious and secular spheres. The author does not view the two as binary opposites. Rather, she believes they are twin categories that define specific forms of lives as well as a specific notion of womanhood. This divergence from the usual dichotomy opens the doors for a reinterpretation of secularism in contemporary Europe. This method also helps readers to view the study of religion vs. secularism in a new light. It allows for a better understanding of the challenges that contemporary Europe now faces regarding the accommodation of different religious identities. For instance, one entire section of the book concerns the practice of veiling and explores the contentious headscarf debate. It features case studies from Germany, France, and the UK. In addition, the analysis combines a wide range of disciplines and employs an integrated, comparative, and inter-disciplinary approach. The author successfully brings together arguments from different fields with a comparative legal and political analysis of Western and Islamic law and politics. This innovative study appeals to students and researchers while offering an important contribution to the debate over the role of religion in contemporary secular Europe and its impact on women’s rights and gender equality.
This book reconsiders the dominant Western understandings of freedom through the lens of women's real-life experiences of domestic violence, welfare, and Islamic veiling. Nancy Hirschmann argues that the typical approach to freedom found in political philosophy severely reduces the concept's complexity, which is more fully revealed by taking such practical issues into account. Hirschmann begins by arguing that the dominant Western understanding of freedom does not provide a conceptual vocabulary for accurately characterizing women's experiences. Often, free choice is assumed when women are in fact coerced--as when a battered woman who stays with her abuser out of fear or economic necessity is said to make this choice because it must not be so bad--and coercion is assumed when free choices are made--such as when Westerners assume that all veiled women are oppressed, even though many Islamic women view veiling as an important symbol of cultural identity. Understanding the contexts in which choices arise and are made is central to understanding that freedom is socially constructed through systems of power such as patriarchy, capitalism, and race privilege. Social norms, practices, and language set the conditions within which choices are made, determine what options are available, and shape our individual subjectivity, desires, and self-understandings. Attending to the ways in which contexts construct us as "subjects" of liberty, Hirschmann argues, provides a firmer empirical and theoretical footing for understanding what freedom means and entails politically, intellectually, and socially.
At first sight, tattoos, nudity, and veils do not seem to have much in common except for the fact that all three have become more frequent, more visible, and more dominant in connection with aesthetic presentations of women over the past thirty years. No longer restricted to biker and sailor culture, tattoos have been sanctioned by the mainstream of liberal societies. Nudity has become more visible than ever on European beaches or on the internet. The increased use of the veil by women in Muslim and non-Muslim countries has developed in parallel with the aforementioned phenomena and is just as striking. Through the means of conceptual analysis, Veils, Nudity, and Tattoos: The New Feminine Aesthetics reveals that these three phenomena can be both private and public, humiliating and empowering, and backward and progressive. This unorthodox approach is traced by the three’s similar social and psychological patterns, and by doing so, Veils, Nudity, and Tattoos hopes to sketch the image of a woman who is not only sexually emancipated and confident, but also more and more aware of her cultural heritage.
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