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This is the first book in any language about the writing of women in Iran. For centuries any sense that there could be a literary tradition among women was suppressed. Since the middle of the 19th century, however, a number a of pioneering women have defied the traditional order to produce poetry and novels of the highest quality; but many of them have paid for their courage with accusations of immorality, promiscuity, heresy and even lunacy.
Extrait tiré de amazon.com : "Blending social scientific theories about feminism, social movements, and culture with the specifics of the Iranian situation, this volume examines changes in the structure of patriarchy from the 1960s to the present, by looking at domestic labor, employment, education, politics, culture, and sexuality. Combining personal narratives and socio-philosophical discussion, Shahidian focuses on policies that shape gender relations, primarily on the Islamic government's strategies to re-strengthen patriarchal practices. A nascent secular feminism in Iran opts for far-reaching changes in gender relations, but faces serious internal and external constraints."
National Union of Women in Iran=ETEHAD-e MELLI-e ZANAN.
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.
Blending social scientific theories about feminism, social movements, and culture with the specifics of the Iranian situation, this volume examines changes in the structure of patriarchy from the 1960s to the present by looking at domestic labor, employment, education, politics, culture, and sexuality. Combining personal narratives and socio-philosophical discussion, Shahidian focuses on policies that shape gender relations, primarily on the Islamic government's strategies to re-strengthen patriarchal practices. A nascent secular feminism in Iran opts for far-reaching changes in gender relations, but faces serious internal and external constraints. This book studies gender discourses in Iran as the interplay of ideologies and socio-historical conditions. Iranian gender and cultural politics have emerged through lively, often brutally fierce, battles over symbols, meanings, and practices--battles involving Islamist, reformist, and secular women activists. Such conflicts have produced a damaging dual society of public and private forums. This bifurcation yields not peaceful coexistence, but subjugation to the Islamic state's plans. Only by rejecting so-called reformist measures, which, the author contends, merely continue the subordination of women, can equality between the sexes be achieved.
Mahnaz Kousha interviewed fifteen Iranian women in Tehran who originally came from cities and towns throughout Iran. The youngest was 38, the eldest in her 50s. Extensive excerpts from their dialogues form the heart of this remarkable book. With admirable candor the women explore their relationships with their mothers, fathers, husbands, and children. They reflect upon the institutions of courtship and marriage and address issues of childcare, housework, and women's employment. They talk openly about their concerns, ambitions, and frustrations. Finally, they discuss everyday personal problems and the solutions they devise to cope with such difficulties. Offset by telling commentary, these conversations offer significant firsthand insights into the life experiences of the modern Iranian woman and her brave search for identity. Because it covers previously uncharted ground, this volume fills a sizable gap in the study of gender and family relationships in Iran. Abundant footnotes on similar studies in the United States and other countries not only add sociological richness, but also make the book relevant beyond Iran and the Middle East.
Why were urban women veiled in the early 1900s, unveiled from 1936 to 1979, and reveiled after the 1979 revolution? This question forms the basis of Hamideh Sedghi's original and unprecedented contribution to politics and Middle Eastern studies. Using primary and secondary sources, Sedghi offers new knowledge on women's agency in relation to state power. In this rigorous analysis she places contention over women at the centre of the political struggle between secular and religious forces and demonstrates that control over women's identities, sexuality, and labor has been central to the consolidation of state power. Sedghi links politics and culture with economics to present an integrated analysis of the private and public lives of different classes of women and their modes of resistance to state power.
A woman not only needs a room of her own, as Virginia Woolf wrote, but also the freedom to leave it and return to it at will; for a room without that right becomes a prison cell. The privilege of self-directed movement, the power to pick up and go as one pleases, has not been a traditional "right" of Iranian women. This prerogative has been denied them in the name of piety, anatomy, chastity, class, safety, and even beauty. It is only during the last 160 years that the spell has been broken and Iranian women have emerged as a moderating, modernizing force. Women writers have been at the forefront of this desegregating movement and renegotiation of boundaries. Words, Not Swords explores the legacy of sex segregation and its manifestations in Iranian literature and film and in notions of beauty and the erotics of passivity. Milani expands her argument beyond Iranian culture, arguing that freedom of movement is a theme that crosses frontiers and dissolves conventional distinctions of geography, history, and religion. She makes bold connections between veiling and foot binding, between Cinderella and Barbie, between the figures of the female Gypsy and the witch. In so doing, she challenges cultural hierarchies that divert attention from key issues in the control of women across the globe.