Violence against christian women in Islamic Republic of Pakistan : a challenge for the church in Pakistan

Milka, Hanook Ewha Womans Univ. 2012 국내석사

Violence against christian women in Islamic Republic of Pakistan : a challenge for the church in Pakistan

Hanook, Milka 이화여자대학교 신학대학원 2012 국내석사

Violence against women is a worldwide phenomenon. It’s a big issue in almost all religions Muslim, Jews, Hindu, and Buddhist or even in Christianity. From beginning until today, everywhere women are persecuted and no one knows when women’s persecution will stop or it will continue. In the patriarchal societies, men have not treated women as a human but they treat women on gender basis because almost in all religions women are subordinated to men. In Islam, Prophet Muhammad was trying to give the equal status to women, during his period, he allowed women to teach and preach other women even his wife was a rich business women. But on the other side Islam also talks about the "Jihad", (strives against his own self for Allah (God), the mighty and majestic). Jesus Christ consistently treated women with respect. Jesus refused to follow the discriminatory traditions and regulations taught by the Pharisees. As the perfect embodiment of all of God’s qualities, Jesus showed that individuals of both sexes have equal values in God’s eyes. So far from being biased against women or condoning chauvinistic attitudes toward women in any way, Jesus and Prophet Muhammad showed their respect and appreciation towards women. Violence against women is completely contrary to what Jesus and Prophet Muhammad taught. My main argument in this study is based on the Solidarity with the Christian women and to uplift the Christian women in Pakistan. We are all God’s creation, and we are created in God’s image. Christianity and Islam teach about the equality that everyone is equal in front of God but still women are persecuted, beaten, raped, sexually harassed, murdered, and discriminated. Aruna Gnanadason, Pamela Cooper-White, Niaz A. Shah, Dominic J. Moghal and other scholars and theologians are showing their solidarity to raise their voices in favor of women. And they are trying to encourage women that they are not alone. We are with the persecuted women and more over God is with them to raise their voices against violence. In the Islamic State of Pakistan, Christian women are persecuted more because of some Islamic laws to forcibly convert the Christian women. Rape or in some cases murder, normally not only one person involve in that crime but many people also have been involve like families and friends to support crime. Everyone kept silent, no one is ready to raise their voice against women’s oppression, only few of the people and organizations started to raise their voices but still the violence against Christian women is increasing day by day. Through this study, I want to know that how can we empower the Christian women in Pakistan? How can, Christian women get their own rights? How can the church and congregations help persecuted women? And how can we try to modify the Islamic law which people use to persecute innocent Christian women, who are already living in Pakistan as a minority? This study is contributing to get the answer to these sensitive and crucial questions. 여성에 대한 폭력은 세계적인 현상이다. 모든 종교들에 있어서 무슬림, 유대교도, 힌두교도, 불교도, 그리고 기독교에서조차 큰 문제이다. 역사의 시작에서 오늘날까지 모든 곳에서 여성들은 박해를 당했고, 아무도 언제나 여성 폭력이 중단될지 언제까지 지속될지 알지 못했다. 가부장적 사회에서 남성은 여성을 인간으로서가 아니라 성적인 면에서 다루었던 것은 모든 종교에서 여성들이 남성들에게 복속되었기 때문이다. 이슬람에서 선지자 모하메드는, 그의 생존 시, 여성을 동등한 지위로 보려고 했다. 그는 여성들이 다른 여성들에게 설교하는 것을 허락했고, 그의 부인도 부유한 비즈니스 여성이었다. 반면에 이슬람은 “성전” (聖戰 : 전능하신 알라를 위하여 자신과 싸우는)을 또한 말하고 있다. 예수 그리스도께서는 시종 여일하게 여성을 존중하는 태도를 취했다. 예수님은 바리새인들에 의해 교도된 차별적 전통과 규범을 따르는 일을 거부했다. 하나님의 모든 속성을 가진 온전한 실체로서, 하나님 보시기에 양성이 각기 동등한 가치를 소유했음을 예수님은보여 주셨다. 여성에게 대한 편견 혹은 어느 정도의 극단적인 현재의 태도로부터, 예수님과 모하메드는 여성에게 존경과 감사를 보여 주었다. 여성에 대한 폭력은 완전히 예수님과 모하메드의 가르침과 위배된다. 나의 논지는 기독교 여성에 대한 연대와 파키스탄의 기독여성의 지위 향상에 기조를 둔다. 우리는 하나님의 피조물이요, 하나님의 이미지로 지음 받았다. 기독교와 이슬람은 하나님 앞에서 모든 사람은 동등함을 가르친다. 그러나 여성들은 여전히 핍박과 폭력, 성폭행과 조롱, 살해와 차별을 당하고 있다. 아루나나나다손, 파멜라쿠퍼화이트, 니아즈샤, 도미닉모갈 그외의 학자들과 신학자들은 여성을 옹호하기 위해 소리를 높여 연대를 보여주고 있다. 여성들이 혼자가 아니며, 그들이 박해 받는 여성들과 함께하며 더욱이 하나님이 함께 하고 있다고 폭력에 반대하며 목소리를 높여 격려한다. 이슬람국가 파키스탄에서, 기독 여성들은 더욱 핍박을 받는다. 그것은 강제로 개종시키기 위해 강간하고 살인하면서 한 사람이 아닌 집단, 가족과 친구들까지도 공모하는 몇몇이 이슬람법 때문이다. 모든 이가 침묵한다. 아무도 여성의 압박에 대항하여 소리를 높이도록 준비되어 있지 않다. 폭력은 나날이 여전히 증가하고 있다. 이 연구 논문을 통하여 필자는 어떻게 파키스탄의 기독 여성에게 능력을 실어 줄까? 어떻게 기독 여성이자 신의 권리를 가질 수 있을까? 어떻게 교회와 회중이 핍박 받는 여성을 도울 수 있을까? 어떻게 사람들이 소수로 살아 는 죄 없는 기독 여성을 박해하는 이슬람법을 완화시킬 수 있을까? 이 연구는 이러한 민감하고 중대한 문제들에 대한 답을 얻는데 기여 하고자 한다.

Le meme et l'autre : Proust et Godard au miroir de l'intermedialitee

Bertucci, Sonja Milka University of California, Berkeley 2012 해외박사(DDOD)

This dissertation explores two major works of the twentieth century: Marcel Proust's <italic>A la recherche du temps perdu</italic> and Jean-Luc Godard's <italic>Histoire(s) du cinéma.</italic> Both of these works explore the expressiveness of their own medium in relation to other media, thereby opening up diverse channels of sensory experience within their own particular deployment of aesthetic form. In each case, these works draw upon sensory multiplicity in order to develop new ways of conceptualizing the present as well as new ways of generating acts of memory that relate past and present. Most studies of Proust's novel focus on one single medium that becomes a catalyst for the narrator's transformative experience. On the contrary: Proust's text does not make any particular medium the absolute (including the novel's own medium of writing), but develops its own perspective by dramatizing the tensions between multiple regimes of sensuous experience, e.g. between text, music, photography, painting, and optical technologies. Ultimately, the novel shows how any attempt to use one particular medium to capture or master reality fails. Moreover, every act of expression in one medium indexes the partiality of its own opening onto the world, thereby creating a space in which an other medium or an other image of the world becomes possible and desirable. Every particular medium foregrounds the blindspot of other media while simultaneously opening up a zone of attraction toward which other media tend. This movement toward other sensuous channels reveals not only the limits of a particular medium, but constitutes the depth of a medium by holding open an inexhaustible reserve of data that it can never fully capture. The text therefore moves in a space that is characterized by a tension between media that seek to totalize their own points of entry into the world and the inexorable detotalization that ensues when these points of entry are revealed to be incomplete, partial, and revisable. Drawing on the models of the kinetoscope and the kaleidoscope in the early pages of <italic>A la recherche du temps perdu,</italic> the intermedial configuration of the novel points toward its main task for thought: the relation between the one and the multiple. The novel interrogates the very integrity of perception—how humans are able to perceive identity in difference and how individuals are the same and yet different over time—by drawing upon the multiplicity of forms of individuation across different media. Ultimatley, the act of writing recovers the past not by capturing the essence or fullness of time, but by revealing how the same world is modulated over time in differentiated sensuous forms. Intermediality also lies at the core of Jean-Luc Godard's filmic production. Godard interweaves texts, images and sounds in order to explore the power and limits of cinematic language. Godard's filmic productivity prioritizes showing rather than saying and thereby seeks to vanquish the subordination of the image to forms of narrativization specific to textuality. In <italic>Histoire(s) du cinéma,</italic> Godard constructs an intermedial space that seems at first glance to aim at a redemption of past moments of suffering and injustice (in particular associated with the Holocaust). However, as in Proust's novel, a double gesture emerges in Godard's film: a movement that oscillates between totalization and detotalization. Whereas cinema aims to represent "everything," Godard continually frustrates this tendency by using intermediality to achieve a radically different goal: video, montage, and formal fragmentation produces an act of memory that is simultaneously an act of dispossession. By refusing a complete or full representation of the past, Godard's film keeps viewers in a constant state of tension, longing, attentiveness, and ultimately, creativity. For Godard, cinema does not regain time and cannot redeem reality. Cinematic memory is not restorative. Instead, cinema provokes multiple acts of memory that do not merely reproduce that which is gone, but allow latent traces from the past to re-enter human practices and perceptions through the work of art. Working upon the image bestows on the past a new form of existence rather than restoring that which has irrevocably disappeared.