Pakistan literature, that is, the literature of Pakistan, is a distinct literature that gradually came to be defined after Pakistan gained nationhood status in 1947, emerging out of literary traditions of the Indian subcontinent. The shared tradition of Urdu literature and English literature of British India was inherited by the new state. Over a period a body of literature unique to Pakistan has emerged in nearly all major Pakistani languages, including Urdu, English, Punjabi, Balochi, Pushto and Sindhi. Pakistani English writing has had some readership in the country. From 1980's Pakistani English literature began to receive national and official recognition, when the Pakistan Academy of Letters included works originally written English in its annual literary awards. The topic ‘ Repersentation of Muslim Woman through Pakistan fiction novelists’ leads to describe every aspect of Muslim Woman’s life whether she lives in Islamic country or any other country. There are many fiction novels written by Pakistani Writers available on Muslim Woman such as Zohra by Zeenuth Futehally; Rummana Futehally Denby,Fall of Imam by Nawāl Saọdāwī,Does my head look big in this? by Randa Abdel-Fattah,Amina by Mohammed Umar,Mpas for lost lovers byNadeem Aslam,Things I never told my mother byUm Daoud, The girl in the tangerine scarf by Mohja Khaf, My name is Salma by Fadia Fariq, The writing on my forehead by Nafisa Haji, Marriage on the street corner of Tehran by Shahram Nadia, Sunlight on a broken coloumn by Attia Hosain, Dear prophet-A Woman’s story, Awife for my son by Ali Ghanem and Size of a mustard seed by Umm Juwayriyah, in which authors have described different situations of Muslim Women dealing in their lives. The aim of my paper is to discusss the way in which various representations of Muslim Women are constructed in Pakistan English novels through Pakistan novelist. This paper construct the Muslim women as universal, ahistorical, and undifference category who become essentialized through the uniqueness of their difference.
The literature discussing Muslim Women in online context, similarly to that on Muslim Women ‘offline’ , seems to be focused on head and face covering, adding to the existing bodies of themes some new ones, notably reflections on islamic dress from marketing and fashion design perspectives. POOL writes that “ Heavy black hijab dominates the representations of Muslim Women internationally.”
Muslim women in all over the world possess all the capabilities to cope up with everyday life , though she is being exploid in some islamic country but she has the power to deal with every evil with strength and courage.
Paradigms I have used for my research is qualitative. Tools from which I have gathered my source are iternet- wikkipedia,Amazon.com, Desistore internet service, University of Texas press, Bookclubs and Clearmart. Method of my study is document analysis.
The representation of muslim woman begins to become a more generic gendered difference largely uncomplicated by religious or racial difference. Muslim womem are depicted through same referents as European women with little textual difference or as, Khaf puts it, with “their Muslim-ness hovering in the background” is punctuated by certain shifts in the Muslim women sexuality. For example , she becomes less of a passive object of male desire and, in some scenario , recuperates some control over her sexuality’s development. According to Kahf the “traditional myths of Islam warned or went into latency during this period because the forces producing them( e.g.,the church) has stalled”.During this curious lull”, she argues, “older myths of islam cut off from their sources, mulate, transform and seems to float randomly, while emerging new myths are still vague and unsteady”.Following the work of Mohj Kahf , I argue that the politics of representing Muslim Women has...
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