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Feminine Identity and National Ethos in Indian Calendar Art

Patricia Uberoi
Economic and Political Weekly
Vol. 25, No. 17 (Apr. 28, 1990), pp. WS41-WS48
Stable URL: http://www.jstor.org/stable/4396224
Page Count: 8
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Feminine Identity and National Ethos in Indian Calendar Art
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Abstract

Women have been and still are excluded from the production of and representation in many social and cultural activities, but even when they are included they do not receive their due recognition. In many genres of representation however, women are not only visible: they are prominent objects of attention. The issue is then transformed into one of the correctness or incorrectness of the representation, or of the socially constraining nature of the stereotypical imagery, or of the relationship between women's subjectivity and objectivity. This paper looks at the representation of women in a little discussed genre of Indian popular art-what has been called 'calendar art' or 'bazaar art'. These representations are seen as instancing two processes, the commoditisation of women and the tropising of the feminine, within an overall cultural context that was both homogenising and hegemonising.

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