Women, body and war

Kurdish female fighters through Commander Arian and Girls’ War

Bibliographic Data

ID12904679
AuthorsAina Fernàndez i Aragonès (0000-0002-1256-3199, Universitat Pompeu Fabra, corresponding author)
Year2020
Volume15
Issue3
Pages298-314
Publication date2020-08-20
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueMedia War & Conflict (JOURNAL)
Journal identifiersISSN: 1750-6352 • E-ISSN: 1750-6360
PublisherSAGE Publishing (PUBLISHER • US)
DOI10.1177/1750635220948554
OpenAlexW3050631941
LanguageEN
Citations received2
References cited52

The historical relationship between women and war is largely mediated by their body, used as a symbolic expression of the process of occupation, extermination and subjugation of one people by another through the systematic violation of women and girls. Kurdish women live a triple struggle: against the Daesh, against the national oppression of their people by the different states of the Middle East into which Kurdistan is divided, and last – but not least – against patriarchy. In this fight, their body is their weapon: Daesh fighters are put into panic by them, since if they die at the hands of a woman they will not go to paradise. Commander Arian (2018) directed by Alba Sotorra and Girls’ War (2016) directed by Mylène Sauloy portray the struggle of Kurdish women against Daesh in the area of Rojava (Syrian Kurdistan). This article explores the media frame used in those documentaries to explain the relationship that these women establish with violence, a relationship allegedly denatured but sustained throughout history

Ancient history · Criminology · Oppression · Patriarchy · Political science · Politics · Sociology · Spanish Civil War · Gender Politics and Representation · Gender Studies · Gender, Security, and Conflict · History · Law · Philosophy · Psychology · Religious studies · Turkey's Politics and Society

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