ABSTRACT This study attempts a feminist analysis of a work of historical fiction set within the tumultuous events of the partition of British India in 1947. It uses a play, Antim Raat or “The Final Night,” by Bratya Basu to portray how individual histories of injury in “private” and “public” domains, stay alive in the memory of the Muslim nationalist leader, Muhammed Ali Jinnah, the founding father of Pakistan, and influences his political pursuit of Pakistan. The play depicts experiences of rejection and religious intolerance via the political act of marriage, set within a wider context where Jinnah uses religious identity for the partition of India in 1947. The paper therefore locates personal wounds within the larger narrative of the injured nation to signify Jinnah’s exit from “old” spaces and relationships to create and celebrate “new” dreams, freedom and boundaries. The complexities of inter-religious marriage in the plot also prompt readers to uncover the intricate connection between women’s marital choices and religious patriarchies. Dina Wadia, Jinnah’s daughter, viewed as a feminist and revolutionary character in the play, assesses the (im)possibilities of an ethico-political imagination in the blurred boundaries between familial and professional realms for a political leader of the stature of Jinnah.

中文翻译：

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Bratya Basu 的“最后一夜”：性别平等和宗教多元化的（不可能）

摘要 本研究试图对一部以 1947 年英属印度分治的动荡事件为背景的历史小说作品进行女权主义分析。 “私人”和“公共”领域的伤害，在穆斯林民族主义领袖、巴基斯坦开国元勋穆罕默德·阿里·真纳的记忆中继续存在，并影响他对巴基斯坦的政治追求。该剧描绘了通过婚姻的政治行为遭到拒绝和宗教不容忍的经历，背景设定在真纳在 1947 年使用宗教身份分割印度的更广泛背景下。因此，本文将个人创伤置于受害国家的更大叙事中以表示真纳退出“旧”空间和关系，创造和庆祝“新”梦想，自由和界限。情节中宗教间婚姻的复杂性也促使读者发现女性的婚姻选择与宗教父权制之间错综复杂的联系。真纳的女儿迪娜·瓦迪亚 (Dina Wadia) 在剧中被视为女权主义和革命者角色，她评估了在家庭和职业领域之间模糊界限中，对于像真纳这样的政治领袖来说，伦理政治想象的（不可能）可能性。