Andere Kunden interessierten sich auch für
![A Plurality of Voices?]( "A Plurality of Voices?")
A Plurality of Voices?51,99 €![The Gendered Cyborg]( "The Gendered Cyborg")
The Gendered Cyborg242,99 €![Portraying the Gendered Life and Sexuality of Indonesian Teenagers]( "Portraying the Gendered Life and Sexuality of Indonesian Teenagers")
Portraying the Gendered Life and Sexuality of Indonesian Teenagers38,99 €![Technology and Gendered Genre Evolution in Latin America]( "Technology and Gendered Genre Evolution in Latin America")
Technology and Gendered Genre Evolution in Latin America114,99 €![Spaces of Identity]( "Spaces of Identity")
Spaces of Identity69,99 €![Urban Spaces]( "Urban Spaces")
Urban Spaces35,99 €![Expression in Contested Public Spaces]( "Expression in Contested Public Spaces")
Expression in Contested Public Spaces142,99 €
This book explores musical and personal experiences
of three Sudanese women performers and analyzes
textual meanings of a particular type of women s
songs in Sudan called aghani al-banaat. Because
there are many discourses about womanhood ,
culture, and gender in Sudan, aghani al-banaat could
stand as another narrative for negotiating
gender/power relations and identity formation by the
Sudanese women. Despite being labeled as loose
and bad singing, aghani al-baanat provided a
discursive space through which the Sudanese women
voiced their alternative narratives of social and
gender relations. It offered both a framework of
negotiating the existing relations as well as a
dream of improvement.The book concludes that
Sudanese women, especially the pioneering performers
of ex-slave descendent origin, created their own
culture and popular literature in which they
contextualize the past, the present, and the future
of their varied realities and fantasies.
of three Sudanese women performers and analyzes
textual meanings of a particular type of women s
songs in Sudan called aghani al-banaat. Because
there are many discourses about womanhood ,
culture, and gender in Sudan, aghani al-banaat could
stand as another narrative for negotiating
gender/power relations and identity formation by the
Sudanese women. Despite being labeled as loose
and bad singing, aghani al-baanat provided a
discursive space through which the Sudanese women
voiced their alternative narratives of social and
gender relations. It offered both a framework of
negotiating the existing relations as well as a
dream of improvement.The book concludes that
Sudanese women, especially the pioneering performers
of ex-slave descendent origin, created their own
culture and popular literature in which they
contextualize the past, the present, and the future
of their varied realities and fantasies.