Polemics On Veiling Egyptian Women In The Twentiet Essays - Clothing

Polemics On Veiling Egyptian Women In The Twentiet Essays - Clothing Polemics On Veiling Egyptian Women In The Twentieth Century Introduction .. so much energy has been expended by Muslim men and then Muslim women to remove the veil and by others to affirm or restore it .. (Ahmed 167). This paper explores these efforts in two specific stages: the first and the last thirds of the twentieth century. Through an analysis of some of the various arguments on the veil, I will try to induce some general characteristics of the debate on the issue and on women during these two specific periods of time. The starting point will be Kasim Amin's Tahrir el Mara'a (Liberation of Woman) and the counter argument of Talat Harb's Tarbiet el Mara'a wal Hijab, (Educating Women and the Veil). The debate between those two protagonists which has become a prototype of the debate on the veil throughout the century (Ahmed P. 164). Malak Hefni Nassif's and Hoda Sha'arawi's attitudes towards the veil represent an interesting insight to two different interpretations of the hijab issue by feminist activists that prevail throughout the century. The whole synthesis of this early debate is then put in juxtaposition to the debate later in the century as represented by the avalanche of literature on the topic in the seventies, the views of some famous sheikhs like Mohammed Metwally el Shaarawi and others, and the heated debate initiated by the Minister of Education's decree of 1994 to prevent school administrations from imposing the hijab on girls as part of the uniform. The Early Debate Kasim Amin's Tahrir El-Mara'a (Published 1899) It may not be an exaggeration to say that Amin's Tahrir al-Mara'a was one of the most controversial book in Egypt's modern history. It has ignited a strong debate and prompted more than thirty reaction articles and books either to defy or assert his argument against the veil (Ahmed P. 164). The ideas of the book were not totally new, they echoed the writings of some writers like Mariam al-Nahhas (1856-1888), Zaynab Fawwaz (1860-1914), Aisha al-Taymuriah (1840-1902), and Murqus Fahmi's (a Coptic lawyer) four act play Al Mar'ah fi al-Sharq or (The Woman in the East) (Badran P. 19). Yet, Amin's book double-scored for coming from a Muslim judge and for his overt proposal to unveiling women's faces. His words were not the only challenge to the existing notions of the hijab, it was his caliber as a Moslim judge that has vocalized his call to unveil women and gave his book importance. After an introduction loaded with emotional phrases on the degradation of the Egyptian woman and an exaltation of the European woman, the book is divided into four sections: Educating women, Women's veil, The woman and the nation, and Marriage and divorce. Amin starts his argument calling for the Hijab Shara'ei stating that the Hijab in its form then (covering the face, the hair and the whole body) was not mandated by the Shari'aa. He further adds that he was not calling for the extreme of the West which makes the woman liable to seduction (Amin P. 65). The argument against the veil is in two sections: The religious section which is mainly text interpretation and some Hadith that prompt women to cover the hair and the whole body except for the hands and the face; and the social (practical / everyday life) perspective. The later section includes social ideas such as the inconvenience for women with their faces covered to dwell in business, to testify in courts or to get engaged (as the groom should see her face first). Furthermore, he argues that unveiling would make women watch their behaviors as they could be recognized and hence their reputation would be at stake if they did any wrong. Still, from the practical social point of view, the flimsy bourqo' (face cover) used was more tempting as it makes the viewer curious to see what was intended to be hidden. He further argues that, if women are imprisoned in the hareem (part of the house where women are secluded), then even if they did not commit any shameful act, it would not be due to any virtue in them, but to the fact that they did not have the freedom to do otherwise. Amin accuses the veil of being a barrier to women's development and education (P. 85), arguing that it deprived her from interacting with the society and learning how to live. He illustrates by comparing the ignorant peasant with the elite urban lady who can speak French and plays the piano, and concludes that the ignorat peasant would be

Creons Dramatic Monologue from Antigone

Creons Dramatic Monologue from Antigone Considering he appears in all three plays of  Ã¢â‚¬â€¹Ã¢â‚¬â€¹Sophocles Oedipus trilogy, Creon is a complex and diverse character. In  Ã¢â‚¬â€¹Oedipus the King, he serves as an advisor and moral compass. In Oedipus at Colonus, he tries to negotiate with the blind ex-monarch in hopes of gaining power. Finally  in, Creon has attained the throne after a long civil war between two brothers,  Ã¢â‚¬â€¹Eteocles, and Polyneices. Oedipus’ son Eteocles died defending the city-state of Thebes. Polyneices, on the other hand, dies trying to usurp power from his brother. Creons Dramatic Monologue In this monologue  placed at the play’s beginning, Creon establishes the conflict. The fallen Etecles is granted a hero’s funeral. However, Creon decrees that the traitorous Polyneices will be left to rot in the wilderness. This royal order will stir up a singular rebellion when the devoted sister of the brothers, Antigone, refuses to abide by Creon’s laws. When Creon punishes her for following the will of the Olympian Immortals and not the rule of the king, he incurs the wrath of the gods. The following excerpt is reprinted from Greek Dramas. Ed. Bernadotte Perrin. New York: D. Appleton and Company, 1904 CREON: I now possess the throne and all its powers, by nearness of kinship to the dead. No man can be fully known, in soul and spirit and mind, until he hath been seen versed in rule and law-giving. For if any, being supreme guide of the state, cleaves not to the best counsels, but, through some fear, keeps his lips locked, I hold, and have ever held, him most base; and if any makes a friend of more account than his fatherland, that man hath no place in my regard. For Ibe Zeus my witness, who sees all things alwayswould not be silent if I saw ruin, instead of safety, coming to the citizens; nor would I ever deem the countrys foe a friend to myself; remembering this, that our country is the ship that bears us safe, and that only while she prospers in our voyage can we make true friends. Such are the rules by which I guard this citys greatness. And in accord with them is the edict which I have now published to the folk touching the sons of Oedipus; that Eteocles, who hath fallen fighti ng for our city, in all renown of arms, shall be entombed, and crowned with every rite that follows the noblest dead to their rest. But for his brother, Polyneiceswho came back from exile, and sought to consume utterly with fire the city of his fathers and the shrines of his fathers godssought to taste of kindred blood, and to lead the remnant into slaverytouching this man, it hath been proclaimed to our people that none shall grace him with sepulture or lament, but leave him unburied, a corpse for birds and dogs to eat, a ghastly sight of shame.