Women and the War StoryUniversity of California Press, 1 sep. 2023 - 309 sidor In a book that radically and fundamentally revises the way we think about war, Miriam Cooke charts the emerging tradition of women's contributions to what she calls the "War Story," a genre formerly reserved for men. Concentrating on the contemporary literature of the Arab world, Cooke looks at how alternatives to the master narrative challenge the authority of experience and the permission to write. She shows how women who write themselves and their experiences into the War Story undo the masculine contract with violence, sexuality, and glory. There is no single War Story, Cooke concludes; the standard narrative—and with it the way we think about and conduct war—can be changed. As the traditional time, space, organization, and representation of war have shifted, so have ways of describing it. As drug wars, civil wars, gang wars, and ideological wars have moved into neighborhoods and homes, the line between combat zones and safe zones has blurred. Cooke shows how women's stories contest the acceptance of a dyadically structured world and break down the easy oppositions—home vs. front, civilian vs. combatant, war vs. peace, victory vs. defeat—that have framed, and ultimately promoted, war. |
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Sida 4
... . How do they begin to imagine narratives that do not fit the mold of the War Story ? How does the way they position themselves affect the knowledge they produce and their right to express it ? How do they 4 Introduction.
... . How do they begin to imagine narratives that do not fit the mold of the War Story ? How does the way they position themselves affect the knowledge they produce and their right to express it ? How do they 4 Introduction.
Sida 9
... produced under the Baathist regime of Saddam Hussein , was state - commissioned often before the events they were ... producing art or propaganda ? Can they claim innocence of collaboration with an evil regime ? What are we to make of ...
... produced under the Baathist regime of Saddam Hussein , was state - commissioned often before the events they were ... producing art or propaganda ? Can they claim innocence of collaboration with an evil regime ? What are we to make of ...
Sida 25
... produce . Sometimes we shake our heads in disbelief , as when a bulldozer is pictured trying to conquer a mountain of rubble { 69 ; Fig . 29 ) . At other times we are moved , as by the photograph of a corpse lying behind the wheels of ...
... produce . Sometimes we shake our heads in disbelief , as when a bulldozer is pictured trying to conquer a mountain of rubble { 69 ; Fig . 29 ) . At other times we are moved , as by the photograph of a corpse lying behind the wheels of ...
Sida 27
... produced during the early years of the civil war . Why question the photographer's story ? Without the war pho- tographer we would lose compelling evidence to prosecute crimi- nals and also to remind ourselves and the world of what the ...
... produced during the early years of the civil war . Why question the photographer's story ? Without the war pho- tographer we would lose compelling evidence to prosecute crimi- nals and also to remind ourselves and the world of what the ...
Sida 70
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Innehåll
11 | |
Culture Degree Zero | 66 |
Silence Is the Real Crime | 116 |
Talking Democracy | 165 |
Flames of Fire in Qadisiya | 218 |
Reimagining Lebanon | 265 |
Conclusion | 289 |
Notes | 299 |
Cited Works | 321 |
Index | 347 |
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