#Nargess

[bellamonde]

Shervin Hajipoor, who sang the song “for”, has been arrested. He compiled tweets from Iranians who explained what they were fighting for in these protests and made it into a heartbreaking song. He is now arrested, along with so many others, mainly young Iranians full of hope, with their future ahead of them. 

Be his voice now. Spread the word.

[gatheringbones]

[“When I was finally given a pen after five months in solitary confinement in an Iranian prison, my world grew exponentially. Lying on my stomach on the carpeted floor of my cell, I wrote page after page after page, in very small script, so as not to waste space. The ability to mark words on a page took on a quality that I can only describe as magical—a nothingness replaced by a somethingness, a presence instead of absence—tangible proof that I existed outside of the fear and chaos of my own mind. I’d been ripped out of reality and thrown into a cell, where I couldn’t go to the bathroom or breathe fresh air without begging for permission. Where control of my body, my time, my future, and my rights had all been stolen from me. Where I hadn’t been given a single phone call, much less access to a lawyer. . . .

The question I began to ask myself on the page was, Do I still have choice? When a guard opened the door of my cell, for example, avoiding eye contact and placing a plastic container of food on the hallway floor for me to pick up instead of handing it to me, my body would flood with rage. Other times, at the first glimpse of a face in the crack of my cell door, I would begin sobbing, only to have the cell door shut in my face. I had never had my own emotions be so completely out of my control, and clearly hurting myself or making myself vulnerable to power-tripping guards didn’t serve me, but was it up to me how I reacted? Did “free will” exist in any meaningful way in a context where I was so highly triggered and frightened, or had my reactions become automatic? Without freedom, was there still an “I”? And if so, who was “I” responsible to?

I owed the guards nothing, that I felt certain of. They’d severed the human contract by participating in the illegal imprisonment of an innocent woman for their country’s political gain. Yet underneath the emotional mask worn by each guard was the face of a human being, and what I needed, more than anything else, was human contact. Here was the essence of conflict: What was more important, my mental health or my self-respect? Protecting myself from rejection and more emotional pain, or taking a risk that might lead to getting a little of what I needed to stay sane? I discovered I still had the ability to choose. And I chose to try to interact with the guards in a way that didn’t give away my power.

With every guard, that looked different. With Leila, I would speak Arabic and try and get her to teach me Farsi. With Maryam, I would act the fool (taking my shirt off, for example, and smelling my armpits). Stone-faced Nargess I would flatter in an attempt to get a smile (what beautiful eyes you have, woman!). With Mask Lady (she refused to tell me her name), I would take a warrior stance and stare her down menacingly with my legs spread and my hands on my hips until she eventually gave in and handed me my lunch.”]

Sarah Shourd, from On Dramatic Theater, from The Sentences That Create Us: Crafting A Writer’s Life In Prison, by PEN America and edited by Caits Meissner, 2022

[korrektheiten]

Frankfurt Immigration Center statt „Ordnungsamt Ausländerbehörde“

Tichy:»Die Ausländerbehörde wird aus dem Ordnungsamt herausgelöst und bekommt einen neuen Namen: Frankfurt Immigration Center (FIO). Mit der Umbenennung in FIO wolle man ein politisches Signal senden und sich zu Migration und dem Status von Deutschland als Einwanderungsland bekennen, sagte Bürgermeisterin Nargess Eskandari-Grünberg, Grüne. Ich bin damit einverstanden, dass mir Inhalte von Twitter angezeigt werden. Der Beitrag Frankfurt Immigration Center statt „Ordnungsamt Ausländerbehörde“ erschien zuerst auf Tichys Einblick. http://dlvr.it/T8hB6Y «

[feministloveletters]

Letter to Nargess Mohammadi from Susan Peace 

[germanischer-junge]

👊🏽

Lies mal...

Bitte teilen!

Besonders die Zitate 8, 9 und 10 😡

Belegbare Zitate von Politikern der Grünen Partei*:

1. Cigdem Akkaya,

Die Grünen,

Stellvertretende Direktorin des Essener Zentrums für Türkei:

"Die Leute werden endlich Abschied nehmen von der Illusion, Deutschland gehöre den Deutschen.“

2. Bause, Margarete

Die Grünen (MdL):

"Nur weil jemand vergewaltigt, beraubt oder hoch kriminell ist, ist das kein Grund zur Abschiebung. Wir sollten uns stattdessen seiner annehmen und ihn akzeptieren, wie er ist. Es gibt Menschenrechte.“

3.Stefanie von Berg,

Die Grünen:

"Es ist gut so, dass wir Deutsche bald in der Minderheit sind.“

4. Daniel Cohn-Bendit,

Die Grünen:

"Wir, die Grünen, müssen dafür sorgen, so viele Ausländer wie möglich nach Deutschland zu holen. Wenn sie in Deutschland sind, müssen wir für ihr Wahlrecht kämpfen. Wenn wir das erreicht haben, werden wir den Stimmenanteil haben, den wir brauchen, um diese Republik zu verändern.“

5. Nargess Eskandari-Grünberg,

Die Grünen:

“Migration ist in Frankfurt eine Tatsache. Wenn Ihnen das nicht passt, müssen Sie woanders hinziehen.“

6. Joschka Fischer,

Die Grünen:

„Deutschland muss von (...) innen durch Zustrom heterogenisiert, quasi verdünnt werden.“ (Rezension seines Buches „Risiko Deutschland“)

“Deutsche Helden müsste die Welt, tollwütigen Hunden gleich, einfach totschlagen.”

“Es geht nicht um Recht oder Unrecht in der Einwanderungsdebatte, uns geht es zuerst um die Zurückdrängung des deutschen Bevölkerungsanteils in diesem Land.”

7. Sieglinde Frieß,

Die Grünen, Verdi- Fachbereichsleiterin:

„Ich wollte, dass Frankreich bis zur Elbe reicht und Polen direkt an Frankreich grenzt.“

8. Katrin Göring-Eckardt,

Die Grünen:

„Natürlich gehört der Islam zu Deutschland, und natürlich gehören Muslime zu Deutschland. Und ich finde, darüber können wir ganz schön froh sein. Es wäre sehr langweilig, wenn wir nur mit uns zu tun hätten.“

„Die sexuellen Übergriffe in Schorndorf lassen sich zwar keineswegs entschuldigen, aber sie zeigen einen Hilferuf der Flüchtlinge, weil sie zu wenig von deutschen Fauen in ihren Gefühlen respektiert werden.“

„Unser Land wird sich ändern, und zwar drastisch. Und ich freue mich darauf.“

9. Robert Habeck,

Die Grünen:

„Vaterlandsliebe fand ich stets zum Kotzen. Ich wusste mit Deutschland noch nie etwas anzufangen und weiß es bis heute nicht.“

10. Petra Klamm-Rothberger, Die Grünen:

„In der Heimat des Täters werden vergewaltigte Frauen zum Tode verurteilt. Deshalb musste er sie nach der Vergewaltigung töten. Für diese kulturellen Unterschiede müssen wir Verständnis haben.“

11. Renate Künast,

Die Grünen:

„Integration fängt damit an, dass Sie als Deutscher mal türkisch lernen!“

12. Aydan Özoguz,

Die Grünen,

Beauftragte der Bundesregierung für Migration, Flüchtlinge und Integration:

„Dass Asylbewerber kriminell werden, auch unter Umständen Raub begehen, das ist einzig und allein die Schuld der Deutschen, weil deren Spendenbereitschaft sehr zu wünschen übrig lässt.“

13. Cem Özdemir,

Die Grünen:

"Der deutsche Nachwuchs heißt jetzt Mustafa, Giovanni und Ali!”

14. Claudia Roth,

Die Grünen:

„Die Vorfälle am Kölner Bahnhof kann man als Hilferuf aller Flüchtlinge werten, weil sie sich von deutschen Frauen sexuell ausgegrenzt fühlen.“

„Am Nationalfeiertag der Deutschen ertrinken die Straßen in einem Meer aus roten Türkenflaggen und ein paar schwarzrotgoldenen Fahnen.”

15. Jürgen Trittin,

Die Grünen:

„Es geht nicht um Recht in der Einwanderungsdebatte, uns geht es zuerst um die Zurückdrängung des deutschen Bevölkerungsanteils in diesem Land.“

16. Arif Ünal,

Die Grünen:

Die Abschaffung der Eidesformel

„Zum Wohle des deutschen Volkes” wird im NRW-Landtag einstimmig beschlossen.

Ünal war der Antragsteller.

———————————

Solche Dinge sagen die Grünen Politiker, und trotzdem gibt es in 🇩🇪 genügend, die solche Menschen wählen.

Womöglich wissen diese Wähler aber gar nichts über die Hintergründe dieser "Klima-Partei" und deshalb schadet es nicht, wenn diese Zitate weiter geleitet werden.

[atlanticcanada]

Hundreds march in solidarity with Iranians protesting woman's death in police custody

Hundreds of people marched through the streets of Halifax on Saturday in response to the death of an Iranian woman who was detained for allegedly violating the country's forced veiling laws.

The demonstration, led by the Iranian Cultural Society of Nova Scotia, started in Victoria Park and ended on Sackville Landing.

People chanted and carried signs calling for justice in the death of Mahsa Amini.

“All they want are humanitarian rights,” said Iranian-Canadian Siavesh Farrahi. “We want women’s rights. So that’s all we want, and we need the Canadian peoples' support.”

Iran's morality police arrested Amini in the country's capital, Tehran, last month for allegedly wearing her Islamic headscarf too loosely. Iranian women are required to wear hijabs in public.

Amini later died in custody, and while police say the 22-year-old suffered a heart attack and wasn’t mistreated, her family has doubted this account.

Iranians across their country have since protested on the streets and confronted police, with videos on social media showing women removing and burning their veils. Some women have also cut their hair in protest.

Last week, Prime Minister Justin Trudeau announced Canada would be imposing new sanctions on Iran as a result of a continuing violent crackdown on protesters.

The sanctions will be levelled on "dozens of individuals and entities, including Iran's so-called morality police," the prime minister said.

It’s a move some at the Halifax rally said they were in favour of.

“We appreciate the recent movement by Prime Minister Justin Trudeau – we want a stronger commitment,” said Iranian-Canadian Nargess Kayhani. “We want to make sure that Canada stops these elements, these brutal elements of [the] Iranian regime.”

According to a Sept. 24 tally by The Associated Press, at least 11 people have been killed since the protests began. Iranian state media has said the toll could be as high as 35.

With files from CTVNews.ca and The Associated Press

from CTV News - Atlantic https://ift.tt/xeHOca9

[whileiamdying]

Nargess, 1992

An indistinguishable man and woman run frantically through a dimly lit street as they attempt to outrun a police car that is doggedly pursuing them. Separating near a dead-end alley, the unidentified woman – unable to keep pace – hides behind a mound of garbage while the man, Adel (Abolfazl Poorarab), heads for a busy emergency room as the police close in, resuming their chase on foot. While attempting to disguise his appearance in the restroom of the clinic, he spots an opportune cover when a young woman, Nargess (Atefeh Razavi) awkwardly struggles to escort her ailing father into the bathroom. Insinuating himself into their company by lending his assistance, he hands over his incriminating burglary satchel to the unwitting Nargess and subsequently escapes detection from the police dragnet by accompanying the two into a taxicab under the pretense of concern for the old man. Captivated by the demure and beautiful Nargess, Adel is determined to marry her despite his unemployment and disreputable lifestyle, believing that his desire alone to start anew and lead a respectable married life is sufficient to overcome the temptation to revert to his former life of crime. In preparation for the marriage proposal, Adel visits his estranged mother in the hopes of arranging a proper family introduction, only to be summarily rejected and driven away by her. With Adel disowned and unable to find a family advocate to broker the marriage, his accomplice and former lover, a strong-willed and pragmatic older lady thief named Afagh (Farimah Farjami), takes advantage of his desperation and proposes an insidious offer – she will present herself as Adel’s mother and corroborate his eligibility in exchange for the continuation of their affair and criminal partnership after the marriage – a dangerously short sighted solution that Adel capriciously, and tragically, accepts.

Nargess is a haunting, indelible, and understatedly provocative examination of crime, poverty, and marginalization in a culturally ingrained, codified society. A filmmaker whose background in cinema – like that of compatriot Abbas Kiarostami – was from documentary work, Rakhshan Bani-Etemad retains the acuity and relevance of nonfiction filmmaking to create a compelling fictional story that, nevertheless, captures the underlying reality of the ingrained socio-economic disparity endemic in the post-revolution, patriarchal society of contemporary Iran. By illustrating the immature and selfish Adel’s feeble attempt at conformity and a ‘normal’ life by marrying outside of his outcast, criminal circle (a lawless life represented by Afagh) and into a ‘respectable’ – or more appropriately, socially acknowledged – lower class (an impoverished existence represented by the humble Nargess), Bani-Etemad illustrates the deeply rooted, rigid traditionalism that leads to a cycle of exclusion and repression. Narratively, the insidious mutualism between reinforced outmoded customs (resulting from the nation’s return to fundamentalism with the Islamic Revolution) and the social mobility afforded by the more secular pursuit of wealth and power, is reflected in the figuratively incestuous relationship between Adel and Afagh (the mentor who poses as her lover’s mother), in the seemingly endless bureaucracy that Nargess repeatedly faces (her father’s pension, the parole board, the employment bureau), and also in the strange interrelation that develops among the three characters as a result of Adel’s insincerity and indecision. In the end, the titular Nargess is the not the name of the innocent heroine, but the embodiment of an elusive ideal to a marginalized people: a human struggle to find personal balance between cultural values and economic survival.

[byjencoachsblog]

🍉🍊🍒 𝕎𝔼𝕃ℂ𝕆𝕄𝔼 𝔾𝕀ℝLS🍑🍒🍉 Je souhaite la BIENVENUE à mes 4 #challengeuses du jour pour leur programme #NOELLE #DOMINIQUE #NARGESS #EUFEMIA Merci pour votre confiance, GO GO GO pour votre ▪▪▪ #Détox offerte 🌿▪▪▪ Vos colis sont en route ! ▷ ︎C'est parti pour atteindre votre objectif ensemble ! Et dégommer ses kilos 💪🏼💥 ➕ 𝘐𝘯𝘧𝘰𝘴 𝘦𝘵 𝘪𝘯𝘴𝘤𝘳𝘪𝘱𝘵𝘪𝘰𝘯 𝘦𝘯 𝘔𝘗 #detox #regime #pertedepoids #perdredupoids #reequilibrage #alimentation #amincissement #mincir #maigrirsainement #maigrir #kilosentrop #sesentirbien #10kilos #15kilos #jeveuxmincir #jeveuxmaigrir #programmeminceur #mangersain #mangerbien #healthy #5kilos #booster #faim #pertedepoids #perdreduventre (à Metz, France) https://www.instagram.com/p/CFKaxyYCd74/?igshid=ubamd1sf9da2

[communicants]

Nargess (Rakhshan Bani-Etemad,1992)

[ortut]

Nargess Hashemi - Satellite View from 100 m – Temporary Residency for War Refugees, 2017 (Watercolor, pencil, pen and gouache on canvas)

[imaeunoia]

Maybe i need to start working on my unfinished work. Ik it won’t get done by tonight but i have to work on it or I’m gonna wake up too early tomorrow and fuck myself up like today ☺️

Now i feel like writing shit about some bitches. So the bitch whose name is Nargess, she was very nice to me today and i have to stop bitchin over her. I’m going to leave this area sooner or later. I’ve to leave with a better note.

The other bitch is Ej and that bitch! She is truly a bitch. There’s no medicine for her case. Is just i have to give up and she needs to move on.

Fuck my life this January. I smoked a cigarette tonight.

[belladonnahurricane]

•+• M A G N Ō L I A S •+• Done by Hand • No Machine🔗 Merci infiniment Nargess, hâtes a nos prochain projets ♥︎♥︎♥︎ J'ai commencer a repondre aux courriels pour les demandes de rdv, allez voir vos inbox✨ Done @tatouageroyal 🫶🏻 • • • • • #handpoke #handpoked #stickandpoke #sticknpoke #ornamentaltattoo #ornaments #quebectattooshops #quebectattoo #canadiantattooartist #canadiantattoo #ladytattooers #ttt #blackwork #tttism #blackworkers #blxckink #moontattoo #magnoliatattoo #cosmictattoo https://www.instagram.com/p/CgUbZLaLJHq/?igshid=NGJjMDIxMWI=

[antifainternational]

September 8 - 2013-2018 - Meeting pour Clément : 5 ans de lutte antifasciste

Du 4 au 14 septembre aura lieu le procès des assassins de notre camarade Clément Méric. L'Action Antifasciste Paris-Banlieue appelle à un meeting le samedi 8 septembre à 12h à la Bourse du Travail de Paris. Il réunira différents intervenants autour des axes de lutte chers à Clément, pour tenter de dépasser les enjeux uniquement répressifs de la justice et de mettre en évidence l'évolution de notre antifascisme. 12h: Vente de sandwichs et table de presse 13h: Début du meeting Intervenants: - Matthieu Rigouste, auteur et chercheur indépendant sur les questions des violences policières - Ugo Palheta, auteur et sociologue - Assa Traoré, militante, soeur d'Adama Traoré tué par la gendarmerie en juillet 2016, auteure - Aurélie Garand, militante, soeur d'Angelo Garand tué par le GIGN en mars 2017 - Antonin Bernanos, militant condamné dans l'affaire du quai de Valmy - Nargesse Bibimoune, militante de l'Action Antifasciste Paris-Banlieue [autres intervenants à venir] 17h: Fin du meeting

[quotidiantimes]

Shirin Ebadi Fast Facts - CNN

Shirin Ebadi Fast Facts – CNN

Mother: Minu Yamini Marriage: Javad Tavassolian (1975-divorce date unknown) Children: Nargess (female); Negar (female) Education: University of Tehran, law degree, 1969; University of Tehran, doctorate, 1971 Other Facts Is the first Iranian to win the Nobel Peace Prize. Is a campaigner for women’s and children’s rights and has published numerous books on the subject. Worked to try to change…

[whileiamdying]

Nargess, 1992

An indistinguishable man and woman run frantically through a dimly lit street as they attempt to outrun a police car that is doggedly pursuing them. Separating near a dead-end alley, the unidentified woman – unable to keep pace – hides behind a mound of garbage while the man, Adel (Abolfazl Poorarab), heads for a busy emergency room as the police close in, resuming their chase on foot. While attempting to disguise his appearance in the restroom of the clinic, he spots an opportune cover when a young woman, Nargess (Atefeh Razavi) awkwardly struggles to escort her ailing father into the bathroom. Insinuating himself into their company by lending his assistance, he hands over his incriminating burglary satchel to the unwitting Nargess and subsequently escapes detection from the police dragnet by accompanying the two into a taxicab under the pretense of concern for the old man. Captivated by the demure and beautiful Nargess, Adel is determined to marry her despite his unemployment and disreputable lifestyle, believing that his desire alone to start anew and lead a respectable married life is sufficient to overcome the temptation to revert to his former life of crime. In preparation for the marriage proposal, Adel visits his estranged mother in the hopes of arranging a proper family introduction, only to be summarily rejected and driven away by her. With Adel disowned and unable to find a family advocate to broker the marriage, his accomplice and former lover, a strong-willed and pragmatic older lady thief named Afagh (Farimah Farjami), takes advantage of his desperation and proposes an insidious offer – she will present herself as Adel’s mother and corroborate his eligibility in exchange for the continuation of their affair and criminal partnership after the marriage – a dangerously short sighted solution that Adel capriciously, and tragically, accepts.

Nargess is a haunting, indelible, and understatedly provocative examination of crime, poverty, and marginalization in a culturally ingrained, codified society. A filmmaker whose background in cinema – like that of compatriot Abbas Kiarostami – was from documentary work, Rakhshan Bani-Etemad retains the acuity and relevance of nonfiction filmmaking to create a compelling fictional story that, nevertheless, captures the underlying reality of the ingrained socio-economic disparity endemic in the post-revolution, patriarchal society of contemporary Iran. By illustrating the immature and selfish Adel’s feeble attempt at conformity and a ‘normal’ life by marrying outside of his outcast, criminal circle (a lawless life represented by Afagh) and into a ‘respectable’ – or more appropriately, socially acknowledged – lower class (an impoverished existence represented by the humble Nargess), Bani-Etemad illustrates the deeply rooted, rigid traditionalism that leads to a cycle of exclusion and repression. Narratively, the insidious mutualism between reinforced outmoded customs (resulting from the nation’s return to fundamentalism with the Islamic Revolution) and the social mobility afforded by the more secular pursuit of wealth and power, is reflected in the figuratively incestuous relationship between Adel and Afagh (the mentor who poses as her lover’s mother), in the seemingly endless bureaucracy that Nargess repeatedly faces (her father’s pension, the parole board, the employment bureau), and also in the strange interrelation that develops among the three characters as a result of Adel’s insincerity and indecision. In the end, the titular Nargess is the not the name of the innocent heroine, but the embodiment of an elusive ideal to a marginalized people: a human struggle to find personal balance between cultural values and economic survival.© Acquarello 2003. All rights reserved