Literatura académica sobre el tema "Mariam"

It is scientifically proved that genetic heritance, irrespective of a person’s wish or will, is passed down from parents, which connects him/her with their predecessors’ world.The same can be said about constitution, nervous system, temperament, character – they are all inherited. From this point of view, Mariam Kereselidze was a copy of her father, general Leo Kereselidze. She was determined, self-sacrificing and daring like her father. The love of Georgian gene and origins, the striving towards freedom were inspired by her father from her very childhood. Mariam was the only child so her father brought her up in a manly manner, tried to develop the features which she would use in difficult situations. The general wished his daughter to continue his political course.Brought up in her father’s political surrounding, all Mariam’s actions were directed to restore Georgia’s statehood.During the World War II, at the age of 19, Mariam Kereselidze helped the Germans to bomb English bases in Gibraltar for three years, according to KGB. On her “achievements” list, there was also a revelation of secret negotiations between American and Portuguese ambassadors. That was why she was hunted by: Soviet KGB, English Intelligence, French police and even German Nazis… In the World War II, Mariam Kereselidze fought among anti-Soviet group, on the Germans’ side for others’ interests, formally, but in reality, she fought for Georgia.After the war she moved to South America and while living in Peru, in 1960, she wrote a play “Maita” in Spanish, her second Add Contributorplay was “Roots of Stars” which was staged by Rosa Wonder’s cast of Peru Theatre. Due to hard life conditions in Peru, Mariam Kereselidze started her activity in Communist Party.Keywords: Kereselidze, lost, Peru

Confrontés à la mort des exilés à la frontière calaisienne, des militants ont créé un groupe de travail pour accompagner les proches des personnes disparues ou décédées dans leurs démarches mais aussi pour documenter ces situations et les réinscrire dans un contexte politique. Mariam, Mehdi, Maria, Lou, Juliette et Maël retracent l’histoire de la constitution de cette mobilisation pour les morts de la frontière et les enjeux politiques qu’elle soulève.

Abstract Directed by Saudi Arabian filmmaker Faiza Ambah, Mariam (2015) portrays the struggles of Mariam, a Muslim French teenager who decides to wear the hijab but must contend with her school’s enforcement of a 2004 French law banning religious symbols from public institutions. Mariam must also deal with her liberal father, who opposes the hijab because of his own internalization of Islamophobic narratives that have become widespread in France. Engaging with feminist and cultural studies by such scholars as Saba Mahmood, Mohja Kahf, Lila Abu-Lughod, and Sara Ahmed, this article offers an analysis of Mariam, focusing on the protagonist’s embodied encounters with her teacher, school principal, father, and fellow students. The article argues that by recounting Mariam’s gendered and racialized struggles with forced unveiling, Ambah shifts the discourse on the head scarf from one that focuses on the perceived oppression of Islam to one that highlights the violence of the secular state.