Search Results (4)

Since the 2022 death of Mahsa Jina Amini in custody of the Guidance Patrol or morality police in Tehran, Iran, Persepolis by Marjane Satrapi can also function in the classroom as a comics touching point for human rights discourses around the world and in particular—though not exclusively—those that impact women. Kimberlé Crenshaw, who brought intersectionality to the forefront of cultural and political discourses in 1989, has used the phrase “say her name” to draw attention to the deaths of women and children, especially Black women and children, at the hands of law enforcement officers. Chants of “Say her name, Mahsa Amini”, rang among protesters outside Khalifa International Stadium in Qatar ahead of Iran’s first match of the World Cup 2022 against England. Now in 2025, cultural conversations around feminism and creativity as resistance can turn to the woman, life, freedom movement in Iran. Shervin Hajipour’s song “Baraye”, meaning “for” in Persian, which was inspired by tweets echoing protesters’ calls for change, became an anthem of the uprising and exists in comic art as well as song. The comics classroom can address the concerns and issues surrounding Amini’s death and the ongoing relevance of Persepolis as a coming-of-age text about living as a woman in Iran. In dialogue with the works of Sidonie Smith, Julia Watson, Hillary Chute, Sally Munt, and bell hooks, this piece addresses the pedagogy of human rights through comic art as crisis witnessing. With attention to comics material from two members of the Iranian diaspora, Shabnam Adiban and Farid Vahid, from the 2024 collection Woman, Life, Freedom, put together by Satrapi, this piece navigates potential Orientalism and Islamophobia in the Western classroom through engagement with intersectional feminism. Full article

In this article, we address a question that has been frequently asked: Why is the Iranian government unable to defeat the struggle by women against the compulsory hijab? What distinguishes women’s resistance from other forms of freedom and justice movements? We address these questions by highlighting women’s “resilient resistance” within the family domain as both flexible and sustainable. The article examines how the domestication of politics and the politicization of family have interconnected dynamics in Iran, as illustrated by the “Woman, Life, Freedom” movement. It shows how women have shifted the Iranian family from a collaborator of oppressive patriarchal power to a more egalitarian structure to accommodate their protests against the compulsory hijab. As the catalysts for this change, they succeeded in discrediting the Islamic Republic’s moral discourse based on the compulsory hijab as a manifestation of modesty for women. They also validated their own morality based on personal choice. Using ethnographic fieldwork, including participatory observation and in-depth interviews with movement participants, this paper shows how women’s invisible yet significant resistance within the family has transformed this institution and profoundly affected the broader political landscape of Iran. It examines a unique case where social transformation drives larger political change. Full article

To date, various international treaties have been adopted at the universal and regional levels, guaranteeing the protection of every person’s freedom of conscience and religion. Moreover, international monitoring mechanisms have been established to protect this human freedom within the framework of the UN, as well as various regional organizations (OSCE, Council of Europe, African Union). (1) In this article, the authors analyze these mechanisms and identify both positive practices and negative discriminatory practices against Christians—citizens of the states of the Global South. (2) The methodological basis of the study involves a combination of general scientific (dialectical, historical, inductive, deductive, analytical, synthetic) and particular scientific methods (formal–legal, comparative–legal, interpretative, statistical, procedural, and dynamic). (3) The use of these allowed the authors to identify a number of key problems in the indicated discourse and to draw conclusions. With regard to abortion, the authors conclude that current trend is that, in multiple and various ways, states are pressed to prioritize a woman’s right to life, a woman’s freedom of “reproductive choice” over a doctor’s right to freedom of conscience. The situation is similar with the prioritization of the so-called “rights” of LGBT persons in relation to the rights of believing Christians. Moreover, the authors pay much attention to the analysis of the situation of the prosecution and persecution of Christians in the countries of the Global South, especially in Africa. (4) In conclusion, it is noted that various instruments, both political and legal, have been established in international law which make it possible to identify facts of the violation of freedom of religion and call to account for such acts of discrimination, but they are not always effective. Full article

In this article, I discuss the combination of city life and gender performativity in two Norwegian classics, Knut Hamsun’s Hunger (2016) [Sult, 1890] and Cora Sandel’s Alberta and Freedom (1984) [Alberte og friheten, 1931]. These are modernist novels depicting lonely human subjects in an urban space, the first one featuring a man in Kristiania (now Oslo) in the 1880s, the second one a woman and her female acquaintances in Paris in the 1920s. I interpret and compare the two novels by focusing on their intertwined construction of gender performativity and urban space. Gender norms of the city life are critical premises for how the subjects manage to negotiate with different options and obstacles through their modern existences. To both protagonists, inferior femininity is a constant option and threat, but their responses and actions are different. The strategy of the male subject in Hunger is to fight his way up from humiliation by humiliating the female other; the strategy of the female subject in Alberta and Freedom is instead to seek solidarity with persons who have experiences similar to her own. Hamsun’s man and Sandel’s woman both perceive their own bodies as crucial to the interpretation of their physical surroundings. However, while the hero in Hunger must deal with a body falling apart and a confrontation with the world that depends on a totally fragmented bodily experience, the heroine in Alberta and Freedom instead sees herself as a body divided between outer appearance and inner inclinations. Both novels stage a person with writing proclivities in a city setting where the success or failure of artistic work is subjected to the mechanisms of a market economy. Their artistic ambitions are to a large extent decided by their material conditions, which seem to manipulate Hamsun’s hero out of the whole business, and Sandel’s heroine to stay calm and not give up. Yet the novels share the belief in the body’s basis as a denominator for the perception and interpretation of sensual and cognitive impressions of the world. Full article