Desert Songs: Western Images of Morocco and Moroccan Images of the WestIn an unusual approach to cultural studies, John Maier examines a wide variety of modern Western and Eastern texts. He brings together very different forms of cultural production: modern and postmodern fiction and folktales, advertising copy and oral histories, travel literature, and ethnographic studies. Many academic disciplines are also juxtaposed--literature and literary theory, linguistics, history, psychoanalysis, sociology, film studies, women's studies, and anthropology--largely because they have themselves been transformed by the cultural questions raised here. |
From inside the book
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Page xii
... Moving to the crest of a dune is a Western man holding the hand of a fully veiled woman . Presumably , he is leading the woman , who is known to be young and beautiful ( only because the eyes are visible ) , to " Casablanca . " She ...
... Moving to the crest of a dune is a Western man holding the hand of a fully veiled woman . Presumably , he is leading the woman , who is known to be young and beautiful ( only because the eyes are visible ) , to " Casablanca . " She ...
Page xiii
... moving away from her . Next to the Western woman is a sexless lump of clothes . The body beneath the black djellaba and headpiece entirely obscures the age , strength — even the sex — of this native . All we see is that the lump's head ...
... moving away from her . Next to the Western woman is a sexless lump of clothes . The body beneath the black djellaba and headpiece entirely obscures the age , strength — even the sex — of this native . All we see is that the lump's head ...
Page 4
... moving . In the background , first the sounds , then gradually the sight bring the foreign legion into the foreground . The forces penetrate a gate , forcing the natives roughly to the side . Women are seen , one with upper torso nude ...
... moving . In the background , first the sounds , then gradually the sight bring the foreign legion into the foreground . The forces penetrate a gate , forcing the natives roughly to the side . Women are seen , one with upper torso nude ...
Page 40
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Page 53
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Contents
Asia under the Sign of Woman The Feminization of the Orient in The Aeneid | 35 |
Silence and Ecstasy Watching the Sufis Dance | 63 |
Two Fathers General | 89 |
Jane Bowles and the SemiOriental Woman | 119 |
Penetrating the Ramparts Morocco in the Fiction of Paul Bowles | 143 |
Elizabeth Ferneas Moroccan Pilgrimage | 161 |
Insider Views Five Moroccan Writers | 177 |
Two Moroccan Storytellers in Paul Bowless Five Eyes Larbi Layachi and Ahmed Yacoubi | 211 |
Tented Visions Woman as Heroas Victim | 229 |
In the Service of Aisha Qandisha | 251 |
Conclusion | 267 |
Notes | 289 |
319 | |
339 | |
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Desert Songs: Western Images of Morocco and Moroccan Images of the West John Maier Limited preview - 1996 |
Common terms and phrases
Aeneas Aeneid Ahmed Yacoubi Aisha Aisha Qandisha Allah American ancient anthropologist Arab-Muslim world baraka become chapter character Chukri civilization Cleopatra Collected Stories Crapanzano cultural dancing Desert Song Dido Eastern ecstasy Edith Wharton English Enkidu Everything Is Nice example eyes fascination father Fatima Mernissi Fernea fiction film French Geertz Habiba Hamadsha hero husband important Iron Islam Jane Bowles Jane Bowles's Jeanie language Larbi Larbi Layachi literary literature live Lyautey magic male Margot Marrakech mirror mirror stage Modern Standard Arabic Mohammed Moroccan Arabic Moroccan storytellers Moroccan women Morocco mother Muslim narrative nonliterate North Africa novel oral Oriental Orientalist Paul Bowles Paul Bowles's pilgrimage postmodern Rabinow reader realism Red Shadow ritual saints scene sense short stories Sidi society speak Sufi symbol Tangier tells texts tion tradition translated Trojans Tuhami turn versions village Virgil West Western woman writing Wudei'a Zahrah Zodelia
Popular passages
Page 6 - Woman then stands in patriarchal culture as signifier for the male other, bound by a symbolic order in which man can live out his phantasies and obsessions through linguistic command by imposing them on the silent image of woman still tied to her place as bearer of meaning, not maker of meaning.