Abstract only
Get Access to Full Text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Access Tokens

If you have an access token for this content, you can redeem this via the link below:

Redeem token

The conclusion summarises the book’s findings about queer interethnic desire, Islamic femininities and masculinities, and the queer self in time and place. It suggests that none of the artists referenced in the book have the same relationship with Islam, and that their Muslim identity is a matter concerning their own relationship with God. It is suggested there is no queer Muslim diasporic community of writers and artists as such, but a variety of communities locally created. It is argued the work of the chosen artists is often not part of the cultural mainstream, so their visibility is still an ongoing issue. Finally, ways forward in the study of global Islam are sketched, particularly the recent flourishing of decolonial studies, with its specific focus on the role of Islam in the global South, as well as the possibility of non-literalist and mystical dimensions of Islam, such as Sufism, to offer the metaphysical conditions for decolonisation. It is finally proposed that for decolonial Islam to emerge fruitfully, it needs to remain intersectional and also transversal, uniting with heterodox Muslims and non-Muslims alike in the fight against Euro-American and Islamic hegemonies.

Information

Metrics

All Time Past Year Past 30 Days
Abstract Views 8 8 8
Full Text Views 3 3 3
PDF Downloads 1 1 1

Related Content