Abstract

This article analyses how the idea of love is variously deployed by male and female authors narrating the conflict in Nepal between the Maoists and the Royal Government (1996–2006). Male authors, like Narayan Wagle in his work Palpasa Café, Yug Pathak in Urgen ko Ghoda, and D. B. Gurung in Breaking Twilight, deploy the form of the heterosexual love story in order to provide certain explanations and resolutions for the political conflict. In doing so they open up a host of issues related to gender in Nepal, as their texts seek to contain and confine the female characters. On the other hand, female authors, like Tara Rai in Chapamar Yuwati ko Diary and Radha Paudel in Khalanga ma Hamla, use the form of the memoir to bring forth a different idea of community love. This article demonstrates how love, within the love story format presented by the male authors, becomes restrictive and confining to female characters, while the form of the memoir allows women not only to redefine love but also to create a new identity for themselves in post-war Nepal.

摘要

本文分析了男性和女性作者如何在叙述尼泊尔毛派与皇家政府之间的冲突（1996-2006 年）时以不同方式运用爱的观念。男性作家如《帕尔帕萨咖啡馆》中的纳拉扬·瓦格尔、 《乌尔根古达》中的尤格·帕萨克、 《破晓》中的古隆等，都运用异性恋故事的形式，为政治冲突提供一定的解释和解决办法。在这样做的过程中，他们提出了一系列与尼泊尔性别相关的问题，因为他们的文本试图包含和限制女性角色。另一方面，女性作家，如Chapamar Yuwati ko Diary中的 Tara Rai 和Khalanga ma Hamla中的 Radha Paudel，用回忆录的形式，带出不一样的社群爱情理念。这篇文章展示了爱情如何在男性作者呈现的爱情故事形式下变得对女性角色的限制和局限，而回忆录的形式让女性不仅可以重新定义爱情，还可以为自己创造一个新的身份。战争尼泊尔。