Unveiling The Veiled

Love is a madman, Working his wild schemes, Dancing crazy, tearing off clothes, Drinking poison, and quietly choosing annihilation. The book "Unveiling the veiled" is poetry about the mystical union with the beloved. These inspiring renderings, burning emotions, feelings and thoughts unveils thousands of veils to expose the hidden mysteries and experience the ecstasy and beauty of divine love. Each poem in this book urges us to put aside our fears and take the risk of discovering our core self.

Unveiling the Veiled: Royal Consorts, Slaves and Prostitutes in Qajar Photographs is the first public visual venue in the field of Middle Eastern and Iranian Studies bringing together photographs of Naser al-Din Shah's (b. 1831-d. 1896) consorts and their African female slaves (kaniz) inside the royal harem, accompanied by images of women, probably prostitutes of the Naseri period (1848-1896), inside the studio of Amir Doust Mohammad Khan Moayer al-Mamalek (b. 1857-d. 1913), one of the influential members of the royal court and the king's son-in-law. Indeed, properly analysing these three innovative and provocative topics -royal consorts, slaves and prostitutes- together requires a deep understanding of several fields of research. This is why I am presenting this exhibition in conjunction with the conference on Slavery and Sexual Labor in the Middle East and North Africa in the hope of providing a new platform for those of us who consider photographs of the Qajar period of Iran as material culture for use in further social, cultural and historical investigations. Dr. Pedram Khosronejad Associate Director for Iranian and Persian Gulf Studies School of Global Studies & Partnerships Oklahoma State University

Drawing on extensive research in the archives of Russia and Uzbekistan, Douglas Northrop here reconstructs the turbulent history of a Soviet campaign that sought to end the seclusion of Muslim women. In Uzbekistan it focused above all on a massive effort to eliminate the heavy horsehair-and-cotton veils worn by many women and girls. This campaign against the veil was, in Northrop's view, emblematic of the larger Soviet attempt to bring the proletarian revolution to Muslim Central Asia, a region Bolsheviks saw as primitive and backward. The Soviets focused on women and the family in an effort to forge a new, "liberated" social order.This unveiling campaign, however, took place in the context of a half-century of Russian colonization and the long-standing suspicion of rural Muslim peasants toward an urban, colonial state. Widespread resistance to the idea of unveiling quickly appeared and developed into a broader anti-Soviet animosity among Uzbeks of both sexes. Over the next quarter-century a bitter and often violent confrontation ensued, with battles being waged over indigenous practices of veiling and seclusion.New local and national identities coalesced around these very practices that had been placed under attack. Veils became powerful anticolonial symbols for the Uzbek nation as well as important markers of Muslim propriety. Bolshevik leaders, who had seen this campaign as an excellent way to enlist allies while proving their own European credentials as enlightened reformers, thus inadvertently strengthened the seclusion of Uzbek women—precisely the reverse of what they set out to do. Northrop's fascinating and evocative book shows both the fluidity of Central Asian cultural practices and the real limits that existed on Stalinist authority, even during the ostensibly totalitarian 1930s.

"An original contribution to a subject which is currently of much interest to the world at large, East or West, and has an important bearing on the position of women in the societies in which veiling is practiced."--The Middle East Journal "Highly recommended. . . . It draws on and contributes to current feminist theorizing in Middle East women's studies and in broader feminist academic circles."--International Journal of Middle East Studies "A welcome contribution to Middle Eastern and women s studies, providing an innovating approach and research to a highly controversial issue in gender politics."--Digest of Middle East Studies An insightful and provocative book. . . . [It] leads to a better understanding of the veil and a debunking of current cliches. Farzaneh Milani, University of Virginia Illustrated with photographs, drawings, and cartoons gathered from popular culture, this provocative book demonstrates that the veil, the garment known in Islamic cultures as the hijab, holds within its folds a semantic versatility that goes far beyond current cliches and homogenous representations. Whether seen as erotic or romantic, a symbol of oppression or a sign of piety, modesty, or purity, the veil carries thousands of years of religious, sexual, social, and political significance. Using examples from both the East and West including Persian poetry, American erotica, Iranian and Indian films, and government-sanctioned posters Faegheh Shirazi shows that the veil has become a ubiquitous symbol, utilized as a profitable marketing tool for diverse enterprises, from Penthouse magazine to Saudi advertising companies. She argues that perceptions of the veil change with the cultural context of its use as well as over time: in a Hindi movie the veil draws in the male gaze, in an Iranian movie it denies it; photographs of veiled women in Playboy aim to titillate a principally male audience, while cartoons of veiled women in the same magazine mock and ridicule Muslim society. Shirazi concludes that the practice of veiling, encompassing an amazingly rich array of meanings, has often become a screen upon which different people in different cultures project their dreams and nightmares. Faegheh Shirazi is associate professor of Middle Eastern languages and cultures in the Islamic Studies Program at the University of Texas, Austin. She is the author of several book chapters and articles on issues related to women in Islam in numerous publications, including Critique and Journal for Critical Studies of the Middle East."

Veiling is a globally polarizing issue, a locus for the struggle between Islam and the West and between contemporary and traditional interpretations of Islam. This book examines the vastly misunderstood and multi-layered world of the veil. It explores and analyzes the cultures, politics, and histories of veiling.

This book is the second of a two-volume anthology of primary source documents on feminism in the nineteenth and early twentieth centuries. Unique in its extensive treatment of the first-wave feminist movement in Canada, it highlights distinct elements of its origins and evolution. The book is organized into thematic rubrics that address key issues, debates, and struggles within the first wave in Canada, as well as international influences and Canadian engagement in transnational networks and initiatives. Documents by Indigenous, Anglophone, Francophone, and immigrant female activists demonstrate the richness and complexity of Canadian feminism during this period. Together with its first volume, Documenting First Wave Feminisms reveals a more nuanced picture, attentive to nationalism and transnationalism, of the first wave than has previously been understood.

"This is a stunning and original book. It will intervene in existing fields and discourses to change the way Islamic fundamentalism is viewed in the West."—Caren Kaplan, Associate Professor of Women and Gender Studies and Chair of Cultural Studies at the University of California Davis. "Between Warrior Brother and Veiled Sister is an original and venturesome piece of work. It is daring in its willingness to test just how far the definition of 'fundamentalism' might be extended in contemporary Iran. It sketches lucidly the gendered crises of identity that have emerged there in the wake of colonization/Europeanization and decolonization."—Parama Roy, Associate Professor of English at UC Riverside, author of Indian Traffic: Identities in Question in Colonial and Postcolonial India. "Between Warrior Brother and Veiled Sister is ground-breaking, enlightening, and challenges mainstream constructions of Islam as fanatic and backward. This book will similarly contribute to the writings on race and gender relations, religion and secularism, cultural nationalism, religious fundamentalism, and popular culture and visual media. The personal, biographical and visual examples are effective in making the more nuanced and complex theoretical arguments tangible and provocative. Exciting and innovative."—Ella Shohat, Professor of Cultural Studies, New York University

Nearly twenty-five hundred years ago the Greek thinker Heraclitus supposedly uttered the cryptic words "Phusis kruptesthai philei." How the aphorism, usually translated as "Nature loves to hide," has haunted Western culture ever since is the subject of this engaging study by Pierre Hadot. Taking the allegorical figure of the veiled goddess Isis as a guide, and drawing on the work of both the ancients and later thinkers such as Goethe, Rilke, Wittgenstein, and Heidegger, Hadot traces successive interpretations of Heraclitus' words. Over time, Hadot finds, "Nature loves to hide" has meant that all that lives tends to die; that Nature wraps herself in myths; and (for Heidegger) that Being unveils as it veils itself. Meanwhile the pronouncement has been used to explain everything from the opacity of the natural world to our modern angst. From these kaleidoscopic exegeses and usages emerge two contradictory approaches to nature: the Promethean, or experimental-questing, approach, which embraces technology as a means of tearing the veil from Nature and revealing her secrets; and the Orphic, or contemplative-poetic, approach, according to which such a denuding of Nature is a grave trespass. In place of these two attitudes Hadot proposes one suggested by the Romantic vision of Rousseau, Goethe, and Schelling, who saw in the veiled Isis an allegorical expression of the sublime. "Nature is art and art is nature," Hadot writes, inviting us to embrace Isis and all she represents: art makes us intensely aware of how completely we ourselves are not merely surrounded by nature but also part of nature.