2012
DOI: 10.2752/175183412x13415044208835
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Formats, fabrics, and fashions: muslim headscarves revisited

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Cited by 14 publications
(6 citation statements)
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“…Within her translocal livelihood of divergent cultural locationsMoscow's urban modernity, local traditions in Dushanbe and a 'pure' Arab Islamfor Habiba, 'rebellious behaviour' has emerged as an effective strategy to pursue her own dreams against the expectations of her parents and relatives. By rejecting the hijab as 'ugly' (bezeb) and 'antiquated' (qadima), Habiba counters notions of female Muslim beauty and modernity that shape both Europe's and Central Asia's urban public (McBrien 2009;Ünal and Moors 2012). Furthermore, when Habiba qualifies Tajikistan as 'backward' (qafomonda) and 'uncivilized' (bemadaniyat), and depicts her relatives as 'boring' because 'they only go on about weddings and meals', she positions her original home as a 'cultural' and 'un-modern' adversary to Moscow's modern und free urban life.…”
Section: Habiba: From Dushanbe To Moscow To Cairo -'Being a Good Muslmentioning
confidence: 99%
“…Within her translocal livelihood of divergent cultural locationsMoscow's urban modernity, local traditions in Dushanbe and a 'pure' Arab Islamfor Habiba, 'rebellious behaviour' has emerged as an effective strategy to pursue her own dreams against the expectations of her parents and relatives. By rejecting the hijab as 'ugly' (bezeb) and 'antiquated' (qadima), Habiba counters notions of female Muslim beauty and modernity that shape both Europe's and Central Asia's urban public (McBrien 2009;Ünal and Moors 2012). Furthermore, when Habiba qualifies Tajikistan as 'backward' (qafomonda) and 'uncivilized' (bemadaniyat), and depicts her relatives as 'boring' because 'they only go on about weddings and meals', she positions her original home as a 'cultural' and 'un-modern' adversary to Moscow's modern und free urban life.…”
Section: Habiba: From Dushanbe To Moscow To Cairo -'Being a Good Muslmentioning
confidence: 99%
“…According to David Morgan ( 2016 ), material practices are not secondary aspects, but they are the very core of religion. Examples of religious materiality include the Muslim female veil, which does not only indicate religious belonging, but symbolizes complex negotiations in terms of ethnic identity and status (Ünal and Moors 2012 ). Besides, Valentina Napolitano ( 2019 ) analyzes the act of Pope Francis to show a wooden cross on the Italian island of Lampedusa, where several migrants arrived in dinghy boats from North Africa.…”
Section: Digital Religion and Materialitymentioning
confidence: 99%
“…This approach argues that objects and people co-constitute each other; clothing is not simply passively controlled by wearers, but it impacts their lives as well. He and others have explored such processes, whether through the free end of a sari tripping the wearer (Banerjee & Miller 2003), veils helping women cultivate their religious virtues (Mahmood 2005), or new types of silk fabric making it difficult for headscarves to be styled as they formerly had been (Ünal & Moors 2012).…”
Section: The Materiality Of Dress and How Women Activate Itmentioning
confidence: 99%