' Bhaskar Bharti ' Directed By Pavan Kaul And Manoj Kotian

Mahasweta Devi’s short story, “Giribala,” is about the life of Giribala, a girl of Talsana village located in India. Born into a caste in a time when it was still customary to pay a bride-price, Giri is sold to Aulchand by her father. From this point on, we see a series of unfortunate, tragic events that take place in Giri’s life as a result of the circumstances surrounding Giri’s life. There are many issues in Giri’s life in India that Devi highlights to readers. First, the economic instability of the village leads to an extremely poor quality of life for the lower, working classes. Next, the cruel role of women determined by men in society is to either satisfy the sexual desires of men or to reproduce offspring who can work or be sold off to marriages. There are also other social norms and beliefs which discriminate against women that will be discussed.

The movie gives the message that women must do acknowledge their responsibilities towards themselves, which can and should never be neglected or postponed for the sake of anyone or anything. Nothing in this world is worth sacrificing your own aspirations for. A person’s greatest assets are self-respect, dignity and individuality. Woman should safeguard her identity by not letting her individuality get submerged and by keeping her priorities intact all her life and creating a place for herself.

This paper attempts to examine the fictional projections of Indian girls, to see how they emerge in ideological terms. Their journeys from self-alienation to self-adjustment, their childhood struggles against the hypocrisies and monstrosities of the grown-up world, eventually demolishing the unjust male constructed citadels of power that hinder their progress- are the highlighted issues. The point of comparison between the two novels focused on here is the journey of Rahel in The God of Small Things and Sai in The Inheritance from a lonely childhood to a tragic adulthood passing through a struggle with the complex forces of patriarchal society. Both the novels portray the imaginativeness, inventiveness, independence, rebelliousness, wide-eyed wonder and innocence associated with these young girls.

Shashi Deshpande is one of the famous contemporary Indian novelists in English. She writes about the conflict between tradition and modernity in relation to women in middle class society. Shashi Deshpande’s novel deals with the theme of the quest for a female identity. The complexities of man-woman relationship especially in the context of marriage, the trauma of a disturbed adolescence. The Indian woman has for years been a silent sufferer. While she has played different roles-as a wife, mother, sister and daughter, she has never been able to claim her own individuality. Shashi Deshpande has emerged as a writer possessing deep insight into the female psyche. Focusing on the marital relation she seeks to expose the tradition

Then Lakshmi undertakes a long journey to India and arrives at Happiness House, with full of hopes. But she soon learns the horrible truth: she has been sold into prostitution and trapped there until she can pay off her family’s debt. Many of the girls in the Happiness House were the victims of sex trafficking, and Lakshmi was one of them whose innocence was tattered in the horrors of sexual life. The circumstances that brought Lakshmi to such a disgraced place was hers family’s weak financial condition. In addition, natural calamities like monsoon destroyed their livelihood, loans & her stepfather extravagant attitude towards gambling were also the circumstance due to which Lakshmi ends of being a prostitute. The author conveys that usually the need of money, power and greediness lead to

Lakshmi is a young girl that grew up in Nepal. She lost her father at a very young age and she and her mother begin to struggle. Her mother eventually married again, but her family still struggled. Lakshmi’s stepfather was no good because he had no job and all he did was bet at the coffee shop. Because Lakshmi’s family struggled, she was sent away to work as a “maid” and thought it would provide for her family. When Lakshmi realized what she would be doing for work, she hoped and prayed every day that she would soon be back home.

Hosseini really magnifies the inequality of men and women in society but also shows the importance of friendship and women sticking together to overcome the hardship.

There is no hint of displeasure on her face as she diligently carries out her duty as an ‘ideal wife’. Also why should she have any objection for ‘as long as she lives, a woman’s God and master is her husband’. This scene emphasises the nature of a traditional marital relationship in Indian culture and the presumed duties of a woman as a wife. The text of the Ramayana is considered to be sacred and is followed religiously by people. If it happens to call a woman’s husband her master and God, its influence on the psyche of the people, especially the women, is self

Bell writes, “Tired of being a good girl who met all her parents’ and community’s expectations, Jayanthi began casually hooking up with men after college, often meeting several in one night” (33). Initially, Jayanthi adopted the “good girl” strategy as a part of society’s expectations and fulfilled her parents’ desire of being a typical Indian girl. In other words, Jayanthi’s initial approach to her reality as well as her personal identity was to act according to her parents’ and society’s expectations. However, throughout the passage of time, Jayanthi becomes “tired” of the “good girl strategy” as she still did not find her sense of identity but instead, her initial reality was altered because she did not embrace who she was. Essentially, Jayanthi did not embrace her reality at present as she feels that her life was determined by her family’s expectations. In essence, her pre-conceived reality of being a typical Indian daughter was altered because of her individual desire to find her sense of identity that is more complicated than that laid out from her cultural background.

Anita Desai undoubtedly holds a prominent position among the Contemporary writers of Indo –Anglican fiction. She is a bold and experimental Novelist with a new sense and vibrant richness. Much attention is given to the emotional crisis of her protagonists who live in a chaotic society. She delves deep to find out the factors responsible for such a despair and attempts to suggest solutions to overcome it. From her novels, it is clear that she, possesses one of the healthiest and psychologically most balanced minds in the realm of Indo – Anglican fiction and the sanity of her tastes and attitudes, is almost exemplary, a point worth emulation for her fellow religionists in the field of writing. As a woman writer she does not profess to be a feminist and yet she voices the fears and concerns, the hopes and aspirations of her characters in her own artistic way. She is deeply fascinated in exploring the social structure through the central characters in her novels. She is a minute observer of the society existing around her, perceiving everything minutely and delicately so that the situations can be presented in a poetic style.

new space for herself and also for other female actors during the conventional period of nineteenth century. She was also known as Noti Binodini particularly at the performance domain. Binodini, who was born to a prostitute, belongs to the first generation of actress family of the Bengal public theatre. She made her debut at the age of eleven in a one-line performance as Draupadi’s hand maiden at Great National Theatre in Calcutta in 1874 under the guidelines, Girish Chandra Ghosh, who is the founder of the theatre. Within a short span of the time, she was recognised as a talented star. The paper depicts categorically about the characters she performed during twelve years of her acting career. Apart from that, it talks how the characters she performed are comparable to her personal life. The paper also talks about categorically how she was deceived by the chief coordinator of the theatre, with whom she lived. The main aim of this paper is to dig out the virtuous noble qualities of women actresses, though they are propagated as impure personalities in this male dominated society.

Anita Desai and Shashi Deshande are women who were more interested to represent human psyche, study of human beings ruined within and outside. Both are great artist who portray the characters instilled with real, emotional, natural and lively traits in them. Mainly they showed the pain and sufferings of women. The society and family members imposed various responsibilities and restrictions to them. The life of women is like a prison, they trap into various responsibilities and duties throughout her life. They work without any rest for the welfare of family and to complete all the demands of the society. Women have to complete all her duties which she plays throughout her life, the

Leela and Bhaskar, an urban middle-class couple have been hearing the terrifying screams of sexual assault on a woman for several weeks in their neighborhood. Leela discloses her fears and persists on Bhaskar to call the police, to which he acts unresponsively calling Leela “oversensitive” about the issue and he also points at the difficulty of persuading the police about the credibility of the crime. At one instance it is revealed that though Bhaskar has apparently no desire to do anything for the crime being committed freely before their eyes day after day, nevertheless he does watch it, as Leela’s dialogue makes it evident, “We don’t even really watch, do we? I don’t. But…you do. You watch it!” (Padmanabhan, 6) And Bhaskar admits to this.

Recent films like Tauba Tauba, Murder, Julie and Jism have focussed on something not explored before in mainstream cinema - the sexuality of the Indian woman. Though this has given the director and producer ample scope for exploring the anatomy of the woman in a hundred different ways to lure the box office, the one positive spin-off of these films is that they have uncovered the sexual desires of the Indian woman. The woman need not be beautiful though it is mandatory that she has a beautiful body. The woman need not be single either.

Apart from Mobile Theatre, other forms has also given space to women, and the performance of Ram Bijoya is worth mentioning in turning the gender table. An Ankia Naat performance was performed by a group of women who are top actresses of Assam including Moloya Goswami, Nishita Goswami, Madhurima Choudhary, Barasha Rani Bishaya, Chetana Das and Rasarani. The play was performed in ‘Brajavali’- concoction of Assamese, Hindi, Oriya and Maithili. Ankia Naat