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008			240228s2024 enk b 001 0 eng
010			_a 2024002327
020			_a9781009453035
037			_cTB
040			_aCRL _beng _erda _cCRL _dCRL
041			_2eng _aeng
042			_apcc
043			_aa-ii---
050	0	0	_aPK2168 _b.H268 2024
084			_aO111,1(Y15):gN R4 _qCRL
100	1		_aHasan, Farhat _eauthor. _9811832
245	1	0	_aVoices in verses: _bWomen's poetry and cultural memory in nineteenth century India
260			_aCambridge, UK; _aNew York, USA: _bCambridge University Press, _c2024.
263			_a2404
264		1	_c2024.
300			_axiii, 205p. cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
365			_b1095.00 _cINR
504			_aIncludes bibliographical references and index.
505	0		_aUnravelling the Texts : Memory, Reforms, and Literary Sulh-i-Kul -- Representing an Inclusive Literary Culture : Women Poets in the Bazaars and Kothas -- Representing the Kothas : The Two Sisters in the Literary Sphere -- Commemorating Women Poets : Memory, Gender, and the Literary Culture in the Persianate World -- Secluded Poets in Literary Spaces : Memorializing Female Rulers, Consorts, and Memsahibs.
520			_a"This book opens up an archive of women's verses found in the extant, but overlooked, women's biographical compendia (tazkira-i zanāna) written in the nineteenth century. As commemorative texts, these compendia written in Urdu draw our attention to their memories--celebrated and contested--in cultural spaces. In drawing connections between memory and literature, this study contests the commonplace assumption that the literary public sphere was markedly homosocial and gender exclusive, and argues instead that the women poets, coming from a wide variety of social groups, actively participated in shaping the norms of aesthetics and literary expression; they introduced fresh signifiers and signifying practices to apprehend their emotions, experiences, and world views. Women's poetry was a kind of 'subjugated'/'erudite' knowledge that enriched the literary culture, even as it evoked considerable anxieties, and stood in a paradoxical relationship with the dominant episteme, both reinforcing and challenging its cultural assumptions and truth-claims. Their lyrics were forms of self-narratives or an act of 'unveiling', but in order to appreciate their meanings we need to be sensitive to the multi-medial mode of meaning-apprehension. This work suggests that the women's tazkiras performed an act of 'epistemic disobedience' contesting not only the British imperial representations of India, but also the Indo-Muslim modern reformers on issues of domesticity, conjugal companionship, and love and desire"-- _cProvided by publisher.
650		0	_aUrdu poetry _xWomen authors _xHistory and criticism. _9811498
650		0	_aEnglish Poetry _9811833
650		0	_aUrdu poetry _zIndia _xHistory and criticism. _9811499
650		0	_aUrdu poetry _y18th century _xHistory and criticism. _9811500
650		0	_aUrdu poetry _y19th century _xHistory and criticism. _9811501
650		0	_aPersian poetry _xWomen authors _xHistory and criticism. _9811502
650		0	_aPersian poetry _zIndia _xHistory and criticism. _9811503
650		0	_aPersian poetry _y18th century _xHistory and criticism. _9811504
650		0	_aPersian poetry _y19th century _xHistory and criticism. _9811505
650		0	_aWomen and literature _zIndia _xHistory. _9811506
655		7	_aLiterary criticism. _2lcgft _9811834
776	0	8	_iOnline version: _aHasan, Farhat. _tVoices in verses _dCambridge, United Kingdom ; New York, NY : Cambridge University Press, 2024 _z9781009453066 _w(DLC) 2024002328
906			_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg
942			_2CC _cTB _hO111,1(Y15):gN R4 _n0
999			_c1431419 _d1431419