Tejaswini Ganti Recitations
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The Human Rights Argument for Ending Prostitution in India, 28 B.C
Boston College Third World Law Journal Volume 28 | Issue 2 Article 7 4-1-2008 Recognizing Women's Worth: The umH an Rights Argument for Ending Prostitution in India Nicole J. Karlebach Follow this and additional works at: http://lawdigitalcommons.bc.edu/twlj Part of the Human Rights Law Commons, and the Women Commons Recommended Citation Nicole J. Karlebach, Recognizing Women's Worth: The Human Rights Argument for Ending Prostitution in India, 28 B.C. Third World L.J. 483 (2008), http://lawdigitalcommons.bc.edu/twlj/vol28/iss2/7 This Book Review is brought to you for free and open access by the Law Journals at Digital Commons @ Boston College Law School. It has been accepted for inclusion in Boston College Third World Law Journal by an authorized administrator of Digital Commons @ Boston College Law School. For more information, please contact [email protected]. RECOGNIZING WOMEN’S WORTH: THE HUMAN RIGHTS ARGUMENT FOR ENDING PROSTITUTION IN INDIA Nicole J. Karlebach* INDIAN FEMINISMS: LAW, PATRIARCHIES AND VIOLENCE IN IN- DIA. By Geetanjali Gangoli. Hampshire, England: Ashgate Publishing Company. 2007. Pp. 149. Abstract: In Indian Feminisms: Law, Patriarchies and Violence in India, Geetan- jali Gangoli recounts how the Indian feminist movement, identifiable for its uniquely Indian concepts of womanhood and equal rights, has been effec- tive in promoting equality for women. Gangoli attributes this success to the fact that Indian feminists have influenced legislation and dialogue within the country, while also recognizing the reality of intense divides among castes and religions. This book review examines the vague nature of Indian law in regard to prostitution, a topic that has been the source of extensive feminist debate. -
View Course Outline
Huron University College English 2363F (Fall 2019) Topics in World Literature in English India’s Peripherals: Literature, Graphic Novels, and Film from the Social Margins Instructor: Dr. Teresa Hubel — e-mail: [email protected]; phone: 438-7224, ext. 219 Office Hours: Mondays, 2:30 – 3:30 pm and by appointment (A306) Classes: Mondays, 12:30 – 2:30 pm and Wednesdays, 1:30 – 2:30 pm in HC W112 Prerequisites: At least 60% in 1.0 of English 1000-1999, or permission of the Department. Antirequisite: English 3884E DESCRIPTION: This course is designed to familiarize students with selected works of literature, graphic novels, and film from India with a specific focus on texts that self- consciously address matters related to gender, caste, class, race, and sexuality. The course begins with the later texts of the British Empire in India and moves through the nationalist period, then settles into explorations of some of the most controversial political and social issues that have challenged the nation since India's independence in 1947. We will consider the emotional and psychological investments behind particular social and political placements within India, such as those associated with Dalits, hijras, lesbians, courtesans, and women. Students will be encouraged to analyze the creative works we will study on the course in relation to the diverse historical, social, and cultural movements to which they have contributed. This is a research-learning course. As such, students will be encouraged to develop original interpretations of creative texts. Selected student essays will be published on the Scholarship @ Huron webpage or submitted to Huron’s undergraduate research journal, Liberated Arts. -
Courtesans in Colonial India Representations of British Power Through Understandings of Nautch-Girls, Devadasis, Tawa’Ifs, and Sex-Work, C
Courtesans in Colonial India Representations of British Power through Understandings of Nautch-Girls, Devadasis, Tawa’ifs, and Sex-Work, c. 1750-1883 by Grace E. S. Howard A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in History Guelph, Ontario, Canada © Grace E. S. Howard, May, 2019 ABSTRACT COURTESANS IN COLONIAL INDIA REPRESENTATIONS OF BRITISH POWER THROUGH UNDERSTANDINGS OF NAUTCH-GIRLS, DEVADASIS, TAWA’IF, AND SEX-WORK, C. 1750-1883 Grace E. S. Howard Advisors: University of Guelph Dr. Jesse Palsetia Dr. Norman Smith Dr. Kevin James British representations of courtesans, or nautch-girls, is an emerging area of study in relation to the impact of British imperialism on constructions of Indian womanhood. The nautch was a form of dance and entertainment, performed by courtesans, that originated in early Indian civilizations and was connected to various Hindu temples. Nautch performances and courtesans were a feature of early British experiences of India and, therefore, influenced British gendered representations of Indian women. My research explores the shifts in British perceptions of Indian women, and the impact this had on imperial discourses, from the mid-eighteenth through the late nineteenth centuries. Over the course of the colonial period examined in this research, the British increasingly imported their own social values and beliefs into India. British constructions of gender, ethnicity, and class in India altered ideas and ideals concerning appropriate behaviour, sexuality, sexual availability, and sex-specific gender roles in the subcontinent. This thesis explores the production of British lifestyles and imperial culture in India and the ways in which this influenced their representation of courtesans. -
Nautch’ to the Star-Status of Muslim Women of Hindustani Cinema
Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-7, 2016 ISSN: 2454-1362, http://www.onlinejournal.in A Journey from the Colonial Stigma of ‘Nautch’ To the Star-Status of Muslim Women of Hindustani Cinema Ayesha Arfeen Research Scholar, CSSS/SSS, J.N.U, New Delhi Abstract : This paper tries to explore and indulge Pran Nevile maintains that while the Mughal India into the debate of how the yesteryears tawaifs were saw the advent of the nautch girl on the cultural reduced to mere prostitutes and hence the stigma landscape of the country and her rise to the pinnacle of glory, the annexation by the British of attached to them in the colonial period and how Awadh (1856) in the north and Tanjore (1855) in with the post-colonial period, the stigma is erased the south - the two dominant centres of Indian art by the rising to fame of Muslim actresses of and culture - foreshadowed her decline and fall. Hindustani film industry. This paper turns out to be Pran Nevile, who himself hails from India (British a comparative study of the ‘nautch’ girls as India) surprises me when he uses the term ‘nautch’ portrayed by the British and their downfall on one in the above statement, for the larger than life hand; and the Muslim doyens of Hindustani cinema ‘tawaifs’ of North India. as stars on the other. The tawaifs were professional women performing artists who functioned between the nineteenth and Keywords: Muslim Women, Star Status, Muslim early twentieth century in north India. The word Actresses, Stardom, Hindustani Cinema, Film ‘tawaif’ is believed to have come from the Persian Stars, Nautch, Tawaif tawaif of circumambulation of the kaaba and refers to her movement around the mehfil space, the circle INTRODUCTION. -
With Special Reference to Female Infanticide, Trafficking of Women, Prostitution and Sati Mandeep Kaur* Guru Nanak Dev University, Amritsar, India
ial Scien oc ce S s Kaur, Arts Social Sci J 2017, 8:5 d J n o u a r DOI: 10.4172/2151-6200.1000300 s n t a r l A Arts and Social Sciences Journal ISSN: 2151-6200 Review Article Open Access Crime against Women and Its Suppression in Punjab during 1861 to 1919: With Special Reference to Female Infanticide, Trafficking of Women, Prostitution and Sati Mandeep Kaur* Guru Nanak Dev University, Amritsar, India Abstract The condition of women continued to deteriorate from post Vedic period till the Medieval period and it became worst during the advent of British in Punjab. There was nothing which could be said as the rights of women and women empowerment. Many crimes were committed against her. In the present work the crimes of female infanticide, trafficking of women, prostitution and Sati in the province of Punjab have been discussed during 1861 to 1919, along with the endeavors made by the British in this period to suppress these crimes. The causes which led to the commission of such crimes have been also discussed in this work. Keywords: Women; Crime; Female Infanticide; Trafficking; number of crimes were committed against women in Punjab. Some of Prostitution; Sati; Rights; Police; British them were female infanticide, Sati, Prostitution, Trafficing in women etc. These have been discussed below: Introduction Female infanticide The soil of Punjab has been structure of two ancient civilizations; the Indus Valley Civilization and the Vedic Civilization. In both these It connoted to the killing of female child. As discussed above, the civilizations the condition of women was very good. -
Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr. -
Courtesan Stories
ENGLISH 4881G Fourth Year Seminar in English and Cultural Studies COURTESAN STORIES Instructor Dr. Teresa Hubel Telephone 519-438-7224, ext. 2191 email [email protected] Office A306 Virtual office Wednesdays, 1:30-2:30 pm hours (see note below regarding booking an appointment) Online class Thursdays, 2:30 – 4:20 pm (meeting links will be provided) meetings Course website Log in at http://owl.uwo.ca/ DESCRIPTION: Female performing artists have figured powerfully in the paintings, photographs, histories, stories, poetry, and film that have emerged from the Indian subcontinent in the last 300 years or so. Known by various names – most often as ‘devadasi’ in South India and ‘tawaif’ in the north – and practising their public art in diverse regions of India, these girls and women have been objects of fascination in popular as well as high culture during both the British imperialist and Indian nationalist eras. This course will give students the opportunity to examine representations of these dancers and singers, who might jointly be called ‘courtesans,’ though that term doesn’t effectively capture the distinctive functions that they served in their societies, which included creating and preserving many of the performing arts for which India is now famous. We will study films and literature about them from key historical moments and poetry, letters, and petitions by them in order to come to some way to grasp the profound difference that they embodied in terms of their performance of gender, caste, class, and sexuality. Prerequisites: Prerequisite(s): 1.0 from English 3000-3999 or permission of the Department.2 Antirequisites: none 1 Owing to the pandemic, I will be using my office on campus infrequently throughout the term. -
Kathak's Marginalized Courtesan Tradition the I
Varma 1 Tulika Varma English 184 Prof. Mott 3/22/18 Sensuality and Syncretism: Kathak’s Marginalized Courtesan Tradition The Indian classical dance form known today as Kathak is practiced widely across the subcontinent and the South Asian diaspora. A vibrant, entertaining dance, it has taken many shapes and forms across different stages and spaces. This paper is primarily interested in historicizing the form and exploring how the process was closely managed by Indian nationalism and British Anglicism. I draw on Margaret Walker’s historicization of Kathak in her book India’s Kathak Dance in Historical Perspective and Pallabi Chakravorty’s invaluable Marxist anthropological study of Kathak in Bells of Change: Kathak Dance, Women and Modernity in India to investigate the different genealogies of the form and which histories were preserved during the nationalist reconstruction of “Indian culture” in the 19th century. I explore Kathak’s rich syncretic, philosophical history – specifically the tawaif (courtesan) tradition and its subsequent marginalization, and show how despite concerted efforts to purge this tradition from the “official” history of Kathak, it lingers in the choreographic vocabulary of contemporary practitioners. I then outline the different relationships that these practitioners have with the tawaif tradition, and map how theories and experiences of sensuality and embodiment have shifted through the rise of Indian nationalism as well as contemporary efforts to “reclaim” or excavate the tawaif tradition. However, before elaborating more on this project, it is important to give a brief outline of Kathak as it is known and performed today – the cadences of the movements and gestures and Varma 2 the general repertoire. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
Re-Inscribing the Indian Courtesan: a Genealogical Approach Meenal Tula
Journal of International Women's Studies Volume 15 | Issue 1 Article 5 Jan-2014 Re-Inscribing the Indian Courtesan: A Genealogical Approach Meenal Tula Rekha Pande Follow this and additional works at: http://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Tula, Meenal and Pande, Rekha (2014). Re-Inscribing the Indian Courtesan: A Genealogical Approach. Journal of International Women's Studies, 15(1), 67-82. Available at: http://vc.bridgew.edu/jiws/vol15/iss1/5 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2014 Journal of International Women’s Studies. Re-Inscribing the Indian Courtesan: A Genealogical Approach By Meenal Tula1 and Rekha Pande2 Abstract Women historiography has been one of the major concerns of the feminist movement particularly since 1960s. Looking at the figure of the courtesan in India—its histories, representations, repression and re-emergence, the paper seeks to problematize discourses of both Universalist and minority history writing that have been built around these women. In the context of Post-Colonial theory, and in the light of the dynamic nature of the categories of Truth, Power, Knowledge, and Discourse, the paper seeks to salvage Foucault’s methodology of writing a genealogical history as opening new avenues within the history of the courtesan in India in particular and women’s history writing in general. -
The Art of Imperial Entanglements Nautch Girls on the British Canvas and Stage in the Long Nineteenth Century
The Art of Imperial Entanglements Nautch Girls on the British Canvas and Stage in the Long Nineteenth Century Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg vorgelegt von Zara Barlas, M.A. Erstgutachterin: Prof. Dr. Monica Juneja Zweitgutachterin: Prof. Dr. Dorothea Redepenning Heidelberg, den 6. Mai 2018 Contents Acknowledgements .......................................................................................................... 5 I Introduction .................................................................................................................. 6 Art and Imperialism ........................................................................................................... 9 Hypothesis and Premise ..................................................................................................21 Disciplinary Theory & Methods in the Arts: A Brief Overview ........................................22 Historical Processes .........................................................................................................33 Overview ..........................................................................................................................42 II Framing an Enigma: The Nautch Girl in Victorian Britain .............................................. 44 Defining the Nautch Girl ..................................................................................................45 The Nautch-Girl Genre .....................................................................................................59 -
12 CHAPTER 6.Pdf
135 The ‘moving pictures’ or movies, or films, or cinema came into the global entertainment arena with a storm in the early 20 th century. While the initial efforts were ‘silent’ with live music played and dialogues spoken from the ‘pit’, as the filming technology developed, ‘sub -titles’ came in, displayed within the frame itself. And then it was only a matter of time before sound could be incorporated in the framework, with the actors ‘talking’, thus leading to the new form being also called ‘talkies’. Cinema had its roots in theatre, but combined dramatic narration, song and music, dance and performance. The fact that it allowed multiple screenings at a fraction of the cost of going to a theatre performance, made it an extraordinarily popular medium with the classes and the masses. Unlike in Western (American and European) cinema, song and dance hardly played any role except in a genre called the ‘musical’, in Indian cinema, song and dance are an integral part of the film, often taking the narrative forward in a significant way. In fact, song and dance from Bollywood films also have a life of their own outside the film. In India, movie- making quickly became a huge industry, with Hindi language cinema establishing its roots in Mumbai (Bollywood). But also steadily, film-making in regional languages became equally if not more popular. In this process, many theatre actors as well as trained classical dancers, also made their transition to this new medium which made them better known amongst the masses and earned them much more money than theatre did.