Aligned, reformist and autarkic agenda (Kishore-Ganpati 145). (Kishore-Ganpati agenda autarkic and reformist Aligned, Non- their with dynasty of expression for Nehru-Gandhi the organ a wonderful were they And inter-caste relationships. and of dowry evils the drama, romance, Westernonce resisted conventions. stories combine three-hour song, Its more than secularización de órganos/ tráfico Palabras clave entorno osinécdoque. bien metáfora, como central, lugar un ocupa agua el texto el que divide en se episodios tres los En neoliberalismo. y el fundamentalismo el que causan tensiones alas sometida realidad, nueva auna paso dando por ideada secular India cómola señala film el Finalmente, ricos. países los en demanda la satisfacer para humanos de órganos tráfico yel media mujer la de clase de empoderamiento el como secundarios, También temas cita global. dan orden se el económico en activa incorporación su país ese que supone para desafío el estudia texto El contemporánea. b la de temas los que aborda Ship of The Resumen Keywords synecdoche. or as metaphor,point stage, focal a takes water film the in episodes three all In neoliberalism. and of fundamentalism opposite by currents the away washed being is India for agenda the Nehruvian that outpoints too West. film the Eventually, the in demand the to oblige trafficking organ and class middle women’s Indian new the empowerment within include to discuss subthemes economy. global Ancillary current the in India of Rising challenges the addresses text The today’s in India. obligation moral and truth for personal quest universal film Gandhi’s Anand Abstract Since independence, Bollywood has re-circulated cultural codes that had had that codes cultural re-circulated has independence,Since Bollywood : Anand Gandhi /liberalisation in India/middle classes/organ trafficking /secularisation trafficking classes/organ India/middle in /liberalisation Gandhi : Anand OF THESEUS (2012)OF THESEUS AGUA / EL SHIP THE EN OF THESEUS (2012), GANDHI OF THESEUS DE ANAND Revista Latente WATER IN ANAND GANDHI’S THE SHIP SHIP THE GANDHI’S WATER ANAND IN : Anand Gandhi/lliberalización económica en India/ clases medias/ clases India/ en económica Gandhi/lliberalización : Anand , de Anand Gandhi, ha alcanzado notoriedad como film independiente independiente film como notoriedad alcanzado ha Gandhi, Anand , de Ship of Theseus úsqueda de la verdad personal y la obligación moral en la India India la en moral obligación yla personal verdad la de úsqueda , 13; noviembre 2015,, 13; noviembre 1697-495X pp. 193-204; ISSN: Universidad de La Laguna La de Universidad (2012) has been praised as an art film that expresses a expresses that film art an as (2012) praised been has Juan José Cruz

Nehru está está Nehru

REVISTA LATENTE, 13; 2015, PP. 193-204 193 REVISTA LATENTE, 13; 2015, PP. 193-204 194 especially, the resolution of the stories are marked by the sometimes unexpected presence presence unexpected sometimes by resolution the the especially, marked of stories are the OK, slum. you the say, may in but water where here? the is Well, development the and, arecord of with life classes blends middle topics rising style, to related the documentary (Groverpar. trafficking of12). organ aring discovers and transplant ambitious stockbroker akidney ayoung who and receives life, own his principles saving moral and his between to choose amonk who has eyes, new gets ablind photographer threeMumbaians: who centres on film The life? our in occurs change of akey person if kind we Do continue same to the paradox: be philosophical of independent production includes the circulation and films. this consumption,and forcultural created arebeing Different niches discourse. nationalist the decentring is capitalism now of expression nationhood; multinational an became Bollywood anumber Twentieth to mid ignore.ween 150 the In too large is million century 200 and bet number ranging of But consumers alarge Africa.’ of Subsaharan asea in of California ‘islands as describe and Drèze Sen Jacques Amartya arewhat They capitalism. globalized of India’s only afraction further, see enjoy 1.2 we benefits will peopleof billion the fully As (cfr. 19). of Dreze-Sen growth rates 1990s way to high early led current the the onwards, 1980s, the in major later the economic and implementedout reforms by Gandhi Rajiv from and epitomes theits in that Hollywood purported. West commodification considered been subversiveas thecultural in first Europe too, it had denounced cinema, (Tejaswine to Hindi 25). alien features code, its signature this Notice that became style’ anaturalistic lesser-known and sequences, actors, of dance song absence and shooting, location budgets, smaller aesthetic, realist from Europe. A‘social imported largely language late 1960sthe 1970s and par.3). (Ahmed a of nation Itwith the view a new introduced 1950s of Cinema nor, Indian New more to related closely my presentation, so-called the of water as a backdrop: cesspool, ponds, sewage pipes, the Arabian Sea, the Baltic Sea, Sea, Baltic the Sea, Arabian pipes, the ponds, sewage abackdrop: cesspool, of water as Gandhi`s extensive use of long takes, travelling camera, extreme close-ups and close-ups and extreme camera, travelling of long use takes, extensive Gandhi`s Anand Gandhi’s carried measures limited the .Initially cinema this expanded further Liberalisation the in didRay notSatyajit course the precludeoeuvre of like creatorsof This (2:38) Fig 1. Episode 1: Aliya (Aida Elkasehf) and Vinay (Faraz Khan). Khan). (Faraz Vinay and Elkasehf) (Aida (2:38) 1: 1. Fig Aliya Episode The Ship of Theseus ShipTheseus of The (2012) (2012) uses three stories to discuss the the stories to discuss three uses - the hazy line that separates masculinist affirmation from family nurture. nurture. family from affirmation masculinist separates that line hazy the environment to cross cultural from his alienated for man ayoung It not is easy circulation. endless in icons coexist wet-sari Bollywood and infanticide, where female rape, random India, like gender-unreconstructed so more and societies in so against, warned we men are dick’ ‘limp the incarnate problem the no on name. keen Western escaping with is foremothers, Aliya or to her gender But origin division. contrast in by cultural/ethnic originated from restrictions avision of free her life she articulates she recovers eyesight, her As career. for Vinay her. to manage exhibits other words, In she refuses dependent herresents being on her her who work edits organises husband, and of kind. is another gender alienation a moment. in see Her we’ll as women of lower India, ordeals in the class/caste (cfr. by 88). Scott family to She unaffected be seems invisible amatrifocal in not her is or and father just absent, divorced, but rendered separated is are her parents fact, In structures. patriarchal confrontation with direct have any not does to seem West. to the them Aliya assimilate that habitus cultural and family, where women the enjoy secular economic abourgeois, in means raised But she was Asia. South in lives and East Near the born in She was feminism. ‘home,’ ‘belonging,’ ‘nation,’ 124). (Mohanti ‘community’ and thefrom thecomplicated itself has it West, ‘questions byof differentiating and feminism.’ Third the in Talpade Developed World ‘Multicultural labels Mohanti Chandra what puts with her line in in expatriated woman professional Egyptian educated script complicate an her adscription.as Aliya’s background the in own, at information home non-diegetic and outside. and But diegetic both of her aspace defending in her problematized position. that se She adamant is discour of West. anti-patriarchal currents But found crisscrossing Ithen Rights post- our in for Civil granted taken commonly is term way the the a ‘feminist’ first tempted as was at toplace her man, I Asa herline class/gender affirmation? couple. the between established power the relationship in irritant an becomes her latent assertiveness transplant, to a thanks recovers her eyesight she gradually As circle. academic the in lecturer printer. She a Vinay is on prints then abraille-coded pictures. her to take allow that sensitive programmes space— colour—and equipped with is her camera technology, state-of-the-art to her. blinded has Thanks that infection a cornea aphotographerby is affected Aliya Mumbai. in for a developed area passes what wholive in professionals class middle urban and are upward They Khan). (Faraz India. Rising in prevalent discourses andthe political on film’snature on views human the in stages and metaphors, synechdoques etc., are Himalayas, from the springs fresh The first episode deals with the couple Aliya (Aida Elkasehf) andVinay Elkasehf) (Aida Aliya couple the with deals first episode The Vinay inadvertently shares in the symbolic violence of world symbolic the the in outside. shares Vinay inadvertently ‘new of western the man’. example for an Vinay pass may to He likely is She’s involved emotionally a professional woman her young in work and beyond Third goes forAliya’sWorld empowerment search necessarily to under role story water play their does in What Aliya? is How feminist

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REVISTA LATENTE, 13; 2015, PP. 193-204 195 REVISTA LATENTE, 13; 2015, PP. 193-204 196 of her memories of a family vacation in Egypt when she was a child. The contrast contrast The a child. when she was Egypt in vacation of her memories of a family sordid thepondyard-a reminder in house centrepiece The of interestis a hersmall aphoto does home the session poor in couple. of avery Aliya blind yet, she was On when one occasion not need subordinate the speak. Spivak’s topos, for Aliya Gayatri Abusing feminism. charged out socially rules sisters fortunate less mically But her econo relation feminism. with puts her on way fact to radical the this and role complementary not the does of accept women private the sphere, in certainly She couple Western the feminism. behind leaves power liberal between relationship invite her to enjoy her Himalayas freedom. the from down rushing There Pradesh. springs to do field city the workHimachal in she she’s until though leaves it even apparent becomes articulate unable to finally lopsided 38-39). their (cfr. relationship List 64; through Mohanty sees This Aliya Aliya, urban squalor is an object of aesthetic speculation. speculation. object of an aesthetic is squalor urban Aliya, groupsinvisible. becomethese For blind discourse, political command off better the Since striking. house is shanty the and Aliya’s on area aposh apartment between It might be risky on my part to pre judge that Aliya’s final therejection to Aliya’s preof on judge that my final part It risky be might hegemonic in Vinay not is masculinity, privilege of conscious his Whereas (35:55) Fig. 2. Episode 1: Aliya feels empowered away from Mumbai. from away empowered (35:55) feels 1: Aliya Episode 2. Fig. (11:02) Fig. 3. Episode 1: Aliya perceives the sublime in poverty. in sublime the (11:02) perceives 1: Aliya 3. Episode Fig. - cultural identity while embracing progress and modernisation. and progress embracing identity while cultural impossible not to pollute one’s it virtually and is or hand, in national tion hand go homogenisa cultural and progress of material evil Westernisation: and good the 2014),(TIFF of Third to battles losing resist shows the Worldcultures Maitreya liver cirrhosis. for treatment his medical accepting includes Maitreya this and monk tothe adopt to fight pharmabusiness, ‘commonsense’ reasoning Vinay),thelatter’s plotof consists main The persuade to lawyer. effort ayoung and C India, in testing animal to ban case court a fighting who is gender but oppression absent (cfr. all is 175). Navarro of her public part activity). So, empathy, as private spaces on or sisterhood based (a house) aslum in yuppie gender who and role intrudes (not she invades sex: Mumbai), in foreigner class expatriate nation of: (she’stures Arabic-speaking an (41:09) Fig 4. Episode 2: Manesh Matreya (Neeraj Kabi) and Cārvāka (Shukla Vinay). (Shukla Cārvāka and Kabi) (Neeraj Matreya (41:09) Manesh 2: Episode 4. Fig (68:05) Fig. 5. Episode 2: Maitreya’s endless pilgrimage to fight pharmabusiness. fight to pilgrimage endless Maitreya’s 2: (68:05) 5. Fig. Episode A ‘monk within a monk’ as actor Kabi described the character in an interview interview an in character the described actor Kabi as A ‘monk amonk’ within Kabi) (Neerajmonk a Jain Matreya Manesh of tells Thesecond story pic takes she thefrom woman Aliya alienate separation of degrees Three ā rv ā ka (Shukla (Shukla ka -

REVISTA LATENTE, 13; 2015, PP. 193-204 197 REVISTA LATENTE, 13; 2015, PP. 193-204 198 ceptance of his urge to survive. Cārvāka’s inspiration endures in the epilogue of epilogue the in endures inspiration Cārvāka’s to survive. urge of his ceptance religion. (globalised) ecumenical and postmodern devotion to that his to Maitreya, declares sarcastically and shirt T aPastafari he wears as character, to this twist acurrent he gives Gandhi film 5 in India in rose that system philosophical a materialist was too. story Cārvāka the in meaningful is lawyer’s The name globalisation. against case his to fight more gather may strength but nirvana, his defers Maytreya aliver transplant, By accepting dilemma. moral way to solve his into a secular Maitreya attention, our he persuades as deserves to its cross. adepts discourages doctrine Jain the that a wall Sea, Arabian the confronts problem, of nation, the those Maitryea and existential for asolution search to his his In lands. barbarian from the Bharat separates that contemporary India. India. to amoot be point seems Rising in or(ecological ethical) Sustainability environment pollutes soul. the the that and produced waste spirit has human the that and save species, our spirit no but will god human that the lieves who be atheist is a consumerism. He mystic against fight his as well as cirrhosis thehis nation’s) to cure (and natural to a find heillness. expect can untouched abodes day, by reduced the habitat being of is His remote,or others. only in cost at the and of live to die, eitheror to dilemma: behalf on Jaipur. ultimate Therehis confronts he to even and suburbs to the from Mumbai treks, endless his in intertwined are truth of pursuit the and Nonviolence others. against violence never oneself, against will free ‘incredible’ social formation that India is becoming in the 2010s. the in becoming is India formation that social ‘incredible’ the confrontedtheinsidefrom is Maitreya andsecularised when cured a film, the I believe that the secular influence is present in the monk’s eventual ac theis eventual monk’sin present influence secular the that I believe Cārv Here lawyer young the clutches to survival. Maitreya Eventually in even ineffectual more difficult, increasingly becoming is Pilgrimage shots show against Maitreya’s battle travelling his and mood in takes Long out, of it act should an be to carried of be violence act has an if For Maitreya (58:20) Fig 6. Episode 2: Kālā Pāni stops Maitreya short short Maitreya stops Pāni Kālā 2: Episode (58:20) 6. Fig

of confronting unsustainable medical research. medical unsustainable of confronting Maitreya’s is abruptly stopped by the kālā pāni, (the pāni, sea) black Maitreya’s stopped abruptly is kālā by the th century BCE, and has survived to this very day. very the In to this survived has and BCE, century ā ka ka - - around me respect me’ (min. 98). This answer gives a touch of local colourthe to a gives touch me’ (min.of 98). melocal respect answer around This well... people He replies glibly ‘I drink well, eat happy so lifestyle. about his him Naveen keeps Ajji what practicality, vs. asks on idealism argument of an middle the In movements organisation. revolutionary now rights and for works a civil involved been had in past the who in Ajji grandmother. yal), alawyer his is with Naveen business does 685). al et (Chandra Even functioning and contribute greased state the to keeping poorer even slogans voters, lured by populist administration, police the servants, civil businessmen, entrenched: economic corruption is petty oligarchy. aresult, an and As politicians, dishonest of network by criminals, professional a shady articulated being for underprivileged. the deduct funds welfare their ‘common the 268-9). people’ (Drèze-Sen calls Policiesestablishment to secure of the what majorityof population) (or part the are overwhelming the Shankar They, theIndia. thestate clients of andof new as story) not first the Vinay in (cfr. 41-2). Drèze-Sen inequality social rising and resources, for exploitation of displacement the communities the of natural hazards, nation’s the health, his of topped GDP environmental cost being risking at the is to Naveen parallel in And rates. growth annual to beat power India corporate in the obsession of suggests the phone.on zeal His professional figures discusses and on computer adesktop he working is aprotective mask, wearing operation. Still ahospital room shot in transplant where from the shows he recovering him hing is to face. receiver face where the heto Stockholm meets him leads of racket the Wasnik) (Yashwant one of victims the done to Shankar Western in poor peopleNaveen’s for countries. market the to quest have justice from organs steals that racket organ of akidney.who ahuman received He learns (112.16) Fig 7. Episode 3: Naveen (Shohum Shah) and .Shankar (Yashwant Wasnik). Wasnik). (Yashwant (112.16) .Shankar and 7. Fig (Shohum Shah) Naveen 3: Episode What Naveen perceives a boom time is adystopia Naveen is for aboom time Ajji perceives San What (Amba is Naveen’s version capitalism national of Asiatic this segment shows too that and of peopledevelopment Naveenlike mirage Aliya placed The has (or Naveen’s developmentestablis unequal The the of India. profession recalls of Naveenfocuses (Shohumstory Shah), stockbrokerfinal The aMumbai crony entrepreneurs with hazy political connections. connections. political crony entrepreneurs hazy with - -

REVISTA LATENTE, 13; 2015, PP. 193-204 199 REVISTA LATENTE, 13; 2015, PP. 193-204 200 guerrillas fight the vested interests of multinationals in resources-rich areas. areas. in resources-rich interests of the multinationals vested fight guerrillas one is hot of those area points where the Maoist the terrorism. Incidentally with charged from Chhattisgarh of a militant case the Ajji after looking abuses. is rights of human mentioned denunciation the script, the but in programmes also planning family the includes, womencourse, forefrontof the in This of role pleas. progressive the of articulate object into for consumption. an leisure crafted revolution—the room/office of her living is on walls the hanging are posters 245; 408). al. et (Kaviraj cfr.Chandra Political away condoms remote in villages giving to limited revolution, his opinionin was herwhich for her ineffectual Naveen one On the reproaches hand, before liberalisation. years the in existed that relations for harmonic more the humane, her nostalgia and justice for social of underdevelopment that be development. order new the within will in for producing exchange in lose its soul it will too high: pay far to modern is be will India price that the it that has India’ Shove in (‘Make 7). of markets. the Ajji eyes bid the spurious in to top China for abid out foreign investment nation to as for sell the a India’ campaign in ‘Make Modi’s regret press the in United adversaries the visited His Modi Narenda States. prime minister ago Just weeks notdid markets. merely nation open global to the the 274). 9/11until (cfr. India with relations Kamdar strained had (104:24), she says become ‘a as slavehas Americans‘ to the and who for decades society.’ as ‘there tenetno thing is that such Forneoliberal Ajji, her grandchild become martyrs and examples to follow in their respective societies or nation-states. societies respective their in follow to examples and martyrs become have who prisoners political of prominent repression the to 89: it alludes min in shown poster red (89:29) Fig. 8. Episode 3: Ajji (Amba Sanyal) and Naveen: Socialism vs. Neoliberalism. Neoliberalism. vs. Socialism Naveen: and Sanyal) Ajji 3: (Amba (89:29) Episode 8. Fig. 1 other, On on the introduced for Ajji’s a token contraception is Gandhi campaign her fight Ajji in between of contradiction asense strikes Liberalisation India in formany us to the liberalisation howscript of leads The metanarrative

My acknowledgment to Ms. Monalisa Brahma for her translation of the motto in the the in motto of the translation her for Brahma Monalisa Ms. to My acknowledgment second-rate consumer goods. Thus, the fate of thethefatenation of Thus, second-rate goods. consumer 1

(min. 117) house to leave them invites his and replies about emerge: it’ ‘I do not Jacobsen curtly double to talk want standards Western and evaporates hospitality point the of meeting, the tackle they When paraphernalia. multicultural with graced exhibit, of asort IKEA around panned is camera the themintowhile his ushershouse, man The of Stockholm. outskirts utopia the Qviström), in Age ababy aNew boomer of(Mats in sorts who lives order. international the in country of position his that his and other words, he learns well,...’. to ‘eat him drink well, should grant that initiative of free the sanctity In Sweden, recipient in the he meets the he in no kidney longer of Shankar’s believes ended Stockholm. up in has kidney Shankar’s that channels from shady learns (min. 111). them punish will God their that only trusts Hindunotheist complex, invisible the in Shankar Amo courts. the to do with to have anything he refuses health, his ruined who to sue those Shankar Naveen encourages When number of individuals. corruption involves and alarger thrives crime that is consequence ultimate An Tamils, etc. against Aryans rest, the against Hindus migrants, against locals void the occupy divisions cultural and thesocial and dishevelled is be to used the slum that microcosm functional The to. resorted successfully has Hindu nationalism that divide-and-rule-strategy the politics, communitarian areflection on spurs Here dwellers. the Gandhi appreciation and of of view slum, in the middle the in twice wall alley on an ends. However,point where stuck road traffic are ashown the poster BJP we up to the movie reach posters Bollywood vote but banks. as all in redundant dispensation, liberal the of victims thesacrificial are reproduction. They social cycle to a ofnever-ending peopleare shackled These own. of their facilities people up forced to the set are and settlement exclude the gradually services into of slum from the relocation for consequences sheer dwellers homelessness. the the with gentrification, foreboding —a by modern high-rises neighbourhood engulfed the shot view shows thestation, police general a in time for first the Naveen Shankar meets When Mumbai. away from middle-class settlers the keeps violence that symbolic the lives. daily their in with cope locals the that stairs of flight endless and de sacs, cul of alleys, maze the lost in he gets as maybe, gesture howhis superfluous we understand also, to dweller; aslum with Naveen’s viewer empathises The wrongremarkable. a doneright to quest technique the documentary and narration the fiction between switch the find I Nagar. Tilak in area aslum in Shankar meeting eventually for and searching at large). South global the (and live peoples of the how to discover most Mumbaians him leads Shankar Naveen is irked by Ajji’s tirades on the evils of liberalisation; for his part part for his of liberalisation; Naveen by Ajji’s irked is on evils the tirades Naveen and a friend of his who had migrated in Sweden in visit Mr. migrated Jacobsen who Naveen had of afriend his and But no one, untouched live not Naveen by even corruption, he can and into slum, we the find howstandard further us takes camera the As not poverty, just for of outrageous, its rampant is slum but the in because Life Khurana) showshis andbrother Manu Naveencamera (Sameer The that follows (cfr. that Sharma . xxx - xxxi After After ): ): -

REVISTA LATENTE, 13; 2015, PP. 193-204 201 REVISTA LATENTE, 13; 2015, PP. 193-204 202 clip shot by the deceased, who we are told was an amateur cave explorer cave —a amateur an told who we are was shotclip deceased, by the We an leave watching conducted transplants. them the foundationby that the of Theseus (dopeopleinto change?) Plato’s seems).like it caveis (nothing environment of rights-free aThird-World human informal, the slum. into trafficking) organ (which Western indicts from the system outsourced, judicial is Guilt Nagar. Mumbai’s Tilak with harbour Stockholm alternate shotsse that shot/reverin set Thesequenceis up toa generous end put scandal. sum to the an Rupees, at 650.000 priced is life Indian Shankar’s conscience. his Jacobsen to wash India. in health of Shankar’s care to take retribution, he and pledges as on guilt lines script Bergman-like includes mock To privileges. of his do Western so, ashamed the of aWhite man caricature they watch the shadows in the cave. the in shadows the watch they and asNaveen, Maitreya Aliya, as intrigued as are We of film the viewers the walls. on cave screen, projected the portrayed onto shadow is quartz human the (130:17) Fig. 9 - (130:19) Fig. 10: Organ trafficking and the international division of labour. of division (130:17)international the and 9-(130:19) Fig. trafficking 10: Fig. Organ The final sequence portrays the Indian receivers at a gathering organised organised gathering receivers at a the Indian sequence portrays final The thefromship us carried has Gandhi Anand we realise end the At of film the enabled has mobility communication and capital of system global The a liberal, Swedish ageing of an image into apathetic Jacobsen turns - G G D Chandra, A Editorial. Shove’ India’ in ‘’Make worldwide new the in dispensation. place their learn and fate their Naveen and meet Maitreya Aliya, backgrounds these In harbour. ofposter Stockholm IKEA the and troubled the of waters Mumbai’s Sealink, of Himalayas, the springs fresh stories: economy. the global three the in for here, all amajor water is And background contentious These world from for the forces prompt and market. India’s services inclusion consumes produces and which class, brought of middle fore anew to rise singly the the Gandhi’s Anand in expressed discussion hmed rover rèze andhi , Jean —A , Jean , Omar: ‘The Hindie Cinema.’ Cinema.’ Hindie ‘The , Omar: , Varun: ‘Cinema of Duality.’ In ‘Why you must watch watch must you ‘Why In of Duality.’ ‘Cinema , Varun: , Anand (dir.): , Anand com/2013/07/19/why-you-must-watch-ship-of-theseus-4-writers-on-1-film-with-3-stories/ In stories.’ 3 with film Penguin,Delhi: 2008. dailypioneer.com/sunday-edition/agenda/cinema-issue-special/the-hindie-cinema.html philosophical the underlying discourse political the to discuss been has My aim Bipan (136:30) — Mridula —Mridula martya Fig 11. Epilogue: The characters meet. Have they changed? they Have meet. Fig 11.characters The Epilogue: The Ship of Theseus of Ship The Sen: Sen: An Uncertain Glory: India and Its Contradictions Its and India Glory: Uncertain An Mukherjee Mukherjee f.i.g.h.t.c.l.u.b Economic and Political Weekly Daily Pi Daily RESOURCES RESOURCES . Recyclewalla-Fortissimo, 2013. . Recyclewalla-Fortissimo, — Adita — Adita . Retrieved 16.07.2014.. Retrieved The ShipTheseus of The oneer, 23.02.2014. Retrieved 16.07.2014.oneer, 23.02.2014. Retrieved Mukherjee Recibido: febrero 2015, febrero 2015.Recibido: mayo aceptado: , 11.10.2014. Pp.7-8. Ship Of Theseus Of Ship : . Liberalisation has unsurpri has . Liberalisation India Since Independence http://moifightclub.wordpress. . London: Penguin, 2013. Penguin, . London: — 4 writers on 1 —4writers http://www. . New New . .

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REVISTA LATENTE, 13; 2015, PP. 193-204 203 REVISTA LATENTE, 13; 2015, PP. 193-204 204 T T S S N M L K K harma cott ist iff ejaswini ishore aviraj avarro ohanty , Elisabeth: ‘Selfhood, Nation and Gender: The Psychic Roots of Sexism, Racism and Na Racism Sexism, of Roots The Psychic Gender: and Nation ‘Selfhood, , Elisabeth: : ‘KATIE CHATS with Actor NEERAJ KABI about his role in the feature film film feature the role in his about KABI NEERAJ Actor with CHATS : ‘KATIE , Joan Wallach: ‘Sexualidad en el debate francés sobre el pañuelo islámico.’ islámico.’ pañuelo el sobre francés debate el en ‘Sexualidad Wallach: , Joan , Kalpana: , Kalpana: , Sudipta: , Sudipta: , Prem — Anuradha Kishore Ganpati: Ganpati: Kishore —Anuradha , Prem T 14.10.2014. 14.10.2014. THESEUS 85-101. pp. (01.2010), dentro.’ 2003. Press, University NC: Duke Durham, Pp. 27-42. 2002. Editore, Longo (eds): Mostov —Julie Ivekovic Rada In tionalism.’ 2010. Press, University , Chandra Talpade: Talpade: , Chandra , Ganti: , Ganti: ejero , Antonia: ‘las claves del feminismo en la India contemporánea: Una mirada desde desde Una mirada contemporánea: India la en feminismo del claves ‘las , Antonia: Clepsydra Bollywood: A Guide to Popular Hindi Cinema Hindi Popular to AGuide Bollywood: Rediscovering Dharavi: Stories from Asia’s Largest Slum Largest Asia’s from Stories Dharavi: Rediscovering The Imaginary Institution of India: Politics and Ideas and Politics of India: Institution Imaginary The . screening at tiff (Toronto International Film Festival) . 06.09.12 Retrieved 06.09.12 . Retrieved Festival) Film (Toronto tiff at International . screening http://www.youtube.com/watch?v=F3B6zd-0sI8 , 8(11.2009), pp. 173-188. Feminism without Decolonizing Borders: Practicing Theory, Solidarity. India: An Illustrated History From Gender to Nation to Gender From . Avingdon: Routledge, 2013. Routledge, . Avingdon: . . Delhi: Penguin, 2000. Penguin, . Delhi: . New York: Columbia York:. New Columbia . Mumbai: Jaico, 2006. Jaico, . Mumbai: Clepsydra . Ravenna: . Ravenna: SHIP OF SHIP , 9 , -