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Daughters of Tunis is an innovative ethnography that carefully weaves the words and intimate, personal stories of four Tunisian women and their families with a statistical analysis of women's survival strategies in a rapidly urbanizing, industrializing Muslim nation. Delineating three distinct network strategies, Holmes-Eber demonstrates the "public" role of neighborhoods as informal social security systems, and the impact of women's education, class, and migration on women's resources and networks. An engaging, warm, and oftentimes humorous portrait of Muslim women's responses to development, Daughters of Tunis is an exciting new approach to ethnography: merging the historically disparate methods of both qualitative and quantitative analysis.
Daughters of Tunis is an innovative ethnography that carefully weaves the words and intimate, personal stories of four Tunisian women and their families with a statistical analysis of women's survival strategies in a rapidly urbanizing, industrializing Muslim nation. Delineating three distinct network strategies, Holmes-Eber demonstrate
Daughters of Tunis is an innovative ethnography that carefully weaves the words and intimate, personal stories of four Tunisian women and their families with a statistical analysis of women's survival strategies in a rapidly urbanizing, industrializing Muslim nation. Delineating three distinct network strategies, Holmes-Eber demonstrates the "public" role of neighborhoods as informal social security systems, and the impact of women's education, class, and migration on women's resources and networks. An engaging, warm, and oftentimes humorous portrait of Muslim women's responses to development, Daughters of Tunis is an exciting new approach to ethnography: merging the historically disparate methods of both qualitative and quantitative analysis.
A bracing and vividly told story set against the backdrops of the Tunisian Bread Riots in 1984 and the Jasmine Revolution in 2010, Hope Has Two Daughters offers a glimpse inside revolution from the perspectives of a mother and daughter. Unwilling to endure a culture of silence and submission, and disowned by her family, Nadia leaves her native Tunisia in 1984 amidst deadly violence, chaos, and rioting brought on by rising food costs, eventually emigrating to Canada to begin her life. More than twenty-five years later, Nadia’s daughter Lila reluctantly travels to Tunisia to learn about her mother’s birth country. While she’s there, she connects with Nadia’s childhood friends, Neila and Mounir. She uncovers agonizing truths about her mother’s life as a teenager and imagines what it might have been like to grow up in fear of political instability and social unrest. As she is making these discoveries, protests over poor economic conditions and lack of political freedom are increasing, and soon, Lila finds herself in the midst of another revolution — one that will inflame the country and change the Arab world, and her, forever. Weaving together the voices of two women at two pivotal moments in history, the Tunisian Bread Riots in 1984 and the Jasmine Revolution in 2010, Hope Has Two Daughters is a vivid story that perfectly captures life inside revolution.
Based on interviews with 35 women leaders, this is the first study of women's involvement in the Palestinian National Movement from the revolution in the mid-1960s to the Palestinian-Israeli peace process in the 1990s.
Describes the industries, schools, society, culture, and growth of the coastal settlements during the colonial period.
Tunis has a long history of city life reaching back to ancient times. The Arabic language is firmly rooted among its inhabitants and most embrace the morals and culture of Islam. Behind Closed Doors presents forty-seven tales told by three Beldi women, members of a historic and highly civilized community, the city's traditional elite. Tale-telling is important to all Beldi women, and the book examines its role in their shared world and its significance in the lives of the three tellers. Tales are told at communal gatherings to share and pass on Beldi women's secret lore of love, marriage and destiny. Ghaya Sa'diyya and Kheira tell stories which echo their life experience and have deep meanings for them. Their tales reflect accepted moral codes, and yet many depict attitudes, relationships, and practices that contradict established norms. Whereas Kheira presents a conservative and moralistic view of the role of women, Sa'diyya's heroines are alive with sexual energy, and Ghaya's stories also offer racy and rebellious comments on a woman's lot. These contradictory visions offer a kaleidoscopic view of the position of women in the rich life of a historic North African city.
"Superb. Vetter's incisive introduction offers one of the first approaches to theorizing women’s late modernist literary production as advancing specifically hybrid works located at the juncture of personal, national, and nationalist concerns."--Cynthia Hogue, coeditor of The Sword Went Out to Sea "This edition, with its finely written introduction and meticulous annotation, opens up new understandings of H.D., the major modernist writer, as she meditates, postwar, on the inner life of Shakespeare, the icon of English literature, and on the women missing from his plays. A beautiful and thoughtful book."--Jane Augustine, editor of The Gift and The Mystery H.D. called By Avon River "the first book that really made me happy." In this annotated edition, Lara Vetter argues that the volume represented a turning point in H.D.’s career, a major shift from lyric poetry to the experimental forms of writing that would dominate her later works. Near the end of World War II, after having remained in London throughout the Blitz, H.D. made a pilgrimage to Stratford-upon-Avon, Shakespeare’s birthplace. This experience resulted in a hybrid volume of poetry about The Tempest and prose about Shakespeare and his contemporaries. Featuring a tour-de-force introduction and extensive explanatory notes, this is the first edition of the work to appear since its original publication in 1949. Increasingly after the war, H.D. sought new forms of writing to express her persistent interests in the politics of gender and in issues of nationhood and home. By Avon River was one of her only postwar works to cross over to mainstream audiences, and, as such, is a welcome addition to our understanding of this significant modernist writer.