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Suma Chisti

PhD Research Scholar, Department of Humanities and Social Sciences, IIT Kharagpur, E-mail: chisti.suma000@gmail.com, ORCID: https://orcid.org/0000-0001-7304-7481

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 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s12n5

Abstract

In the late nineteenth and early twentieth century colonial India, with the dramatic changes in socio-political scenario the nationalist discourse in India was significantly reshaped. And with the rise of a new nationalist discourse in India, the position and representation of women in Indian nationalist discourse was rethought and redefined – first, because of the rise of Goddess-centric nationalist rhetoric and secondly, the nationalist leaders’ promotion of and call for women participation in the freedom movement. Historian, critics and social scientists find women liberation movement, social reform and cultivation of feminist discourse in India intertwined with the rise of nationalism or national movement in the country. In the late nineteenth and early twentieth century India witnessed the emergence of nationalist concepts of “New Women”, “Modern Indian Women” or “Mother India”. And the rise of these ideas substantiates both the subjective and objective position of women in Indian nationalist discourse. But so far as the position or representation of Indian Muslim women in Indian nationalist discourse is concerned, it has always been difficult to address the issue. While addressing this problem of the position of Indian Muslim women in Indian nationalist discourse some more points and facts need to be taken into account– first, the rise of Two Nation Theory which demanded a separate country for the Muslims of undivided India; secondly, the emergence of the secularist trend of Indian nationalism; thirdly, the significant rise of Hindu nationalism and fourthly, Muslims’ exceptional adherence to the practice of women seclusion due to their religious sentiment. In her novel The Heart Divided (1957) Momtaz Shah Nawaz, a Muslim woman writer of the undivided India, addresses all these concerns. In the novel she tries to figure out a definite role and position of Indian Muslim women in the nationalist discourse of colonial India during anti-colonial movement. My paper tries to explore the position of Muslim women in Indian nationalist discourse through a critical reading of the said novel. It attempts to find out how Muslim women had both the subjective and objective position in Indian nationalism during the freedom struggle. It also tries to address whether the nationalist terms like “New Women”, “Mother India” or “Modern Indian Women” are applicable for the Indian Muslim women.

Keywords: Nationalism, New Women, Muslim Women, Gender, Religion, Two Nation Theory

Kamna Singh

Assistant Professor of English, Punjab Engineering College, Chandigarh. E-mail: kamnasingh@pec.edu.in

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s12n4

 Abstract

Women in Korean television dramas are depicted as modern, multifaceted, feminine and feminist. However, while rich, varied and complex on the surface; the female characters reveal their identities as remaining bound by traditional notions of what it means to be female, albeit a feminist female. Previous studies in this area are few and far between and do not focus on recently aired shows. As Korean dramas play a vital, conscious and subconscious role in shaping the individual and society, such research is the need of the hour; more so as the global popularity of these dramas has made them the unofficial cultural ambassadors of Asia. Through the lens of Donna Haraway’s feminist theory, this paper applies qualitative textual analysis to selected Korean dramas aired in the summer of the year 2020. It finds that female characters in these shows need to embrace what Haraway calls ‘cybernetic identity’. Using the symbol of the cyborg which is gender-neutral, these characters need to embrace ‘multigenderism’ without concern for what ‘category’ this will put them in, thus allowing their self-expression without the binary constraints of being ‘male’ or ‘female’ or the fear of being ‘something in between genders’. This research aims to further Gender Studies and inspire depictions of characters devoid of any preconceived notions in Korean dramas.

 Keywords: Postmodern Feminism, Haraway, Korean Drama, Qualitative Textual analysis

Subarna Bhattacharya

Assistant Professor, Department of English, Symbiosis College of Arts and Commerce, Pune, E-mail: subarna.bhattacharya@live.com

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s12n3

Abstract

In feminist studies, the relation between gender and travel has been addressed in many important critical discourses. Feminist critics have pointed out that travel writing had for long remained oblivious about women’s travel, one reason being that travel was, forever, a masculinist exercise. Underlining the gendered aesthetics of travel writing, feminist criticism has read women’s travelogues as interesting sites of struggle between repeating the normative patterns of male travelling and casting an ‘alternative’ gaze. However, reading women’s travel writing simply as feminist narratives against their masculinist counterparts can be an oversimplification, as it may mean ignoring the deeper complexities underlying the texts. Being an autobiographical form, travel writing creates textual spaces where the formation of selfhood happens through a constant negotiation of the ‘self’ with the ‘world’, not only in terms of gender, but also other subject identities like race, class, and culture. In this context, my paper proposes to read Jamaica Kincaid’s Among Flowers. A Walk in the Himalaya (2005), as a female travel writing, where the question of gender intertwines with her non-white, ex-colonial, diasporic identity during her travel in Himalayan Nepal. My focus would be on examining the writer’s narratorial self as a female agency, influencing, and negotiating her postcolonial identity. The paper will try to address how the travelogue functions as a register of female experiences, while Kincaid, as a post-colonial black traveller, negotiates her position within the existing imperialist paradigm of white travelling.

Keywords: travel, travel-writing, gender, feminism, postcolonialism

Sugyanta Priyadarshini

KIIT Deemed to be University, Bhubaneswar, Odisha, India. riro231110@gmail.com, ORCID: 0000-0001-7660-6162

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s11n6

Abstract

Transgender is a blanket term wrapping individuals whose gender identity, expression or behavior transgresses their biological sex. They are often put on the periphery in terms of finances and the social inclusion. The varying stereotypes of sexual binary recognize the transgenders as socially misfit and economically unaccepted. Emotionally, the transgenders face hardships and lack of social support that push them at the social cross-roads in terms of denial and rejection. Nevertheless, this emotional distress is generally aggravated by the family, friends and acquaintances. This paper examines the emotional binary of Transgenders and parents after their detachment by using an automatically based system on facial gestures called Facial Action Coding system (FACS). Further, their affirmative emotions, such as, Happiness, Sadness, Anger, Disgust, Contempt, Surprise, and Fear is rated with an intensity rate justifying the strength of the respective emotion.  The FACS analysis of emotion of sadness resulting in depression is evaluated by using 20-item measure of the Center for Epidemiologic Studies-Depression Scale (CES-D).  The paper also explores the facilitative coping experiences after the recognition of the sexual identity by noting down the broad scale of emotional bandwidth. However, facial expressions of transgender respondents and their parents are recorded and are selected based on snow ball sampling. The research work has analyzed emotions of transgender respondents and their parents to know the ground reality of real troubles they come across standing on periphery of the society.

Keywords: Transgender, Parents, FACS, Emotions, Facial expressions, CES-D.

Chhavi¹ & Rajiv Bhushan²

 ¹National Institute of Technology Jamshedpur, Hostel- b NIT Jamshedpur – 831014, choudharychhavi06@gmail.com, 0000-0002-2044-0172

²National Institute of Technology Jamshedpur, Associate Professor Department of HSSM Jamshedpur – 831014 India, rbhushan.hum@nitjsr.ac.in, 0000-0002-3646-2181

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s11n2

Abstract

Mahesh Dattani is one of the leading Indian dramatists who responded to the problems of sexuality on the canvass of Indian theatre. He examined various facets of subjugation and marginalization rampant in Indian society. His plays focus on the sub-urban Hindu family and its trifle with gender and alternate sexuality. His plots revolve around the damaging implications of patriarchal constructs and his characters strive for liberty and self-satisfaction beneath hegemonic masculinity, compulsive heteronormativity and prejudiced cultural domain. Regarding his famous play Dance Like a Man, this paper critically examines the existing socio-cultural domain which practices politics of exclusion of androgynous identities behind the façade of peacefully cohabiting heterosexual Indian family and shows how Dattani, has remarkably countered the presentation of the polarized association of gender roles with conventional practice through performance of his protagonist. Set against the backdrop of patriarchal mindset, this paper delineates that the victim of patriarchal norms is not a woman but a man, who has traits of androgyny. It gives a brief account to highlight the significance of androgyny and portrays how androgyny is directly proportional to creativity. It elucidates how androgynous men undergo searing experiences of stigma and social untouchability in a traditional setup and how patriarchal norms reinforce dominant powers of society to stunt the growth of their personality.

Keywords: Androgyny, Creativity, Exclusion, Hegemonic masculinity, Patriarchal norms.

Tanupriya

Assistant Professor, Department of Languages, School of Social Sciences and Humanities, Christ (Deemed to be University), Delhi NCR, E-mail: tanupriya@christuniversity.in

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s11n1

Abstract

Hijras or transwomen in India are gendered identities, but their identities cannot be reduced to the conceptual framework and analysis of ‘sex’, ‘gender’ and ‘sexuality’. Being the minority in India, transgender lives intersect with caste, class, kinship and hierarchy. The study locates these intersections within the scope of the select hijra autobiographies; The Truth About Me: A Hijra Life Story by A. Revathi and I am Vidya by Vidya. The study looks at the notions of ‘family’ which are traditionally woven in heteronormative and patriarchal setups. It examines the gharanas system or subsystems in hijra communities that redefines the structures and hierarchies of the family, and designating the fellow elder hijras with the relation of mata (mother) and cela (disciple), thus forming a kinship which is located beyond the caste, class and religious structures. The emphasis is to study how families are inserted in heteronormative perspectives and argues a redefining of the notion of ‘family’,and to establish and recognize the newer perspectives on ‘family’ which lies outside the traditional setup.

Keywords: Caste, Class, Family, Subsystems