The article argues that a critical encounter with pre-modern literatures from the national past is long overdue under the impact of a globalized discourse of sexuality. Its effects are already felt at the level of both pedagogy and literary reading, one reconstituting the other, in the ‘global classroom’, a self-conscious pedagogical space imagined by the new educational policy to bring about a globally accredited cultural homogeneity. The case study comes from teaching erotic poetry at an Indian university, from the joint (...) literary complex of Hindi and Urdu in South Asia, a theme uncomfortably located in national culture not just because of its sexuality but its association with non-national linguistic elements which the article terms ‘Indo-Islamic’. The overlapping of the sexual modern with the Indo-Islamic resurfaces a tension in the nationalized body of literary writing in Hindi/Urdu, the major ‘national’ languages of South Asia. This encounter of erotic poetry in old Hindi and Urdu with globalized sexuality, the article shows, offers a chance to reflect on how literary studies are being reshaped by the assumptions of a monolingual, monocultural global sexuality in our nationalist times. (shrink)

This article characterizes Florence Nightingale's nursing reform as the cleaning of the Victorian home which she found unheimlich. She laid strong emphasis on an improvement in the hygiene of the house as a significant part of nursing, and, by establishing the nurse as a new occupation, gave the surplus of unmarried women a decent means of escape from the stifling domesticity in which they had been helplessly trapped. Her nursing at once reformed and reinforced the traditional role of woman as (...) a domestic figure, for she created the nurse as a mother figure in charge of the home space. In the Crimean War, Nightingale successfully nursed the idea of England as Home by attending to the dying soldiers at the front. Her crusade to nurse the unhomely space into a home, however, dismissed one uncanny place inside the imperial Home that needed urgent nursing, that is, Ireland, which had been suffering from the Great Famine and its aftermath. Nightingale confronted Irish Sisters of Mercy, who came to the Crimea to save the lives and souls of the Irish soldiers. These Irish nuns not only embodied the memories of the Famine which they had recently relieved, but also threatened Nightingale's single female authority by representing Ireland as a nation through their equally motherly presence. The service of the Irish nuns in the Crimean War was erased from the myth of the Lady with the Lamp. Nightingale could establish herself as an authoritative female subject and assumed the voice of England only by suppressing another female voice which challenged England's competence in Home management. (shrink)

Liberal philosopher James Mill has been understood as being unambiguously antifeminist. However, Terence Ball, supposedly informed by a feminist perspective, has argued for a new interpretation. Ball has reconceptualized Mill as a feminist and the sole source of the feminism of his son, suggesting a revision of the received wisdom about their relationship to the development of nineteenth century feminist thought. This paper takes issue with Ball's “new interpretation” and its presumed feminist basis.

Bourdieu's work on modern cultural production has certain omissions. It fails to raise the possibility that authors such as Salman Rushdie, either writing from peripheral nations or from powerless minorities within a powerful nation, might be called `heroic modernists'. This would differentiate them from the routinized form of late 20th-century modernist avantgardism, which operates within the logic of the laws of the `restricted literary field' and contributes inadvertently to social reproduction rather than transformation. The argument of the article provides grounds (...) for seeing Rushdie as such a `heroic modernist'. The structural location for contemporary `heroic' modernism is linked to the particular position the writer occupies as a stranger or migrant. However, it is proposed that even writing such as Rushdie's, deriving as it does from the political good intentions of the radical, is constrained to establish itself within a highly competitive cultural field. The article asks whether the `double rupture' of the Verses - a rupture both with the bourgeois bestselling novel and with popular forms - is not the main source of those social contradictions on which the writer himself came to be so impaled. Not the least among such contradictions is the imperative for the purpose of literary distinction of the refusal of a traditional realist style, which led the author towards an ironic iconoclasm: a comic grotesque mode of subverting of the sacred. (shrink)