Fatema Mernissi
AKA فاطمة المرنيسي
Mernissi was born into a middle-class family. She received her primary education in a school established by the nationalist movement, and secondary level education in an all-girls school funded by the French protectorate. In 1957, she studied political science at the Sorbonne and at Brandeis University, where she earned her doctorate. She returned to work at the Mohammed V University and taught at the Faculté des Lettres between 1974 and 1981 on subjects such as methodology, family sociology and psycho-sociology. She has become noted internationally mainly as an Islamic feminist.
As an Islamic feminist, Mernissi was largely concerned with Islam and women's roles in it, analyzing the historical development of Islamic thought and its modern manifestation. Through a detailed investigation of the nature of the succession to Muhammad, she cast doubt on the validity of some of the hadith (sayings and traditions attributed to him), and therefore the subordination of women that she saw in Islam, but not necessarily in the Qur'an.
As a sociologist, Mernissi did fieldwork mainly in Morocco. On several occasions in the late 1970s and early 1980s she conducted interviews in order to map prevailing attitudes to women and work. She did sociological research for UNESCO and ILO as well as for the Moroccan authorities. In the late 1970s and in the 1980s Mernissi contributed articles to periodicals and other publications on women in Morocco and women and Islam from a contemporary as well as from a historical perspective.
In 2003, Mernissi was awarded the Prince of Asturias Award along with Susan Sontag.
Mernissi was a lecturer at the Mohammed V University of Rabat and a research scholar at the University Institute for Scientific Research, in the same city.
“Maturity is when you start feeling the motion of zaman (time) as if it is a sensuous caress. p.216”
“Mothers should tell little girls and boys about the importance of dreams,' Aunt Habiba said. 'They give a sense direction. It is not enough to reject this courtyard--you need to have a vision of the meadows with which you want to replace it.' But how, I asked Aunt Habiba, could you distinguish among all the wishes, all the cravings which besieged you, and find the one on which you ought to focus, the important dream that gave you vision? She said that little children had to be patient, the key dream would emerge and bloom within, and then, from the intense pleasure it gave you, you would know that that it was the genuine little treasure which would give you direction and light. (p. 214)”
“Once I asked Mina why she danced so smoothly while most of the other women made abrupt, jerky movements, and she said that many of the women confused liberation with agitation. 'Some ladies are angry with their lives,' she said 'and so even their dance becomes an expression of that.' Angry women are hostages of their anger. They cannot escape it and set themselves free, which is indeed a sad fate. The worst of prisons is a self-created one. (p.162)”
“By putting the spotlight on the female child and framing her as the ideal of beauty, he condemns the mature woman to invisibility. In fact, the modern Western man enforces Immanuel Kant's nineteenth-century theories: To be beautiful, women have to appear childish and brainless. When a woman looks mature and self-assertive, or allows her hips to expand, she is condemned ugly. Thus, the walls of the European harem separate youthful beauty from ugly maturity.”