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. |
Från bokens innehåll
Resultat 1-5 av 42
Sida 14
... represent ourselves as men and women , but that also do more than that ; they shape many other aspects of our lives and culture . In this symbolic system , human characteristics are dichotomized " ( Cohn 1993 , 228-29 ) 14 Subvert the ...
... represent ourselves as men and women , but that also do more than that ; they shape many other aspects of our lives and culture . In this symbolic system , human characteristics are dichotomized " ( Cohn 1993 , 228-29 ) 14 Subvert the ...
Sida 19
... represents the war front in medias res : burned - out buildings and bullet - pocked walls , sandbags , young men in khaki — two in hel- mets — alert with their Kalashnikov rifles at the ready , no women , in fact no sign of civilian ...
... represents the war front in medias res : burned - out buildings and bullet - pocked walls , sandbags , young men in khaki — two in hel- mets — alert with their Kalashnikov rifles at the ready , no women , in fact no sign of civilian ...
Sida 21
... represented here and that they are in agreement . Fourth , a group of civilians— marked by the fact that there are young women among them — meet at the Mathaf ( museum ) traffic circle ( Fig . 11 ) . After the Lebanese capital was ...
... represented here and that they are in agreement . Fourth , a group of civilians— marked by the fact that there are young women among them — meet at the Mathaf ( museum ) traffic circle ( Fig . 11 ) . After the Lebanese capital was ...
Sida 24
... represented as soldiers , the Lebanese sniper cannot be glorified . His job is to be alone , not to cohere with the group . The sniper is the quintessential symbol of anarchy , for his assignment is not to kill the enemy but rather to ...
... represented as soldiers , the Lebanese sniper cannot be glorified . His job is to be alone , not to cohere with the group . The sniper is the quintessential symbol of anarchy , for his assignment is not to kill the enemy but rather to ...
Sida 26
... representing . But what of the other event , the one that involved him , the wounded man addressing him and us ? More than most of the images in this book , this series alerts us to the role of the photographer in war . He is not a ...
... representing . But what of the other event , the one that involved him , the wounded man addressing him and us ? More than most of the images in this book , this series alerts us to the role of the photographer in war . He is not a ...
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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