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Chapter 1 Veil (1.2- Veil as a “powerful” Symbol (Fanon - the veil was…
Chapter 1
Veil
1.2
- Veil as a “powerful” Symbol
Fanon - the veil was perceived as a signifier of Algerian culture
unveiling women to conquer the Orient
Yegenoglu - veiling as a masquerade that hides “the real nature of these women
Cultural and sexual differences in the colonial discourse
Western obsession with the figure of a veiled Muslim woman as a form of “
patriarchal subjectivity”
the status of veiling in Western fantasies of the other
the veiled subject is “attracting and repelling”
Lacan - the veiled subject as
the object petit
a
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available icon- Muslim subject as “the other”
interwoven with various waves of nationalism, decolonisation and revolution
the Veil exhibition
complexities and ambiguity of the practice of veiling in various contexts
“a welcome chance to address the gap between individual experiences of veiling and its complex and contested status in a variety of public arenas”.
1.1-
The Unrepresentable, Postcolonial Exhibition
Ahdaf Soueif demonstrates the dynamism of practice of veiling in Egypt
illustrates a hybrid mode of representation of her subjects
The dialogues between the publication and the artworks
The difficulty of representing -Sedira's concern of representing the unrepresentable
Gayatri Gopinath in Unruly Vision
colonial modernity and the phenomena of both hypervisibility and invisibility of Muslim subjects
curators and artists as archivists
revive and preserve the complexity of the practice of veiling
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1.3- Reimagination of the Veil’s Aesthetic Resistance
Yegenoglu - Bourdieu: ‘colonial traditionalism’
the tension between local patriarchies and international politics can be productive and reductive at the same time
Sedira’s
works are mainly autobiographical
her work
Self-Portrait or The Virgin Mary
: the subject gains visibility through invisibility. She is absent and present at the same time
Sedira’s self-portrait can be seen in opposition to Marc Garanger’s photographs of Algerian Women in 1960
Sedira undermines the self/other opposition
film Silent Sight
the borders between the past and present,
“between performance and autobiography
” become obscured
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show her ambiguous sense, a status of in-betweenness in relation to the veil
presents her own body as the other
Male Bodies in Veil