Abstract

In Hinduism, sindoor is a symbol of a married woman’s chastity, love and fidelity towards her husband. This potent mark inscribed on the forehead and in the parting of a woman’s hair serves as a reminder of her heterosexual identity, unavailability to other men, and the ownership of her body by her husband. Problematising how this heteropatriarchal imperative has complicated the bodily boundaries between the personal, social and cultural, this article explores the religious, nationalist and transnational politics of the appropriation of sindoor. The article analyses literary texts, Indian cinema classics and advertisements to critically explore how the sindoor mark is constituted by a complex interplay of race, gender, sexuality, religion, class, caste and nationality, inviting one to collaborate in the perpetuation of the doing and undoing of feminism.

抽象的

在印度教中，罪恶之门是已婚妇女对丈夫的贞操，爱心和忠诚的象征。女人的额头和分手处刻有这种有力的标记，可以提醒她异性恋的身份，其他男人无法获得的东西以及丈夫对自己的身体的所有权。Problematising这heteropatriarchal当务之急是如何在个人，社会和文化，本文之间复杂的身体边界探索的拨款的宗教，民族主义和跨国政治sindoor。这篇文章分析了文学文本，印度电影经典和广告，以批判性地探索罪恶之门 商标由种族，性别，性别，宗教，阶级，种姓和国籍之间的复杂相互作用构成，邀请一个人协作以实现女权主义的延续和消亡。