This dissertation is available to download for free online via the University of Western Sydney: https://researchdirect.westernsydney.edu.au/islandora/object/uws:28030.
Alongside this dissertation paper, Claire Scobie wrote a novel entitled The Pagoda Tree. Please note that although reference to The Pagoda Tree is included in the title of the dissertation, the above link contains only the text of the dissertation paper itself, and NOT the full text of The Pagoda Tree.
This thesis examines the figure of the devadasi, or temple dancer, a familiar
trope in European travel literature and art from 1770 to 1820. Comprised of two parts, the critical component of the work analyses the representation of the figure of the devadasi through a close reading of a selection of eighteenth-century texts. Historically specific and anchored within travel writing and post-Saidian Orientalist theory, I argue that despite the limitations of these accounts, in both form and content, they shed light upon the complex cross-cultural interactions of the period. The texts range from travel accounts, with a particular focus on Dutch author, Jacob Haafner, contrasted with English Company servant, John Henry Grose and French missionary, Abbé J.A Dubois, some eighteenth-century paintings, and two indigenous works—the erotic Telugu poetry of Muddupalani, an eighteenth-century courtesan and artist, and a little-known Sanskrit work, the Sarva-Deva-Vilasa. I propose that the textual paradoxes and tensions illuminate how the devadasi exercised agency and yet, how her apparent dichotomous nature—embodying the sacred and the sensual—would frequently complicate her representation in the West.
The creative component, entitled The Pagoda Tree, is a historical novel set in eighteenth-century south India. Primarily told from the perspective of Maya, a temple dancer, it individualises the personal narrative of a devadasi and intersects her with the larger historical implications of imperial expansion. Informed by the conceptual framework of feminist and revisionist historians, and the recovery scholarship of the devadasi, this approach positions the temple dancer in the fictive space between history, archive and imagination. Together, the two parts of the thesis explore the contradictions and conflicting forces which empower and undermine marginalised figures within colonial discourse, and demonstrate how fiction may assist in their recovery.