Search results

You are looking at 1 - 10 of 10 items for :

  • disorientation x
  • Manchester Film Studies x
  • Literature and Theatre x
Clear All

This book explores representations of queer migrant Muslims in international literature and film from the 1980s to the present. It brings together a variety of contemporary writers and filmmakers of Muslim heritage engaged in vindicating same-sex desire from several Western locations. The book approaches queer Muslims as figures forced to negotiate their identities according to the expectations of the West and of their migrant Muslim communities. It coins the concept of queer micropolitical disorientation via the work of Gilles Deleuze and Félix Guattari, Sara Ahmed and Gayatri Gopinath. The author argues that depictions of queer Muslims in the West disorganise the social categories that make up contemporary Western societies. The study covers three main themes: queer desire across racial and national borders; Islamic femininities and masculinities; and the queer Muslim self in time and place. These thematic clusters examine the nuances of artistic depictions of queer Muslims’ mundane challenges to Western Islamophobia and Islamicate heteronormativity. Written in a scholarly but accessible style, this is a timely contribution to the controversial topic of Islam and homosexuality, forging understanding about the dissident position of Muslims who contravene heteronormative values and their equivocal political position in the West.

Abstract only
Queering Islam and micropolitical disorientation

rather as agents of micropolitical disorientation in societies where different forms of macropolitical segmentalisation constantly intersect. As will become apparent in dialogue with Sara Ahmed, it is often too easy to romanticise queer diasporic subjects as inhabiting alternative semiotic spaces, when in fact their routine lines of flight from normativity, which I formulate via Gilles Deleuze and Félix Guattari, reveal their mundane micropolitical disorientation of normative social categories. As such, I present queer diasporic Muslims neither as exceptional figures

in Queer Muslim diasporas in contemporary literature and film
Queer phenomenology, and cultural and religious commodifi cation in Hanif Kureishi’s My Beautiful Laundrette (1985) and The Buddha of Suburbia (1990)

. 51). I concur with the idea that Kureishi’s craft transcends the pedagogic role of the minority artist, as it refuses to create any images of British Muslims – or of white Britishers – that are solely vilifying or victimising. As Jago Morrison suggests, Kureishi’s texts ‘are far too playful, irreverent and counter-cultural to fit into any orthodox political agenda’ ( 2003 , p. 179). Instead, Kureishi concentrates more keenly on disorientating his audience by challenging essentialist identitarian constructions of race, ethnicity, class, and sexuality. Kureishi

in Queer Muslim diasporas in contemporary literature and film
Queering time, place, and faith in the diasporic novels of Rabih Alameddine

, reflects: ‘Bodies that experience disorientation can be defensive […]. So, too, the form of politics that proceed from disorientation can be conservative, depending on the “aims” of their gestures, depending on how they seek to (re)ground themselves’ (Ahmed, 2006 , p. 158). Ramzi’s diasporic disorientation results in becoming the ‘carbon copy’ of his American boyfriend Peter’s stylised but emotionally detached version of the homosexual. To his half-sister Sarah, he is not queer, but homonormative, failing to challenge American sexual taxonomies

in Queer Muslim diasporas in contemporary literature and film
Matrilinearity, Sufism, and l’errance in the autofictional works of Abdellah Taïa

at the same time completely fascinated). Although, at first, Abdellah is both afraid and fascinated by his mother’s religious homage to these saints, he will later in life embrace this popular aspect of religion and women’s comforting spirituality. In a moment of wandering described in ‘An Afternoon with Sidi Fatah’, translated into English in Another Morocco , during which Abdellah experiences spiritual disorientation, he visits the mausoleum of the titular saint. The narrator recounts: All around me

in Queer Muslim diasporas in contemporary literature and film
Queering ethnicity and British Muslim masculinities in Sally El Hosaini’s My Brother the Devil (2012)

female homoerotic archive, Sarif’s work creates a form of queer countermemory through intimate personal bonding which qualifies the erasure of female homosexuality in normative Islamic discourses, while partly challenging dominant Western views on Arab and Muslim men’s conservatism and homophobia. The work of film director and screenwriter Sally El Hosaini offers both a departure from and a continuation of Sarif’s efforts to bring queer disorientation to the forefront of intersecting debates on Britishness, gender, and sexuality in

in Queer Muslim diasporas in contemporary literature and film
Abstract only
A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)

, the double orientation in Jarrar’s work ultimately complicates its effect. As she intimates: ‘One of my hopes as I was writing [ A Map of Home ] was for its audience to be both Arab and non-Arab; for it to work with both camps’ (Albakry and Siler, 2012 , p. 119). Jarrar’s writing is simultaneously meant to ring familiar to Arab readers, to disorientate both Arab and non-Arab readers unfamiliar with issues of sexual dissidence, and to generate readerly empathy for the queer Muslim diasporic subject of Palestinian heritage. It needs to be

in Queer Muslim diasporas in contemporary literature and film
Interstitial queerness and the Ismaili diaspora in Ian Iqbal Rashid’s poetry and films

wavelengths provided by diasporic and global histories, to the disorientations and reorientations involved in queer relationships across ethnic divides. It is these connections across ethnic and generational lines that will claim our attention in the forthcoming pages. Rashid was born in Dar es Salaam, Tanzania, in 1965 to Ismaili Muslim parents of Indian heritage. His family left Tanzania in 1970, unsuccessfully seeking asylum in London. They eventually settled in Canada. Rashid grew up in a majority white and violent suburb of inner-city Toronto

in Queer Muslim diasporas in contemporary literature and film

Islamic poetry, the strangeness – or queerness – felt and encouraged by Marta and Anita provides a running thread through Özpetek’s highly suggestive visual narrative: a sensual and erotic strangeness that is connected to the micropolitical and mundanely subversive queer act of disorientating the binarist heteronormative and homophobic impulses of Ottoman, Kemalist, and Islamicate modernities. Note 1 We encounter Anita in Özpetek’s second film, Harem Suare , in which, played by

in Queer Muslim diasporas in contemporary literature and film
Abstract only
Anatomy of a metaphor

women of film noir were controlled and punished ultimately by patriarchal figures, the disorientation of such postmodern fiction is that pleasure and danger are inseparable and even the male figures are now ‘petulant, temperamental and uncertain’. 16 In a thorough study of crime film Thomas Leitch associates the idea of the criminal protagonist in gangster films and noir with the passing of the

in Medieval film