Thinking about Collaboration

The Quran and the Hadith or prophetic traditions have defined the goal of Syariah as the manifestation of fairness and goodness. The Quran is a legal resource containing universal values guiding human life. Both women and men are essential beings. However, cultural, political, and interpretive power often make Islam seem unfriendly and discriminatory towards women. This study examines and analyses women's existence from an Islamic perspective. Specifically, this study will discuss women's existence in the discourse of gender equality, women's role in the domestic sphere, women's role in the public sphere, and the discourse on the future of women involving Islamic perspectives. The research method used is a literature review, specifically a study of Quranic and Hadith perspectives on gender roles and equality in Islam. The author systematically reviewed relevant literature, including Quranic verses, Hadith texts, and scholarly interpretations of these sources. The study's findings show that numerous verses in the Qur'an and Hadiths emphasize the equal status of men and women in the eyes of God and the need for justice and fairness in all aspects of life, including gender relations, women's role in the domestic sphere, and women's role in the public sphere. Women's participation in domestic and public life is essential for the country's development and progress towards a better future, particularly in Indonesia. Therefore, it is crucial to continue exploring and analyzing the different perspectives on women's roles in Islam, including in the domestic and public spheres, to promote gender equality and empowerment. This can be achieved through the development of more progressive fiqh that considers the evolving needs and roles of women in society.

In his 1830 Poems, Chiefly Lyrical and 1832 Poems, published more than a dozen lyrics now designated poems--taking his titles heroines of Shakespeare and Spenser, modern and classical authors, and letting them evolve, as he put it, camel, my own consciousness. (1) For much of his career and century after, critics tended to dismiss these poems, his friend Edward FitzGerald who thought them a tiresome Gallery to late A. Dwight Culler who quipped that poems began, very suddenly, with onset of puberty and stopped, very suddenly, with access of judgment. (2) We can understand Culler's impatience with airy, fairy Lilian, ever varying Madeline, or faintly smiling Adeline as exhibitions of an adolescent's erotic fantasies. Yet recent scholars have countered Culler's critique, pointing out that continued to place Claribel at head of his collections, including Poems, in Two Volumes (1842) and Moxon (1857), and arguing that lady poems embed his enduring concerns: freedoms and constrictions of human condition (James Hood), feminization of lyric and literary culture (Richard Cronin, Carol Christ, Catherine Maxwell, Herbert Tucker), and an anxiety over status of in modern England (Linda Hughes, Gerhard Joseph, Joseph Chadwick, et al.). (3) Even Culler acknowledged this last concern as it pertained to Tennyson's development: Tennyson stopped painting them and allowed them to speak.... In so doing he transformed them an art object into a symbol of artist (p. 40). While acknowledging developmental function of lady poems in Tennyson's oeuvre, I want to explore instead their participation in a contemporary debate over of phrase I take Anna Jameson's Characteristics of Women: Moral, Poetical, and Historical (1832). Published in same year as Poems, this text was not directly influential on Tennyson's work; rather, Jameson's study, like Tennyson's poems, represents an engagement with public debates about woman's character and her newly emerging cultural role by means of analyzing female of Shakespeare. Jameson's alternate title, Shakespeare's Heroines, (4) makes this link dear, as do articles about Shakespeare's heroines in periodicals of 1820s and reviews of Fanny Kemble's acting in period 1829-1832. Tennyson's lady poems reflect poet's interest in of women, including his recognition of what a masculine perspective might offer to questions about women's nature, roles, influence, and mission. The poems are not just adolescent fantasies, then, soon to disappear with the access of judgment, nor are they primarily vehicles for expressing artistic anxiety in a post-Romantic climate (though they may be both). Rather, as I read them, they are explorations of a pressing Victorian concern with social roles and contributions of women--a concern that emerged prominently in era of first Reform Bill and that would engage throughout his career. As I shall suggest, began his analysis of women's by meditating on Shakespeare's heroines, but by 1832, likely under Arthur Hallam's influence, he expanded his range to include female characters classical lyric and epic texts-an expansion that also deepened his thinking about women's roles in public sphere. Shakespeare's Heroines, Tennyson's Ladies, and Victorian Women What are characteristics of women? Jameson raises this question in response to a conventional eighteenth-century view, expressed succinctly by Alexander Pope, that most women have no characters at all and to a specific strand of literary criticism that considered Shakespeare's heroines to be inferior to his heroes because less carefully delineated and virtually undifferentiated as characters. As Julie Hankey observes, Shakespeare critics from Restoration onward had generally assumed that, compared with his men, his women were on whole slight. …

Dr. Jacques L. and Martin Hide-a-Guerre: The Subject of New Historicism Stephen Bretzius (bio) Joel Fineman. The Subjectivity Effect in Western Literary Tradition: Essays Toward the Release of Shakespeare’s Will. Cambridge: MIT P, 1991. [SW] Stephen Greenblatt. Learning to Curse: Essays in Early Modern Culture. New York: Routledge, 1990. Stephen Greenblatt. Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Berkeley: U of California P, 1988. The word ‘theory’ stems from the Greek verb theorein. The noun belonging to it is theoria. Peculiar to these words is a lofty and mysterious meaning. The verb theorein grew out of the coalescing of two root words, thea and horao. Thea (cf. theater) is the outward look, the aspect, in which something shows itself. . . . The second root word in theorein, horao, means: to look at something attentively, to look it over, to view it closely. Thus it follows that theorein is thean horan, to look attentively on the outward appearance wherein what presences becomes visible and, through such sight—seeing—to linger with it. —Martin Heidegger, “Science and Reflection” Hamlet: ‘Sblood, there is something in this more than natural, if philosophy could find it out. A flourish. Guildenstern: There are the players. —Hamlet 2.2.366–68 1 In setting forth Shakespeare’s unique role within an important institutional appropriation of the early modern theater by the postmodern university, together with a corresponding postmodern theory already shaping the early modern theater, a highly stylized early play like Romeo and Juliet is a good place to begin. For here, and from the beginning, the play unfolds outside (and therefore inside) the “deconstructed” binarisms characteristic of a certain poststructural literary theory generally—womb-tomb, light-dark, female-male, Capulet-Montague, waking-sleeping, all-nothing, lark-nightingale, love-hate, late-early, vice-virtue, poison-remedy, mercy-murder, wedding-funeral, dove-raven, fiend-angel, wolf-lamb, miss-mend, stand-stir, haste-destiny, and so on. 1 Here the nonbinary language [End Page 73] of the theater anticipates the “unlimited semiosis” of postmodern literary and cultural theory precisely by extending that nonbinary language to the opposition theater-theory, which the play also undermines. To cite only one particularly central example, literary criticism’s ongoing concerns with the cultural and ritualistic origins of tragedy are not just explored but explained—theorized—by the play’s self-conscious identification of Juliet as both “dove” (“So shows a snowy dove trooping with crows” [1.5.48]) and “lamb” (“Juliet! Fast, I warrant her, she. / Why, lamb! Why, lady!” [4.5.1–2]). The theatrical experience of the play’s “poor sacrifices” [5.3.318] is further related to the Catholic mass, out of which Shakespeare’s own tragic theater significantly evolves, by “Come Lammas Eve at night shall she be fourteen” [1.3.17] (Lammas [hlammas] hlaf ‘loaf, bread,’ maesse ‘mass’) and “God’s bread, it makes me mad!” [3.5.176]. 2 Redoubling this Christian context for sacrifice, a seasonal parallel in the myth of Persephone stolen away by Pluto shows through “Death lies on her like an untimely frost / Upon the sweetest flower of all the field” [4.5.28–29] and “O son, the night before thy wedding-day / Hath Death lain with thy wife” [35–36]. Within the same ongoing theorization of the play’s own theater, the “pomegranate tree” in Juliet’s “It was the nightingale, and not the lark . . . / Nightly she sings on yon pomegranate tree” [3.5.2–4] further joins Juliet to Persephone, Lady Capulet to Ceres, and “love-devouring death” [2.6.7] to Hades. From the play to the theory, then, influential critiques of performative discourse and its ritualistic origins in postsubjective (post-Lacanian) sacrifice are generated not only by the postmodern university, but also, in Romeo and Juliet, by the early modern theater. For the play, and not simply the theory, is already about the play—and autobiographical, from Montague’s “Away from light steals home my heavy son, / And private in his chamber pens himself” [1.1.137–38] through Juliet’s “Was ever book containing such vile matter / So fairly bound” [3.2.83–84] to Romeo’s frantic “get me ink and paper...

This paper examines the legal regulation of women's employment in the public sphere in Pakistan. A large part of the legislation relating specifically to the employment of women is highly protective in nature. The 1973 Constitution of Pakistan assumes that women are in need of protection. This assumption is reflected in the labour legislation and in the international labour standards that have been adopted by Pakistan. Much of the existing Labour Code is a legacy of the colonial period and reflects the concerns of the early British factory movement to preserve female modesty and ‘protect’ women's roles within the domestic sphere. This paper attempts to identify those areas of the law most in need of reform if the protective approach to women's participation in the public sphere is to be transcended. Although legislative reform does not necessarily lead to a change in workplace practices, the existence of discriminatory legislation, gaps in existing legislation and a lack of adequate enforcement machinery constitute significant institutional barriers to women's participation in the public sphere. For these reasons, it is argued, calls for law reform and a focus on legislative reform as a strategy for change may be justified.

This chapter suggests that several associated tendencies can be detected — a cultivation of theatrical ‘authenticity’, the overtaking of the local by the global, and the application of Shakespeare in projects of local self-definition. It concentrates on Shakespeare's Globe Theatre, the National Theatre and the Royal Shakespeare Company (RSC). A pragmatic reading of the RSC's ‘ambassadorial role’ can attribute as much of its success to financial and political imperatives as it can to cultural influence. International adaptations of Shakespeare are now as often viewed as acts of self-definition, instigating local cultural debates and British responses. Shakespeare's influence may be thinly spread, and the text may be subject to radical reinterpretation, but the influence of Shakespeare's work in the twenty-first century will likely more fully encircle the global community, engaging with a wider range of world views and representational possibilities.

This research discusses the development of the role of women in the public domain, particularly in village governance in Kalurahan Dadapayu, Kapanewon Semanu, Gunungkidul Regency. The current development of women's roles not only involves dual roles within the household and workplace but also encompasses multiple roles within society, which is an evolving aspect consistently linked to gender equality issues. The aim of this study is to describe the enhancement of women's roles and the development of gender equality in the roles of women in Kalurahan Dadapayu. Additionally, challenges and efforts to strengthen women's presence are also examined in this research. There has been a lot of research conducted that examines gender and patriarchal culture, but the relationship to the role of women in the public sphere is an interesting thing in this research. The research employs a descriptive research method, with sample data selection carried out through purposive sampling. The research findings conclude that there has been progress in empowering women and their roles in public development. Some women have taken on strategic roles, and there are provisions supporting decision-making. Gender equality has been adequately accommodated through the division of domestic roles between spouses in all the sources interviewed.

ABSTRACTMany older women reduce the amount of cooking and food preparation they do in later life. While cooking may be seen as traditionally associated with women's family roles, little is known about the impact of such reduced engagement with food on their lives. This paper presents the findings from a one-year qualitative study (Changes Around Food Experience, CAFE) of the impact of reduced contact with preparing and cooking meals from scratch for 40 women, aged 65–95 years, living in Norfolk, United Kingdom. Data were collected through semi-structured interviews, focus groups and observations. Women's reasons for reducing food-related activities included changes in health, loss of a partner or a caring role, and new patterns of socialising. Disengagement from cooking and shopping was not found to entail predominantly negative feelings, passive acceptance or searching for forms of support to re-enable more cooking from scratch. Accounts evidenced the dynamic adaptability of older women in actively managing changed relationships with food. In exploring new meal options, older women were not simply disengaging from their environments. CAFE findings linked women's engagement with their environments to how they were using formal services and, even more, to the value they placed on social engagement and being out and about. Through the connections they fostered with friends, family and community, older women actively enabled their continued involvement in their social, public and family spheres. Reduced contact with preparing and cooking meals from scratch, therefore, did not induce or imply passivity or debility in the CAFE cohort. By contrast, it involved their exploring new means of retaining what was important to them about food in the context of their lived situation and social connections with friends, family, the community and public spheres.

As the proportion of both working women and dual-income families has increased worldwide over the last few decades, employees' value orientations related to their quality of life have changed considerably, in regard to both their work and personal lives. With these changes, a variety of work-life balance policies and practices have emerged to help employees manage their work and family responsibilities. In addition. policy discussions and public discourse regarding issues of work-life balance have expanded. In the Republic of Korea, the research context of this research, although there have been many efforts both from the legislature and government to promote organizational initiatives for work-life balance as a response to changes in the social context, there has been strong criticism of these policies, mostly often expressed from the users' perspective. Focusing on work-life balance policies as public policy and on societal culture as policy context, this study examines public policy discourse that emerged in the legislative proceedings on the formulation of Korean work-life balance policies during the time period 2001-2011. Taking a new approach that focuses on culture at the macro-level and examining policy discourse as an indicator of culture in a society, this study shows how problems diagnosed and solutions prescribed have been framed and socially constructed in a specific cultural context. Linking the low birthrate and national competitiveness to the level of female economic activity, the dominant frames reflected underlying cultural assumptions that work-life policies are means of dealing with social problems, while social meanings regarding these policies have oriented toward economic goals. Moreover, gendered cultural norms and values reflected in the discourse, which focus on women's dual roles in the workplace and at home, indicate work-life balance policies preferentially used by working mothers might function as gendered practices that support existing gendered culture. Overall, the findings of this study indicate that more efforts from policy makers and government officials are needed to create the cultural conditions where work-life balance policies can be implemented effectively with practices that reflect values and norms that are necessary for the successful translation of these policies into the workplace.

The conjunction of fascism and fantasy inevitably recalls Klaus Theweleit's extensive two volume study of Freikorps' Male Fantasies (1987). Now a decade later, four books-representing some of most important, innovative scholarly work on fascism-shift our focus to literal and figurative matrices of fascist fantasies-women. The naturalization of motherhood; fantasy of harnessing as literal reproductive organs of fascist collectivity; representation of sexualized violation, and destruction of signifiers of feminine to demarcate sexual and economic autarky: given these staples of fascist ideological fantasies, women's roles in, accommodations to, and revisions of gendering of power in Italian fascism and National Socialism--one of main foci of these studies-make a particularly compelling topic for analysis. It is safe to say, without leveling out specificities of particular historical and political articulations of fascism, as ideology and/or regime, that fascist ideology recognized and celebrated insofar as they remained in domestic, or private, sphere as mothers and wives, while it also called upon them to participate politically. And yet, as each author here asks, what do we know about affiliated with, or supportive of, fascism, yet excluded by narrow gender prescriptions of such an ideological filter: unmarried; childless; those who occupied a public role; those whose defense of women's rights made them intolerant of misogyny of reproductive scripts and disdainful of paucity of roles accorded to them in fascist ideology? How do negotiate, or rewrite, what Barbara Spackman refers to as the fascist topography of sex and gender-the boundaries of public and private space-when, as she observes in discursive regime of Italian fascism, stepping out into public sphere 'masculinizes' and 'sterilizes' women, and production and reproduction are strictly, and asymmetrically, linked for men and women (35). Negotiating and renegotiating public and private space constitutes not only objective of fascist ideology; it is also

Recently the interrelationship between early modern literature and history has been much considered, but the dialogue between the disciplines of English and History has not always been harmonious. Disputes have been fuelled in part by the divisive nature of some of the work that has been carried out in a literary‐historical vein. In particular, New Historicist approaches, which might be criticised on methodological and conceptual grounds, have caused alarm among scholars from both departments. However, there are reasons to think that historians and literary critics might be able to enjoy better relations. First, the criticisms that may be levelled at New Historicism do not apply to the work of a number of scholars who, from the 1980s on, have sought to locate literature in precise historical contexts. Secondly, both sides might view positively the fact that new texts and contexts are being examined: radical writing is being recovered; the use of gender as a key category of analysis has led to a reconfiguring of the texts which are routinely studied; literature is being discussed within ever widening geographical contexts (British, European, global); and debate over the early modern ‘public sphere’ has led to a broadening of the political and social contexts in which literature is situated. Finally, those literary critics who remain suspicious of historicisation actually have little to fear: the text, and close analysis of it, remains at the heart of any effective literary‐historical work.

Feminism among Muslims has become a topic of interest due to globalization. The value of gender equality is upheld in Islam, emphasizing women's rights and egalitarianism. Women play an important role in society, both in social, economic and political contexts. In Islam, the Koran provides comprehensive guidance regarding the rights and obligations of women. A deep understanding of the verses of the Koran regarding women is very important to respond to the challenges they face in the public sphere. The aim of this research is to analyze the role of women from various sectors from the perspective of the Qur'an. This research method is a literature review which collects data and analyzes data from library sources related to the role of women in the Qur'an. The results of this research are that there are differences of opinion, the Koran allows women to participate in public spaces, with certain conditions. However, women's main role as mothers and wives should not be ignored, because this is their intrinsic nature.

This study aims to analyze the actualization of women's roles in the domestic and public spheres in Leila S. Chudori's novel Laut Bercerita using Sara Mills' Feminist Discourse Analysis. This novel depicts women not only as victims of political violence during the end of the New Order era, but also as subjects who actively produce meaning, preserve collective memory, and challenge the dominance of state narratives and patriarchal structures. This study uses a descriptive qualitative approach with data collection techniques through intensive reading of the novel text. Data in the form of words, phrases, sentences, and narrative units representing the roles and positions of female characters were analyzed based on subject-object positions and reader positions. The findings reveal that female figures, such as Asmara Jati, mothers of forced disappearance victims and women in activist, advocacy and journalistic networks gain realization on their position as activists, intellectuals, guardians of humanity and symbols of life power. This study argues that Laut Bercerita reclaims and redefines our understanding of public space by centralizing women’s morality, empathy, and humanitarian resistance to violence. And it is not only a special study on feminist literary studies in Indonesia.

The anthology Frauenlyrik unserer Zeit (1907), edited by the artist‐writer Julia Virginia Scheuermann, appeared at a pivotal moment in literary history when the economic conditions for poetry, aesthetic tastes, and women's roles in society were in dramatic flux. In this article, I examine those dynamic conditions and the influence such anthologies once attained as quintessential social and cultural projects. I propose that the intermediality of this unique collection marks it as a transitional project that bridged the private and public spheres and illustrated the expansion of women's writing. I argue that the author's rights movement, advanced by the Kartell lyrischer Autoren, influenced the stylistic and ideological heterogeneity of the collection. By boldly defining the emergence of women's writing in the early twentieth century in terms of universal human history (Menschheitsgeschichte), Scheuermann proposes a narrative rationale for the lyric genre that endures in later modernist projects.

Islam is a religion of vast dimensions which has inspired great civilizations and today offers many men and women comfort and ethical guidance. In this paper I suggest that the tension between the Qur'an accepted as the perfect timeless word of God and the encultured dynamic Islam of nearly a quarter of the world's population results in contending perspectives of women's role and rights. The Qur'an gives men and women spiritual parity, but there are verses in the Qur'an that some feminists find difficult to reconcile with the modern rights of women. Most Islamic feminists make a clear distinction between cultural practices (what actually happens to embodied women) and the pure word of God. 1 There are profound differences in the status of women within and between predominantly Muslim countries. In some countries it is illegal for women to drive a car, or to move freely outside the home, in others women have become heads of state. The decision to wear the veil, often a sign of empowerment in Europe, is in parts of the Islamic world obligatory. Voices representing an exclusivist, literalist understanding of Islam have entered the mainstream of Muslim lives due in part to the fact that Wahhabism imposes a narrow, sectarian view of Islam, and the Saudi government with its massive oil wealth propagates this puritanical form of Islam across the world. Some traditionalist maulanas and maulvis are concerned above all with women's modesty and enforce customs that refine, purify and protect their chastity. They, like some Islamic feminists, position Islamic rights and roles for women with regard to the exoticized and eroticized `other' — in this case Western civilization, Western imperialism and the rise of Western feminism. `The West' becomes for traditional interpreters a kind of contemporary jahilya. There are also many progressive Muslim scholars who seek to articulate a historically accurate, non-idealized, now challenged, now challenging, view of Islam with an uncompromising emphasis on social justice, equality and pluralism (Safi 2008: 215). This paper argues that the ongoing, postcolonial battle against Western `imperialism' demands epistemological humility. Nevertheless, women are fighting for basic human rights and freedoms in parts of the Islamic world where the State, religious authorities (the ulema) and the patriarchal family assume the right of legal and moral surveillance. In considering the nature of violence to Muslim women in Pakistan and the UK, I hope to show that accusations of orientalism should not deter us from recognizing the courage of women activists who themselves risk imprisonment and of the struggle of women victims of rape and domestic violence to overcome feelings of shame and dishonour. I argue that both the private and public spheres need to be made safe for all Muslim women, and not just a professional elite. This can only be achieved by a fuller recognition of women's rights encapsulated in law and all aspects of public life.

The Good Effects of a Whimsical Study:Romance and Women’s Learning in Charlotte Lennox’s The Female Quixote Sharon Smith Palo (bio) Heroism, romantick Heroism, was deeply rooted in her Heart; it was Her habit of thinking, a Principle imbib'd from Education.1 In recent years, studies of Charlotte Lennox's The Female Quixote (1752) have focused largely on Lennox's contribution to the discourse surrounding the development of the novel. These readings usefully explore Lennox's representation of the complex relationship between the romance and the novel and frequently cite the attempts of novelists such as Samuel Richardson and Henry Fielding to assert the superiority of their writing projects by distinguishing them from those of romance writers.2 Yet such interpretations fail to consider [End Page 203] how Lennox appropriates the representation of romance reading perpetuated by these novelists in order to participate in other kinds of discourse, most notably that concerning women's learning. Janet Todd briefly considers The Female Quixote within the context of female education, but suggests that the text functions as a conduct book encouraging women's submission to an ideal of womanhood characterized by self-denial and restraint.3 I will argue that Lennox uses the representation of her romance-reading heroine to critique this ideal and to explore the potential of female education to completely reshape women's role within society, particularly within the public sphere. Lennox's exploration of women's learning has its roots in the debate surrounding female education that materialized during the late seventeenth century. This period saw the publication of numerous defences of women's learning, texts that declared women to be men's intellectual equals and called for greater parity in women's and men's educations.4 Her satirical representation of romance reading becomes the vehicle for a serious examination of concerns that proved central for proponents of advanced learning for women. Chief among these concerns is the powerful and often stymieing influence of social custom upon efforts to bring about changes in women's education and, ultimately, in women's lives. Lennox explores this issue throughout her novel as she represents a heroine who attempts to gain control over her life by negotiating between the customs of romance and the customs of eighteenth-century English society. In doing so, she raises the possibility of women's increased participation in public life. In The Female Quixote, Lennox creates a heroine, Arabella, who is "wholly secluded from the World" and leads an isolated existence within the confines of her father's country estate (7). To relieve her boredom, Arabella reads "very bad Translations" of French romances (7). She consumes so many of these voluminous works that she becomes incapable of distinguishing fiction from reality, a condition the narrator describes as the "bad Effects of a whimsical Study" (5). Believing the texts she reads to be accurate representations of her world, Arabella imagines that she herself is a romance heroine, and like these heroines, she resists marriage and seeks adventure. When Arabella [End Page 204] comes of age and is introduced into society, she is often ridiculed for her bizarre notions and seemingly unaccountable behaviour. For this reason, many of Lennox's earliest critics assumed the novel sent a warning to its readers regarding the risks posed by the indiscriminate reading of "dangerous" books;5 however, Lennox represents Arabella as morally and intellectually superior to the other female characters in the novel, and she clearly illustrates that this superiority is not in spite of the heroine's romance reading, but because of it. Arabella's education is undertaken by her father when, at the age of four, he removes her from the direction of her nurses and female attendants: "Finding in her an uncommon Quickness of Apprehension, and an Understanding capable of great Improvements, he resolved to cultivate so promising a Genius with the utmost Care" (6). Despite the encouraging tone of his resolution, Arabella's father calls in teachers to instruct his daughter in primarily ornamental accomplishments— music, dance, French, and Italian. Certainly, this instruction is comparable to the education that many young women of Arabella's social standing would have enjoyed. But Arabella's...