index
abortion, 143, 144, 152, 155
Abraham, story of Isaac and, 150
absence- presence of birangonas, trope of,
25–26
Abu Ghraib, 159, 170, 287n6
Abu- Lughod, Lila, 77, 83, 282n10, 283n22
activism: commitment to, neutrality and,
266; consciousness raising, importance of
historical accuracy in, 265–66; ethnographic
research and complications for, 265–66;
justice, dilemma for activists in search for,
259–60; power relations in, 253–54
adoption (of children), 143, 144, 153, 186, 207
advertisements, 179, 193, 200–201, 202, 204–5,
223, 226, 227
aestheticization of rape (1971–75), 179–205
affective image, 12, 23, 58, 116, 147, 157–58, 172–3,
179–80, 183–90, 193, 195, 199–205, 212–14,
221, 246–47. See also Ahmed, Nailbuddin;
images of war heroines, newspaper images;
visual imagery
Agarwal, P., 2, 286–87n2
Ahmed, Bodrunnessa, 134, 138
Ahmed, F., 280n16, 280n18
Ahmed, L., 282n14
Ahmed, Naibuddin, xv–xviii, 23, 139, 147, 157–58,
183, 188–94, 234, 271, 277n2; famous hair pho-
tograph by, xvii, 8, 9, 23, 139, 190–94, 252
Ahmed, Rajib, 33, 164, 273, 287n9
Ahmed, S. and Stacey, J., 12, 229, 252, 279n32
Akhtar, Fareeda, 135, 257
Akhtar, S., Begum, S., Hossein, H., Kamal, S. and
Guhathakurta, M., xv–xvi, 134, 141, 146, 151
Akhtar, Shaheen, 134, 141, 146, 151, 229, 270–71
Ami Birangona Bolchi (Ibrahim), 48, 133, 150,
210–11, 212, 218, 254
Ami Birangona Bolchi (Rodela Productions),
210–12, 218
Amin, Shahid, 16, 49, 285n2
Anisuzzaman, Prof. M., 45, 280n19
Antze, P. and Lambek, M., 16, 278n15
Appadurai, Arjun, 283n23
appropriation: inability to protest against,
97–98; local politics of, 95–99; researcher,
appropriation by party dynamics of, 255–56
Aro Ekti Shadhinota (Kabir), 262–63, 268,
269–70
Asad, A., 221, 222, 280n13
ask (Ain- O-Shalish Kendra) bulletin, 221, 224
assimilation, discourses of, 33, 146, 150, 151
Association for Development Administration
in Bangladesh (adab), 61
assurance (ashash), 47–8, 60, 63–64, 65
Astitwa (tv play, 2007), 269
atrocities of war: effects on civil society,
44–45; perpetration of, 175, 200, 209, 216,
220–21, 223, 226, 265; scenes of, 223, 226
authenticity, taped recording and, 62
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