The Creation of the Femme Fatale in Egyptian Cinema

2019 ◽  
Vol 15 (3) ◽  
pp. 307-329
Author(s):  
Carolina Bracco
Keyword(s):  
Public Sphere ◽  
Femme Fatale ◽  
Fallen Woman ◽  
The Public ◽  
Women's Participation ◽  
Good Woman ◽  
The Creation ◽  
The Public Sphere ◽  
Egyptian Cinema

Abstract The appearance of the character of a femme fatale in Egyptian cinema in the mid-1950s is deeply intertwined with the new social and moral imprint made by the Nasserist regime. At a time when women’s participation in the public sphere was regulated, the portrayal of the evil woman was intended to define how the good woman should behave as well as the terrible fate in store for those who dared to flout the limits. This evil woman was embodied in the character of the Oriental dancer who was to be seen, from that time on, as a fallen woman. This article aims to discuss the mutation of the character of the dancer from a bint al balad (lit. “girl of the country”) to a femme fatale by analyzing three films starring two icons of the time, Hind Rustum and Tahia Carioca.

Soft Force

2017 ◽  
Author(s):  
Ellen Anne McLarney
Keyword(s):  
Public Sphere ◽  
Women's Leadership ◽  
World Economic Forum ◽  
The Public ◽  
Political Work ◽  
Public Figures ◽  
Women's Participation ◽  
Global Leader ◽  
World Economic ◽  
The Public Sphere

This chapter focuses on the work of Heba Raouf Ezzat. Ranked the thirty-ninth most influential Arab on Twitter, with over 100,000 followers, voted one of the hundred most powerful Arab women by ArabianBusiness.com, and elected a Youth Global Leader by the World Economic Forum, Raouf Ezzat has articulated and disseminated her Islamic politics in a global public sphere. Her writings and lectures develop an Islamic theory of women's political participation but simultaneously address other contested questions about women's leadership, women's work, and women's participation in the public sphere. Heba Raouf Ezzat is one of the most visible public figures in the Arab and Islamic world today, a visibility that began with her book on the question of women's political work in Islam, Woman and Political Work.

Archiving the British Raj

2018 ◽  
Author(s):  
Sabyasachi Bhattacharya
Keyword(s):  
Public Sphere ◽  
Colonial Rule ◽  
Historical Records ◽  
The Public ◽  
British Raj ◽  
National Archives ◽  
The World ◽  
The Creation ◽  
The Public Sphere ◽  
Central Archive

The archives are generally sites where historians conduct research into our past. Seldom are they objects of research. Sabyasachi Bhattacharya traces the path that led to the creation of a central archive in India, from the setting up of the Imperial Record Department, the precursor of the National Archives of India, and the Indian Historical Records Commission, to the framing of archival policies and the change in those policies over the years. In the last two decades of colonial rule in India, there were anticipations of freedom in many areas of the public sphere. These were felt in the domain of archiving as well, chiefly in the form of reversal of earlier policies. From this perspective, Bhattacharya explores the relation between knowledge and power and discusses how the World Wars and the decline of Britain, among other factors, effected a transition from a Eurocentric and disparaging approach to India towards a more liberal and less ethnocentric one.

Pictorial Debates: The Tatar Satirical Journal Yalt-Yolt and Muslim Modernity Discourses, 1906-1917

Experiment ◽  
2013 ◽  
Vol 19 (1) ◽  
pp. 149-181
Author(s):  
Azade-Ayse Rorlich
Keyword(s):  
Public Sphere ◽  
Ottoman Empire ◽  
Russian Empire ◽  
Reform Era ◽  
The Public ◽  
The Creation ◽  
The Public Sphere ◽  
The Russian Empire

Abstract The Great Reform era in Russia, as well as the modernist movements in the Ottoman Empire and other Muslim lands represent the background against which the Muslims of the Russian Empire engaged in the scrutiny of the reasons behind the backwardness of their societies and began advocating the compatibility of Islam with modernity. After 1906, the Muslim press became the most important instrument in the creation of the public sphere where issues of tradition and modernity were debated. This essay focuses on the Tatar satirical journal Yalt-Yolt to explore its contribution to the critique of the old Muslim mentalité, as well as its role as an instrument of modernity.

scholarly journals Heiner Goebbels's Stifters Dinge and the Arendtian Public Sphere

2019 ◽  
Vol 5 (1) ◽  
pp. 109-127
Author(s):  
Luke Matthews
Keyword(s):  
Public Sphere ◽  
Participatory Democracy ◽  
The Political ◽  
The Public ◽  
Collaborative Working ◽  
The Creation ◽  
The Public Sphere ◽  
Working Processes

Heiner Goebbels’s works are examples of “postdramatic” theatre works that engage with the political by seeking to challenge socially ingrained habits of perception rather than by presenting traditional, literary-based theatre of political didacticism or agitation. Goebbels claims to work toward a “non-hierarchical” theatre in the contexts of his arrangement of the various theatrical elements, in fostering collaborative working processes between the artists involved, and in the creation of audience-artist relationships. In offering a reading of Goebbels’s “no-man show” Stifters Dinge, this paper seeks to situate Goebbels’s practice within a theoretical tradition that also encompasses Hannah Arendt’s deployment of the theatre as a metaphor for the public sphere. Within this analysis, I suggest, theatre can be seen to offer the possibility of a participatory democracy through its attention to disappearance and absence.

Constructing Freedom: Institutional Pathways to Changing the Gender Division of Labor

2014 ◽  
Vol 12 (1) ◽  
pp. 81-99 ◽  
Author(s):  
Elizabeth K. Markovits ◽  
Susan Bickford
Keyword(s):  
Social Construction ◽  
Public Sphere ◽  
Division Of Labor ◽  
The Public ◽  
Gender Division Of Labor ◽  
Women's Participation ◽  
The Social ◽  
Paid Labor ◽  
Democratic Freedom ◽  
The Public Sphere

In recent years, there has been renewed public discussion regarding the relationship between women’s equality and their traditional responsibility for carework. In this essay, we analyze the structures of choice and constraint that continue to produce the gender division of family labor and thus women's unequal participation in the public sphere. We conceptualize this as a problem of democratic freedom, one that requires building institutional pathways to sustain women's participation. Drawing on Nancy Hirschmann's arguments about processes of social construction and their relation to freedom, we argue that gender inequality in the public sphere means that women are unfree, in the sense that they are not participating as peers in the material and discursive processes of social construction that then help to shape their own desires and decisions. We use that framework to analyze the current landscape in which different subgroups of women make decisions about paid labor and care work. Our goal is to bring into view the way the social construction of desire interacts with the material context to underwrite inequality between women and men and across different groups of women. Gender equality and the project of democracy require participatory parity between women and men in the public sphere. We therefore turn in our last section to an effort to imagine how public policies could construct pathways that can help interrupt and undo the gender division of labor, and thus better support democratic freedom.

Women, Law and Employment in Pakistan: from ‘Protection’ to ‘Equal Treatment’?

1996 ◽  
Vol 1 (3) ◽  
pp. 207-232 ◽  
Author(s):  
Siobhan Mullally
Keyword(s):  
Public Sphere ◽  
Legal Regulation ◽  
Equal Treatment ◽  
Domestic Sphere ◽  
The Public ◽  
Legislative Reform ◽  
Women's Participation ◽  
Labour Legislation ◽  
International Labour Standards ◽  
The Public Sphere

This paper examines the legal regulation of women's employment in the public sphere in Pakistan. A large part of the legislation relating specifically to the employment of women is highly protective in nature. The 1973 Constitution of Pakistan assumes that women are in need of protection. This assumption is reflected in the labour legislation and in the international labour standards that have been adopted by Pakistan. Much of the existing Labour Code is a legacy of the colonial period and reflects the concerns of the early British factory movement to preserve female modesty and ‘protect’ women's roles within the domestic sphere. This paper attempts to identify those areas of the law most in need of reform if the protective approach to women's participation in the public sphere is to be transcended. Although legislative reform does not necessarily lead to a change in workplace practices, the existence of discriminatory legislation, gaps in existing legislation and a lack of adequate enforcement machinery constitute significant institutional barriers to women's participation in the public sphere. For these reasons, it is argued, calls for law reform and a focus on legislative reform as a strategy for change may be justified.

scholarly journals A rua é nossa: as intervenções urbanas do coletivo lesbiano Velcro Choque (Brasil) e as subjetividades libertárias

2020 ◽  
Vol 2 (2) ◽  
pp. 68-106
Author(s):  
Débora Machado Visini
Keyword(s):  
Public Sphere ◽  
Public Space ◽  
The Public ◽  
Spatial Practice ◽  
The Creation ◽  
The Public Sphere ◽  
And Gender ◽  
The City

O presente artigo investiga as intervenções urbanas – pertencentes a um grupo composto por muitas manifestações artísticas realizadas no espaço público – que dialogam com a cidade. Compreendidas como práticas artísticas e socioespaciais, as intervenções urbanas do coletivo lesbiano Velcro Choque (Brasil) são analisadas a partir das potências que surgem com a ocupação das ruas da cidade e da esfera pública, já que tal ato coloca em cheque normas e narrativas históricas, que serão apontadas a partir do viés da crítica feminista da cultura. Conforme mostra a prática do coletivo, o artivismo associado aos feminismos e às dissidências sexuais e de gênero podem oportunizar a criação de subjetividades libertárias e formas de existência e resistência através das produções coletivas nas artes visuais.Palavras-chave: Cidade. Intervenção Urbana. Feminismos. Artivismo. AbstractThis paper investigates urban interventions – belonging to a group composed of many artistic manifestations carried out in the public space – that dialogue with the city. Understanding the urban interventions as an artistic and socio-spatial practice, the production of the lesbian collective Velcro Choque (Brazil) will be analyzed based on the potency that emerges with the occupation of the streets and the public sphere, since this act can put in check historical norms and narratives, which will be pointed out from the bias of the feminist critic of the culture. As the practice of the collective shows, artivism associated with feminism, sexual and gender dissidences can create opportunities for the creation of libertarian subjectivities and forms of existence and resistance through collective productions in the visual arts.Keywords: City. Urban Interventions. Feminisms. Artivism.

The Remarkable Career of L. R. Eswari

2017 ◽  
Author(s):  
Amanda Weidman
Keyword(s):  
Public Sphere ◽  
Film Industry ◽  
Popular Cinema ◽  
Professional Career ◽  
The Public ◽  
Devotional Music ◽  
The Creation ◽  
The 1950S ◽  
The Public Sphere

Song sequences in Indian popular cinema play a central role in organizing affect and desire through imagery and sound. These songs feature the voices of “playback” singers, so named because their voices are first recorded in the studio and then lip-synced by the actors and actresses on the set during the filming process. This chapter examines how playback singing, which emerged as a professional career possibility in the 1950s, produced new forms of stardom and opportunities for women to enter the public sphere, while serving as a key site for the creation and circulation of ideologies and aesthetics of gender and voice. In particular, it will examine the career and persona of L.R. Eswari, who, although she did not start out as such, came to be branded as a “vampy” singer in the late 1960s Tamil film industry, subsequently made a name for herself in devotional music in the 1970s and 80s, and has recently re-emerged as a playback singer in the last few years.

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