LDR 01627cab a2200273 a 4500
003 2011-08-18 16:36:35.0
005 2011-11-29 12:16:31.0
008 113618t2010uuuupr eng d
245 00$aDeath and the maiden :$bthe floating courtesan in Pakeezah /$cHugo Ríos
260 $aAtenea$b(ISSN 0885-6079)$cvol. 30, núm. 1-2; ene-dic 2010: p 33-46. bibl.
440 0$aAtenea,$nvol. 30, núm. 1-2; ene-dic 2010.
520 a$aThe courtesan film occupies a particular position in the popular imagination of India. Its great popularity could be ascribed to its hybrid status, the character of the courtesan being hard to define. Sumita Chakravarty describes the character as “as dancing girl, nautch-girl, prostitute or harlot” and, above all, as both “celebrated and shunned” (269). Rachel Dwyer suggests the appeal of a “lost” Islamic element and the relationship between memory, loss and poetry and the ghazal (88). Films such as Tawaif, Umrao Jaan, Mamta, Amar Prem, Utsav, Ram Teri Ganga Maili, Bhumika and Pakeezah, among others, serves as testimony of the vital force that emanates from the Courtesan Film, but it is the last mentioned that packs all the elements of the Courtesan Film plus an interesting commentary on two seemingly unrelated issues: death and floating condition of the courtesans.
630 0$aPakeezah (Película)
650 0$aPelículas hindúes
700 10$aRíos, Hugo