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1
Berry, Jessica, i n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
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Dyehouse, Jeremiah. "Science Fiction : Rhetoric, Authenticity, Textuality and the Museum of Jurassic Technology". Oberlin College Honors Theses / OhioLINK, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1509374752516486.
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Potoczny, Marie. "From the Museum of Lost Smells". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/45.
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Two teenage girls get summer jobs as tour guides at a Christian corporation's Poverty-Around-the-World display. A man seduces women with the nostalgia of smell. A young couple finds passion while waiting at a traffic light. These and other stories in the collection explore themes of loneliness, isolation, and coming-of-age in the contemporary American landscape.
5
Durdana, Benazir. "Muslim India in Anglo-Indian fiction /". The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487944660930967.
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Arimbi, Diah Ariani Women's & Gender Studies UNSW. "Reading the writings of contemporary Indonesian Muslim women writers: representation, identity and religion of Muslim women in Indonesian fictions". Awarded by:University of New South Wales. Women's and Gender Studies, 2006. http://handle.unsw.edu.au/1959.4/25498.
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Indonesian Muslim women???s identity and subjectivity are not created simply from a single variable rather they are shaped by various discourses that are often competing and paralleling each other. Discourses such as patriarchal discourses circumscribing the social engagement and public life of Muslim women portray them in narrow gendered parameters in which women occupy rather limited public roles. Western colonial discourse often constructed Muslim women as oppressed and backward. Each such discourse indeed denies women???s agency and maturity to form their own definition of identity within the broad Islamic parameters. Rewriting women???s own identities are articulated in various forms from writing to visualisation, from fiction to non fiction. All expressions signify women???s ways to react against the silencing and muteness that have long imposed upon women???s agency. In Indonesian literary culture today, numerous women writers have represented in their writings women???s own ways to look at their own selves. Literary representations become one group among others trying to portray women???s strategies that will give them maximum control over their lives and bodies. Muslim women writers in Indonesia have shown through their representations of Muslim women in their writings that Muslim women in Indonesian settings are capable of undergoing a self-definition process. However, from their writings too, readers are reminded that although most women portrayed are strong and assertive it does not necessarily mean that they are free of oppression. The thesis is about Muslim women and gender-related issues in Indonesia. It focuses on the writings of four contemporary Indonesian Muslim women writers: Titis Basino P I, Ratna Indraswari Ibrahim, Abidah El Kalieqy and Helvy Tiana Rosa, primarily looking at how gender is constructed and in turn constructs the identity, roles and status of Musim women in Indonesia and how such relations are portrayed, covering issues of authenticity, representation and power inextricably intertwined in a variety of aesthetic forms and narrative structures.
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Mallick, Suman. "Apples and Knives (A Novel)". PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3023.
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ZULEIKHA, who was trained as a pianist in her hometown of Lahore, Pakistan, arrives in Irving, Texas after her arranged marriage to ISKANDER, but finds it difficult to get accustomed to the appurtenances, encumbrances, and perquisites of the middle-class housewife lifestyle. Despite giving birth to a son, WASIM, she quickly falls out of love with her dutiful but straight-laced husband. She begins giving private lessons, and commences an affair with PATRICK, a transplanted Canadian who is trapped in his own loveless marriage. When she gets pregnant, Zuleikha is convinced the child belongs to her husband. She ends her affair with Patrick, but Iskander finds out about it anyway. The ensuing confrontation between Zuleikha and Iskander turns into a physical altercation, during which Zuleikha, having fallen to the floor, is unable to see if Iskander stomps on her belly, or falls on her by accident as he will later claim. The trauma results in a miscarriage.
The unusual set of circumstances surrounding this violent episode serves as the backdrop for the rest of the story, by catapulting this otherwise nondescript couple into the glare of the public eye. Iskander is arrested and charged with feticide, and he faces a long prison sentence under Texas law. A court order prohibits him from contacting Zuleikha and Wasim, who are taken to a shelter for Muslim women and children. There, the other domestic abuse victims view Zuleikha as someone who "had it coming" because of her infidelity, and are therefore openly hostile to her. The shelter's director, a woman named REZA, is beholden to wealthy Muslim donors, and therefore arranges for Zuleikha to meet with members of a highly controversial Islamic tribunal. Zuleikha is pressured to forgive her husband and testify in his favor, so as not draw further negative attention to the Muslim community. JANE, the District Attorney, on the other hand, initially plays nice with Zuleikha and informs her that she will devote any and all available resources in the prosecution of Iskander. When Zuleikha can't get her story straight and hesitates about testifying against her husband, however, Jane, too, turns against her. Zuleikha discovers that the DA has been caught hiding her own secrets and now faces a public confidence crisis of her own. Zuleikha comes to realize that Jane's reasons for being so gung-ho about winning Iskander's conviction have as much to do with re-endearing herself to her electorate as with justice.
Zuleikha thus finds herself at the epicenter of a political firestorm fueled by winds of anti-Muslim hysteria, with different people trying to use her situation to their own advantage. When Wasim gets in a scuffle at the shelter and has to be taken to a clinic, she panics and contacts Iskander against her better judgment. Husband and wife finally confront each other while Wasim is being treated. Iskander claims to still love Zuleikha and begs her to take him back so that they and their son can resume their prior family life. But Zuleikha realizes that even if Iskander is sincere and not merely seeking reconciliation in order to avoid a harsh prison sentence, she will never be able to forgive him, let alone love him and live with him again. She comes to accept the fact that she has no control over Iskander's fate in court, and can only move forward by testifying truthfully and trying to do what is best for her and her son. While waiting for the trial to begin, she gains admission in a summer training program for piano instructors and begins the next phase of her life.
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Ameri, Firouzeh. "Veiled experiences: Rewriting women's identities and experiences in contemporary Muslim fiction in English". Thesis, Ameri, Firouzeh (2012) Veiled experiences: Rewriting women's identities and experiences in contemporary Muslim fiction in English. PhD thesis, Murdoch University, 2012. https://researchrepository.murdoch.edu.au/id/eprint/10197/.
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In dominant contemporary Western representations, including various media texts, popular fiction and life-narratives, both the Islamic faith in general and Muslim women in particular are often vilified and stereotyped. In many such representations Islam is introduced as a backward and violent religion, and Muslim women are represented as either its victims or its fortunate survivors. This trend in the representations of Islam and Muslim women has been markedly intensified following the terrorist attacks of 9/11 2001.
This thesis takes a postpositivist realist approach to reading selected contemporary women’s fiction, written in English, and foregrounding the lives and religious identities of Muslim women who are neither victims nor escapees of Islam but willingly committed to their faith. Texts include The Translator (1999) and Minaret (2005) by Leila Aboulela, Does my head look big in this? (2005) by Randa Abdel-Fattah, Sweetness in the belly (2005) by Camilla Gibb and The girl in the tangerine scarf (2006) by Mohja Kahf. Attempting to explain how these fictional texts can be read as variously writing back to the often monolithic representations of Islam and Muslim women characteristic of mainstream Western texts (such as those depicted in popular life narratives), the thesis draws attention to the ways in which particular narrative techniques highlight the complexities of Muslim women’s religious identities and experiences. Since the novels depict the lives of Muslim female characters in the West, this study is especially concerned with the exploration of the tensions and contradictions of women’s Muslim identities in Western countries, and addresses Western people’s interests and prejudices in their encounter with Muslim women. Finally, given that various aspects to Muslim women's identities and experiences are typically elided in dominant representations, it is argued that a disruption of the stereotypes of Muslim women signals the potential for the compatibility of Muslim women's distinct identities with Western values.
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Alqahtani, Norah Hassan. "Muslim feminisms and fictions in a postcolonial frame : case studies of Nawal El Saadawi and Leila Aboulela". Thesis, University of Kent, 2017. https://kar.kent.ac.uk/67676/.
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The postcolonial condition has had life-shaping effects on millions of individuals, in the Third World in particular. This study focuses on the different positions embraced by two authors recognized as 'Muslim feminists.' I explore how they engage with postcolonial subjects and particularly address women's questions in their contemporary societies, through analyses of such 'Muslim fictions' as Woman at Point Zero, The Fall of the Imam, and Zeina by Nawal El Saadawi and The Translator, Minaret, and Lyrics Alley by Leila Aboulela. Because a feminist movement is not autonomous, but bound to its sociopolitical context, the rise as well as the failure of secular political and social movements in Egypt have had an impact on feminist struggles. El Saadawi starts her independent secular feminism and inscribes her female characters as revolutionary subjects who rebel against Islamic patriarchal law. Using Caroline Rooney's concept of 'revolutionary spirit' and Linda Alcoff's positionality, this study demonstrates how El Saadawi enables her female characters to counter the brutality of Arab women's lives through different strategies, even hostile ones. Moreover, El Saadawi is as much a nationalist writer as she is a feminist one, so this study illustrates how the tale of the country has been interwoven with the private lives of women, in alignment with Fredric Jameson's paradigm. Whatever the limitations of El Saadawi's secular feminism have been, however, it is undeniable that her version of secular feminism prepared the ground for the new emergent movement that is Islamic feminism. This study examines Aboulela's novels as a comparative paradigm with El Saadawi's. From a committed Muslim point of view, Aboulela inscribes Islamic faith extensively in her writings. Her work offers a potentially universalizing, although not universal, rallying point; it offers a chance for women to create an Islamic spiritual site of belonging and possible solidarity that transcends social classes, ethnic differences and geographical boundaries. However, Aboulela`s work for emancipation is confined to a spiritual level and seems to be less radical in the feminist focus regarding women's rights.
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Erlandsson, Patrik. "Gäst i Katas hus : En undersökning av fiktionens roll i museet". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15080.
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This work is about fiction in the museum, and an approach towards transmedia storytelling with two different methods of mediation. With background in literature on cultural heritage, mediation in museums, mediation of history, fiction, transmedia storytelling and adaptation, visitors’ discussions about an exhibition and a fictional text was examined. In order to make the two methods of mediation converge, a number of themes from the existing exhibition were adapted and encapsulated in a fictional story.The visitors were primarily interested in a historical discussion in regards to the two methods of mediation. The message in both methods was considered to be historical, although different reasons as to why were expressed. The discussion about the fictional text emanated from a traditional view of historical fiction, i.e. was considered by the visitors to be provocative or compelling fictional prose that may guide a visitor to the exhibit. Somewhat contradictory to this expressed meaning, the visitors’ discussion about the fiction revealed a more suggestive and imaginative relationship with the subject matter, suggesting that fiction in the museum is a means to problematize meaning making in the museum, if they should promote experiences or build frameworks for learning in an authoritative method of mediation.
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Aydogdu, Zeynep. "Modernity, Multiculturalism, and Racialization in Transnational America: Autobiography and Fiction by Immigrant Muslim Women Before and After 9/11". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1557191593344128.
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Boone, F. Khalilah. "Really Daddy: A Collection of Stories". Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/77482.
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Really, Daddy is a collection of twelve stories that explore the dynamics of racial, intra-racial, gender, and religious power clashes. In narratives that range from realistic to postmodern, characters move through conflicts on a path to self-realization. Ostensibly the responsible ones, the protagonists’ identities are elucidated in the context of the burdens that they carry.
At the center of this collection are women and fathers in crisis, as they attempt to save their families or to nourish their own spirits. Whether the character is an African-American Muslim mother shocked into indecision when the Qur’an doesn’t lead her family in its crisis, or an enslaved woman torturing other slaves out of anger over losing her female love, fabulist techniques are combined with realism to unfold the haunting and humorous tales of the imposition of family responsibilities on the lives of the most vulnerable. Here, the reader will find the lapsed Catholic and her wife seeking help from African religion devotees who don’t approve of lesbian relationships, the maid who sacrifices her daughter to a lecherous boss so the rest of her family can eat, and the gay Muslim brother and his lesbian sister in conflict over what to do with his baby. Reflecting the contemporary world in which people live in overlapping marginal spaces of society, these are the stories of America’s forgotten subcultures.Master of Fine Arts
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Leafgren, Luke Anthony. "Novelizing the Muslim Wars of Conquests: The Christian Pioneers of the Arabic Historical Novel". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10362.
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During the Arabic cultural renaissance of the nineteenth century known as the nahda, Christian Arabs made a substantial contribution to the development of fiction and journalism. Among these pioneers, Salim al-Bustani, Jurji Zaydan, and Farah Antun were inspired by translations of European fiction to write the first historical novels in Arabic. Their narrations of the Muslim wars of conquest are carefully constructed blends of history and fiction that emphasize the cultural and religious values that Christian and Muslim Arabs hold in common. In their novels, these authors celebrate the historical achievements of the Arabs and seek to inspire a new sense of Arab cultural identity, open to Christians and Muslims alike and based on shared language, history, territory, values, and aspirations for reform. In this way, these authors respond to the sectarian tensions of their time, European imperialism, and the challenges of modernism with ideas that would become central to Arab nationalist discourse in the twentieth century.
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Hayhurst, Lauren Amy. "Fictive responsibility : why all novelists are political writers (whether they like it or not)". Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33196.
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This PhD is part novel and part thesis. The novel, The Girl Upstairs (TGU), is in three parts. Parts one and two are included here in full. A synopsis of part three is included in the appendices. The thesis presents an original “action model” for Creative Writing (CW) called “fictive responsibility”. TGU can be treated as a case study, demonstrating the practical application of this new model. TGU follows a Bengali-Muslim family as they confront the wayward behaviour of Kifah Rahman, a feisty sixteen-year-old. Set somewhere in south-west England, Kifah’s misadventures start when she discovers an envelope discarded in a drawer. The address is her mother’s childhood home across the city, but she’s never heard of the addressee, Zubi Rahman. Kifah sneaks off school to investigate. Kifah’s clandestine visits incite rumours and soon Kifah is accused of tarnishing the family’s reputation. TGU confronts the difficult subjects of “honour”-based-violence (HBV), domestic violence and “crimes-of-passion”. By exploring different types of violence-against-women (VAW), TGU shows how perceived differences in, for example, “culture”, religion, or heritage, rather than dividing us, can present new ways to connect across moral values or lifestyles, ultimately promoting togetherness and empathy between different cultures. The thesis explores how the “political” relates to “literature” through the writer’s creative process, suggesting that all novelists are inherently politicised individuals and fictions are produced through an inherently politicised process. The significance of this is undermined by those who claim fiction writers just “make it up”. Failing to recognise the “politics of representation” that operates alongside invention in CW has contributed to the recent exacerbation around “cultural appropriation”. For some writers this presents a threat to “free” expression. For others, “free” expression must be treated with respect, especially when fictionalising characters that appear external to the writer’s own experience. Theoretical and conceptual analysis is drawn from cultural studies, ethnography, literary criticism and philosophy. Case studies include fictions with Muslim female characters in a post-9/11 setting. In addition to literary analysis, the thesis explores how “authenticity” interacts with an author’s perceived affiliation with characters or themes within the fiction.
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Mitras, Joao Luis. "Postmodern or post-Catholic? : a study of British Catholic writers and their fictions in a postmodern and postconciliar world". Diss., 1997. http://hdl.handle.net/10500/18636.
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This thesis is an investigation into the nature of the 'postmodern' narrative strategies and fictional
methods in the work of two British Catholic writers. The work of David Lodge and Muriel Spark is
here taken as an example ofthe 'Catholic novel'. In order to determine ifthe overlap ofpostmodern.
and Christian-influenced narrative strategies constitutes more than a convergence or coincidence of
formal concerns, narrative form in these novels is analyzed in the light of neo-Tho mist and Tho mist
aesthetics, a traditional Catholic Christian theory of the arts. The 'postmodern' in these 'Christian'
texts becomes largely a coincidence of terminology. Narrative forms which can be classified as
'postmodern' can also be categorized using the terminology of Thomas Aquinas. The apparent
similarities betray radically divergent metaphysical presuppositions, however. The nature of the
Catholic 'difference' lies in the way postmodern forms are used to challenge the metaphysical
bases of those forms.English Studies
M.A. (English)
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Liu, Chen, i 劉臻. "The Poetics of Museum between Fiction and Reality: A Study of Construction of The Museum of Innocence". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/797zm3.
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碩士國立臺北藝術大學
博物館研究所
106
A museum serves as a combination of interdisciplinary research and application. This case study, The Museum of Innocence Project, examines the process of shaping and plurality starting from the budding of a concept to the actions of collecting to the creation of fiction to a physical museum. The project organizer Orhan Pamuk integrated real objects and fictions and extended from fiction to a physical museum, exceeding the long-existing individual paradigms of museology and literature. Inclusive thinking was employed to interpret the critical museology concepts this case obtained, focusing on collection and touching upon the theories and practical issues of object collection, research, and exhibition. Textual analysis, exhibition analysis, and discourse analysis were combined to explore the museum experience, collection consciousness and specific actions of Pamuk, as well as the museum building process and exhibition strategies, and the audio guide to the text of the exhibition. Through interdisciplinary comparative research on museology and literature, this study examines how this case adopted atypical musealization to construct a means of object interpretation between fiction and reality. This study discovers that the museum poetics exhibited by this case includes the poetics of collecting, exhibition, and viewing. The case utilizes four strategies—objectifying memory and history, fictionalizing objects, visualizing fiction and transparentizing curating—to develop representation methods of non-conventional context for objects, even expanding to the context for exhibition, and a new approach to museum exhibitions, and to expand the possibility of the interaction between individual memory and collective memory.
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Mihok, Brian. "Show of Wonders". 2010. https://scholarworks.umass.edu/theses/437.
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Ravanello, Ricardo Brisólla. "Narrativas para bens culturais: tecnologias e aplicabilidades da fotografia digital expandida em museus virtuais". Doctoral thesis, 2018. http://hdl.handle.net/1822/56402.
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Tese de Doutoramento em Ciências da ComunicaçãoA evolução tecnológica de ecrãs de uma década atrás, demandou ao campo da comunicação e do design a busca de novos conhecimentos para o desenvolvimento relativo a conteúdos interativos. No mesmo período a fotografia digital estava em adiantado estado de uma transformação radical, em relação aos seus processos técnicos e aos seus entendimentos teóricos, no sentido de um movimento ontológico que se afastava da realidade e se aproximava da ficção. Buscamos com esse estudo, encontrar formas de tornar motivador e eficiente o acesso a determinados conteúdos, a partir das novas possibilidades técnico-conceituais do que se convencionou chamar de fotografia expandida. O objetivo geral que nos lançamos, busca compreender os requisitos do projeto, relativos à linguagem e narração que contribuem para ampliar o espetro emocional em narrativas a partir da fotografia digital expandida. Nosso estudo partiu do que sugere a literatura dessa área sobre os elementos e estratégias de linguagem fotográfica, narrativa e cognição. Trata-se, portanto, de um estudo transdisciplinar, onde triangulamos teorias e práticas de áreas de estudos diferentes, tais como os estudos literários, teorias da comunicação e do design, e também alguns tópicos relativos ao campo da neurociência. Nosso critério epistêmico permitiu produzir um conhecimento que tem sua validade determinada, onde confirmamos nossa hipótese inicial que sugeria que narrativas que se utilizam da fotografia digital expandida conseguem comunicar com espetro emocional informações de conteúdos museológicas, a partir de um conjunto de requisitos de design, através de uma interface.
The technological evolution of screens a decade ago, demanded from the field of communication and design the search of new knowledge for the development of interactive contents. At the same time, digital photography was in an advanced and radical transformation state regarding its technical processes and theoretical understandings, in the sense of an ontological movement that moved away from reality and approached fiction. With this study, we seek to find ways to make exciting and efficient the access to certain contents, by means of new technical-conceptual possibilities, conventionally named expanded photography. The general objective that we proposed, aimed to understand the design requirements related to language and narration that contribute to expand the emotional spectrum in narratives through expanded digital photography. Our study started with what literature in this area suggests about the elements and strategies of photographic language, narrative and cognition. Therefore, it is a transdisciplinary study, where we triangulate theories and practices of different research areas, such as literary studies, communication, and design theories, as well as some topics related to neuroscience. Our epistemic criteria allowed us to obtain a knowledge that has its validity determined, where we confirm our initial hypothesis suggesting that narratives who employ expanded digital photography can communicate with emotional spectrum information of museological contents, from a set of design requirements, through an interface.
O presente trabalho foi realizado com apoio do CNPq, Conselho Nacional de Desenvolvimento Científico e Tecnológico - Brasil
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(9190382), Riham A. Ismail. "“IN PLACE OUT OF PLACE”: THE CONSTRUCTION AND NEGOTIATION OF IDENTITY AND PLACE IN MUSLIM WOMEN’S FICTIONAL NARRATIVE". Thesis, 2020.
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This dissertation examines the negotiations between narrative, identity, and place in the fictional works of three major contemporary Muslim women descendants of Arab immigrants: Leila Houari, Faiza Guène, and Mohja Kahf. The study focuses on four novels: Zeida de nulle part, Kiffe kiffe demain, Du rêve pour les oufs, and The Girl with The Tangerine Scarf.
Two key questions structure my examination of the four novels: 1) How do Muslim women living in a non-Muslim society construct and negotiate their individual and collective identities?; 2) To what extent does their experience of space (domestic, public, national) shape their perceptions of self? These questions form a foundation for better understanding the experience of Muslim women living in predominantly non-Muslim societies. I must emphasize, however, that this is in no way a representation of all Muslim women living in majoritarian non-Muslim societies and in no way can summarize each and every experience. If anything, the dissertation provides an account of diverse sets of experiences of what some may encounter, rather than a collective static representation.
By doing so, this study aims to decrease the dissonance between the different viewpoints of the women characters in these novels by highlighting their experiences and subjecting certain misconceptions to critical scrutiny. The dissertation relies on an interdisciplinary approach, as it integrates different theories and concepts ranging from cognitive science, postcolonial studies, literary studies, psychology, and religious studies.