This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan film, poised as they are between the glorification of courtesan culture and lamenting the debased status of the courtesan; between a nostalgic yearning for the feudal world of the kotha and a utopian desire to escape from it. The article argues that Pakeezah self-consciously defines the particular “chronotope”, or space-time, of the historical courtesan genre by showing that nothing less than a transformation of the idioms of that genre is required to liberate the courtesan from her claustrophobic milieu—whose underlying state is one of enervation and death—into the open space and lived time of modernity.
Richard Allen and Ira Bhaskar
From French Others to Othering Frenchness
spaces and French epistemologies. Their positionality as postcolonial subjects and intellectuals gave them a unique vantage point from which to reject, desire, redefine, or reclaim what it meant to be French. While this approach flips the construction of
De quelques transformations contemporaines des villages
Turkish society is now predominantly urban, and, in this context, villages are undergoing significant changes. The principal one is that they have become a resource. Until recently, the village - even if it had resources - was not looked on as such; rather, it was seen as a milieu with which people had to cope. This transformation, however, does not end there: the village has also become an object of desire.
stay in control because they desire the freedom offered through sleep and dreaming. In these essays, Dickens finds the bedroom space to be too inhospitable and a dangerous threat to his masculinity, and so leaves this space regularly to enter the public
Displacement and Desire amongst Syrian Refugee Women in Jordan
Morgen A. Chalmiers
demographic focus … [on] population growth’, policy-makers and multinational development organisations have rarely considered the why of wanting children, or what Inhorn refers to as ‘child desire’ (1996: 230). This article builds upon this work by asking
Constructions of Theft and Stealing
Ada I. Engebrigtsen
A proverb common in Romania, generally referring to gypsies, claims that 'your heart is not warm unless you steel'. During the author's fieldwork in a village in Transylvania it was, obvious, however, that the moral judgement on theft and stealing varies greatly according to context. The article discusses the social construction of theft in different empirical contexts and historical periods from wartime looting in India to theft of state property in Romania and how the definition and judgement in each case are embedded in social relations and social structures. The article's main objective is to unmask social relations of power and domination that are often hidden behind definitions and judgements concerning the acquisition of the property of others. Thus theft cannot be understood as either legal or moral; instead, it ties together the moral and the legal, the collective and the individual, objects and persons in different ways in different contexts.
Non-Metropolitan Representations of Homosexuality in Three French Films
This article offers a reflection on the ways in which the representation of gays and lesbians in contemporary French cinema has mostly focused on specific and limiting traits. With their choice of locales (Paris and other cities) and bodily characteristics (young, fit), these films convey a restrictive view of homosexuality. Such portrayals have gained traction due to their numerous iterations in films and in the media. By focusing on the works of three directors who have adopted a radically different perspective in their portrayals of homosexuality, this article will highlight the close ties that exist between sexuality and topography. Providing a more true-to-life account of homosexuality, the films move away from cities to investigate the geographical margins. In so doing, they question the tenets of France’s republican ideals, where differences tend to be smoothed out in favor of unity and homogeneity. These films reinstate diversity and individuality at the heart of their narratives.
Postmodernism and Myths about Great Artists
a different era: their paradoxical attitude towards myths reflects a contradiction in postmodernism. Linda Hutcheon mentions ‘the paradox of the desire for and the suspicion of narrative mastery – and master narratives’. 11 Postmodernism
Performing Gender in Algerian Manga
This article explores the way in which masculinity and femininity are constructed in Algerian manga, an emerging, understudied sub-genre within the field of Algerian graphic art. Through the exploration of youth-oriented publications of shōjo and shōnen manga, I will demonstrate how these new local works offer a privileged form of expression for and platform to address disaffected Algerian youths. The primary focus of this investigation will be the differences (or lack thereof) between ideals of gender performances as expressed in Algerian manga and ideals of gender identity in society at large. This article will demonstrate that, while some differences manifest a desire for change on the part of both artists and readers, they certainly do not constitute radical revisions of the popular Algerian notions of masculinity and femininity. Ultimately, this study will demonstrate the limits of manga as an imported genre within an Arab-Islamic context, oscillating between the promulgation of alternative social ideals and the reinforcement of social norms.
Wetness, Masculinity, and Neoliberal Erotics in Andrew McMillan's Playtime
to take his shoes off shake his hand point him towards the place where he is needed ( McMillan 2018: 52 ) Here, the encounter between the speculative voice in the poem and the workman conflates desire and need. It is unclear whether the