Pub Date : 2021-04-01DOI: 10.1215/15366936-8913188
Min Young Godley
Abstract:The awarding of the 2016 Man Booker International Prize to Deborah Smith's English translation of The Vegetarian brought global recognition to emergent Korean literature, but domestically it has sparked outrage among numerous Korean scholars who believe the literal inaccuracies in Smith's translation have brought about a "national disgrace." Situating this overheated reaction in the larger context of the colonial history of Korean nationalism, this article points out the irony that the "noble cause" of antiimperialist resistance has historically led to the silencing of women's voices in the context of preserving and transmitting an idea of quintessential Korean culture to an international audience. Such nationalist tendencies demand the "feminization" of the translator—requesting her to be barely visible while performing a self-effacing humility in deference to the putatively "original" culture. In contrast to this tendency, reading Han's original and Smith's translation together makes visible the damages that both colonization and nationalism have inflicted on the representation of female experiences. In the end, what truly scandalizes nationalist critics is not the failure of the translator to accurately convey Korean experiences, but the success of the translation in conveying an area of Korean experience they tend to neglect: that of female subjectivity.
{"title":"The Feminization of Translation: Gender Politics in the Translation Controversy over Han, Kang's The Vegetarian","authors":"Min Young Godley","doi":"10.1215/15366936-8913188","DOIUrl":"https://doi.org/10.1215/15366936-8913188","url":null,"abstract":"Abstract:The awarding of the 2016 Man Booker International Prize to Deborah Smith's English translation of The Vegetarian brought global recognition to emergent Korean literature, but domestically it has sparked outrage among numerous Korean scholars who believe the literal inaccuracies in Smith's translation have brought about a \"national disgrace.\" Situating this overheated reaction in the larger context of the colonial history of Korean nationalism, this article points out the irony that the \"noble cause\" of antiimperialist resistance has historically led to the silencing of women's voices in the context of preserving and transmitting an idea of quintessential Korean culture to an international audience. Such nationalist tendencies demand the \"feminization\" of the translator—requesting her to be barely visible while performing a self-effacing humility in deference to the putatively \"original\" culture. In contrast to this tendency, reading Han's original and Smith's translation together makes visible the damages that both colonization and nationalism have inflicted on the representation of female experiences. In the end, what truly scandalizes nationalist critics is not the failure of the translator to accurately convey Korean experiences, but the success of the translation in conveying an area of Korean experience they tend to neglect: that of female subjectivity.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47851846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-01DOI: 10.1215/15366936-8913151
E. Chowdhury
Abstract:In this article the author builds on the idea of Bangladeshi national cinema as human rights cinema to explore its role in documenting and engendering understanding about women, vulnerability, and agency within a Muktijuddho gender ideology. Drawing from feminist sociologist Patricia Hill Collins's conceptualization of a Black gender ideology, the author proposes that in cinematic traditions, an idealized Muktijuddho gender ideology influences and entrenches gendered social norms and reinforces perceptions of masculinity and femininity in war. These perceptions serve to justify patterns of legibility, recognition, and rejection for discursive practices of national inclusion and exclusion. Specifically, the author analyzes Nasiruddin Yousuff's Guerrilla (2011), an award-winning film featuring the story of Bilqis Banu, a middle-class, Muslim female combatant who takes on at once the national struggle for selfdetermination and the gender struggle against patriarchal cultural norms. The film opens up new ways of imagining the category birangona and elicits a deeper appreciation of differentiated agency, vulnerability, and humanity.
摘要：在这篇文章中，作者以孟加拉国国家电影作为人权电影的理念为基础，探讨其在Muktijudho性别意识形态中记录和促进对妇女、脆弱性和能动性的理解方面的作用。根据女权主义社会学家Patricia Hill Collins对黑人性别意识形态的概念，作者提出，在电影传统中，理想化的Muktijudho性别意识形态影响和巩固了性别化的社会规范，并强化了对战争中男性和女性的看法。这些观念有助于证明民族包容和排斥的话语实践的易读性、承认和拒绝模式是合理的。具体而言，作者分析了Nasiruddin Yousuff的《游击队》（2011），这是一部获奖电影，讲述了中产阶级穆斯林女战士Bilqis Banu的故事，她同时承担了民族自决斗争和反对父权文化规范的性别斗争。这部电影开辟了想象比兰戈纳类别的新方式，并引发了对差异化代理、脆弱性和人性的更深层次的理解。
{"title":"Ethical Reckoning: Human Rights and National Cinema in Bangladesh","authors":"E. Chowdhury","doi":"10.1215/15366936-8913151","DOIUrl":"https://doi.org/10.1215/15366936-8913151","url":null,"abstract":"Abstract:In this article the author builds on the idea of Bangladeshi national cinema as human rights cinema to explore its role in documenting and engendering understanding about women, vulnerability, and agency within a Muktijuddho gender ideology. Drawing from feminist sociologist Patricia Hill Collins's conceptualization of a Black gender ideology, the author proposes that in cinematic traditions, an idealized Muktijuddho gender ideology influences and entrenches gendered social norms and reinforces perceptions of masculinity and femininity in war. These perceptions serve to justify patterns of legibility, recognition, and rejection for discursive practices of national inclusion and exclusion. Specifically, the author analyzes Nasiruddin Yousuff's Guerrilla (2011), an award-winning film featuring the story of Bilqis Banu, a middle-class, Muslim female combatant who takes on at once the national struggle for selfdetermination and the gender struggle against patriarchal cultural norms. The film opens up new ways of imagining the category birangona and elicits a deeper appreciation of differentiated agency, vulnerability, and humanity.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41475288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-01DOI: 10.1215/15366936-8913174
Sasha A. Khan
Abstract:An extension of an ongoing haunted queer diasporic kinship practice, this piece consists of letter-poems written to the author's ancestor, Shauki Masi, who passed away several years ago. In this way, the author offers queer Muslim meditations on the five pillars of Islam: salat (ritual of daily prayer), zakat (alms), sawm (ramzaan), hajj (pilgrimage), and shahadah (declaration of faith). The five pillars of Islam offer a praxis through which Muslims can (re)balance their relationships, communities, and therefore the world.
{"title":"Letter-Poems to Shauki Masi: Diasporic Queer South Asian Muslim Reflections on the Five Pillars of Islam","authors":"Sasha A. Khan","doi":"10.1215/15366936-8913174","DOIUrl":"https://doi.org/10.1215/15366936-8913174","url":null,"abstract":"Abstract:An extension of an ongoing haunted queer diasporic kinship practice, this piece consists of letter-poems written to the author's ancestor, Shauki Masi, who passed away several years ago. In this way, the author offers queer Muslim meditations on the five pillars of Islam: salat (ritual of daily prayer), zakat (alms), sawm (ramzaan), hajj (pilgrimage), and shahadah (declaration of faith). The five pillars of Islam offer a praxis through which Muslims can (re)balance their relationships, communities, and therefore the world.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42876316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-01DOI: 10.1215/15366936-8913107
B. Mehta
Abstract:The northeastern states of India have been positioned as India's postcolonial other in mainstream politics with the aim to create xenophobic binaries between insider and outsider groups. Comprising the eight "sister" states of Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland, Sikkim, and Tripura, this region represents India's amorphous shadowlands in arbitrary political markings between the mainland and the off-centered northeastern periphery. These satellite states have been subjected to the neocolonial governance of the Indian government and its implementation of political terror through abusive laws, militarized violence, protracted wars against civilians and insurgents alike, and gender abuse. Women poets from the region, such as Monalisa Changkija, Temsüla Ao, Mamang Dai, and others, have played a leading role in exposing and denouncing this violence. This essay examines the importance of women's poetry as a gendered documentation of conflict, a peace narrative, a poet's reading of history, and a site of memory. Can poetry express the particularized "sorrow of women" (Mamang Dai) without sentimentality and concession? How do these poetic contestations of conflict represent complex interrogations of identity, eco-devastation, and militarization to invalidate an elitist "poetry for poetry's sake" ethic?
{"title":"Contesting Militarized Violence in \"Northeast India\": Women Poets against Conflict","authors":"B. Mehta","doi":"10.1215/15366936-8913107","DOIUrl":"https://doi.org/10.1215/15366936-8913107","url":null,"abstract":"Abstract:The northeastern states of India have been positioned as India's postcolonial other in mainstream politics with the aim to create xenophobic binaries between insider and outsider groups. Comprising the eight \"sister\" states of Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland, Sikkim, and Tripura, this region represents India's amorphous shadowlands in arbitrary political markings between the mainland and the off-centered northeastern periphery. These satellite states have been subjected to the neocolonial governance of the Indian government and its implementation of political terror through abusive laws, militarized violence, protracted wars against civilians and insurgents alike, and gender abuse. Women poets from the region, such as Monalisa Changkija, Temsüla Ao, Mamang Dai, and others, have played a leading role in exposing and denouncing this violence. This essay examines the importance of women's poetry as a gendered documentation of conflict, a peace narrative, a poet's reading of history, and a site of memory. Can poetry express the particularized \"sorrow of women\" (Mamang Dai) without sentimentality and concession? How do these poetic contestations of conflict represent complex interrogations of identity, eco-devastation, and militarization to invalidate an elitist \"poetry for poetry's sake\" ethic?","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46950894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-01DOI: 10.1215/15366936-8913140
R. Putcha
Abstract:This article interrogates how and why courtesan identities are simultaneously embraced and disavowed by Brahman dancers. Using a combination of ethnographic and critical feminist methods, which allow the author to toggle between the past and the present, between India and the United States, and between film analysis and the dance studio, the author examines the cultural politics of the romanticized and historical Indian dancer—the mythical courtesan. The author argues that the mythical courtesan was called into existence through film cultures in the early twentieth century to provide a counterpoint against which a modern and national Brahmanical womanhood could be articulated. The author brings together a constellation of events that participated in the construction of Indian womanhood, especially the rise of sound film against the backdrop of growing anticolonial and nationalist sentiments in early twentieth-century South India. The author focuses on films that featured an early twentiethcentury dancersinger-actress, Sundaramma. In following her career through Telugu film and connecting it to broader conversations about Indian womanhood in the 1930s and 1940s, the author traces the contours of an affective triangle between three mutually constituting emotional points: pleasure, shame, and disgust.
{"title":"The Mythical Courtesan: Womanhood and Dance in Transnational India","authors":"R. Putcha","doi":"10.1215/15366936-8913140","DOIUrl":"https://doi.org/10.1215/15366936-8913140","url":null,"abstract":"Abstract:This article interrogates how and why courtesan identities are simultaneously embraced and disavowed by Brahman dancers. Using a combination of ethnographic and critical feminist methods, which allow the author to toggle between the past and the present, between India and the United States, and between film analysis and the dance studio, the author examines the cultural politics of the romanticized and historical Indian dancer—the mythical courtesan. The author argues that the mythical courtesan was called into existence through film cultures in the early twentieth century to provide a counterpoint against which a modern and national Brahmanical womanhood could be articulated. The author brings together a constellation of events that participated in the construction of Indian womanhood, especially the rise of sound film against the backdrop of growing anticolonial and nationalist sentiments in early twentieth-century South India. The author focuses on films that featured an early twentiethcentury dancersinger-actress, Sundaramma. In following her career through Telugu film and connecting it to broader conversations about Indian womanhood in the 1930s and 1940s, the author traces the contours of an affective triangle between three mutually constituting emotional points: pleasure, shame, and disgust.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42358166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.1215/15366936-8565935
Kristal Brent Zook
In 1990, in Indianola, Mississippi, there was a catfish-processing plant owned by 178 White male farmers. The workforce inside the plant was ninety percent Black and female. Led by an ordinary working mother turned union organizer named Sarah White, the women at Delta Pride led the largest strike of Black laborers ever to take place in that state, and won. Kristal Brent Zook, an award-winning journalist, traveled to Indianola to meet with White and others in an effort to understand the plight of working class women in the modern-day South. What she found there taught her as much about herself, as it did about human rights and dignity in America today.
{"title":"Dreaming in the Delta","authors":"Kristal Brent Zook","doi":"10.1215/15366936-8565935","DOIUrl":"https://doi.org/10.1215/15366936-8565935","url":null,"abstract":"\u0000 In 1990, in Indianola, Mississippi, there was a catfish-processing plant owned by 178 White male farmers. The workforce inside the plant was ninety percent Black and female. Led by an ordinary working mother turned union organizer named Sarah White, the women at Delta Pride led the largest strike of Black laborers ever to take place in that state, and won. Kristal Brent Zook, an award-winning journalist, traveled to Indianola to meet with White and others in an effort to understand the plight of working class women in the modern-day South. What she found there taught her as much about herself, as it did about human rights and dignity in America today.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72496803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.1215/15366936-8565825
Ginetta E. B. Candelario
{"title":"Hair Race-ing","authors":"Ginetta E. B. Candelario","doi":"10.1215/15366936-8565825","DOIUrl":"https://doi.org/10.1215/15366936-8565825","url":null,"abstract":"","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84167213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.1215/15366936-8565847
Paula J. Giddings
In 1930, Ida B. Wells-Barnett was surprised and disappointed to find that, despite her pioneering role as an anti-lynching activist and a founder of the NAACP, her name was not included in a contemporary Black history text by Carter G. Woodson, the “Father of Negro History.” This essay interrogates the social and political forces, beyond conventional racism and sexism, that marginalized Wells-Barnett’s place in history.
1930年，艾达·b·威尔斯-巴内特惊讶而又失望地发现，尽管她是反私刑活动家和全国有色人种协进会的创始人，但她的名字却没有被“黑人历史之父”卡特·g·伍德森(Carter G. Woodson)收录在当代黑人历史教科书中。这篇文章探讨了社会和政治力量，超越了传统的种族主义和性别歧视，边缘化了威尔斯-巴内特在历史上的地位。
{"title":"Missing in Action","authors":"Paula J. Giddings","doi":"10.1215/15366936-8565847","DOIUrl":"https://doi.org/10.1215/15366936-8565847","url":null,"abstract":"\u0000 In 1930, Ida B. Wells-Barnett was surprised and disappointed to find that, despite her pioneering role as an anti-lynching activist and a founder of the NAACP, her name was not included in a contemporary Black history text by Carter G. Woodson, the “Father of Negro History.” This essay interrogates the social and political forces, beyond conventional racism and sexism, that marginalized Wells-Barnett’s place in history.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89831282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.1215/15366936-8565836
K. Bhavnani
{"title":"Organic Hybridity or Commodification of Hybridity?","authors":"K. Bhavnani","doi":"10.1215/15366936-8565836","DOIUrl":"https://doi.org/10.1215/15366936-8565836","url":null,"abstract":"","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83762641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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