Date: Sun, 05 Jan 1997 23:25:16 -0400 (EDT) From: Kevin Hickey <HICKEYK-AT-SNYONEVA.CC.ONEONTA.EDU> Subject: Home and Harem Many thanks to Arindam for her eloquent response to my comments concerning "transnational modes of analysis vs. a comparative one." I have not read any more of HOME AND HAREM, but I did look at Spivak's "Scattered Speculations on the Question of Culture Studies" (in OUTSIDE IN THE TEACHING MACHINE) as well as Grewal and Caren Kaplan's "Transnational Feminist Cultural Studies: Beyond the Marxism/Poststructuralism/Feminism Divides" (POSITIONS 2:2) and, yes, as Arindam proposed, transnational modes of analysis emphasize economics and do not promote a "happy pluralism" (Kaplan/Grewal 430) but an "analysis that refuses to choose among economic, cultural, and political concerns" AND which pays particular attention to "the linkages and travels of forms of representation as they intersect with movements of labor and capital in a multinational world" (439). I left off (before Christmas) with Grewal's observation (p. 54) of how definitions of "home" were similarly used in England and India. Grewal writes: "Just as the discourse of the woman 'caged' in the harem, in purdah, becomes the necessary Other for the construction of the English-woman presumably free and happy in the home, the discourse of the Englishwoman's association with men and women becomes, for Indian nationalism, a sign of depravity. The 'purdah' construct of the English imperialists becomes the 'home' of the Indian nationalists." We can trace the importance of "home" in Western society all the way back to Homer's ODSSE, and the home/harem binarism replicates the construction of woman as saint/whore. Was there a similar binaric construction of women in India before European colonization? In other words, did the home/harem binarism which "Indian nationalists" reversed for their own political purposes compliment pre-colonial constructions of "women" or was this something new? More after I've read some more. Kevin Hickey SUN Oneonta
Display software: ArchTracker © Malgosia Askanas, 2000-2005