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lonely life, as he would write, for he never remarried, though we were especially close in his aging<br />

years. Today, I, Ma’s daughter, the mother of a daughter myself, a feminist, activist, and scholar, give<br />

voice to her life story, her long silence, even as that story gives substance to the (ongoing) trajectory<br />

of my own. Researching and <strong>writing</strong> this short essay, and reflecting on its larger message, has been<br />

illuminating for me, so many years later, as it has been for my daughter and nieces, who never knew<br />

their grandmother, her achievements in her day, her travails, who she was. A niece would remark<br />

that she finally had a context for the photograph she had seen over the years, the group graduation<br />

picture I have presented and discussed at the start of this <strong>paper</strong>.<br />

Suchitra SAMANTA, PhD<br />

Assistant Professor<br />

Women’s & Gender Studies Program<br />

Department of Sociology (0137)<br />

Virginia Tech, Blacksburg, VA 24060<br />

USA<br />

ssamanta@vt.edu<br />

Notes<br />

1<br />

I have used “Calcutta,” as the city was known during my mother’s life, rather than Kolkata, as it<br />

is known today.<br />

2<br />

I have “discovered” Ma’s life from various sources: historical scholarship on women and<br />

medicine in British India, surviving documents pertaining to her educational and work records,<br />

and from what Hirsch calls “memory archives,” such as my father’s unpublished memoir, my own<br />

memories, photographs, and anecdotal accounts of family and friends, especially those of my<br />

sister, Sumita Pillai, my uncle, Bipul K. Bardhan Roy, and my aunt, Sima Deb. Hirsch, distinguishing<br />

these from historical records, calls them ‘memory archives.’ (Marianne Hirsch, “The Generation of<br />

Postmemory,” Poetics Today, 29 (1), 1998:103‐128).<br />

3<br />

Narayan (2003), critical of Western feminist assumptions when applied to non‐Western<br />

contexts, points to Hindu concepts of valued feminine potential, while Ashish Nandy notes the<br />

inapplicability of Freud to the Indian context (cited in Moore‐Gilbert, 2009:xix; see also Samanta,<br />

1992).<br />

4<br />

A.K. Ramanujan, “Is There an Indian Way of Thinking?” in India Through Hindu Categories, ed.<br />

McKim Marriott (New Delhi: Sage, 1990), 41‐58.<br />

5<br />

Swami Jagadiswarananda, trans. Devi Mahatmya (Madras, India: Sri Ramakrishna Math, 1953),<br />

7:19.<br />

6<br />

Devi Mahatmya, op. cit., 5:12‐80; 11:4‐23.<br />

7<br />

The married Bengali woman wears red on her person to symbolize this potential, and shares her<br />

shakti substantively with the goddess (Devi Mahatmya, op. cit., 11:6). See Ronald Inden & Ralph<br />

Nicholas, Kinship in Bengali Culture (Chicago: University of Chicago Press, 1977).<br />

8<br />

The Vernacular Licentiate Practitioner of Medicine was acquired in medical “schools” rather<br />

than in elite “colleges” like CMC (Bala 1991, 123).<br />

9<br />

After the Indian Mutiny (1857) the British withdrew support for government‐funded schools.<br />

The Bengali bhadralok established and endowed girls’ schools which could teach in either English<br />

or Bengal, or both. The bhadralok saw competence in English as a mark of status and upward<br />

mobility, leading to white collar jobs, like medicine (Bala, 1991).<br />

10<br />

The tuition was five times more at medical colleges than at such schools (Bala, 1991).<br />

11<br />

Annual Report on the Working of the Medical College, Calcutta for the year 1935‐36, Page 25<br />

12<br />

Forbes (1994) notes that British women doctors recognized those Indian women who had their<br />

degrees from England, but looked down on those with licentiate degrees from Indian medical<br />

schools. The Women’s Medical Service was set up mostly for British women who sought medical<br />

careers in India, and as a counterpart to the all‐male Indian Medical Service.<br />

13<br />

Rajeswari Sunder Rajan, “Real and Imagined Goddesses: A Debate,” in Is the Goddess a<br />

600

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