Women in Modern India


Book Description

In a compelling study of Indian women, Geraldine Forbes considers their recent history from the nineteenth century under colonial rule to the twentieth century after Independence. She begins with the reform movement, established by men to educate women, and demonstrates how education changed women's lives enabling them to take part in public life. Through their own accounts of their lives and activities, she documents the formation of their organisations, their participation in the struggle for freedom, their role in the colonial economy and the development of the women's movement in India since 1947.










Eugenic Feminism


Book Description

Asha Nadkarni contends that whenever feminists lay claim to citizenship based on women’s biological ability to “reproduce the nation” they are participating in a eugenic project—sanctioning reproduction by some and prohibiting it by others. Employing a wide range of sources from the United States and India, Nadkarni shows how the exclusionary impulse of eugenics is embedded within the terms of nationalist feminism. Nadkarni reveals connections between U.S. and Indian nationalist feminisms from the late nineteenth century through the 1970s, demonstrating that both call for feminist citizenship centered on the reproductive body as the origin of the nation. She juxtaposes U.S. and Indian feminists (and antifeminists) in provocative and productive ways: Charlotte Perkins Gilman’s utopian novels regard eugenic reproduction as a vital form of national production; Sarojini Naidu’s political speeches and poetry posit liberated Indian women as active agents of a nationalist and feminist modernity predating that of the West; and Katherine Mayo’s 1927 Mother India warns white U.S. women that Indian reproduction is a “world menace.” In addition, Nadkarni traces the refashioning of the icon Mother India, first in Mehboob Khan’s 1957 film Mother India and Kamala Markandaya’s 1954 novel Nectar in a Sieve, and later in Indira Gandhi’s self-fashioning as Mother India during the Emergency from 1975 to 1977. By uncovering an understudied history of feminist interactivity between the United States and India, Eugenic Feminism brings new depth both to our understanding of the complicated relationship between the two nations and to contemporary feminism.







Anglophone Indian Women Writers, 1870–1920


Book Description

The result of extensive archival recovery work, Ellen Brinks's study fills a significant gap in our understanding of women's literary history of the South Asian subcontinent under colonialism and of Indian women's contributions and responses to developing cultural and political nationalism. As Brinks shows, the invisibility of Anglophone Indian women writers cannot be explained simply as a matter of colonial marginalization or as a function of dominant theoretical approaches that reduce Indian women to the status of figures or tropes. The received narrative that British imperialism in India was perpetuated with little cultural contact between the colonizers and the colonized population is complicated by writers such as Toru Dutt, Krupabai Satthianadhan, Pandita Ramabai, Cornelia Sorabji, and Sarojini Naidu. All five women found large audiences for their literary works in India and in Great Britain, and all five were also deeply rooted in and connected to both South Asian and Western cultures. Their works created new zones of cultural contact and exchange that challenge postcolonial theory's tendencies towards abstract notions of the colonized women as passive and of English as a de-facto instrument of cultural domination. Brinks's close readings of these texts suggest new ways of reading a range of issues central to postcolonial studies: the relationship of colonized women to the metropolitan (literary) culture; Indian and English women's separate and joint engagements in reformist and nationalist struggles; the 'translatability' of culture; the articulation strategies and complex negotiations of self-identification of Anglophone Indian women writers; and the significance and place of cultural difference.




Indian Women's Writing in English


Book Description

"This is a remarkable collection of information on Indian women's writing written originally in English. Beginning from the 19th century, it introduces 444 writers of poetry and fiction. Now, it has been a part of common critical parlance to say that the Indian English women's writing is in ascendance. One aim of this bibliography is to illustrate this phenomenon and to emphasise the variety of writing. Writers included in the bibliography come from all over India and from the Indian diaspora all over the world. Another aim of this bibliography is to make us aware of the constructed nature of writerhood. A given writer's texts do not exist and circulate in a vacuum but in a context. We can see that Indian English women's writing is taking place. But, what we do not see is the critical establishment, that is, literary scholars and critics, taking much note of it."




Women in the Indian National Movement


Book Description

This book examines the participation of the women of North India in the Indian nationalist movement, portraying how women's lives were significantly affected and reshaped by their involvement in the freedom struggle. The author discusses how women's participation in this mass movement was encouraged by `the domestication of the public sphere' so that they could enter the public domain without being alienated from their domestic lives. She argues that the raised consciousness engendered by women's participation in the freedom struggle paved the way for a gradually evolving idea of women's emancipation.







The Golden Threshold


Book Description

It is at my persuasion that these poems are now published. The earliest of them were read to me in London in 1896, when the writer was seventeen; the later ones were sent to me from India in 1904, when she was twenty-five; and they belong, I think, almost wholly to those two periods. As they seemed to me to have an individual beauty of their own, I thought they ought to be published. The writer hesitated. "Your letter made me very proud and very sad," she wrote. "Is it possible that I have written verses that are 'filled with beauty,' and is it possible that you really think them worthy of being given to the world? You know how high my ideal of Art is; and to me my poor casual little poems seem to be less than beautiful—I mean with that final enduring beauty that I desire." And, in another letter, she writes: "I am not a poet really. I have the vision and the desire, but not the voice. If I could write just one poem full of beauty and the spirit of greatness, I should be exultantly silent for ever; but I sing just as the birds do, and my songs are as ephemeral." It is for this bird-like quality of song, it seems to me, that they are to be valued. They hint, in a sort of delicately evasive way, at a rare temperament, the temperament of a woman of the East, finding expression through a Western language and under partly Western influences. They do not express the whole of that temperament; but they express, I think, its essence; and there is an Eastern magic in them. Sarojini Chattopadhyay was born at Hyderabad on February 13, 1879. Her father, Dr. Aghorenath Chattopadhyay, is descended from the ancient family of Chattorajes of Bhramangram, who were noted throughout Eastern Bengal as patrons of Sanskrit learning, and for their practice of Yoga. He took his degree of Doctor of Science at the University of Edinburgh in 1877, and afterwards studied brilliantly at Bonn. On his return to India he founded the Nizam College at Hyderabad, and has since laboured incessantly, and at great personal sacrifice, in the cause of education.