ABSTRACT

The Progressive Writers’ Movement (PWM) in India propagated an intellectual and cultural breakthrough, garnering significant debates regarding the status and roles of women. The Progressive Writers’ Association (PWA) along with the Indian Peoples’ Theatre Association (IPTA) created platforms for women to engage in political discussions, performing arts and literary activities. While important arguments were made regarding women’s engagements with the ‘literary’, there seems to be a gap in women’s narratives within the movement. After the decline of the PWM, a number of belated autobiographical works by women of the past Progressive circles were published. Two such narratives are Yad ki Rehguzar (2006) by Shaukat Kaifi and Hamsafar (1995) by Hameeda Raipuri. Recounting their lives in the company of progressive stalwarts, these autobiographies use a personal, nostalgic tone to narrate their participation in the progressive times. This paper aims to read the negotiations of nostalgia in these writings and explore their treatment of memory, genre and literary value.

摘要

印度的进步作家运动 (PWM) 传播了知识和文化的突破，引发了关于女性地位和角色的重要辩论。进步作家协会 (PWA) 与印度人民戏剧协会 (IPTA) 一起为妇女创造了参与政治讨论、表演艺术和文学活动的平台。虽然就女性参与“文学”的问题提出了重要论点，但运动中女性的叙述似乎存在差距。PWM没落后，一批迟来的前进圈女性自传体作品问世。两个这样的叙述是Shaukat Kaifi 和Hamsafar 的Yad ki Rehguzar (2006)(1995) 哈米达·赖普里 (Hameeda Raipuri)。这些自传讲述了他们在进步的坚定者的陪伴下的生活，使用个人的、怀旧的语气来叙述他们对进步时代的参与。本文旨在解读这些作品中的怀旧交涉，并探讨它们对记忆、体裁和文学价值的处理。