Identity Displacement: Architecture, Migration & the Islamic Woman

<p>Architecture can be regarded as both a product of culture and a medium that can influence change in contemporary society. Within the context of the Islamic woman refugee, architecture becomes intrinsically associated with the concept of socio-cultural sustainability because her cultural identity is challenged through the process of migration. Socio-cultural sustainability within the migrant context is concerned with maintaining cultural identity while allowing for transformation associated with the migration process. Furthermore, it aims to limit negative conflicts between ethnic groups that are often associated with misperceptions based on a lack of understanding. This thesis aims to further understand the role that architecture could play in the socio-cultural sustainability of Islamic women refugees living in Wellington. These women are often forced to make significant cultural changes through their migration process, and are faced with the question of which parts of their identity they maintain and which parts they adapt to the local culture. Traditional Islamic gender roles are challenged through the process of migration; where the Islamic woman, who was traditionally found within the home, is now becoming part of the professional workforce. The contrasting Western and Islamic perceptions of the veil identify that there are large gaps in the understanding of the other. Both the house and the mosque are two architectural typologies that play a significant part in the lives of Islamic women refugees, and therefore the design case study is divided into 2 parts. Housing New Zealand Corporation (HNZC), who is responsible for housing recently-arrived refugees, commonly place refugee migrants in state properties. These are unresponsive to the socio-cultural needs of most refugee migrants as they are generally designed for the New Zealand culture. Due to the limitations imposed on and by HNZC and the refugee housing process, the most feasible solution to this problem for the Islamic woman refugee is to provide Housing Design Guidelines for Islamic Women. They focus specifically on their socio-cultural needs and could be used in housing renovations and redevelopments by HNZC. The second and larger part of the design case studies concentrates on the redevelopment of the Kilbirnie Mosque in Wellington, which acts as an architectural symbol of Islamic identity. Unlike the house, it supports the wider concept of socio-cultural sustainability, which includes challenging the frequently negative perceptions towards the Islamic community. This is essential in fostering positive relationships between the migrant and the host community, which can significantly influence the re-settlement process of refugees. Traditional Islamic architecture is therefore critiqued in the design, through the concept of the veil and the contemporary position of the Islamic woman, in order to re-negotiate traditional perceptions.</p>

Identity Displacement: Architecture, Migration & the Islamic Woman

<p>Architecture can be regarded as both a product of culture and a medium that can influence change in contemporary society. Within the context of the Islamic woman refugee, architecture becomes intrinsically associated with the concept of socio-cultural sustainability because her cultural identity is challenged through the process of migration. Socio-cultural sustainability within the migrant context is concerned with maintaining cultural identity while allowing for transformation associated with the migration process. Furthermore, it aims to limit negative conflicts between ethnic groups that are often associated with misperceptions based on a lack of understanding. This thesis aims to further understand the role that architecture could play in the socio-cultural sustainability of Islamic women refugees living in Wellington. These women are often forced to make significant cultural changes through their migration process, and are faced with the question of which parts of their identity they maintain and which parts they adapt to the local culture. Traditional Islamic gender roles are challenged through the process of migration; where the Islamic woman, who was traditionally found within the home, is now becoming part of the professional workforce. The contrasting Western and Islamic perceptions of the veil identify that there are large gaps in the understanding of the other. Both the house and the mosque are two architectural typologies that play a significant part in the lives of Islamic women refugees, and therefore the design case study is divided into 2 parts. Housing New Zealand Corporation (HNZC), who is responsible for housing recently-arrived refugees, commonly place refugee migrants in state properties. These are unresponsive to the socio-cultural needs of most refugee migrants as they are generally designed for the New Zealand culture. Due to the limitations imposed on and by HNZC and the refugee housing process, the most feasible solution to this problem for the Islamic woman refugee is to provide Housing Design Guidelines for Islamic Women. They focus specifically on their socio-cultural needs and could be used in housing renovations and redevelopments by HNZC. The second and larger part of the design case studies concentrates on the redevelopment of the Kilbirnie Mosque in Wellington, which acts as an architectural symbol of Islamic identity. Unlike the house, it supports the wider concept of socio-cultural sustainability, which includes challenging the frequently negative perceptions towards the Islamic community. This is essential in fostering positive relationships between the migrant and the host community, which can significantly influence the re-settlement process of refugees. Traditional Islamic architecture is therefore critiqued in the design, through the concept of the veil and the contemporary position of the Islamic woman, in order to re-negotiate traditional perceptions.</p>

Feminism and Islamic thoughts in Hameeda's novel

Even in this age of progress, there are misconceptions about Islamic women in various societies. This article is designed to emphasize that the idea that women are oppressed in Islamic society and not given adequate privileges and rights in their lives is completely wrong. The main purpose of this article is that hameeda's novel is known that women have the same right as they have duties. Hameeda's novel has also emphasized that Islam has given women the right to equality, property rights, free speech, copyright, succession, the right to divorce, remarriage and the right to education. The main objective of this article is to highlight this.

Affirmation of Islamic artists on the example of Shirin Neshat and Mona Hatoum

The role of women in Islamic countries is very different from the notion of women in Europe, because the religious worldview has been dominant for centuries so much that it has subdued all other spheres of society. The struggle for equality, which has been going on for decades in the so-called Western world, in Islamic countries is just getting started. Consequently, it is not surprising that the portrayal of women and everything related to them in the art and literature of Islamic countries is limited in relation to the West. Islam is a very strict religion and forbids the display of objects that lead to fetishism, such as human figures and cult images, because it represents a threat to the creative power of Allah. In the past, Islamic women did not have the opportunity to affirm themselves in the arts, because despite the fact that Islam does not support "discrimination" between men and women, at the same time it does not defend the idea of "equality". However, the postmodern era brings a revival, and today they are finally enjoying their rights and are greatly represented on the world art scene. By presenting historical themes, the artists in a special way convey emotional messages about the suffering of individual members of the Islamic faith, and in addition define and reexamine patriarchy, feminism and fundamentalism through their works. The themes of suffering are best depicted in the work of two Islamic women, Shirin Neshat and Mona Hatoum, so this paper will talk about their opus and the way in which Muslim women are affirmed in the modern age through historical-artistic and sociological approach.

The Translation of Islamic Women-Related Legal Terms and Metaphors: A Comparative Study of Fazlul Karim’s (1938) and Robson’s (1963) Versions of Mishkat-ul-Masabih

Through the instrumentality of the translation allusions strategies proposed by Leppihalme (1997) and the Skopos-plus-loyalty approach developed by Nord (1997), the present study scrutinizes the English translation of six Islamic-legal terms and six metaphors used for women in selected Prophetic Hadith from two English versions of Al-Tabrīzī’s (d. 1348 A.D.) Mishkat-ul-Masabih that have been translated by Fazlul Karim (1938) and Robson (1963). The results indicate that Fazlul Karim’s (1938) translation of the of Islamic-legal terms shows his commitment to provide the Muslim reader with the necessary Islamic rulings and opinions taken from the Prophetic Hadith. However, the language in his translation is found to be incomprehensible in many cases because it strictly adheres to the Arabic structure. By comparison, Robson’s (1963) language appears natural and the terms are translated more accurately regarding the ‘general meaning’ of the word. In addition, his translation is comprehensible and coherent. Fazlul Karim’s (1938) translation of metaphors of women shows that, in most cases, he uses an inaccurate translation for the respective metaphor. Robson (1963) is found to be consistent with his skopos of using natural English. This study is an attempt to shed light on the importance of gaining knowledge about the culture that surrounds the terms related to women and its effects on translation. It endeavors to draw attention to the role of translation in reflecting the appropriate status and societal role of women at a particular time with special emphasis on terms that consist of a combination of physical, social, and legal aspects.

Feminism in Pakistan and Emerging Perspectives

Since March 2019, local NGOs in Pakistan are organizing “Aurat March” (Women March) in month of March to raise voice against indigenous feminine issues and violence against women. In hindu-originated society like Pakistan, where Islamic women rights haven’t implemented in its true spirit yet, digesting such a “liberal” act is not easily digestible. Thus different intellectual classes took social media on fire to outdo each other and central topic of cross arguments was slogans raised in the March. Raising slogans is a traditional way of weaker class in society to demonstrate against discrimination and emit emotional suffocation. To study underlying meanings of much debated slogans of Aurat March in Pakistan, discourse analysis is employed which also facilitated to indicate emerging dimension socio-religious debates and opinions towards feminism in Pakistan.

DEPICTION OF MATERIAL CIRCUMSTANCES OF WOMEN IN JEAN SASSON’S NOVELS

The postmodern American novelist, Jean Sasson, the voice of Islamic women, depicts minutely and graphically the material circumstances of women in her novels. She has presented the material graph of women in the Middle East, escalating to the skyline and the downtrodden life of low pattern of life. The paper specifically explores the material status of women ranging from the Princesses of Saudi Arabia to the level of maids who struggle for existence amidst tortures and variegated stresses. All the women protagonists in her novels continue their struggle with a specific aim of their lives in Islamic pattern of life. Jean Sasson has presented a rich gallery of women portraits in their specific material pattern of life - Princesses, Middle class women struggling to achieve their dreams and lower strata of women.

Capturing the gaze in film: Feminist critiques of Jewish and Islamic orthodoxy in Israel and Iran

This article addresses issues of body and sexuality exposed by documentary films about orthodox Jewish women in Israel and traditional Islamic women in Iran, directed by Anat Yuta Zuria and Ziba Mir-Hosseini (with Kim Longinotto), respectively. These two groups of religious women are faced with some similar circumstances. The directors of these films use their cameras to expose not only the male gaze, but sometimes they also turn their cameras back on the men who perpetuate and benefit from religious legal systems that subjugate these women. The camera thus is not merely a documentary tool but also a political tool revealing what is hidden in the inner sanctum and redeeming it from the “private sphere.” This comparison highlights the potential of Jewish feminism in Israel; it challenges it to work in alliance with Islamic women who live either as citizens in Israel or as non-citizens in the occupied territories.

Pencitraan Perempuan Islami dalam Iklan Komersial (Analisis Semiotika)

Women in commercial advertising is needed to strengthen the marketability of a product. Therefore, created an imaging. Imaging Islamic women looks at some of the products Wardah, Citra, and Sunsilk shampoo. This paper describes the interpretation of the iconic, meaning indeksional, and symbols in commercial advertisements. The data were taken form youtube, documented by data transcription, and then analyzed by using theory semiotics Charles Sanders Peirce. The conclusion of this study shows that the Islamic women imaged by Wardah, Citra, and Sunsilk in iconic interpretation is (1) an egalitarian, (2) care, (3) non-discriminatory, (4) sportsmanship, and (3) always grateful. Women islami within the meaning indeksional are (1) more confident, (2) always happy, (3) to inspire, (4) are free to move, (5) clean inwardly and outwardly, (6) reach freedom without violating limits, (7 ) hospitable, (8) has appeal, and (9) have a sense of comfort. Meanwhile, women's Islamic imaged in symbolic meaning is (1) Islamic, both verbal and nonverbal, (2) class high social, (3) a humanist, (4) domiciled equivalent, (5) maintain pluralism, (6) a valuable, and (7) white shine.[Wanita dalam iklan komersial sanagt penting untuk memperkuat pasar suatu produk. Untuk itu, menciptakan cit- ra perempuan dalam suatu produk menjadi signifikan. Citra wanita Islam bisa dilihat pada produk sampo Ward- ah, Citra, dan Sunsilk. Artikel ini menjelaskan interpretasi dari makna ikonik,indeks dan simbolik dalam iklan komersial tersebut. Data diambil dari youtube, ditranskripsikan dan kemudian dianalisis dengan menggunakan teori semiotika Charles Sanders Peirce. Kesimpulan menunjukkan bahwa citra wanita Islam di iklan tersebut dalam penafsiran ikonik adalah (1) egaliter, (2) perhatian, (3) tidak diskriminatif, (4) sportif, dan (5) selalu bersyukur. Sedangkan dalam makna indeks, citra wanita islami digambarkan (1) lebih percaya diri, (2) selalu bahagia, (3) menginspirasi, (4) bebas bergerak, (5) bersih luar dalam, (6) mencapai kebebasan, (7) ramah tamah (8) memiliki daya tarik seksual, dan (9) memiliki rasa nyaman. Sementara itu, citra wanita islami dalam arti simbolis adalah (1) Islami, baik verbal maupun nonverbal, (2) kelas sosial yang tinggi, (3) humanis, (4) berkedudukan setara, (5) menjaga pluralisme, (6) bernilai dan (7) putih bersinar.]