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Tracing the Mark of Circumcision in Modern Malay/sian Art by Izmer Ahmad

Tracing the Mark of Circumcision in Modern Malay/sian Art by Izmer Ahmad

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Published by Amir Muhammad
This dissertation examines the trace of circumcision in modern Malay/sian art. The term ‘Malay/sian’ is used in this dissertation to refer to Malaysians of Malay descent with Islamic affiliation. This research is premised on the hypothesis that the cultural politics that defines the works produced by artists of Malay-Muslim affiliation is constituted by the discourse of the body. This research takes the task of locating this hypothesis in a selection of paintings by these artists. I argue that circumcision, which in Malaysia is understood as the obligatory and identifying mark of the Malay-Muslim (male and female, to varying degrees), is a significant trope underlying the themes of the graphic mark, the body and social power in the production of personal, ethno-religious and national identities.
This dissertation examines the trace of circumcision in modern Malay/sian art. The term ‘Malay/sian’ is used in this dissertation to refer to Malaysians of Malay descent with Islamic affiliation. This research is premised on the hypothesis that the cultural politics that defines the works produced by artists of Malay-Muslim affiliation is constituted by the discourse of the body. This research takes the task of locating this hypothesis in a selection of paintings by these artists. I argue that circumcision, which in Malaysia is understood as the obligatory and identifying mark of the Malay-Muslim (male and female, to varying degrees), is a significant trope underlying the themes of the graphic mark, the body and social power in the production of personal, ethno-religious and national identities.

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Categories:Topics, Art & Design
Published by: Amir Muhammad on Nov 17, 2011
Copyright:Attribution Non-commercial

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01/26/2013

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Tracing the Mark of Circumcision in Modern Malay/sian ArtbyIzmer AhmadBFA, University of Lethbridge, 1992MFA, University of Victoria, 1996A Dissertation Submitted in Partial Fulfillmentof the Requirements for the Degree of Doctor of Philosophyin the Faculty of Fine Arts / Department of History in Art (Interdisciplinary)
©
Izmer Ahmad, 2008University of VictoriaAll rights reserved. This thesis may not be reproduced in whole or in part, by photocopyor other means, without the permission of the author.
 
Supervisory Committee
Tracing the Mark of Circumcision in Modern Malay/sian ArtbyIzmer AhmadBFA, University of Lethbridge, 1992MFA, University of Victoria, 1996
Supervisory Committee
Dr. Astri Wright, (Department of History in Art)
Supervisor
Dr. Michael Bodden, (Department of Pacific and Asian Studies)
Co-Supervisor
Dr. Stephen Ross, (Department of English)
Outside Member
Professor Robert Youds, (Department of Visual Arts)
Outside Member
ii
 
Abstract
Supervisory Committee
Dr. Astri Wright, (Department of History in Art)
Supervisor
Dr. Michael Bodden, (Department of Pacific and Asian Studies)
Co-Supervisor
Dr. Stephen Ross, (Department of English)
Outside Member
Professor Robert Youds, (Department of Visual Arts)
Outside Member
This dissertation examines the trace of circumcision in modern Malay/sian art. The term‘Malay/sian’ is used in this dissertation to refer to Malaysians of Malay descent withIslamic affiliation. This research is premised on the hypothesis that the cultural politicsthat defines the works produced by artists of Malay-Muslim affiliation is constituted bythe discourse of the body. This research takes the task of locating this hypothesis in aselection of paintings by these artists. I argue that circumcision, which in Malaysia isunderstood as the obligatory and identifying mark of the Malay-Muslim (male andfemale, to varying degrees), is a significant trope underlying the themes of the graphicmark, the body and social power in the production of personal, ethno-religious andnational identities.iii

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