Examples Of Alienation In Ponthan Mada

This scene demonstrates what women expected to be treated by men, simply, the wants of women. Also, it demonstrates the tone and the language

In this essay I am going to compare the main characteristics of the two most important characters of this book. They were both born in Afghanistan but each of them was raised by totally different families. In spite of not having the same social background after several years they meet one another and live together, as wives of their strict husband Rasheed who refuses modern rights for women.

The relationship between mothers and daughters influence the conflicts that each character experiences throughout the novel. Consequently, conflicts such as oppression and identity crisis play a key role in developing the female characters in the novel. Throughout the novel, Tan discusses these themes in several different ways. These themes are evident in the ways that the mothers, daughters, spouses are seen and how each character is characterized by their roles in their relationships throughout the novel. In addition, the environments and social setting of each relationship that is depicted in the novel plays a significant role in defining and determining the fate of the relationship. Tan focuses mainly on mother daughter relationships, and how conflicts such as oppression and overcoming adversity arise when mothers and daughters are placed in unfamiliar

Composed ages ago, The Mahabharata still continues to be retold in various literary, graphic and visual media. In the hands of the postcolonial Indian English novelist the mythological past takes different shapes. Unlike retellings of previous centuries, these novels do not view the epic as a mere tussle between dharma and adharma. They re-narrate their past but from a different perspective. They demolish authority, stereotypes, icons and sexist values. This paper seeks to examine how notions of gender are subverted and notions of victimhood and agency are playfully dealt with, in these modern retellings of The Mahabharata. This paper will be dealing with two hyper-masculine characters from The Mahabharata, namely Duryodhana and Bhima. Pushed to the brink of half-existence, both these characters seem to share their frustrations in being misunderstood, half-understood. Beneath all the masculinity, the massive strength, the oozing machismo, we get two marginalised men waiting to be heard. Our reading of these novels reveals how rewriting epics gives voice to the subordinated speaker and also analyses the ways in which individuals of this age resist hegemonic notions of gender and class.

Ali illustrated in one scene the character of two married couples, the real relationship between them, and the difficultly to

In the film Umrao Jaan, the story is narrated by a woman who was kidnapped at a young age. Umrao Jaan is a “courtesan” genre film in Bollywood. This genre often portrays the life of a courtesan. In this film, A young girl (whose name is Amiran) is abducted by her father’s enemy and sold to a brothel where she learns to read, write, sing, and dance. She becomes an accomplished courtesan; in a song sequence which compromises time, we see her grow up while learning how to sing and dance. This song marks the beginning and training of her courtesan lifestyle. Towards the end of the film, we get another song sequence where Umrao Jaan performs her poetry, “Yeh Kya Jagah Hai Doston.” I will analyze this song as the song speaks of her sense of confusion, loss, and ache for home. In this song, Umrao has returned to her hometown of Faizabad (from where she was abducted). She sings the song outside her biological home. Umrao as a courtesan, was a sex worker who was often ostracized and condemned from the society. Due to Umrao being known in society as a prostitute she is unable to find fulfillment in love. Through her songs and dance we see how she expresses how much she desires to live a life beyond her condemned situation.

Although in many ways this text can be seen as a radical feminist text, but Devi dismisses the idea as she is not a feminist. She feels that it is a mere coincidence that some professions are gendered and doesn’t regard women as a separate entity but treats their oppression as linked to a wider oppressive structure controlled by caste. She thinks that to ignore the latter in the shadow of the former, is a “denial of history”. But Usha Ganguli in her introductory text ‘Metamorphosis of Rudali’ presents a different view and says that in many ways this could be read as an ‘enabling’ feminist text-with the empowerement of Sanichri, the bonding between the two characters, the importance given to household chores, the common experiences of discrimination of women along class lines and the rare sensitivity expressed by the author towards women in general. Through this novella, Devi discusses and rethinks questions of class, caste and gender and how such structures affect women by giving a powerful voice to the gendered subaltern and thus rescuing them from the dark recesses of third world

During the ancient period women enjoyed high status and played a significant role in society and a feminine term “Shakti” literally means “power and strength”. Literary evidence suggests that kings and towns were destroyed because the rulers troubled a single woman. Ilango Adigal’s Sillapathigaram teaches us Madurai, the capital of the Pandyas was burnt because Pandyan Nedunchezhiyan mistakenly did harm to Kannaki. But the status and role of woman discriminated in the later periods and they were considered to be the weaker sex, food giver and sex object. Her status and dignity as a woman is not accepted in society as well as at home. Our history reveals many instances how she is meted out injustice, deprived of her basic needs and even fundamental rights. From the position of a deity she is degraded into a prostitute who sells her body for money due to miserable living condition, poverty and starvation. Such survival sex can be vividly seen in Jayanta Mahapatra’s poem “Hunger”. The poem presents a sentimental touching story of a fifteen year old girl who becomes a whore to keep starvation at bay with the consent of her father- a poor fisher man. Here her father himself acts as a pimp because hunger reigns over the father- daughter relationship. The poem is an unapologetic commentary on our society, i.e., how a girl of fifteen, who should be given a safe environment to live, is used for satiates the hunger of so-called moralistic and upright civilized society. The poem also

As an artist Kamala Markandaya’s fiction is concerned with change in feminine sensibility brought about by the social, economic and cultural forces, whereas Anita Desai’s major concern is about exploration of the psychological condition of the oppressed hyper-sensitive women. The synoptic views of Anita Desai and Kamala Markandaya’s portray the women protagonists in terms of the shifting sensibilities and changing attitudes of married Indian women. It also tries to analyze the portrayal of women characters that belong to rural and urban upper classes of Indian society. As an artist Kamala Markandaya’s fiction is concerned with

Such unequal treatment of woman results in the violence perpetuated inside and outside her home. Climate for violence is created by the prevailing disparities (on the basis of his/her gender) in an individual’s entitlements to the family and community resources. Often condoned by culture, such systematic violence enforces gender inequality by curtailing woman’s freedom and right to self-determination. But Rama now wants to break all such barriers. She revolts against the establishment by becoming mother through Rajaninath, a crime and adultery in the eyes of society. Indian history reveals that women have been victims of discrimination since the ancient times. Sati is an example in which woman was buried alive with her husband’s dead body. Though there is no Sati today, yet a woman’s life becomes a vicious circle where physical, social, sexual, domestic, psychological violence are reported at regular intervals and recent surveys prove it. Rama’s life also cannot remain untouched by such violence. For twenty-two years, she has been enduring the harassment and brutalities perpetuated by the family. Through the limited dimensions of drama, Tendulkar has brought out the physical brutalities faced by Rama and Manik and has portrayed the mental stress of Rama. The psychological violence is the most dangerous form of violence, even more dangerous than physical beating and Vijay Tendulkar through Rama’s life, brilliantly, brings out the pain and agony of a woman in a house where men behave like vultures. The end of Rama is not very different from that of Manik. Umakant has told Ramakant that the child in Rama’s womb is not of his, but of Rajaninath and Ramakant, having dead drunk, asks her to abort it. We do not know what happens outside the stage in the end.

Here Tendulkar develops a dramatic situation through unconventional ways of the protagonist. Sakharam, the protagonist, exploits women in the play. Tendulkar through Sakharam tries to establish a more dynamic and flexible vision of personal relationship in which socio–economic security is not the ultimate destination. The honest and unconventional relationship adopted by Sakharam seems to be a more desirable option to resolve the conflict born out of gender discrimination. Sakharm’s thesis of life presents a very vital argument that double dealing in the name of morality is more dangerous than the open display of the meanness existing in the human

The development feminism in India has prompted the scrutinizing of the conspicuous old patriarchal control. The ladies of today decline to be manikins in the hands of men. Henceforth the picture of ladies has experienced an intense change. The Indian female authors have made a move from the conventional depictions of persevering generous ladies to delineation of their inward life and inconspicuous relational connections. The clashing enthusiasm of man and lady in the general public thus of self-stating ladies, who are engaged in intense scan for their personality, is the lobby characteristic of present day depiction of female characters. Arundhati

The play is a strong commentary upon a patriarchal family system. It focuses on the theme of emptiness and uselessness resetting from adherence to patriarchal code. The autocratic father tries to check the movements and manners of his son and his daughter-in-law Ratna, although the father is considered as a man of progressive ideas and liberal views. The play dramatizes the conflict between the old and the young through the characters of the old father and the young son. The family ties and marriage discord are highlighted through series of conflicts among the members of the family.

Abstract: The paper examines the patriarchal bent of society in which Jaya lives and how this male oriented system creates ideological beliefs whereby, women are flung to marginalized positions of those social structures whose centers are constituted by males. The paper brings to the surface the inner dissatisfaction and maladjustment that Jaya suffers but about which she remains silent. Jaya as a subordinate character, a subject, seems to have internalized the code of conduct which the society has framed for her, considering it to be a natural order for most of her life, thereby, imparting on her a kind of perpetual silence about her desires, needs and ideas. . Deshpande has tried to define this silence as a full-fledged character who accompanies

Feministic approach towards a text has developed a multitude of ways to unpack literature in order to understand its essence. Scholars commonly known as Feminine Critique sought to divorce literary analysis away from abstract diction-based arguments and instead tailored their criticism to more “grounded” pieces of literature like plot, characters, and so on and recognize the implicit misogyny of the structure of the story itself. My paper on The Disparate Treatment of Patriarchy in ‘The Mayor of Casterbridge ' and ‘The Mahabharata’ throws a feministic light in Thomas Hardy 's and Ved Vyas 's works. Through my paper I want to particularly highlight the treatment of patriarchy given to the female protagonists. I want to highlight the different manners of their treatment or response towards patriarchy and how even their being belonging to different origins and literary periods does not improve the status of female characters in literature. My work will mainly focus on the take of the female protagonists in the given situations and the different manners in which they deal with it. I also want to emphasize the status quo of women in the society that we 've grown out of and in the present scenario. The paper is entitled The Disparate Treatment of Patriarchy in ‘The Mayor of Casterbridge ' and ‘The Mahabharata in which I’ve tried to bring into light the different manners of treatment of patriarchy by the female protagonists in both the aforementioned