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narratives of three generations of urban middle-class - eTheses ...

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omantic coupling cue. This phrase thereby gradually came to signify across<br />

<strong>generations</strong> a semiotic register <strong>of</strong> exaggerated heterosexual love and affection<br />

particularly, <strong>of</strong> an ‘emphasized femininity’ (Connell, 1995; Leahy, 1994) with its<br />

accompanied accentuated tone, pitch and other non-verbal gestures like the secret<br />

exchanges <strong>of</strong> the eyes. This way the postcolonial modernity <strong>of</strong> Bengal creatively<br />

negotiationed intimate spaces by strategically localizing the colonial modern imperatives<br />

<strong>of</strong> individualized romantic coupling to suit its extended family cultures (Majumdar, 2000:<br />

127). The ‘practices <strong>of</strong> intimacy’ thereby overlapped with the ‘practices <strong>of</strong> family’ in<br />

which heterosexual intimacy was realized in and through family and kinship relations<br />

(Jamieson, 2011). This is best captured in second generation Shanta’s ideal <strong>of</strong><br />

romance,<br />

“Our next generation does not understand that staying away from others just as a<br />

couple with having no one else in the family can <strong>of</strong>ten become burdensome with<br />

no one to distribute familial responsibilities to. More importantly it can become<br />

quite boring where too much <strong>of</strong> each other can saturate love and cause more<br />

conjugal conflicts. Contrary to idea that the joint family is not conducive to<br />

romantic coupling, I think that romance is best experienced in the presence <strong>of</strong><br />

others (smiles shyly)...by hiding from them, secretively exchanging glances,<br />

coming close, and stealing from others some shared togetherness.”<br />

Udayan says his great grandmother, referred to her husband as ‘shunchhen’ rather than<br />

‘shunchho’ in the initial stages <strong>of</strong> her marriage. The former is accompanied by the<br />

pronoun ‘apni’ and the latter ‘tumi’. The Bengali pronoun ‘tumi’ is the English pronoun<br />

you but ‘apni’ does not have a direct English translation. It therefore represents a <strong>class</strong>ic<br />

methodological challenge for striving to keep its cultural connotation intact, the meaning<br />

<strong>of</strong> which runs the risk <strong>of</strong> getting lost in translation. I have only tried to transcreate its<br />

274

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