Exploring Arab Women

When studying Arab women in Liyana Badr's novel "Aaki over the Fakihani", she declared that the reader witnessed Yusra's water experience. "Mahdia is the main female character of Phadia · Fakir's salt pillar and her husband is soaking our body in warm water" Dead Sea (Fakir), 54 years old They are experienced To share the first love. Yasmina teaches granddaughter Fatima the power to release water in the lyrical record of harem life in Festima Mernissi's Trespass dream.

Arab and Arab American women are also drawn in stereotypes with TV and movies. Jennifer Bing-Canar and Mary Zerkel are exploring these depictions in their article "Reading the Media and Myself: An Important Media Literacy Experience with a Young Arab American Woman". In this article it is worth noting that Arab women are often seen as adultery, belly dance, women with excessive sexual desire, or persecuted women wearing head scarves. In both portraits, women are objectively or suppressed by men. It is more common among Arab women, but there are rare stereotypes that describe Arab women as terrorists.

A woman from the Sahara Arab Republic is a woman born in the Western Sahara region and originally from the Arab Sahara Democratic Republic (SADR). In the Sahara community, women share responsibilities at every level of the community and social organization. Article 41 of the Constitution of the Sahara Arab Republic guarantees that the State pursues "promotion of women and political, social and cultural participation, promotion of social development and national development".

Discussions on women's representation in Arab societies are being analyzed, so representatives of Arab women in Western society should also be discussed. Amira Jarmakani introduces the concept of "Invisible Politics" in the book "Arab and Arab American Feminism: Gender, Violence and Attribution", Naber, Nadine Christine Alsultany, Evelyn Abdulhadi and Rabab. Jarmakani explained that Arab American feminists were placed in both paradoxical and invisible paradoxical frameworks. Jarmakani calls it "invisible politics", and she believes that people can actually use it in creative ways to direct positive attention to key issues.

The purpose of this article is to introduce Arab women's lifestyle, tendency of thought, and creative expression to British readers. Volume provides a rich cultural encounter in which the complex Arab women's world, where these women see themselves, is revealed. The extensive material provided in this volume may wish to deepen the Western understanding of Arab society, to clarify the status and lifestyle of Arab women, and to expand the understanding of Arab female writers' contribution to modern Arabic literature I do not.