This groundbreaking volume explores how Islamic discourse and practice intersect with gender relations and broader political and economic processes to shape women's geographies in a variety of regional contexts. Contributors represent a wide range of disciplinary subfields and perspectives--cultural geography; political geography; development studies; migration studies; and historical geography--yet they share a common focus on bringing issues of space and place to the forefront of analyses of Muslim women's experiences. Themes addressed include the intersections of gender; development and religion; mobility and migration; and discourse; representation; and the contestation of space. In the process; the book challenges many stereotypes and assumptions about the category of "Muslim woman;" so often invoked in public debate in both traditional societies and the West.
#518995 in Books Univ of South Carolina Pr 2008-01-01Original language:EnglishPDF # 1 10.95 x .75 x 9.70l; 2.37 #File Name: 1570037191166 pages
Review
0 of 2 people found the following review helpful. Two StarsBy Karl BoltzI guess it was not what I expected.2 of 2 people found the following review helpful. Paperback is terribleBy CajunSportsmanGot the paperback. Stinks - half of the pics are low-res (pixelated) and the entire thing looks like a photocopy - something that someone would have done for a college report. Terrible from an aesthetic standpoint. If you are looking for this for arts sake and want decent images; don't even bother.14 of 14 people found the following review helpful. Recommended for anyone interested in Southern history and cultureBy AfroAmericanHeritageAs is my habit with art books; I leafed through to view the images before reading the text. The bucolic scenes transported me back to a genteel time; when American was young and rich and full of promise.Which is precisely the dilemma of plantation art. Typically hung in the landscape section of galleries; it reinforces the seductive myth of the Antebellum South as paradise lost. But in reality plantations were slave labor camps; and mostly absent from the paintings are the slaves upon whose labor the plantation rested and who; when depicted at all; are merely quaint accents or contented pets of benevolent masters.LANDSCAPE OF SLAVERY serves as a companion to a traveling exhibit of the same name organized by the Gibbes Museum of Art and the Carolina Art Association. It explores the complex and incompatible experiences of plantation life represented in works by diverse artists; from picturesque painters such as Thomas Coram through Winslow Homer (who; as Michael D. Harris writes; appears to have been "more sensitive to different notions evoked by the word `plantation'") to Hale Woodruff whose work is full of rage.All of the essays provide thought-provoking commentary on this complex dynamic. "Picturing the Plantation" provides an overview of the landscape tradition and its idealizing vocabulary; while "Identifying Spaces of Blackness" explores the African aesthetic found in rituals; ceremonies; dance; music and art created by slaves as a means of resistance and survival. "The Most Famous Plantation of All" about the politics and painting of Mount Vernon sent me to the internet where the web site of the Mount Vernon Estate and Gardens offers this rationale for why the Father of Our Country owned human beings:"George Washington was born into a world in which slavery was accepted."Of course; the "acceptance" of slavery depended upon one's vantage point. Ditto "nostalgia." I'd recommend this book to anyone interested in American art in general; and Southern history and culture in particular. It will definitely enrich your next visit to the landscape gallery.
