摘要：This article analyzes the mediatized representations of the Indian “rape crisis” that gained globalattention in the aftermath of the brutal gang rape of Jyoti Singh Pandey in New Delhi in 2012. While muchattention was given to Leslie Udwin’s documentary on the incident, India’s Daughter (2015), which wassubsequently banned by the Indian government, there were several other creative responses that attemptedto negotiate with the meaning of the event. This article examines two such texts—the multimedia shortstory We Are Angry (2015) and the augmented-reality comic Priya’s Shakti (2014). Both these texts declaretheir intention to function as “activist” multimedia pieces that leverage the power of Internet-mediatedplatforms to raise awareness about the condition of the “Indian woman” in the contemporary moment.This article argues that these texts, in their attempts to portray an essentialized and universalized image ofthe “Indian woman,” reenact certain violent historical erasures along the lines of caste, sexuality, class, andreligion. The article undertakes a medium-specific examination of the works, considering their presumedaudiences, language, content, and most notably their (failed) attempts at locating themselves within bothhistorical and contemporary Indian feminist landscapes. In doing so, this discussion situates itself withinongoing Indian social justice debates, specifically those pertaining to mediatized narratives of rape, in orderto critique the production of “feminism” in We Are Angry and Priya’s Shakti. By considering these textsalongside other, more inclusive online narrative spaces, we underline the importance of multiple feministvoices being heard on the issues in question, as well as the need to question any seemingly universal “we”of these narratives, their audience, or the women they claim to represent.
关键词：rape narratives; Internet activism; digital humanities; Indian feminisms; transnational;feminism; intersectional feminism; multimedia narratives
