Veiled Women Research Articles

Contemporary visions to enrich the aesthetic and functional values of the supplements of the veiled woman's costume

Contemporary visions to enrich the aesthetic and functional values of the supplements of the veiled woman's costume

Fenomena Stereotyping Perempuan Bercadar di Kalangan Mahasiswa UIN Sunan Ampel Surabaya

Stereotypes are an integral part of the social interaction dynamics within society, including negative perceptions directed toward certain groups, such as veiled women. These stereotypes have developed through a systematic and deeply internalized negative perspective over time. In reality, veiled women often have personal motivations and reasons that do not align with the prevailing societal assumptions. This study seeks to address two primary questions: first, what is the nature of the stereotype toward veiled women among students at the State Islamic University of Sunan Ampel Surabaya, and second, how can the theory of symbolic interactionism explain this phenomenon? A qualitative research approach was employed at the State Islamic University of Sunan Ampel Surabaya, with data collection methods including observation, interviews, and documentation. The data were analyzed descriptively using social identity theory to examine the process of stereotype formation and symbolic interactionism theory to understand the meanings and rationale behind the use of veils. The findings of this research reveal the existence of negative stereotypes associated with veiled women, along with the underlying reasons for their choice to wear the veil, which serves as a form of resistance against such stereotypes.

Unmasking Post-Truth Narratives: Interpreting “Under Western Eyes: Feminist Scholarship and Colonial Discourse” through the Prism of Distorted Realities

Post-truth is built as a theory after its recognition by Oxford English Dictionary in 2016, as the word of the year because of the increasing usage by politically active communities and people, among them alt-right and Brexiteer was at the highest use this term in the US for denoting the political situation out there. Post-truth is majorly referring to or indicating situations in which appeals to emotion and personal conviction have a greater impact on public opinion than do factual facts. The signs of the origin of this term can be traced from the word “truthiness” coined by Stephen Colbert in 2005, which could be described as being convinced of something's truthfulness even though it isn't necessarily supported by the facts. Chandra TalpadeMohanty in her essay “Under the Western Eyes: Feminist Scholarship and Colonial Discourse.” attacks the bogus Post-truth and monolithic statement of Western feminists and philosophers about third-world women regardless of their race, class, geographic location, or religion and without any knowledge about women of third world nation and their priorities. In order to get the superior position even in pointing out the difficulties faced by third-world women, the first-world feminists judging their way of daily routine in the light of subjugation, suppression, and ostracization, which could be seen through the post-truth theory. The essay was first published in 1986 as the opening chapter of Feminist without Borders. To make her point more clear Mohanty supports her statements with anti-post-truth examples, the gendered division of labour, the veiling of women, or women's financial dependency on males. According to Mohanty, unless these examples are taken into account in context, these data by themselves are not a useful source of knowledge. Western feminists' views will be incorrect and ineffectual in assisting the communities they are attempting to assist if they base them on these observable realities. So the approach of this paper is to analyze these post-truth statements with reference of the essay by Mohanty where she depicts the individual differences of third-world women and asks for strategic essentialism against these postcolonial and post-truth ways of presenting things by third-world nations.

Veiling and Head-Covering in Late Antiquity: Between Ideology, Aesthetics and Practicality

Abstract In Late Antiquity, as today, women’s veiling was a contentious topic. Early Christian churchmen wrote about it at length, exhorting women to cover and criticizing those they considered were not veiling appropriately. According to these writers, veils were an essential garment tied to Christian modesty and religious ideas about female submission to male authority. Modern scholarship has tended to side with these clergymen, often claiming that with the rise of Christianity came the social expectation that adult women cover their heads. However, veiling had been a part of life in the Mediterranean for centuries, and the frustration and frequency with which churchmen urged women to veil suggests that contemporary practices often diverged significantly from their expectations. This article examines veiling and head-covering as a complex social practice shaped by numerous intersectional and situational factors beyond religion, including status, practicality, fashion and social context. It explores a wide range of visual and material culture to illuminate the diversity of veiling beyond the diatribes of churchmen. Throughout, how we understand veiling in the past is brought into dialogue with scholarship on modern Islamic veiling to address biases towards veiled women and to find new ways of centring women’s experiences and everyday practices.

Distribution of Vitamin D Status in a Group from Syrian Society

Objective: The aim of this work is to study the serum levels of 25-hydroxyvitamin D3 in a sample of healthy Syrians in the city of Homs. Method: A cross-sectional study, including 690 ostensibly healthy participants, was conducted at the National Hospital of Homs. Serum levels of 25-hydroxyvitamin D3 were measured using chemiluminescent immunoassay. Results: The overall prevalence of vitamin D inadequacy (insufficiency, deficiency, and severe deficiency) in the study samples was 76.5%. Additionally, 49% of the samples had vitamin D deficiency, with 18.5% suffering from severe deficiency. Furthermore, levels of 25-hydroxyvitamin D3 in females were lower than in males (11.3±2.3 ng/ml versus 39.6±11.28 ng/ml, respectively, p < 0.0001). Veiled women had serum levels of vitamin D lower than non-veiled women, 11.3±2.5 ng/ml versus 25.5±3.2 ng/ml, respectively, p < 0.0001. Female gender and clothing style were identified as independent risk factors for vitamin D deficiency. Conclusion: The prevalence of vitamin D deficiency was very common in the study population, despite the sunny weather in Homs city most of the year. Further studies with larger groups, including other Syrian governorates, are needed to elucidate lifestyle and sociocultural behavior risk factors for vitamin D deficiency.

WANITA BERHIJAB MEROKOK DALAM SUDUT PANDANG REALIAS SOSIAL

Regarding women discussing the topics discussed in this study, hooded women are identical to women who are Muslim, women are good, close their genitals, dress modestly, and be polite. More respected by men because of the hooded woman. In Islam, a woman who wears a veil up to the back, wears a robe and her chest is closed. In this study, researchers used a qualitative descriptive research method, descriptive research in general carried out to see events that attracted the attention of researchers. Descriptive topics of systematic discussion and accurate and characteristic facts about participants or about a particular field. The data collected is eye-only, so no one is looking for an explanation, proposed a hypothesis, predicts or engages an implication. This research resulted in not agreeing and was negative for veiled women who smoke, the reason taken generally because the veil in women is a symbol of Muslim women. The speakers are also responsible if there are hooded women who smoke, including things that are done publicly openly.

"Dişileştirilmiş" Doğu'da Kadın: Şehrazat ile Peçe Duvarını Yıkmak

Orientalism is portrayed by Edward Said within the context of how cultural differences have made the West construct an image of the East with the dichotomy of Orient/Occident. Numerous writings have been engendered depicting Eastern culture, tradition, and religion that shaped the West’s perceptions of the East. These writings have revolved around not only ethnicity and religion but also gender, hence leading to the juxtaposition of the dichotomy Orient-Occident with that of feminine-masculine. This alignment has brought forward the most common stereotype pertaining to the place of woman, in other words, the veiled woman which is a predominant symbol of the East. Thus, the East can be said to have been “feminized” by the West. Initiated by the cultural, political, and religious divide between the West and the East, this “feminization” was deepened by ongoing representations of Oriental women by Westerners in the history of Orientalism: how veiled woman has been kept “silence” in the East. Unlike these representations, there is a powerful woman who broke this silence and inspired Oriental women: Scheherazade. Through her stories, Scheherazade encouraged men to look past their own ignorance and biases, recognize the existence and value of women, and encourage women to remove their own veil to demand their rights. In this paper, the aim is to explore how Scheherazade in The Tales of One Thousand and One Nights (The Arabian Nights) inspirited Oriental women through the art of storytelling to fight for emancipation from the engrained stereotypes.

Konstruksi Makna Hijab Dalam Film Merindu Cahaya De Amstel Karya Arumi e.

The association of hijab with the identity of Muslim women remains a subject of debate. Women have an important position in Islam. Islam is very concerned about the dignity and dignity of women. One of the social constructions formed by mass media is the social construction of veiled women. The social construction displayed by the mass media regarding veiled women fosters a certain image in society. Film is an audiovisual medium used to convey messages to groups of people congregating in a particular location. The main topic of discussion in this karya is the plot and specific details that are contained in the movie Merindu cahaya de Amstel. Qualitative research methods were used in this study. The purpose of this study is to describe the signs of the meaning of hijab and the structure of the meaning of hijab in the film Merindu Cahaya de Amstel by Arumi E. Maxstream Original and Unlimited Production. Utilized data collection techniques include document analysis and case study research. To answer the formulation of the problem described above, researchers use a qualitative approach using the semiotic analysis model of Charles Sanders Peirce. As a result, researchers found several meanings of hijab in the film Merindu Cahaya de Amstel: (1) The meaning of hijab as an identity Muslim women. (2) Maintain the social behavior of a Muslim woman. (3) Hijab embodying women with noble morals. (4) Exalting a person Muslimah. (5) Hijab as an obligation for Muslim women. Keywords: Construction, Meaning of Hijab, Semiotics.

The Veil, Purdah, and Their Relevance to The Role of Muslim Women in The Archipelago: A Historical Study

Face veil has become an issue often discussed nowadays, including in Nusantara. The face veil is often rejected or discriminated against because it is considered part of the seclusion system (purdah) that limits the role of women and is not by the culture of Nusantara. This study aims to describe the face veil and purdah traditions in the history of Nusantara and analyze whether the face veil in Nusantara is part of purdah (seclusion). This research uses a descriptive-analytical method and a qualitative approach. Data are collected by literature review and online interviews. The results indicate that the veil and purdah were once part of the history of Nusantara. The face veil is known in Malay culture as tudung lingkup, in the Ocu tradition as maroguok, and the Mbojo tradition as rimpu colo. It is concluded that wearing the veil is only sometimes identic with the domestication of women's roles. It depends on the cultural conditions adopted by each community. In addition to the domestic role, the role that is also dominant for veiled women is the productive role.

Unveiling Hatred

Although anti-Muslim hate crimes have been on the rise in most Western nations for decades, according to influential hate crime scholar, Barbara Perry, little attention has been given to the particular vulnerability of veiled Muslim females to such crimes (Perry 2013), thereby potentially disregarding a sustained source of human rights violations (Perry and Olsson 2009). This paper delves into Danish sociolegal reality to delineate the scope of such concern, attempting to ascertain any specific hate crime vulnerability among veiled Muslim women in Denmark. It identifies a number of preliminary empirical indications that resonate with Perry’s claim, reasoning that the hate crime vulnerability of veiled women be more thoroughly scrutinized in a Danish context. However, it also argues that such hate crime vulnerability is most productively addressed, at least prima facie, as a tangible and principal human rights issue (Brudholm 2016) rather than in the terms of human rights violations.

Realitas Sosial Perempuan Bercadar : Penolakan Dan Penerimaan di Masyarakat Sumbersari Kabupaten Jember

Each religion has its own symbols and uniqueness. Islam is the dominant religion in Indonesia. Islamic women are usually symbolized by the hijab and long clothes. Not infrequently there are also Muslim women who wear the veil. The veil is a face covering for Muslim women that covers all parts of the face except for the eye area, which is combined with a hijab and long clothes which are usually dominated by dark colors. But in Indonesia itself, women who wear the veil reap many pros and cons. This research was conducted to find out how the interactions that occur between women who wear the veil and the surrounding community. This study uses a type of qualitative research with an ethnographic approach. Qualitative research helps researchers to obtain an answer to a symptom, fact or reality that is being faced and to be able to understand a problem that is being studied. Ethnography is the study of culturally shared groups involving the core values and beliefs of their members. The subjects of this study were students studying at several campuses in Jember Regency. The results showed that the motivation of the informants in wearing the veil was as a form of obedience to religion and also to protect and avoid bad things. Several informants stated that they experienced some difficulties in interacting with the surrounding community when they wore the veil. Not infrequently they also receive negative stigma from society. So this is also a big challenge for veiled women in Indonesia, especially in the area around Jember Regency.

The French Burqa Ban: a Muslim Woman’s ‘Life’ Under the Living Together Principle

The burqa and the right to choice especially for Muslim women has been one of the most controversial issues in the world in recent times. This has been fueled by Islamophobic rhetoric in an increasingly polarized world where liberal minded people often find themselves in a fix. Such a fix exists because of the repelling nature of both the vehement anti burqa and the staunch pro burqa discourse. The French imposing a complete ban on the veil adds more fuel to this cultural fire. The main aim of this paper is to understand the burqa controversy with specific focus on France and analyzing how the ECHR’s judgment upholding the French Burqa ban is endorsing a half-baked majoritarian law which undoes feminist principles and belittles veiled women and their autonomy in France.

Debunking the western feminist framework of the veiled woman in Shelina Zahra Janmohamed’s Love in a Headscarf (2010)

For a very long time, a section of western society has viewed that the Muslim community as the ‘racial Other’. Mashuq Ally (2011) argues that this notion is the result of the Western lopsided perception towards the non-whites and even more so when it comes to the Muslim women. Being the second Other (Beauvoir, 1949), Muslim women have to counter inaccurate notions about their perceived gender oppression as well as the lack of agency (to hear their voices). According to the Western feminist framework, Muslim women in hijab (the veiled women) are deemed as the victim of oppression and backwardness. Using Islamic feminism and postcolonial feminism theories as propounded by Asma Barlas, Leila Ahmed, and Margot Badran, the findings reveal that the framework (ijtihad and tafsir of Holy Quran and Hadith), have aptly supported the justification of the main character’s act in donning of the hijab as a symbol of Muslim identity that represents emancipation and empowerment.
 
 

(Under)cover and Uncovered: Muslim Women's Resistance to Islamophobic Violence

ABSTRACT After 9/11, research highlighted how Muslim communities endured discrimination, surveillance, and violence. In recent years, few studies have critically assessed how gender-based harassment of Muslim women is simultaneously linked to hypervisibility (veiling), while “invisible” (non-veiled) Muslim women remain susceptible to verbal harassment and physical violence in the public sphere. Drawing from qualitative in-depth semi-structured interviews with Muslim women (n = 27) across racial/ethnic and immigrant identity, this article examines the unique vulnerability of Muslim women during the Trump presidential administration, including covert and overt forms of violence. Findings indicate myriad forms of violence as veiled women navigate harassment at the axes of racialized Muslim identity and social categorization as immigrants (twice racialized intersectionality). Yet, Black Muslim women’s experiences are further complicated by anti-Black racism. Muslim women navigate gender-based anti-Muslim bias by disrupting notions of passive victimhood by leaning into invisible or hypervisible markers, revealing or concealing their ethnoreligious identity through racial ambiguity, and engaging in advocacy.

Legal Formal Cadar Sebagai Ide

This study discusses the political participation of veiled students of the Padangsidimpuan State Islamic Institute in the 2019 Presidential Election in Padangsidimpuan City. This research is motivated by the fact that many female students at the Padangsidimpuan State Islamic Institute who wear the veil did not participate in the main election in the presidential election in 2019. The formulation of the problem in this study is how the political participation of students at the Islamic State Institute of Religion who are veiled women in the presidential election in 2019 in Padangsidimpuan City, how are the perceptions and what are the consequences of the perceptions of Padangsidimpuan State Islamic Institute students who are veiled in the presidential election for the state in Padangsidimpuan City, and how the rights of a Muslim woman in exercising their political rights are reviewed from the fiqh siyasah. The type of research is field research (field research), namely research conducted in the field aimed at obtaining information and describing events, events that have occurred in the field in accordance with the facts found. Data sources consist of primary and secondary, namely primary data is data obtained by researchers directly from the first hand by means of interviews and direct observations in the field. This secondary data consists of literature which is reading material, the work of experts from their respective fields which serves to explain primary legal materials. The results of the study stated that the veiled political participation of Padangsidimpuan State Islamic Institute students in the 2019 Presidential Election in Padangsidimpuan City was still very minimal, it could be seen from the level of participation of Padangsidimpuan Islamic Institute students who were veiled in the presidential election in Padangsidimpuan city which had an impact on the level of democracy that was high. exist in this country.Key word: Partisipation, Cadar, presidential election

Women with Hijab in the Advertisement: Between Identity Politics, Religious Commodification and the Deconstruction on the Meaning of Beauty

There are so many attractiveness of advertising messages on why an advertisement is made. Generally, an advertisement was made to persuade the public or consumers candidates for buying and consuming a certain product. If previously, several advertisements for products mostly use the beautiful women with certain indicators such as white skin, long black hair, thin and sexy body; recently seems to show a trend by using the veiled woman (woman who wears hijab) as its models. There must be many interpretations regarding this symbol. For example about the dakwah messages on Muslim women's identity that are performed through their way of dressing up, religious commodification because the appearance of a Muslim woman will attract the attention of Muslim consumers, the deconstruction of the meaning of beauty, or a combination of several attractions of the advertising message that was represented by woman with the hijab. This article will analyze about those various symbol interpretations.

Representations of Veiling in the Visual Culture of Iran’s Islamic Republic : On Shirin Neshat’s and Jafar Panahi’s Filmic Works

This article explores multifaceted associations between gender politics and veiling in Post-revolutionary Iran. It centers on how contemporary Iranian visual art explores the ambivalence of hijab and its significance operated in various dichotomies, such as the public/the private, the feminine/the masculine, and the visible/the invisible. To address the social, political, and psychological dimensions of women’s experiences in contemporary Iran based on gendersegregation rules in the revolutionary government’s nation-building strategies, I attend to the spatial metaphor of hijab and its transgendered appropriation in the films of Shirin Neshat and Jafar Panahi. I begin with reading Neshat’s two-channel video installations which invite viewers to witness the tensions between the genders through multi-sensory encounters with veiled women in public spaces. Then, I analyze Panahi’s Offside (2006), a film about Iranian girls whose masculine veils empower them to enter the male-only public arena. Through these case studies, this article argues that the visualization of veiling underscores the ambivalence about the nation-state mode of Islam and the vulnerability of ‘Iranianness’ reliant on the revolutionary regime’s gender policy.

THE ANALYSIS OF PERCEPTION OF WOMEN IN NIQAB AGAINST POLYGAMY PRACTICE IN INDONESIA

The phenomenon of veiled women in Indonesia has significant development. The use of the niqab is a symbol of the rise of Islam in the post-modern era. A niqab is also an anti-thesis of modern lifestyles that tend to be hedonistic and completely open. This research focuses explicitly on ethnographers working models using the phenomenology paradigm. This research explores women who cover their faces, and why they are more accepting of polygamy. The author found reasons for men to do polygamy and why women in Indonesia reject polygamy practices. The results found that women wear the niqab because, first, as orders from their husbands, second because of inner awareness caused by their understanding of religious education. The practice of women in niqab becomes a kind of artifact of the loyalty of a woman and is directly proportional to the issue of polygamy. The modes used as the legitimacy of men for polygamy, among others, are secret marriage, falsification of self-identity, second marriage without the first wife's consent, coercion of the granting of permission, and consent of the first wife by the husband with various forms of violence and intimidating force

CADAR DALAM PERSPEKTIF HUKUM ISLAM DAN HUKUM POSITIF

In this regard, the veil has become a very controversial issue in Islam. Some Muslims regard it as a command of Allah contained in the Qur'an, while other Muslims and non-Muslims, especially Westerners, the veil is identified as clothing that comes from Arab culture, many people assume that the wearing of the veil judged as excessive clothing and people who wear it are considered to shut themselves off from social interaction, and it is feared that there will be misuse of the veil for bad interests. Many Muslims argue that whatever the justification for the purdah (ie, veil) in the past, it has no relevance at all to modern times. The orthodox Muslim community, especially the ulama, on the other hand considers the veil for women as an absolute necessity, with its use becoming a habit.

Women as Boundary Markers between Islam and Secularism in Julia Kristeva's Murder in Byzantium (2004) and Elif Şafak's The Bastard of Istanbul (2006)

ABSTRACT: The Bulgarian-French writer Julia Kristeva's Murder in Byzantium (2004) and Turkish novelist Elif Şafak's The Bastard of Istanbul (2006) show how both secular and veiled women become the ground upon which Turkey and France build their national identities. In Murder , the two narrators—the French journalist, Stephanie Delacour, and the unnamed narrator—associate secularism with modernization and progress, and Islam with backwardness and gender inequality. A financially independent world traveler, Stephanie constructs her identity as a foil to the allegedly subservient headscarved Turkish women and fears that French women's freedom might be endangered by the arrival of Muslim immigrants. Her elevation of her Slavic mother Christine and the Byzantine princess Anna Comnena as secular and rational Western women stands for her dream of a French national identity without Islamic influences. Şafak's novel, on the other hand, portrays Turkish female identity not as singular but complex, as the two sisters—the headscarved Banu and Zeliha wearing a miniskirt—live under the same roof. Şafak also portrays Turkish women's ambivalent position as the markers of modernity and tradition as the matriarch Gülsüm Kazancı criticizes Banu for defying secularism and Zeliha for her seductive clothes. Whereas Kristeva's narrators set French national identity in opposition to Islam and Turkish women, Şafak's novel challenges the flattened conception of Turkish femininity by depicting the hybridity of women's dress codes and religious practices. Both novels portray how secular Turkish and French nationalisms are imagined vis-à-vis female roles.