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"Shawls History."
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Call It English
Call It English identifies the distinctive voice of Jewish American literature by recovering the multilingual Jewish culture that Jews brought to the United States in their creative encounter with English. In transnational readings of works from the late-nineteenth century to the present by both immigrant and postimmigrant generations, Hana Wirth-Nesher traces the evolution of Yiddish and Hebrew in modern Jewish American prose writing through dialect and accent, cross-cultural translations, and bilingual wordplay.
eBook
Consider the Source: The Man Who Thought Himself a Woman
Below is a complete transcription of \"The Man Who Thought Himself a Woman,\" which appeared in The Knickerbocker; or, New York Monthly Magazine, December 1857, 599–610. Minor changes in punctuation are the only alterations to the original text.
Journal Article
“Designed for eternity”: Kashmiri Shawls, Empire, and Cultures of Production and Consumption in Mid-Victorian Britain
Zutshi focuses on the narratives on Kashmiri shawls that were produced primarily in the metropole during the mid-Victorian moment when commodity culture was at its height and empire, in general, but India, in particular, was on the minds of Britons. She demonstrates that the discourse surrounding shawls was about far more than simply the consumption of an exotic commodity from the East and the production of British imitations. She argues that Victorian material culture--particularly, the consumption, production, and circulation of Kashmiri shawls--is an ideal vehicle in understanding not only how empire might have been interjected into the lives of ordinary Victorians but also how they actively interacted with the idea of empire. Far from appearing as a nebulous entity situated in distant lands, the constituent parts of empire were readily identifiable in these narratives as, for instance, Kashmir--a distinct, exceptional place on the frontiers of the British empire. Furthermore, Zutshi argues that the idea of empire itself, as mediated through its commodities, was a fluid category that could be deployed for various different purposes in Victorian public culture.
Journal Article
Dressed to Kill and Die: Russian Revolutionary Terrorism, Gender, and Dress
This article makes a series of interlocking arguments regarding the way in which gender and dress contributed to the meaning of the terrorist act in revolutionary Russia. It argues that because “populist political terrorism” entailed political assassination targeting specific individuals, the individual attributes of both terrorist and victim acquired symbolic significance. The terrorist act was troped as a duel that staged a contest of superior and legitimate violence - and thus of sovereignty - between the regime and its opponents (representing “the will of the people”). Women were prominent participants in terrorist acts throughout the revolutionary period, and the relative novelty of female political violence enhanced the spectacularity of that violence. Female terrorists, however, opted for an anti-spectacular spectacularity, or renunciatory display, that was rendered by a means available to all women: through their dress. While period memoirs and literature, as well as the historiography, are equally enthralled by the self-renunciation of revolutionary women and characterize it as a moral/ideological stance, the female terrorists’ “great renunciation” in fact became the dominant trope in the (self) representation of the female Russian revolutionary terrorist. Textual reencodings of the relationship between dress and female gender in discourses of different orders, including the self-writing of female terrorists, find in “the great renunciation” the womens’ right to act politically - “to kill and die” in public - as well as the moral legitimacy of their act.
Journal Article
Consuming Kashmir: Shawls and Empires, 1500-2000
Kashmiri shawls serve as a material vector to trace how European assumptions of geographical determinism, racial hierarchy, and gender essentialism underpinned the seemingly disparate nineteenth-century narratives about design history and various theories about an \"Asiatic mode of production\" in labor history. The continuing strength of these assumptions is demonstrated by the contemporary marketing in 2001 of pashmina (\"woven goat hair\" or cashmere) shawls, using the recycled tropes of exoticism and fantasy ethnography crafted during the heyday of British colonialism.
Journal Article
