Fiction contests Islamophobia either by direct Islamic subjectivity or by oblique readerly defamiliarization.
Related
- Global fiction contests Islamophobia by refusing the clash-of-civilizations model (similarity 0.87)
- Islamophobic claims serve to positively define their speakers rather than describe Muslims (similarity 0.85)
- Literature resists Islamophobic universalism by structuring feeling and imagining alternative experiences (similarity 0.85)
- Even anti-Islamophobic Muslim novels indirectly accept the frame they oppose. (similarity 0.85)
- Academic definitions of Islamophobia must be coupled with lived testimony. (similarity 0.84)
- European Islamophobia is more layered because it rests on living history of Islamic conquest. (similarity 0.83)
- Islamophobia-resisting fiction can work head-on or by unsettling readerly expectations (similarity 0.82)
- Individual Muslim writers are not trapped by the interpretive frame that dominates their reception (similarity 0.81)
- Even failed portrayals of Muslim extremism expose the West’s own comforting fairytales (similarity 0.81)
- History invents phantasms — fantasies attached to Muslim bodies — that remain powerful (similarity 0.81)
- Islamophobic discourse falsely insists the Quran demands literalist reading while the Bible permits critique. (similarity 0.81)
- Literature, drama, art, and cinema sustain a habitus about Islam built on Muslim monsters (similarity 0.81)
- Novels contesting Islamophobia are enmeshed in the very market that trades on it (similarity 0.81)
- Literature’s demand for depth enables more measured appreciation of others. (similarity 0.81)
- Anti-Islamophobia novels can themselves profit from trading in Muslim stereotypes. (similarity 0.80)