Art of lecture in medical education

Abstract

Teaching and learning is a lifelong process for human being. It

The raped woman as a horrific sublime and the Bangladesh war of 1971

“…This image is thereby not able to deliver its message alone, but it is extra photographic, an ‘incomplete utterance’ (Sekula, 1982: 85). To these various literate audiences, the dishevelled hair of the raped woman signals what might be perceived by the viewer – like the ‘encounters’, rumours mentioned earlier – as that of the bhoyonkor , animalistic (like the sacrificial cattle) state of the woman after the rape, ‘the only image one thinks of when referring to the birangona ’ (Gazi, 2014), the image ‘which contributes to its powerful visual retelling of the story of this war’ (Anam, 2008). These often cited post-war encounter narratives with the raped women not only resonate powerfully with the famous ‘that hair photograph’ but also the way various people referred to the photograph shows how that bhoyonkor drishsho – horrific image and scene – allows them to make sense of their own engagement with the horrors of the war.…”

“…In the staging of the play Birangona in London in 2013–2014, the theatre group recreated the narrative of the war-heroine by focusing on her happy, pastoral, romantic experiences before the rape and confinement in the camp. In the performance staged in Bangladesh, the birangonas from Sirajganj were also invited to be part of the audience (Gazi, 2014). When witnessing the staging of the horrific torture in the rape camps, one of the birangonas fainted as she thought that the Pakistani army had returned.…”

“…Doing my research in the late 1990s on the public memories of wartime rape during the Bangladesh war of 1971 (Mookherjee, 2015, in press), I came across various personal accounts of war from a large number of people in cities, suburban towns and villages that featured ‘knowing’ a woman who had been raped in 1971, ‘who lived next door’, ‘in the same road’, ‘in the neighbouring locality/village’. The woman in question would always be remembered through the bhoyonkor drishsho (horrific scene) marked by her ‘dishevelled hair’, ‘her loud laughter’, or her ‘quietness’, ‘muteness’, ‘the one who stares into space’, with ‘deadened-eyes’ (Gazi, 2014). These descriptions would often end with the phrase – she ki bhoyonkor drishsho (what a horrific scene it was).…”