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"I was not a nobody, but no...
The ideological stronghold of mythology in the cultural consciousness necessitates the production of counter-ideologies that decenter the normative narrative with more subversive and progressive tales. The story of Madhavi from the Indian epic Mahabharata is upheld as a tale of a devoted daughter who is blessed with a privileged womb, which is prophesied to give birth to great kings, and a boon of chirkaumya, the ability to regain virginity. Devoid of any rights over her own body, Madhavi becomes instrumental for Gaalav, the disciple of Vishwamitra, in fulfilling his promise of eight hundred white horses with black-colored left ears as gurudakshina (tradition of repaying one's teacher) to his teacher. Her womb is bartered, allowing men to exchange her indefinitely as a commodity with utilitarian value. Her voice, desires and feelings are undermined by the structural needs of the masculine tale. This paper seeks to read the novel Bride of the Forest by Madhavi. S. Mahadevan in the context of motherhood studies and postfeminism through the examination of the character Madhavi. It inquires into the representation of the maternal figures who are mapped on a power spectrum to posit that both agency and victimhood co-exist in uncomfortable ways
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analitica Rebiun37381805 https://catalogo.rebiun.org/rebiun/record/Rebiun37381805 250319s2024 xx o 000 0 spa d https://revistas.ucm.es/index.php/AMAL/article/view/92463 S9M oai:ojs.revistas.ucm.es:article/92463 https://revistas.ucm.es/index.php/index/oai AMAL DGCNT S9M S9M dc "I was not a nobody, but no one knew what I was": A Mother's Reclamation of her Story in Madhavi S. Mahadevan's Bride of the Forest electronic resource].] Ediciones Complutense 2024-10-28 Ediciones Complutense application/pdf Open access content. Open access content star The ideological stronghold of mythology in the cultural consciousness necessitates the production of counter-ideologies that decenter the normative narrative with more subversive and progressive tales. The story of Madhavi from the Indian epic Mahabharata is upheld as a tale of a devoted daughter who is blessed with a privileged womb, which is prophesied to give birth to great kings, and a boon of chirkaumya, the ability to regain virginity. Devoid of any rights over her own body, Madhavi becomes instrumental for Gaalav, the disciple of Vishwamitra, in fulfilling his promise of eight hundred white horses with black-colored left ears as gurudakshina (tradition of repaying one's teacher) to his teacher. Her womb is bartered, allowing men to exchange her indefinitely as a commodity with utilitarian value. Her voice, desires and feelings are undermined by the structural needs of the masculine tale. This paper seeks to read the novel Bride of the Forest by Madhavi. S. Mahadevan in the context of motherhood studies and postfeminism through the examination of the character Madhavi. It inquires into the representation of the maternal figures who are mapped on a power spectrum to posit that both agency and victimhood co-exist in uncomfortable ways Derechos de autor 2024 Amaltea. Revista de mitocrítica Spanish Myth Revisionism The Mahabharata Matricentric Feminism Internalized Exile Popular Culture Motherhood Postfeminism info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion J, Mruthula. cre Amaltea. Revista de mitocrítica; Vol. 16 (2024); e92463 Amaltea. Revista de mitocrítica; Vol. 16 (2024); e92463 Amaltea. Revista de mitocrítica; Vol. 16 (2024); e92463 Amaltea. Revista de mitocrítica; Vol. 16 (2024); e92463 1989-1709 https://revistas.ucm.es/index.php/AMAL/article/view/92463/4564456570721 /*ref*/Amin, Nuzhat. "On Feminism Shedding Its Skin." Stamford Journal of English, vol.6,23 Feb. 2013, pp. 41-53. Aneja, Anu, and Shubhangi Vaidya. Embodying Motherhood: Perspectives from Contemporary India. SAGE, 2016, pp. 1-32. Bagchi, Jasodhara. Interrogating Motherhood. SAGE, 2017. Beard, Mary. Women and Power: A Manifesto. Profile, 2018. Bhattacharji, Sukumari. "Motherhood in Ancient India." Motherhood in India: Glorification without Empowerment?, edited by Maithreyi Krishnaraj, Routledge, 2010, pp. 44-66. Budkuley, Kiran. "Literature and New Myths." Myth in Contemporary Indian Literature, edited by K. Satchidanandan. Sahitya Akademi, 2010, pp. 16-29. Chanda-Vaz, Urmi. "Indian Mythology is a New Medium of Choice for Feminist Narratives (and it's working): Reimagining Women from the Myths as Empowered Figures with Agency." Scroll, 5 Feb. 2017. Cooke, Rachel. Review of Women & Power: A Manifesto by Mary Beard. The Guardian, 5 Nov. 2017, www.theguardian.com/books/2017/nov/05/mary-beard- women-and-power-review-modern-feminist-classic Devi, Mahasweta. After Kurukshetra. Translated by Anjum Katyal. Calcutta: Seagull, 2005. ---, "Draupadi." Translated by Gayatri Chakravorty Spivak. Critical Inquiry, 1981, pp. 381-402. Dunham, Lena. "Why Red Lipstick is Feminism's New Calling Card." Vogue, 1 June 2017, www.vogue.com/article/lena-dunham-essay-the-revolution-will-wear-red- lipstick-feminism-womens-movement Gangoli, Geetanjali. Indian Feminisms: Law, Patriarchies and Violence in India. Ashgate, 2007. Geetha, V. Gender. STREE, 2021. Genz, Stephanie. Postfemininities in Popular Culture. Palgrave Macmillan, 2009. Genz, Stéphanie, and Benjamin A. Brabon. Postfeminism: Cultural Texts and Theories. Edinburgh UP, 2009. Gill, Rosalind. "Postfeminist media culture: Elements of a sensibility." European Journal of Cultural Studies, 2007, pp. 147-166. Irigaray, Luce. This Sex Which is Not One. Cornell UP, 1985. Jaidev. Introduction. Madhavi, by Bisham Sahni, Seagull, 2002. Jain, Jasb