Using the methodology of modern scholars in the fields of Arabic lexicography, linguistics, and psychoanalysis, Tunisian feminist scholar Olfa Youssef investigates the rulings about inheritance, marriage, and homosexuality in the Qur'anic text itself and compares them with the interpretations provided by male Muslim theologians and legal scholars from medieval times to the present. In this book, she makes five central arguments: (1) There is a discrepancy between the layered signification in the Qur'anic text itself and the sutured explanations by religious scholars which have been enacted into law in many Muslim countries today; (2) the plurality of meanings is the quintessential essence of the Qur'an as evidenced in the absence of any sura over which there was unanimous agreement among Muslim scholars; (3) when male privilege was at stake, male legal scholars, to protect their own interests, ignored the divine text and based their rulings on human consensus; (4) Muslim medieval views on gender and homosexuality were more tolerant than contemporary ones; and finally (5), preferring indetermination and perplexity over the finality and certainties found in the judgements of male theologians, Youssef argues that only God knows the Qur'an's true meaning. Her job as a Muslim female scholar is only to raise questions over those human interpretations that many Muslim societies mistake for divine will.

Using the methodology of modern scholars in the fields of Arabic lexicography, linguistics, and psychoanalysis, Tunisian feminist scholar Olfa Youssef investigates the rulings about inheritance, marriage, and homosexuality in the Qur'anic text itself and compares them with the interpretations provided by male Muslim theologians and legal scholars from medieval times to the present. In this book, she makes five central arguments: (1) There is a discrepancy between the layered signification in the Qur'anic text itself and the sutured explanations by religious scholars which have been enacted into law in many Muslim countries today; (2) the plurality of meanings is the quintessential essence of the Qur'an as evidenced in the absence of any sura over which there was unanimous agreement among Muslim scholars; (3) when male privilege was at stake, male legal scholars, to protect their own interests, ignored the divine text and based their rulings on human consensus; (4) Muslim medieval views on gender and homosexuality were more tolerant than contemporary ones; and finally (5), preferring indetermination and perplexity over the finality and certainties found in the judgements of male theologians, Youssef argues that only God knows the Qur'an's true meaning. Her job as a Muslim female scholar is only to raise questions over those human interpretations that many Muslim societies mistake for divine will.

Frieda Ekotto, Kenneth W. Harrow, and an international group of scholars set forth new understandings of the conditions of contemporary African cultural production in this forward-looking volume. Arguing that it is impossible to understand African cultural productions without knowledge of the structures of production, distribution, and reception that surround them, the essays grapple with the shifting notion of what "African" means when many African authors and filmmakers no longer live or work in Africa. While the arts continue to flourish in Africa, addressing questions about marginalization, what is center and what periphery, what traditional or conservative, and what progressive or modern requires an expansive view of creative production.

Frieda Ekotto, Kenneth W. Harrow, and an international group of scholars set forth new understandings of the conditions of contemporary African cultural production in this forward-looking volume. Arguing that it is impossible to understand African cultural productions without knowledge of the structures of production, distribution, and reception that surround them, the essays grapple with the shifting notion of what "African" means when many African authors and filmmakers no longer live or work in Africa. While the arts continue to flourish in Africa, addressing questions about marginalization, what is center and what periphery, what traditional or conservative, and what progressive or modern requires an expansive view of creative production.