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Image
Published: 01 November 2018
Figure 15. Dismembered limbs hung on Aramco’s periphery fence. This photograph was in Fahmi Basrawi’s archive and includes no further details. He developed it in his makeshift darkroom at home.
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in Reversing the Domestic Gaze: Chaza Charafeddine’s Maidames Exhibition in Beirut
> Journal of Middle East Women's Studies
Published: 01 March 2020
Figure 1. Miss Vera , 50 × 80 cm photograph printed with archival ink on fine art paper/dibond, edition 5.
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in Reversing the Domestic Gaze: Chaza Charafeddine’s Maidames Exhibition in Beirut
> Journal of Middle East Women's Studies
Published: 01 March 2020
Figure 2. Bruktayt as Marlene Dietrich , 80 × 55 cm photograph printed with archival ink on fine art paper/dibond, edition 5.
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in Reversing the Domestic Gaze: Chaza Charafeddine’s Maidames Exhibition in Beirut
> Journal of Middle East Women's Studies
Published: 01 March 2020
Figure 3. Ruby playing the Oud , 50 × 80 cm photograph printed with archival ink on fine art paper/dibond, edition 5.
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in Reimagining Royal Domesticity: Intimacy, Power, and Familial Relations in the Late Qajar Harem
> Journal of Middle East Women's Studies
Published: 01 July 2020
Figure 2. “This group photograph was taken on the rooftop of Saltanatabad andarun .” Courtesy of Gulistan Palace Visual Document Center, Tehran, ID 210-9-5.
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in From Australia to Italy and Palestine: The Life of Janet Venn-Brown, Artist and Activist for Palestinian Human Rights, NSW Parliament House, March 21, 2022
> Journal of Middle East Women's Studies
Published: 01 November 2022
Figure 3. Janet Venn-Brown, Sydney, 2011. Photograph by Alex Craig.
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in Lalla Essaydi’s Bullets and Bullets Revisited : Aesthetic and Epistemic Violence in a Globalized Art World
> Journal of Middle East Women's Studies
Published: 01 March 2021
Figure 1. Bullets #1 , 2009. Photograph courtesy Lalla Essaydi.
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in Lalla Essaydi’s Bullets and Bullets Revisited : Aesthetic and Epistemic Violence in a Globalized Art World
> Journal of Middle East Women's Studies
Published: 01 March 2021
Figure 2. Bullets Revisited #20 , 2012. Photograph courtesy Lalla Essaydi.
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in Lalla Essaydi’s Bullets and Bullets Revisited : Aesthetic and Epistemic Violence in a Globalized Art World
> Journal of Middle East Women's Studies
Published: 01 March 2021
Figure 3. Converging Territories #10 , 2003. Photograph courtesy Lalla Essaydi.
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in From Guerrilla Girls to Zainabs: Reassessing the Figure of the “Militant Woman” in the Iranian Revolution
> Journal of Middle East Women's Studies
Published: 01 March 2021
Figure 7. A photograph of Caroline de Bendern at the 1968 Paris student protests. Printed in Tehran Mosavvar , February 23, 1979 [4 Esfand 1357]. Originally photographed by Jean-Pierre Rey. Nashriyah Digital Collections.
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Journal Article
Journal of Middle East Women's Studies (2006) 2 (3): 109–111.
Published: 01 November 2006
..., to current scholarly debates over
literacy, participation, democratization, and identity formation in non-
Western contexts.
Daughters of the Nile: Photographs of Egyptian
Women’s Movements, 1900-1960
Hind and Nadia Wassef, eds. Cairo: American University of Cairo Press, 2001...
Journal Article
Journal of Middle East Women's Studies (2021) 17 (1): 1–21.
Published: 01 March 2021
...Figure 1. Bullets #1 , 2009. Photograph courtesy Lalla Essaydi. ...
FIGURES
Journal Article
Journal of Middle East Women's Studies (2010) 6 (1): 103–116.
Published: 01 March 2010
... of Middle Eastern women, but marks a bold and evolving interface between modernist Iranian literature and contemporary Iranian immigrant literature. Works discussed in depth include the photographs and films of Shirin Neshat and Maryam Habibian’s play Forugh’s Reflecting Pool. Jasmin Darznik...
Journal Article
Journal of Middle East Women's Studies (2018) 14 (3): 268–291.
Published: 01 November 2018
...Figure 15. Dismembered limbs hung on Aramco’s periphery fence. This photograph was in Fahmi Basrawi’s archive and includes no further details. He developed it in his makeshift darkroom at home. ...
FIGURES
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Journal Article
Journal of Middle East Women's Studies (2020) 16 (1): 62–65.
Published: 01 March 2020
... with Mustaches and Men without Beards: Gender and Sexual Anxieties of Iranian Modernity (2005). Scheiwiller reads these photographs through the prism of desire, and justifies this approach against possible neo-Orientalist accusations of “framing the Middle East in terms of sexuality,” with “two points: (1...
Journal Article
Journal of Middle East Women's Studies (2024) 20 (3): 373–375.
Published: 01 November 2024
... 2024 Making the Modern Turkish Citizen is a welcome addition to the growing literature on modernization, nation building, and identity formation in the early Turkish Republic. Based on the cultural analysis of sixty photographs that consist of individual, couple, and group portraits, this book...
Journal Article
Journal of Middle East Women's Studies (2020) 16 (1): 87–93.
Published: 01 March 2020
...Figure 1. Miss Vera , 50 × 80 cm photograph printed with archival ink on fine art paper/dibond, edition 5. ...
FIGURES
Journal Article
Journal of Middle East Women's Studies (2017) 13 (3): 451–452.
Published: 01 November 2017
...). Matar received several grants and awards including a 2017 Mellon residency at the Gund Gallery at Kenyon College, a 2011 Legacy Award at the Griffin Museum of Photography, Massachusetts Cultural Council artist fellowships in 2007 and 2011, and first-place prizes at the New England Photographers Biennial...
Journal Article
Journal of Middle East Women's Studies (2017) 13 (2): 326–336.
Published: 01 July 2017
...Gayatri Gopinath Copyright © 2017 by the Association for Middle East Women’s Studies 2017 In his coedited book Hashem El Madani: Studio Practices ( 2004 ), the Beirut-based Lebanese artist Akram Zaatari selects, reprints, and arranges the photographs of Hashem El Madani, a studio...
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Journal Article
Journal of Middle East Women's Studies (2020) 16 (3): 346–350.
Published: 01 November 2020
.... This is a modern expression of cultural exchange between East and West rather than an Orientalist depiction of a timeless East. Taan’s presentation, “The Arab Garçonne,” discussed the transformation of identity through photographs of women dressed in men’s attire in the 1920s and 1930s. In these photographs...
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