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A Phenomenological Reading of Gendered Racialization in Arab Muslim American Women's Cultural Productions

A Phenomenological Reading of Gendered Racialization in Arab Muslim American Women's... AlexAndrA MAgeAru A Phenomenological Reading of Gendered Racialization in Arab Muslim American Women’s Cultural Productions Sara Filali is a young Muslim American artist based in Florida whose paintings employ pop art and comic book conventions in their representation of iconic, celebratory, and empowering images of Muslim women. In her 2016 series, - Hi jabi Women , Filali represents different women in bold colors and sharp lines, oen ft surrounded by Arabic script, printed on their clothes or inscribed on their faces. In one painting, a woman, emerging from the midst of a surreal landscape, part desert, part urban sprawl, is adorned in colorful flowing garments and wears a niqāb on which the Arabic reader can decipher the word ālḥurrīa (freedom). Filali also references the media commodification of women, and Muslim women in - par ticular, through her sco elf- nscious appropriation of pop art styles and themes, yet she turns these representations on their head by foregrounding the revolutionary agency of Muslim women. One painting in particular draws my attention. In a piece titled What I Ca , n’t See a hijabi woman appears to have been abruptly stopped in her tracks as she turns her head over her http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

A Phenomenological Reading of Gendered Racialization in Arab Muslim American Women's Cultural Productions

The Comparatist , Volume 42 – Nov 19, 2018

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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887

Abstract

AlexAndrA MAgeAru A Phenomenological Reading of Gendered Racialization in Arab Muslim American Women’s Cultural Productions Sara Filali is a young Muslim American artist based in Florida whose paintings employ pop art and comic book conventions in their representation of iconic, celebratory, and empowering images of Muslim women. In her 2016 series, - Hi jabi Women , Filali represents different women in bold colors and sharp lines, oen ft surrounded by Arabic script, printed on their clothes or inscribed on their faces. In one painting, a woman, emerging from the midst of a surreal landscape, part desert, part urban sprawl, is adorned in colorful flowing garments and wears a niqāb on which the Arabic reader can decipher the word ālḥurrīa (freedom). Filali also references the media commodification of women, and Muslim women in - par ticular, through her sco elf- nscious appropriation of pop art styles and themes, yet she turns these representations on their head by foregrounding the revolutionary agency of Muslim women. One painting in particular draws my attention. In a piece titled What I Ca , n’t See a hijabi woman appears to have been abruptly stopped in her tracks as she turns her head over her

Journal

The ComparatistUniversity of North Carolina Press

Published: Nov 19, 2018

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