The Christian Woman as Daughter, Wife, Mother, and Widow

2017 ◽  
pp. 17-45
Keyword(s):  
Christian Woman

“Wi, se kretyènn mwen ye” (Yes I am Christian)

2011 ◽  
Vol 5 (2) ◽  
pp. 180-192 ◽  
Author(s):  
Nadège Mézié
Keyword(s):  
Field Study ◽  
Religious Identity ◽  
Research Strategy ◽  
Beliefs And Practices ◽  
Christian Woman

During a field study of a year and a half in the Haitian mountains, I was forced to re-evaluate my research strategy, and consequently the object of my study, after a setback that denied me access to the American evangelical mission, which I had hoped to study from within. This failure to integrate as a non-Protestant researcher, led me to adopt a methodological falsehood to allow me to penetrate the Haitian evangelical mission. The researcher who chooses methodological falsehood has to fashion a passing and superficial redefinition of her appearance, beliefs and practices, and live her new religious identity according to the prevalent beliefs and norms. This paper will focus on the fieldworker’s daily performance in her role of “Christian woman,” and the strategies put in place to respond to the prescriptive criteria of the role being played.

A Patriotic Christian Woman in the Syrian Parliament

Women Rising ◽  
2020 ◽  
pp. 96-97
Author(s):  
Maria Saadeh
Keyword(s):  
Freedom Of Expression ◽  
Women In Politics ◽  
Innocent People ◽  
Political Reforms ◽  
The World ◽  
The Right ◽  
Christian Woman

During the 128th Inter-Parliamentary Union Assembly (March 22–27, 2013) in Ecuador, parliamentarians from around the world stressed the need to include women in politics. Christian Syrian parliamentarian Maria Saadeh contributed to the discussion by explaining her motives to enter politics and her commitment to political reforms. In her remarks, she explains her decision to run for Parliament as stemming from belief in defending her rights and the right of Syria’s people to have freedom of expression and determine their destiny through the Syrian Parliament, which she considers the only legitimate platform to advocate for reform. She claims that legitimacy cannot be won through war, killing innocent people, or destroying the state’s infrastructure under the pretext of changing the regime or protecting civilians.

The Education of a Christian Woman

2001 ◽  
Vol 32 (1) ◽  
pp. 260
Author(s):  
Elizabeth A. Lehfeldt ◽  
Juan Luis Vives ◽  
Charles Fantazzi
Keyword(s):  
Christian Woman

Religious Delusions in an Evangelical Christian Woman with Anorexia Nervosa

2009 ◽  
Vol 15 (6) ◽  
pp. 477-483 ◽  
Author(s):  
Diana E. Moga ◽  
Deborah L. Cabaniss ◽  
Eric R. Marcus ◽  
B. Timothy Walsh ◽  
David A. Kahn
Keyword(s):  
Anorexia Nervosa ◽  
Evangelical Christian ◽  
Christian Woman

“Who Does She Think She is?”

2003 ◽  
Vol 60 (1) ◽  
pp. 5-15 ◽  
Author(s):  
Amy Hollywood
Keyword(s):  
Christian Women ◽  
Medieval Women ◽  
Religious Issues ◽  
Union With God ◽  
Women Mystics ◽  
Christian Woman

Is the Christian woman mystic's audacious desire for union with God a sign of a very un-Christian pride? How can medieval women, officially denied access to teaching and preaching, speak authoritatively on religious issues while at the same time maintaining the humility expected of them? The paper explores both popular and scholarly claims about Christian women mystics' narcissism and argues that, properly understood, many mystical texts are grounded in a paradoxical interplay of humility and chosenness by means of which the works purport to authorize themselves.

scholarly journals Zorrilla y el Moro de Víctor Hugo / Zorrilla and the Moor of Victor Hugo

2012 ◽  
Vol 1 (1) ◽  
Author(s):  
Nancy Neininger Blain
Keyword(s):  
Victor Hugo ◽  
Jose Zorrilla ◽  
Christian Woman

ABSTRACTJosé Zorrilla's Moor is distinct from other Moors in literature that are considered to be more conventional. Critics like Narciso Alonso Cortés have noted that other Romantic authors of the same period created Moors that appeared to be more like "puppets." By contrast, Zorrilla's Moor, inspired by the characters of Victor Hugo, was always a man of flesh and blood who corresponded to his surrounding reality. In Zorrilla's Orientales (1837) one finds the true traces of Arabic Spain. Through a verbal magic, the poet has created a fantastic world while perfectly depicting characters full of color, life and passion. Zorrilla was a very skilled observer and so when he discovered something noteworthy, he wrote about the towns, characters and customs of Grenadine Spain. His Orientales contain not only exoticism, but the main characteristics of his first Moors. In this study, I examine the development of the typical Moor of Zorrilla beginning with his first appearance in Oriental (de los gomeles). The Moorish man desires to possess the Christian girl that he intends to kidnap while guarding his masculine pride. This characteristic distinguishes him from another type of Moor who considers himself to be the slave of the Christian woman in Dueña de la negra toca.RESUMENEl moro de José Zorrilla se distingue de otros moros de la literatura que podrían considerarse más convencionales. Se ha notado por críticos como Narciso Alonso Cortés que otros autores románticos de la época crearon moros más parecidos a "muñecos," artificiosos. En contraste, el moro de Zorrilla, inspirado por los personajes de Víctor Hugo (Les Orientales), era siempre un hombre de carne y hueso que correspondía a su realidad. Se percibe en los Orientales (1837) del poeta las huellas verdaderas de la España árabe. Por medio de una magia verbal, el poeta había creado su mundo fantástico mientras que dibujara perfectamente unos personajes llenos de color, vida y pasión. Zorrilla era un observador habilísimo y por eso, cuando encontró algo digno de nota, escribió sobre los pueblos, personajes y costumbres de esa España granadina. Sería fácil entender cómo el poeta podía notar aun más detalles que suelen subir a la superficie. Puede notarse en sus Orientales, no sólo lo exótico, sino las características principales de sus primeros moros dibujados tan cuida-dosamente. En mi estudio, examino el desarrollo del moro típico de José Zorrilla en comparación con el de Hugo, comenzando con su primera apariencia en Oriental (de los gomeles). El moro quiere poseer a la cristi¬ana que intenta robar mientras que guarde su orgullo varonil. Este rasgo lo distingue de otro tipo de moro que se considera "esclavo" de la cristiana en Dueña de la negra toca. El papel del moro sigue transformándose en el poema Granada (1852).

scholarly journals הכנפיים שנשברו דמות האישה הערבית הנוצרית ברומן " חוצוצרה בוואדי " של סמי מיכאל לעומת דמותה ב " יסמין " של אלי עמיר The Broken Wings: The character of the Arab Christian |Woman in Sami Michael's Novel "Trumpet in the Wadi" versus "Jasmine" by Eli Amir

2021 ◽  
Vol 0 (43) ◽  
pp. 376-401
Author(s):  
Ali Mohammed Rashed ◽  
Keyword(s):  
Social Changes ◽  
Family Needs ◽  
The Family ◽  
Arabic Christian ◽  
Christian Woman

סמי מיכאל ואילי עמיר - שני סופרים ישראליים ילידי עיראק ובני אותו דור (סמי מכאיל נולד בבגדד בשנת 1926 ואלי עמיר ב-1937). כתבו ברומניהם, בין השאר, על המזרחיות ועל האהבה ונשיות.ושניהם חיו חיים פרועים, מוחצנים. לא נרתעו מהתנסות בכל דבר חדש שנקרה בדרכם, מרדו במוסכמות ונהג באופן פרובוקטיבי, הם נהנו מהזעזוע והתדהמה, שהם מעוררים סביבם. מנסים למצוא את מקומם במסגרות משפחתיות שונות, לכן הם בחרו להציג שתי גבורות ערביות .ושתי הגיבורות הן בחורות נוצריות ערביות והן והדובר ברומן "יסמין" הוא דובר- בגוף ראשון , ב"חצוצרה בוואדי" הדוברת היא הודא הגיבורת , אך ביסמין הדובר הוא נורי – אלי עצמו. שניהם עצמאיים ולשניהם יש תחביב שהם משקיעים בו רבות; הקריאה. המשפחות של שתי הגיבורים עוברות שינויים חברתיים במהלך העלילה, ובשעת הצורך שניהן עובדות לממן צרכים שהמשפחה אינה יכולה לממן. ברומנם במחקר זה ואתעניין בספרם של סמי מיכאל: "חצוצרה בוואדי"" (2008) ובין ספרו של אלי עמיר: יסמין( 2005). מחקר זה מבקש לבדוק כיצד מצטיירת דמותה של האישה הערבית הנוצרית בשני רומנים מפורסמים של השניים . תחילה אתייחס למקומו של הערבי בספרות הישראלית , ואציג את תמצית שני הרמנים עם חיי הסופרים, ואדון בדמות האישה ודרכי איפיונה בהסתמך על ספרות תיאורטית. בפרק השיני אתעניין לדמותיוהן של הודא ויסמין כמייצגות את התקופה, ולבחון את הקווים הבולטים בדרכי עיצובה. ,ואשווה בין הדמות הערבית הנוצרית החוזרת בשני הרומנים, ואבדוק מהי עמדת המוצא שלהם, כיצד הם מתארים את שתי הדמויות ובמה הם בוחרים להתמקד.מפאת תחומו המצומצם של הדיון, העיסוק בנושא יתמקד במבחר דוגמאות נבחרים מן שני הרומנים. Abstract Sami Michael and Eli Amir - two Israeli writers born in Iraq and of the same generation (Sami Makhail was born in Baghdad in 1926 and Eli Amir in 1937). They wrote in their novels, among other things, about Orientalism , love and femininity. They both lived wild, extroverted lives. They did not shy away from experiencing anything new that came their way, rebelled against conventions and acted provocatively; they enjoyed the shock and amazement that evoked around them. While trying to find their place in different family settings, they chose to present two Arab Christian heroines. The narrator in Jasmine is the speaker Noori-Eli himself. While the narrator of “Trumpet in the Wadi” is Huda the heroine herself. Both are independent and both have a hobby in which they invest a lot; which is reading. The families of the two protagonists undergo social changes during the plot, and when necessary they both work to provide the family needs. First, the study sheds light on the importance of the Arabs in Israeli literature as reflected in Sami Michael's book: "Trumpet in the Wadi" "(2008) and Eli Amir's: Jasmine (2005). It, also, provides summaries of the two novels and discusses the character of the Arabic Christian woman as described in both novels. Chapter two debates the characters of Huda and Jasmine and similarities of the two in representing their time. The chapter also compares the recurring image of the Christian Arab character in the two novels, the concept of racism, characters description, as well as the subjects discussed throughout the books with an number of citation taken from the book.

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