Arts and Humanities Commons^™

The Pearl Of The Prairies: The History Of The Winnipeg Filipino Community, Jon G. Malek

Electronic Thesis and Dissertation Repository

Canadian historical and national narratives often prize the creation of “White Canada” through immigration from European nations. Significant movements of people from the Asia-Pacific region often get left out of these narratives, even though Asian populations have been in Canada as long as white settlers. Furthermore, the growing body of Asian Canadian literature itself has developed a tunnel vision for East and South Asian immigrants, neglecting myriad other groups from regions such as Southeast Asia. While Chinese, Japanese, and South Asian immigrants have dominated immigration from Asia until recently, other groups such as Filipinos have long been living and working …

"More Or Less" Refugee?: Bengal Partition In Literature And Cinema, Sarbani Banerjee

Electronic Thesis and Dissertation Repository

In this thesis, I problematize the dominance of East Bengali bhadralok immigrant’s memory in the context of literary-cultural discourses on the Partition of Bengal (1947). By studying post-Partition Bengali literature and cinema produced by upper-caste upper/middle-class East Bengali immigrant artists, such as Jyotirmoyee Devi’s novel The River Churning (Epar Ganga Opar Ganga 1967, Bengali) and Ritwik Ghatak’s film The Cloud-Capped Star (Meghe Dhaka Tara 1960, Bengali), I show how canonical artworks have propounded elitist truisms to the detriment of the non-bhadra refugees’ representations. To challenge these works, I compare them with perspectives available in Other refugee writers’ …

Yaari With Angrez: Whiteness For A New Bollywood Hero, Teresa Hubel

Department of English Publications

This chapter comments on the relative insignificance of whiteness to Hindi film narratives, with white characters turning up, when they do, often as peripheral figures to create the effect of historical accuracy. It argues that in Hindi cinema, whiteness cannot function as it does in the West, where the legacy of imperialism has made it an unmarked category, whose invisibility allows it to function as a norm against which the aberration of racial others may be measured. In Indian films, whiteness is marked; and it is, increasingly, markedly white—to be resisted, or desired, or dismissed.

From Tawa'if To Wife? Making Sense Of Bollywood's Courtesan Genre, Teresa Hubel

Department of English Publications

Introduction:

Although constituting what might be described as only a thimbleful of water in the ocean that is Hindi cinema, the courtesan or tawa'if film is a distinctive Indian genre, one that has no real equivalent in the Western film industry. With Indian and diaspora audiences generally, it has also enjoyed a broad popularity, its music and dance sequences being among the most valued in Hindi film, their specificities often lovingly remembered and reconstructed by fans. Were you, for example, to start singing "Dil Cheez Kya Hai" or "Yeh Kya Hua" especially to a group of north Indians over the …

Myth, Language, Empire: The East India Company And The Construction Of British India, 1757-1857, Nida Sajid

Electronic Thesis and Dissertation Repository

My thesis investigates the discursive strategies employed by the East India Company during the early colonial period to legitimize mercantile imperialism as an act of preservation for the fast-disintegrating political order that was the Mughal empire in India. By arguing that the interrelationship of myth, history and archive was essential to networks of trade and the establishment of political domination, my thesis offers a new reading of the representations of the political debates surrounding the Company’s scandals and imperial ambitions in the English public sphere. It further demonstrates the centrality of the India question in defining the contours of some …

Alternative Be/Longing: Modernity And Material Culture In Bengali Cinema, 1947-1975, Suvadip Sinha

Electronic Thesis and Dissertation Repository

Engaging in a dialogue with the recent body of scholarship on alternative/multiple modernities, postcolonial studies, Marxism and thing theory, this thesis has two main objectives: first, to examine how the transition of post-colonial India from a primarily feudal to a capitalist form of economy facilitated a historical-materialist relationship with things, objects and commodities; and second, to explore how this relationship challenges and ruptures the singularly hegemonic narrative of modern capital. Spanning a historical and political period from late-colonial India to the urban modernity of 1970s’, Satyajit Ray’s Jalsaghar (1958) and Pratidwandi (1971), Riwik Ghatak’s Ajantrik (1958), Tapan Sinha’s Harmonium (1963), …

A Mutiny Of Silence: Swarnakumari Devi's Sati, Teresa Hubel

Department of English Publications

Aim:
To discuss how Swarnakumari Devi's family connections as much as her sex contributed to why her work faded from the memory of nationalist India.

Introduction:

The historical context that helped to produce the writing of Swarna-kumari Devi Ghosal also gives us a glimmer into some of the possible reasons why her work faded from the literary memory of nationalist India. Some of that context is hinted at in the back pages of her collection of short stories in English, published in 1919 by Ganesh and Co., Madras. Reminding us of the inescapable connection between capitalism and knowledge, these back …

Dr. Balachandra Rajan: From India To Canada, Fragments In Search Of A Narrative - In Memoriam, Teresa Hubel

Department of English Publications

A heartfelt memorial piece for Dr. Balachandra Rajan, an Indian diplomat and poetic scholar, written by Teresa Hubel.

Introduction:

While preparing to write this tribute to Dr. Balachandra Rajan, I found myself wondering what in his eminent life I should be recalling for your benefit. Which events or personal preferences, habits, gestures, or even political commitments and publications can be tallied up to create some kind of coherent narrative that conveys the gist of him? The dilemma is that, when it comes to Dr. Rajan (who in my memory can never be remembered as anyone other than Dr. Rajan, not …

The High Cost Of Dancing: When The Indian Women's Movement Went After The Devadasis, Teresa Hubel

Department of English Publications

Introduction:

On the other side of patriarchal histories are women who are irrecoverably elusive, whose convictions and the examples their lives might have left to us--their everyday resistances as well as their capitulations to authority--are at some fundamental level lost. These are the vast majority of women who never wrote the history books that shape the manner in which we, at any particular historical juncture, are trained to remember; they did not give speeches that were recorded and carefully collected for posterity; their ideals, sayings, beliefs, and approaches to issues were not painstakingly preserved and then quoted century after century. …

In Search Of The British Indian In British India: White Orphans, Kipling’S Kim, And Class In Colonial India, Teresa Hubel

Department of English Publications

Introduction:

Contemporary scholars struggling to keep their work politically meaningful and efficacious often, with the best of intentions, invoke the triad of race, gender and class. But though this three-part mantra is persistently and even passionately recited, usually in the introductory paragraphs of a scholarly piece, ‘attentive listening,’ as historian Douglas M. Peers asserts, ‘reveals that class is sounded with little more than a whisper’ (825). Unlike the other two, class largely remains an under-explored and, consequently, little understood category of experience and inquiry. I can say with certainty that this is true in my own field of postcolonial studies, …

Tommy Atkins In India: Class Conflict And The British Raj, Teresa Hubel

Department of English Publications

TO BE ADDED

Devadasi Defiance And The Man-Eater Of Malgudi, Teresa Hubel

Department of English Publications

Introduction:

In 1947, after over 50 years of agitation and political pressure on the part of a committed group of Hindu reformers, the Madras legislature passed an act into law that would change forever the unique culture of the professional female temple dancers of South India. It was called the Madras Devadasis (Prevention of Dedication) Act. Despite having the wholehearted support of the Indian women’s movement of the time, the Act represented the imposition of androcentric values on a matrifocal and matrilineal tradition, a tradition which had for centuries managed to withstand the compulsions of Hindu patriarchy. The devadasis were …

Charting The Anger Of Indian Women Through Narayan's Savitri, Teresa Hubel

Department of English Publications

From the introduction:

Written in the late 1930s, when a new irascibility crept into the largely female-produced discourse on the status of women in India, The Dark Room is about a particular woman's indignation and revolt. Savitri is a Hindu wife following in the glorified footsteps of other Hindu wives, such as her namesake from the Mahabharata and Sita of the Ramayana. Although she lives up to the ideals of servitude and devotion implicit in these powerful feminine figures, Savitri of The Dark Room is betrayed by a patriarchal system that allows her husband the freedom of infidelity but denies …

"The Bride Of His Country": Love, Marriage, And The Imperialist Paradox In The Indian Fiction Of Sara Jeannette Duncan And Rudyard Kipling, Teresa Hubel

Department of English Publications

Introduction:

For many literary scholars and general readers, the expression 'Kipling's India' neatly delineates the imperialist society that existed on the Indian subcontinent in the late nineteenth century. The phrase, however, is deceptive in its simplicity. It does not reveal, or even imply, the internal workings behind what is certainly a vast imaginative construct, a construct that involves a specific political ideology, various cultural myths, and an extraordinary emotional investment. In the words of one critic, Kipling was "a mythmaker for a culture under protracted stress" (Wurgaft xx). He voiced the bewilderment and memorialized the tragic — and sometimes pathetic …