Gender,nationalism and the colonial jail: a study of women activists in Uttar Pradesh

Abstract

An important aspect of Indian women's political participation in the nationalist struggle against colonial rule was their imprisonment and confinement within the walls of the prison. To counter the difficulty and monotony of their prison existence, women developed strong solidarity networks which not only helped them to adjust to the temporary upheaval in their lives but also resulted in their becoming strong and determined individuals with a nationalist consciousness. These women resisted colonial rule through imprisonment and activities in the jail (such as writing poetry) just as they did through nationalist activities within the domestic sphere (such as spinning and weaving). The jail became a site where identities were continuously shaped and restructured. Feelings of pride, resentment, honour and humiliation were all experienced by women prisoners and were continuously sharpened. Women's entry into male dominated spaces dispelled the British stereotypes about Indian women as subordinate, weak and docile. Women were also aware that by endangering their womanhood on the streets and putting their bodies under risk of attack, they proved that they could share common experiences with their fellow men in the public sphere.     

Relating feminisms,nationalisms and imperialisms: Ireland,India and Margaret Cousins's sexual politics

Abstract

From 1907 to 1913 Margaret Cousins was one of the most prominent leaders of the Irish Women's Franchise League, the most militant of the various Irish suffragist groups. A Theosophist, Cousins left Ireland in 1913 for Theosophical headquarters in Madras, spurred by her commitment to “the cause of womanhood the world over”. Throughout the 1920s and 1930s Cousins played a central role in certain forms of Indian feminist and cultural nationalist movements. This article attempts to sketch some of the ways in which Cousins's class and imperial situation provoked and limited her feminist ideology.     

YOUNG WOMEN AND HOUSEWORK

Despite much research which demonstrates the remarkable stability of the inequitable division of domestic labour within heterosexual couples, this key feminist issue is frequently neglected in the literature about contemporary young womanhood. This article begins with a review of literature about the politics of housework. Following this, young women's expectations and experiences of housework are explored through analysis of qualitative interview data in order to explore how they make sense of and respond to the resilience of the traditional sexual division of labour. Men's unequal contribution to housework is conceptualised in this article as an ‘awkward relic of modernity’ because it represents evidence of structures of male dominance at odds with widespread beliefs about progress towards sexual equality. The post-feminist environment of Western neo-liberal democracies, in which assumptions of individualised female empowerment co-exist with the continuation of manifestations of gendered inequality, provides the context against which these issues are theoretically considered.     

country matters: sexing the reconciled Republic of Australia

This essay analyses how Australian postcolonial discourses, influenced by both Republicanism and Reconciliation, deploy the trope of woman to signify political change in both feminist and cultural debates about belonging, national legitimacy and sovereignty. I point out that white feminist rejection of the Queen in favour of embracing indigeneity is itself complicit with a history of ‘incorporating’ and assimilating indigeneity – a complicity that is sublimated in favour of a triumphant rejection of Imperial white womanhood. The essay looks at a contemporary Australian novel, media depictions of Paul Keating's ‘embrace’ of Queen Elizabeth II (as a kind of captivity narrative), critical whiteness studies’ ‘rejection’ of the Queen and the misrecognition of Australia's distinct characteristics as a ‘settler culture’ (that incorporates indigeneity) within Australian feminist debates and claims of ‘transgression’ that are made for interracial relationships in Australia.     

Trickster Humour in Randa Jarrar's A Map of Home: Negotiating Arab American Muslim Female Sexuality

Randa Jarrar’ s A Map of Home (2008), a major contemporary Arab American woman's novel, utilizes trickster humour as a way to resist the ideological manufacture of the Muslim female body propounded by US orientalism, Islamist orthodoxy and secular Arab patriarchy. Current scholarship on A Map of Home has not examined the relationship between humour and contemporary female sexuality. Focusing mostly on authorial tone, this article reads the novel's narrator-protagonist, Nidali Ammar, as a trickster figure, who resists being perceived as a cultural heroine and in doing so disrupts the sacredness of social conventions. The trickster A Map of Home celebrates, and Nidali enacts, prompts readers to laugh at key cultural norms shaping the Muslim female body in post-9/11 US sculpture. This inquiry examines a range of interconnected sexual themes—most notably, ‘proper’ sexual boundaries, orientations and codes of virginity—to illustrate how trickster humour fosters Arab American women's agency.     

Pliant and Compliant: Colonial Indian Art and Postcolonial Cinema

Walter Benjamin's signature hypothesis of 'dialectics at a standstill' rehearsed in his 'Theoretics of Knowledge, Theories of Progress' permits visual images to be elasticized from a then condition in history and culture to a now site of contemporary reality in order to be critiqued in their entirety. Putting this hypothesis to the test, Rajan juxtaposes two late eighteenth-century works of art by East India Company Painters with two late twentieth-century films by Mira Nair and Deepa Mehta to trace trajectories of orientalized desire and unspeakable pleasure as relayed along a woman's body. In all four instances, the central image of woman continues to be an insistent signifier that embodies social values, cultural prejudices and artistic ideals, which, in turn, provide critical, valuable insights into constructions of gendered, aestheticized and sexualized femininity. The image of woman , thus dialectically read, reveals that it is not simply the male colonizer who is always already the oppressor, as is the common assumption, but rather that woman as an abject signifier can be merchandised even by enlightened, postcolonial women. Such a ravaged image of woman remains, therefore, a fixed trope in the hands of male and female artists, traversing coloniality and postcoloniality, and crossing over from art to cinema, with little chance of emancipation. One strategy to grant woman full agency requires the contemporary, feminist viewer to take responsibility and couple aesthetics with an ethical tenor. According to Benjamin, ethics thus defined is a matter of personalized aesthetics. This means that each one of us is entrusted with the responsibility of demanding accountability in the creation of visual culture such that images that demean femininity, disembody female subjectivity, objectify female pleasure and delegitimize desire be judged inappropriate, as incorrect or unappealing visual images and as unavailable for appropriation.     

the body,sexuality and precarity

This article aims at revealing the patriarchal pattern that has dominated Turkish political thought in the 20th century. I analyse the construction of woman's identity in the writings of three prominent thinkers of the early-republican era (1923–1945); namely, Ahmet A?ao?lu, Peyami Safa and Zekeriya Sertel. The thinkers are deliberately chosen since each represents challenging political dispositions vis-à-vis the others. Ahmet A?ao?lu is a liberal-nationalist, Peyami Safa is a well-known conservative thinker and Zekeriya Sertel is a leftist. However, despite the differences between and/or opposing foundations of their approaches all the three thinkers agree that there is a universally valid woman nature, attested by women's reproductive function, and approach the ‘woman issue’ on the basis of this assumption. The thinkers also argue that participation of women in public sphere inevitably results in their masculinization. Moreover, they distinguish between femininity and womanhood and offer their ideal models of womanhood. Although one can trace differences among the models, all converge on the concept of ‘nation's motherhood’ as the most significant feature of ideal womanhood. The main argument of the article is that women's subordination in the Turkish context is reinforced by the wide acceptance of these assumptions, and is further reproduced by the exclusion of the construction of gender typologies in the studies on Turkish political thought for a considerably long time.     

A heroic male and a beautiful woman. Teemu Mäki,Orlan and the ambivalence of the grotesque body

In this article two performances are analysed, Finnish artist Teemu Mäki's video performance The Good Friday (1989) and French artist Orlan's performance of metamorphosis The Re-incarnation of Saint Orlan or Image(s)/New Image(s) . The concept of heroic masculinity is problematized through Mäki's masochistic performance. Orlan undergoes cosmetic surgery in the name of art. Her performances are treated as a cultural statement about gender and as a visualization of the contemporary, commercial ideals of female beauty. This interpretation is framed by the art theoretical concept of the grotesque. In the article the grotesque is approached through the works of Mikhail Bakhtin, Wolfgang Kayser and feminist appropriations of them by Mary Russo and Rosemarie Garland Thomson. Through these works the grotesque is defined as a concept by which phenomena are described in a state of transformation, a state in which they no longer fit into any fixed category. The ambivalence of the performances is stressed in this analysis. The grotesque is defined as a thoroughly political term. The politics of the grotesque is such that the term can be used to indicate that phenomena - bodies, genders and sexualities - are not as natural and self-evident as we would often like to think.     

Labiaplasty,Race and the Colonial Imagination

This article seeks to interrogate the cultural meaning of cosmetic labiaplasty surgery (CLS) in the Western context through a historical examination of the symbolic function of the labia in relation to the construction of racial difference in early colonial race science discourse. It seeks to think through CLS as materially invested in a transnational masculinist imperial encounter with indigenous women from the Cape of Good Hope, who were identified in the race sciences of the eighteenth to nineteenth centuries as ‘Hottentots’ (and sometimes ‘Bushwomen’). We suggest that the production of desire in contemporary CLS practice and discourse has its roots in colonial anthropological Western representations of black female sexuality. The fear of abnormality so strikingly invoked in the medical literature and contemporary accounts of women's desire for CLS appears as a displacement of racial abjection onto the genitals and a production of the female body as the border object upon which the desire for whiteness is transcribed. We identify two interlocking features of this production of white desire: the rejection of the animal body and the correction of sexual deviancy, both of which are articulated through race, specifically the racialised ‘Hottentot’ bodies conjured up by the white, colonial imagination.     

Ironies of Emancipation: Changing Configurations of ‘Women's Work’ in the ‘Mission of Sisterhood’ to Indian Women

On her arrival in Travancore in 1819 Mrs Mault, as wife of the new missionary, immediately set about establishing a school for convert girls and a ‘lace industry’ to employ convert women. Her actions reflect that pattern of activism and organization historians of gender and imperialism have identified as the ‘mission of domesticity’ conducted by European and North American Christian missionary women to their non-Christian ‘sisters’ in the colonial empires being established by their respective nation-states throughout the nineteenth century. Mrs Mault was herself among the first generation of missionary women to pioneer this specifically female branch of colonizing endeavour, designed to ‘emancipate’ Indian women in terms of the norms of metropolitan ideologies of femininity and womanhood.Drawing on a case study of the London Missionary Society's activities in South Travancore, South India during the nineteenth and early twentieth centuries, I argue that this ‘mission of domesticity’ was not a straightforward transfer of conventions of marriage and motherhood to the colonial context. On the contrary, the project was from the start caught in a complex and contradictory web of agency and discourse which ‘remade’ not only convert women but missionary women as well. Central to this process of refiguring femininity on the imperial fulcrum were changes to the meanings of ‘work’ in relation to both ‘home’ and womanhood, articulated through a religious idiom and framework of action. The consequences of these processes, the article argues, were somewhat contrary. On the one hand, the Indian Christian woman is reconstructed as a wife, mother and worker, while on the other, the missionary women are bifurcated: the missionary wife increasingly viewed as an amateur appendage to her husband, firmly secured in the domestic sphere, while the single woman attains a new status as a professional worker.     

Narrative Swerves: Grand Narratives and the Disciplines

Beer explores the legacies of Jean-François Lyotard's proclamation of the death of 'grand narratives', including the gendered dimension of their fall-out in a 'domestication' or everydayness despised because it is perceived to hold no possibilities for invention and newness. Beer does not, however, seek to reinvent 'domestication', but rather to explore the possibilities of the 'narrative swerve': a model of narrative as flexible rather than totalizing. Its possibilities emerge in the philosopher Richard Rorty's account of 'irony' (which he genders as a female trope) and, more powerfully, in the 'trickster' figure of folk-tale which takes on new resonances in postmodern feminisms and in contemporary literature. Rorty's ironist ultimately controls language and meaning through her characteristic device of quotation marks, containing words while disclaiming responsibility for them. A more enabling site for the trickster (conceived by Beer as an enabling feminist thought-tool and not as an identity for women to assume) and for the narrative swerve might, paradoxically, be found in scientific studies, which are, and despite their declared ideals of coherence and testability, fascinated with the relations of deviation and rule. Thus we find spaces-between and across the 'two cultures' as well as other cultural borderlines - for productive knowledge-testing and knowledge-making which are neither held fast by 'grand narratives' nor wholly abandoned in and to their dereliction.     

Giving Afghan Women a Voice: women's writing in Afghanistan

This article considers how far women's rights have improved in Afghanistan since the intervention by the international community in 2001. It examines this question through the author's experience of working with an Afghan women's writing group. It looks at the tension between allowing Afghan women to voice their experiences, and the danger of their writing embracing depictions of the female as ‘victim’. It concludes that while depictions of Afghan womanhood may appear to promote ‘negative’ images, the women themselves offer positive role models.     

Women In the Cut of Danger: Female Subjectivity,Unregimented Masculinity and the Pleasure/Danger Symbiosis from the Gothic Romance to the Erotic Thriller

Abstract: Through a comparison between Daphne du Maurier's 1938 novel Rebecca and Susanna Moore's 1995 novel In the Cut, this article considers the extent to which Franco Moretti's theory of the inevitable dissolution of literary genres is true, with specific regard to the genre of the gothic romance. In evaluating both novels' treatment of female subjectivity, unregimented masculinity and the symbiotic relationship between sexual pleasure and mortal danger, this article investigates the degree to which a contemporary novel such as In the Cut, which is generally acknowledged to be an ‘erotic thriller’, is heavily indebted to the gothic romance and may therefore be interpreted as a continuation of this more traditional genre, and, conversely, the means through which Moore's novel exhibits an overt and defiant resistance to the gothic romance, thereby signifying the dissolution of this particular genre within twentieth-century women's writing.     

dystopia as liberation: disturbing femininities in contemporary Thailand

Despite the stereotypical, outsider view of Thailand as a thriving hub of international sex tourism, traditional and local constructions of Thainess instead privilege the position of the ‘good’ Thai woman—a model of sexual propriety, demure physicality and aesthetic perfection. This is the image of femininity that is heralded by Thailand’s Tourist Authority and by government agencies alike as a marketable symbol of cultural refinement and national pride. But this disturbing ‘utopian’ construction of femininity might for some be considered a dystopia shaped by forms of power centred on elite urban rule. In mainstream definitions of Thainess, the monstrous and grotesque inverses of ‘good’ womanhood are located in the ‘dystopian’ visions of rural-based folk traditions that abound with malevolent female spirits and demons, and in the contemporary Thai horror films that draw on these tropes. Adopted by Thai feminists and by street protestors in Bangkok at times of recent political unrest, portrayals of a ‘monstrous-feminine’ have been adopted as central to a carnivalesque strategy of response and resistance to elite discourses of control. Such forces serve to symbolically disturb and destabilise middle-class constructions of a utopian vision of Thainess with Bangkok as its cultural core. This paper examines instances of how and why the counter-strategy of primitivism and monstrosity has developed, and the extent to which it translates ‘dystopian’ expressions of female sexuality in new imaginaries of ‘dystopia’ as a space of liberation from stultifying cultural and political norms.     

Bridging cross-cultural feminisms: annie besant and women's rights in England and India, 1874-1933

Abstract

Annie Besant was a Victorian radical whose outspoken views included advocacy of women's rights and opposition to British imperial policies. In her mid-forties she went to live in India. Contesting British attempts to Westernize Indian society, Besant found herself in the seemingly anomalous position of defending traditional Indian patriarchy and resisting efforts to reform the status of Indian women. Such conservatism brought on Besant criticism not only from Western liberals and Christian missionaries, but also from many Indian social reformers. When she gradually shifted her views and voiced her support for Indian women's rights, Indian nationalists condemned her as a British imperialist. The conflict between loyalty to national heritage and opposition to traditional patriarchy is one that colonized women have commonly experienced. By examining how an anti-imperialist British feminist responded to the question of women's reform in India, this paper offers another perspective on the complexities of this dilemma.     

Women,Godliness and Personal Appearance in Seventeenth‐Century England 1

This article discusses Lady Jersey's brief sojourn in New South Wales in 1891-92, as the wife of the colonial governor. In the context of colonial anxieties and hopes about the contemporary women's movement, Lady Jersey's aristocratic confidence and imperial authority gave her the appearance of an ‘Advanced Woman’. A published writer and confident public speaker before she arrived in the colony, Lady Jersey took a keen interest in local political affairs, and her demeanour and activity were swiftly satirised in the radical nationalist and frequently misogynist Bulletin. Local feminist groups, perhaps craving some of the legitimate public authority she so readily exercised, sought her patronage and support but were generally doomed to disappointment. The article suggests that Lady Jersey, despite her own conservatism, offered an ambiguous role model for those seeking positive ways in which to imagine female power.     

India’s obsession with Kashmir: democracy,gender, (anti-)nationalism

This article attempts to make sense of India’s obsession with Kashmir by way of a gendered analysis. I begin by drawing attention to the historical and continuing failure of Indian democracy in Kashmir that results in the violent and multifaceted dehumanisation of Kashmiris and, in turn, domesticates dissent on the question of Kashmir within India. This scenario has been enabled by the persuasive appeal of a gendered masculinist nationalist neoliberal state currently enhanced in its Hindutva avatar. I focus on understanding how the violence enacted upon Kashmiri bodies is connected to feminised understandings of the body of Kashmir in India’s imagination of itself as a nation state. I argue that the gendered discourses of representation, cartography and possession are central to the way in which such nationalism works to legitimise and normalise the violence in Kashmir. I conclude with a few reflections on how Kashmir is a litmus test for the discourse on (anti-)nationalism in contemporary India.     

The victorian female civilising mission and women's aspirations towards priesthood in the Church of England

This article analyses the effects of the Victorian female civilizing mission, with its central motif of spiritual womanhood, in shaping women's aspirations towards the Anglican priesthood during the twentieth century. The considerable development of nineteenth-century women's ex officio ministry is documented, and the ensuing clash in early twentieth-century male/clerical and female perspectives on women's appropriate role within church life is analysed. The article concludes with a brief discussion of the legacy of the Victorian civilising mission evident within the post-1960 Anglican debate over women's ordination.