Women Academics From The United States

"When directly confronted, in a polemical context, with historical and textual permission for the sexual use of unfree women, Muslim authors sometimes respond defensively, seeking to protect Islam’s reputation. It may be argued, for instance, that Islamic “slavery” bore no resemblance to harsh American chattel slavery. In this view, the Qur’anic permission for men to have sex with “what their right hands possess” was merely a way of integrating war captives into society. Sometimes, it is added that the captives would be “integrated” into the Muslim community through becoming the property of a specific man who would be responsible for them and their offspring. Whatever merit these arguments have in the context of inter-communal polemics and apologetics, however, they are insufficient for internal Muslim reflection. In particular, the notion that women would be integrated into society by bearing offspring to their owners or captors does not apply to the case of the Bani Mustaliq: the rationale for the captors to practice withdrawal, according to other accounts, is that they did not want to impregnate the women lest they spoil their chances to ransom them."

"Though seldom discussed, forced sex with one’s wife might (or, depending on the circumstances, might not) be an ethical infraction, and conceivably even a legal one like assault if physical violence is involved...This scenario is never, however, illicit in the jurists’ conceptual world. Nonconsensual sex—what contemporary Westerners would term rape—might be either a coercive subset of zina, with blame lifted from the coerced participant, or a at type of usurpation (ightisab ), a property crime that by definition cannot be committed by a husband or owner, who possesses an entitlement to, or ownership over, his wife’s or slave’s sexual capacity."

"The silence of the Hanafis can be explained easily: a wife's sexual refusal is irrelevant if not accompanied by her deartre from the conjugal hime, because the hsband is permitted to have sex with her without her consent. Non-Hanafis do not penalize a husband for forcing sex on his wife, but neither do they explicitly authorize it in the way that al-Khassaf does. For all, marital rape is an oxymoron; rape (ightisab) is a property crime that by definition cannot be committed by a husband."

"Though I believe in the strongest possible terms that meaningful consent is a prerequisite for ethical sexual relationships, I am at a loss to find this stance mirrored in the premodern Muslim legal tradition, which accepted and regulated slavery, including sex between male masters and their female slaves....I recall no instance in any Maliki, Hanafi, Shafii, or Hanbali text from the 8th to 10th centuries where anyone asserts that an owner must obtain his female slave’s consent before having sex with her. Indeed, I am aware of no case where anyone asks whether her consent is necessary or"

"Barring any new discoveries, neither internal evidence from the Veda, nor archaeological evidence, nor linguistic substrata alone can make the turning point in any given hypothesis. This situation should be the most persuasive case of all for scholars to allow the questions to unite them in interdependence, rather than suspicions to divide them in monistic theory-making. It is far too early for scholars to begin taking positions and constructing scenarios as if they were truths."

"I have found that this speech is routinely removed from high school anthologies because it associates religion with falsehood and violence, thus offending people who demand that religion must always be presented favorably."

"In more than three decades as an , I have seen the faculty express unwillingness to deal with pain-in-the-neck academic activities, such as repetitive low-level advising, course scheduling, fund-raising, alumni services, the running of some programs, and the preparation of dossiers and other reports. Over time, staff were hired to fill these roles, and — surprise! — started to make decisions and generally to run the place."

"A few years ago, I taught a summer course in literary classics for high school English teachers. When the class began talking about Romeo and Juliet, two of the teachers had trouble following what the others were saying. These two teachers were using high school literature anthologies; the rest of the class had read paperback versions of Romeo and Juliet. We compared the high school anthologies with the paperbacks and found more than three hundred lines missing from the play in each anthology. Neither textbook mentioned that its presentation of Romeo and Juliet was definitely not Shakespeare's. In the anthologies, lines containing sexual material—even such mild words as bosom and maidenhood—were missing. Removing most of the love story shortened Romeo and Juliet considerably, but the publishers did not stop there; they also took out material that had nothing to do with sex. Both anthologies, for example, omitted Romeo's lines,"

"For the first seven years that I worked full-time as an adult, I had no legal right to a credit card, , or other line of credit. Although no law barred unmarried women from obtaining credit, banks and other lending institutions could, and often did, reject our applications without even pretending that it was for some other reason. It wasn't until 1974 that the banned discrimination on the basis of marital status. Back then, that legislation was viewed as a matter of gender equity because credit had not been widely denied to unmarried men and because the new law also prohibited lending institutions from requiring married women to have their husbands' permission to obtain credit. If you've read or seen Margaret Atwood's , you may recall that the government subjugated women by preventing them from having access to money independent of men. That wasn't fantasy or imagination on Atwood's part. It was memory."

"In thinking about the ethics of accountability in research (whose lives, lands, and bodies are inquired into and what do they get out of it?), the goal of “giving back” to research subjects seems to target a key symptom of a major disease in knowledge production, but not the crippling disease itself. That is the binary between researcher and researched—between knowing inquirer and who or what are considered to be the resources or grounds for knowledge production. This is a fundamental condition of our academic body politic that has only recently been pathologized, and still not by everyone. If what we want is democratic knowledge production that serves not only those who inquire and their institutions, but also those who are inquired upon (and appeals to “knowledge for the good of all” do not cut it), we must soften that boundary erected long ago between those who know versus those from whom the raw materials of knowledge production are extracted."

"A researcher who is willing to learn how to “stand with” a community of subjects is willing to be altered, to revise her stakes in the knowledge to be produced."

"Children who seem unlikely to do well ... sometimes find that their work stays on the kitchen wall longer than usual; and so it was with me. I was encouraged to be creative past the usual age because I didn't have much else going for me. I was a skinny, plain, off-looking little girl, deaf in one badly damaged ear from a birth injury, and with a resulting atrophy of the facial muscles that pulled my mouth sideways whenever I opened it to speak and turned my smile into a sort of sneer. I was clever, or, as one of my teachers put it, "too clever for her own good," but not especially charming or affectionate or helpful. I couldn't seem to learn to ride a bike or sing in tune, and I was always the last person chosen for any team."

"You come to a certain age and you know there is no event that can ruin your life. Or completely change it."

"Following in the footsteps of the great Protestant theologian H. Richard Niebuhr and his posthumously published book “The Responsible Self” (1963), one of the most well-known (if controversial) contemporary female Catholic theologians, the late Sister Anne E. Patrick, distinguished two ways of looking at conscience, one passive and one creative. The passive conscience, in the words of Sister Patrick, is the internalized habit of “fulfilling the commonly recognized duties on one’s state in life.” As sons, daughters, parents, spouses, citizens, workers, or devotees of a certain religion we have a certain number of duties our society recognizes, and we have internalized the need to fulfill them. Passive conscience is often bad-mouthed but is also necessary. No society or organization can survive without it. However, passive conscience, while necessary, is not sufficient. …Creative conscience alerts us when following the rules and the orders of the authorities, perhaps even following our long-established habits, would lead to injustice, and we should be brave enough to challenge the usual ways and look for something new."

"The link between art and science for me is my love of color and my love of light."

"We talk about how diversity will open up new possibilities, and she’s a prime example of that. She thinks of stuff that no one has done and does it—pulls it off."

"Now, most astronomers hate dust; dust can dim the light from background stars and galaxies that we're trying to observe. But I love dust. Stellar nurseries are dusty. And we can use our knowledge of dust to understand the structure of molecular clouds. Stellar nurseries are threaded by these long, dense noodlelike structures called filaments. Embedded within filaments are these compact knots of gas called cores — the final stage before star formation."

"We know that molecular clouds are elaborate, and that their complex geometry is tied to star formation. But the images we have of them are flat — they’re inherently two-dimensional."

"Imagination is a huge part of what it means to do science, and I often imagine what it would be like to be up close to these environments."

"... part of the challenge with astronomy is that images are inherently flat... 3-D models uniquely tap into the human brain’s ability to detect patterns. And so that was the idea behind the 3D printing was to have a new way of visualizing stellar nurseries — visual."

"Astronomers are experts on understanding what light is. We can’t touch or sense most of the objects that we study, other than from the light that we receive from them."

"Everyone’s captivated by astronomy, by the stars, what’s out there in the universe...And so I made a conscious choice a long time ago that I wanted to share my work with the community, with Black folks and other people of color, especially."

"One strong motivation [for painting portraits] has been wanting to portray Black people in all the beauty that I see in them...I take a lot of joy in that."

"I grew up in an environment where love for my people and for our culture was expressed all around me. I was raised to identify with Black people around the globe."

"It’s frustrating for me, when people just talk about things at a superficial level and then try to solve the problem through diversity programs."

"We can never make assumptions about the entire universe based on what’s happening in our own backyard...we don’t want to have a theory of star formation just for the Milky Way — we want a universal theory."

"Love is the ultimate thing, I want that to be the connection between everything I do: science, art, or otherwise."

"I paint mostly black people because I am black...I think it’s a cultural crisis in America, how people see themselves, and I think that should be an ambition in any art form to uplift people in some way."

"It’s the strangeness of the universe that has always been my favorite part of physics."

"Astronomers are masters of light; light we can see and most of which we can’t see."

"Pursue your love. Stay hopeful. You’re needed. (Responding to the question "If there was a word you could give to other young people of color who want to be scientists, what would you tell them?")"

"Writing, for the majority of us who call ourselves writers, still consists of “expressing” the exalted emotions related to the act of creating and either appropriating language to ourselves or ascribing it to a subject who is more or less a reflection of ourselves."

"Writing as a system by itself has its own rules and structuring process. The abc lesson says that for letters to become words and for words to take on meanings, they must relate to other letters, to other words, to the context in which they evolve—be it verbal or nonverbal—as well as to other present and absent contexts. (Words are think-tanks loaded with second- and third-order memories that die hard despite their ever-changing meanings.) Thus, writing constantly refers to writing, and no writing can ever claim to be “free” of other writings."

"When asked why they write, writers usually answer that they do so to create a world of their own, make order out of chaos, heighten their awareness of life, transcend their existences, discover themselves, communicate their feelings, or speak to others. Some add that they write as they breathe, as they stay alive, or as “birds sing,” to unfold “the comings and goings of a desire” and “exhaust a task that bears in itself its own bliss.” At times Writing is considered as a substitute for something lying beyond it, at other times as a necessity and an activity in its own right, devoid of any ulterior motive or any finality."

"Writing necessarily refers to writing. The image is that of a mirror capturing only the reflections of other mirrors. [...] Yet how difficult it is to keep our mirrors clean. We all tend to cloud and soil them as soon as the older smudges are wiped off, for we love to use them as instruments to behold ourselves, maintaining thereby a narcissistic relation of me to me, still me and always me. Rare are the moments when we accept leaving our mirrors empty, even though we may laugh watching our neighbors pining away for their own images. The very error that deceives our eyes inflames them; still, we persist in trying to fix a fleeting image and spend our lifetime searching after that which does not exist. This object we love so, let us just turn away and it will immediately disappear. In the dual relation of subject to subject or subject to object, the mirror is the symbol of an unaltered vision of things. It reveals to me my double, my ghost, my perfections as well as my flaws. Considered an instrument of self-knowledge, one in which I have total faith, it also bears a magical character that has always transcended its functional nature. In this encounter of I with I, the power of identification is often such that reality and appearance merge while the tool itself becomes invisible."

"It is said that the writer’s choice is always a two-way choice. Whether one assumes it clear-sightedly or not, by writing one situates oneself vis-à-vis both society and the nature of literature, that is to say, the tools of creation. The way I encounter or incorporate the former, in other words, is the way I confront merge into the latter, for these are the two inseparable faces of a single entity. Neither entirely personal nor purely historical, a mode of writing is in itself a function. An act of historical solidarity, it denotes, in addition to the writer’s personal standpoint and intention, a relationship between creation and society. Dealing exclusively with either one of these two aspects, therefore, proves vain as an approach. So does the preaching of revolution through a writing more concerned with imposing than raising consciousness regarding the process by which language works or regarding the nature, activity, and status of writing itself. No radical change can occur as long as writing is not recognized, precisely, as “the choice of that social area within which the writer elects to situate the Nature of her/his language.”"

"Writing reflects. It reflects on other writings and, whenever awareness emerges, on itself as writing. Like the Japanese boxes that contain other boxes, nest one inside the other ad nihilum, writing is meshing one’s writing with the machinery of endless reflexivity. Footprints of emptiness multiplied to infinity in an attempt at disarming death."

"To write is to become. Not to become a writer (or a poet), but to become, intransitively. Not when writing adopts established keynotes or policy, but when it traces for itself lines of evasion."

"Writing, in a way, is listening to the others’ language and reading with the others’ eyes. The more ears I am able to hear with, the farther I see the plurality of meaning and the less I lend myself to the illusion of a single message."

"Good writing is thus differentiated from bad writing through a building up of skill and vocabulary and a perfecting of techniques. Since genius cannot be acquired, sophisticated means, skills, and knowledge are dangled before one’s eyes as the steps to take, the ladder to climb if one wishes to come any closer to the top of this monument known as Literature. Invoke the Name. Follow the norms. Of. The Well Written. The master-servant’s creed carries on: you must learn through patience and discipline. And what counts most is what it costs in labor to engender a work, hence the parallel often abusively drawn between the act of writing and the birth process."

"The task of criticism is to bring to light the enigmatic content of a work by reestablishing the ties between it and its author or reconstituting the latter’s thought and experience through her/ his works."

"No situation proves too small or too insignificant for a writer, since there is truly no narrow experience, only narrow representation."

"Writing, like a game that defies its own rules, is an ongoing practice that may be said to be concerned, not with inserting a “me” into language, but with creating an opening where the “me” disappears while “I” endlessly come and go, as the nature of language requires. To confer an Author on a text is to close the writing. Eureka! It makes sense! This is it! I hold the key to the puzzle! Fear and seek. Fear and seek. The danger we fear most is forgetting to fear. Seek and lose. Lose, freely. When you are silent, it speaks; when you speak, it is silent. Writing is born when the writer is no longer."

"The vanity of Metaphysics has the merit of marking time: it leads one straight back to the positivist dream of pure truth and pure presence. Naked, but not naked enough, I would say. The language of Buddhism sometimes speaks of the eighty-four thousand entrances to reality, and thinking reality versus non-reality may also lead to one of them as long as this chatter of the soul doesn’t take the finger pointing at the moon for the moon itself. He who represents his own discourse on myths as a myth is acutely aware of the illusion of all reference to a subject as absolute center. The packaging of myths must somehow bear the form of that which it attempts to enclose, if it wishes to come closest to its object. One cannot seize without smothering, for the will to freeze (capture) brings about a frozen (emptied) object."

"Time and space are not something entirely exterior to oneself, something that one has, keeps, saves, wastes, or loses."

"The story circulates like a gift; an empty gift which anybody can lay claim to by filling it to taste, yet can never truly possess. A gift built on multiplicity. One that stays inexhaustible within its own limits. Its departures and arrivals. Its quietness."

"As our elder Lao Tzu used to say, knowing ignorance is strength, ignoring knowledge is sickness; if one is sick of sickness, then one is no longer sick. For a variation, I would say knowledge for knowledge’s sake is sickness. Let her who is sick with sickness pass on the story, a gift unasked for like a huge bag of moonlight. Now stars shine white on a black on a colored sky."

"Never does one open the discussion by coming right to the heart of the matter. For the heart of the matter is always somewhere else than where it is supposed to be."

"A story is not just a story. Once the forces have been aroused and set into motion, they can’t simply be stopped at someone’s request. Once told, the story is bound to circulate; humanized, it may have a temporary end, but its effects linger on and its end is never truly an end."

"Substantial creative achievement demands not necessarily genius, but acumen, bent, persistence, time."