scholarly journals Search for Identity: A Study of Female Characters in Anita Desai’s Fire on the Mountain

2019 ◽  
Vol 7 (12) ◽  
pp. 8
Author(s):  
Tejaswini Behera
Keyword(s):  
Physical Violence ◽  
Female Character ◽  
The Novel ◽  
Female Characters ◽  
The Family ◽  
The World ◽  
Long Life ◽  
The One ◽  
In Fire

The three leading female characters in the novel Fire on the Mountain(1977) are searching for their identity till the end of the novel. All of them are victims of various kinds. Nanda, though not a victim of direct physical violence, has certainly been a victim of her husband’s indifference and of the family that has taken her for granted all her long life. Due to which she has finally decided to live a lonely life in Carignano. Ila Das in her own way for searching for her identity becomes the most obvious victim of violence in her own death by murder. Raka though a child searches for her identity due to the brutal and indifferent nature of her parents. She is a victim of the world of her parents that she is born to. But she is the one female character in the novel who is aware of the violence and finally get s the solution by setting the forest in fire.  

scholarly journals Recent Contributions to the Irish Novel by Sara Baume, Anna Burns and Eleanor O’Reilly: On Language, Words and Wordlessness

Oceánide ◽  
2020 ◽  
Vol 13 ◽  
pp. 85-94
Author(s):  
Margarita Estévez-Saá
Keyword(s):  
Women Writers ◽  
Local Communities ◽  
The Novel ◽  
Female Characters ◽  
Unstable Condition ◽  
The Past ◽  
The Family ◽  
The World ◽  
Irish Women ◽  
Identity Crises

The purpose of this contribution is to study three young writers who have offered, in the past three years, in a distinctively new voice, further instances of the Irish writers’ endless ability to experiment with the form of the novel. Sara Baume’s "A Line Made by Walking" (2017), Anna Burns’s "Milkman" (2018), and Eleanor O’Reilly’s "m for mammy" (2019) are three representative instances of the potential of the form of the novel in the hands of Irish women writers. Each of these novels deserve a study in its own due to their complexity and interest, but analysing them together offers us a unique opportunity to assess the thriving state of novel writing in Ireland, especially in the hands of Irish women writers.The three novels object of our study deal with identity crises, and they similarly represent their protagonists as struggling against society and its structures, be it the family, local communities, the world of art, nature or politics. Furthermore, the three authors have been able to devise alternative narrative styles, techniques and even endings that enabled them to render the complexities of the topics dealt with as well as to represent the unstable condition of their protagonists. In addition, Baume, Burns and O’Reilly have significantly chosen as protagonists female characters with artistic or intellectual aspirations who allow the authors to endow their respective narratives with metaliterary meditations on the possibilities as well as limits of language, words and wordlessness.

scholarly journals The Last Man and ‘The First Woman’: Unmanly Images of Unhuman Nature in Mary Shelley’s Ecocriticism

Perichoresis ◽  
2020 ◽  
Vol 18 (2) ◽  
pp. 3-15
Author(s):  
Éva Antal
Keyword(s):  
Mary Shelley ◽  
The Other ◽  
Natural Order ◽  
The Novel ◽  
Female Characters ◽  
The Sublime ◽  
The World ◽  
Last Man ◽  
The One ◽  
The Last Man

AbstractMary Shelley in her writings relies on the romanticised notions of nature: in addition to its beauties, the sublime quality is highlighted in its overwhelming greatness. In her ecological fiction, The Last Man (1826), the dystopian view of man results in the presentation of the declining civilization and the catastrophic destruction of infested mankind. In the novel, all of the characters are associated with forces of culture and history. On the one hand, Mary Shelley, focussing on different human bonds, warns against the sickening discord and dissonance, the lack of harmony in the world, while, on the other hand, she calls for the respect of nature and natural order. The prophetic caring female characters ‘foresee’ the events but cannot help the beloved men to control their building and destroying powers. Mary Shelley expresses her unmanly view of nature and the author’s utopian hope seems to lie in ‘unhuman’ nature. While the epidemic, having been unleashed by the pests of patriarchal society and being accelerated by global warming, sweeps away humanity, Mother Nature flourishes and gains back her original ‘dwelling place’.

scholarly journals Representasi Feminisme dalam Novel Nayla Karya D.Jenar Maesa Ayu

ATAVISME ◽  
2009 ◽  
Vol 12 (2) ◽  
pp. 127-136
Author(s):  
Agung Pramujiono
Keyword(s):  
Key Words ◽  
Research Data ◽  
Professional Women ◽  
Radical Feminism ◽  
Female Character ◽  
The Novel ◽  
Main Character ◽  
Female Characters ◽  
The One ◽  
Women Rights

Penelitian ini bertujuan mendeskripsikan secara objektif representasi feminisme dalam novel Nayla karya Djenar Maesa Ayu. Data penelitian adalah perataan, perbuatan, dan peristiwa yang dialami oleh tokoh utama, Sumber data penelitian adalah novel Nayla karya Djenar Maesa Ayu edisi kedua yang diterbitkan oleh Gramedia pada tahun 2005. Data dikumpulkan mclalui teknik dokumentasi dan dianalisis secara deskriptif. Berdasarkan analisis data, dapat disimpulkan bahwa Nayla adalah sebuah novel dengan pengarang yang secara sadar ingin memperjuangkan hak-hak perempuan, terutama yang berkaitan dengan seksualitas. Tokoh pcrempuan dalam Naylai adalab seorang perempuan superior, bukan inferior, seorang perempuan yang 'mendominasi' laki-laki, bukan yang 'didominasi' oleh laki-laki. Pengarang juga berusaha untuk mengangkat posisi perempuan dengan menghadirkan seorang karakter perempuan yang menemukan kesadaran akan eksistensi diri, menyadari makna kebidupan dan hidup. Para tokohnya adalah perempuan- perempuan profesional yang bahkan dapat disejajarkan dengan para laki-laki. Mereka adalah tokoh perempuan yang jarang mengurusi urusan rumah tangga Terkait dengan seksualitas, sang tokoh (si pengarang) berpendapat bahwa perempuan tidak selayaknya diperlakukan sebagai objek semata, retapi seharusnya juga memiliki kesempatan untuk bersenang-senang dan disenangkan. Abstract: This research aims to describe objectively the representation of feminism in the novel Nayla by Djenar Maesa Ayu. The research data are speeches, actions, and happenings experienced by the main character. The source of the data was the novel Nayla by Djenar Maesa Ayu second edition published by Gramedia in 2005. The data were collected through documentation technique and analyzed descriptively. Based on the analysis of the data, it could be concluded that Nayla was a novel whose author consciously wished to struggle for women rights, especially those related to sexualities. The female character in Nayla is a superior woman, not an inferior one; a female who 'dominates' males, not the one who 'is dominated' by males. 'The author also strives to raise women's positions by presenting a female character who has found a consciousness of self-existence, realized the meanings of life and living. The characters are professional women who can even be equalized with men. 'They are female characters who seldom take care of domestic households. Related to sexualities, the character (the author) has the opinion that women should not have been treated as objects only, but should also have been given opportunities to enjoy themselves and to be spoiled. Key Words: representation of feminism, radical feminism

Mansfield Park

2008 ◽  
Author(s):  
Jane Austen ◽  
Jane Stabler
Keyword(s):  
The Novel ◽  
Mansfield Park ◽  
Sexual Jealousy ◽  
The Family ◽  
The World ◽  
The Face

‘Me!’ cried Fanny … ‘Indeed you must excuse me. I could not act any thing if you were to give me the world. No, indeed, I cannot act.’ At the age of ten, Fanny Price leaves the poverty of her Portsmouth home to be brought up among the family of her wealthy uncle, Sir Thomas Bertram, in the chilly grandeur of Mansfield Park. There she accepts her lowly status, and gradually falls in love with her cousin Edmund. When the dazzling and sophisticated Henry and Mary Crawford arrive, Fanny watches as her cousins become embroiled in rivalry and sexual jealousy. As the company starts to rehearse a play by way of entertainment, Fanny struggles to retain her independence in the face of the Crawfords’ dangerous attractions; and when Henry turns his attentions to her, the drama really begins… This new edition does full justice to Austen’s complex and subtle story, placing it in its Regency context and elucidating the theatrical background that pervades the novel.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

scholarly journals Baleia, de Graciliano Ramos: uma meditação sobre a vida sensível do animal

2017 ◽  
Vol 2 (2) ◽  
Author(s):  
Fernanda Coutinho
Keyword(s):  
Nonhuman Animal ◽  
Human Reasoning ◽  
The Novel ◽  
The Gaze ◽  
The Family ◽  
The World ◽  
The Status

In this essay, I examine the status of Baleia, the family dog in Graciliano Ramos’s Vidas secas (1938). My principal interest is to analyse the attenuation of distances and the differentiation of sensibility between humans and animals in the novel. I argue that Baleia allows Ramos to leave aside an absolute belief in human reasoning and think of the nonhuman animal as a being endowed with complexity. In this, Ramos deviates from a speciesist appreciation of history and sharpens the gaze of his readers with respect to the limitations of our understanding of the world and its beings.

scholarly journals CELIE: A PORTRAYAL OF AN AFRO-AMERICAN WOMAN'S REJECTION OF TRADITIONAL VALUES

2017 ◽  
Vol 2 (2) ◽  
pp. 129
Author(s):  
Ekawati Marhaenny Dukut ◽  
Nuki Dhamayanti
Keyword(s):  
Women Characters ◽  
Alice Walker ◽  
The Novel ◽  
Main Character ◽  
Traditional Values ◽  
Female Characters ◽  
American Women ◽  
The Color Purple ◽  
The World ◽  
Color Purple

The world of literature can be a medium of expressing the writer's expressions and ideas. Universal topics such as, love, death, and war often become subject mailers in the world of literature. In the novel, of The Color Purple. Alice Walker describes the oppression experienced by Afro American women in the female characters of Celie, Nellie, Shug Avery, Sofia, and Mary Agnes who faced sexual discrimina!ions in a patriarchal society. Womanhood, education, and lesbianism are factors that help the Afro American women to free themselves from traditional values. The Color Purple puts into words the process of its main character, Celie, who tries to reject and escape from the male domination of her world. The other Afro American women characters that help Celie to find her selfidentity represent the manifestation of the rejection of the traditional values. This article. which uses the socio-historical alld feminism approach. is intended to analyse the Afro-American women's rejection of traditional values by focusing on the major character of' Walker's The Color Purple. Celie. as she develops from being a victim of traditional values to the rejoiceful discovery of her selfidentity.

scholarly journals Buddhist Precepts and the Diagnosis of Women’s suffering in Doris Lessing’s The Golden Notebook

2016 ◽  
Vol 12 (3) ◽  
pp. 42
Author(s):  
Shaereh Shaereh Shaerpooraslilankrodi ◽  
Ruzy Suliza Hashim
Keyword(s):  
The Novel ◽  
Female Characters ◽  
Female Self ◽  
The Core ◽  
Self Development ◽  
The World ◽  
Self Transcendence ◽  
Dependent Arising ◽  
Mahāyāna Buddhism ◽  
Universal Nature

<p>In Doris Lessing’s fictions, the effects of the world outside on the female self-transcendence are invariably lost, and instead the journey in the world within is notably emphasized. Similarly in <em>The Golden Notebook</em> the didactic bend of the female enlightenment is firmly entrenched to the world within where personal harmonies parallel the mystical patterns of self-development. Moreover, the detailed exploration of the novel foregrounds the female characters’ hard effort to end their suffering which is the core of Buddhist teachings. Hence, while Lessing is not specifically attempting to portray Buddhist principles in her novel, her vision captures the universal nature of humankind’s attempts to overcome suffering which is the most emphasized concept in Buddhism. Accordingly, the purpose of this paper is to use Buddhist philosophical thoughts, particularly the founding of the pioneer of Mahayana Buddhism, Nagarjuna, in his book <em>Mulamadhyamakakarika </em>to look more closely at the root of women’s suffering and their prescription to overcome it. The methodology appropriated entails depiction of clinging as the root of female suffering which is overtly discussed in Nagarjuna’s philosophy. After diagnosis of clinging disease as the root of suffering, this paper presents Nagarjuna’s prescription to end suffering through viewing the “empty” nature of beings and “dependent arising”. By examining the root of female suffering and offering the method for its eradication, we depart from other critics who examine Lessing’s works under Sufi mystic thoughts. This departure is significant since we reveal, unlike Sufi patterns within which the suffering is only diagnosed, Lessing’s mystic aim in shaping her female characters is not only to detect their suffering, but like Buddhism, to suggest a prescription for it. </p>

scholarly journals O JORNAL COMO ELEMENTO DE TRANSFIGURAÇÃO DA HISTÓRIA EM O ANO DA MORTE DE RICARDO REIS DE SARAMAGO

2003 ◽  
Vol 60 ◽  
Author(s):  
Gerson Luiz Roani
Keyword(s):  
Authoritarian Regimes ◽  
European History ◽  
Daily Routine ◽  
The Novel ◽  
The World ◽  
History And Literature ◽  
Jose Saramago ◽  
The One ◽  
Radical Approach

Este artigo investiga o diálogo entre a História e a Literatura no romance O Ano da Morte de Ricardo Reis de José Saramago. Nessa obra, vislumbra-se uma atitude inovadora e radical de interlocução com a História, que não se limita a uma mera representação de acontecimentos do passado português. Saramago investe no jogo do fingimento pessoano, inventando para Ricardo Reis um cotidiano e uma queda na conturbada História européia de 1936, que o poeta modernista não poderia prever para o seu mais clássico heterônimo. O discurso ficcional assume uma função restauradora, preenchendo vazios, lacunas e os silêncios do discurso historiográfico. Nesse processo, um dos recursos romanescos utilizados para a transfiguração da História consiste na inserção, na trama narrativa, de textos jornalísticos de 1936, que focalizam a situação histórica portuguesa e européia, nesse ano crucial, em que se consolidaram os regimes totalitários de índole fascista. O aproveitamento desses fragmentos da imprensa portuguesa proporciona uma minuciosa recosntituição das circunstâncias sociais, políticas e históricas de Portugal, criando uma atmosfera cotidiana que bem poderia ser a experimentada por Ricardo Reis, em 1936. Abstract The purpose of this paper is to carry out research on History and Literature in the novel O ano da morte de Ricardo Reis (translated as The year of the death of Ricardo Reis) by Portuguese writer José Saramago. The work stands out by its new and radical approach of a dialogue with History, but which is not limited to a mere representation of Portuguese past events. In Saramagos novel, the latter is revisited through the fictional recreation of one of his heteronyms, Ricardo Reis. The author probes into Pessoa’s play of pretence, inventing a daily routine for Ricardo Reis and plunges into the 1936 disturbances of European History, which the modernist poet could not have foreseen for his most classic heteronym. By giving Ricardo Reis an existence within new fictional parameters, the novel questions the validity of the guiding motto of this fictional figure’s attitude, that is, wise is the one who is contented with the spectacle of the world, which means that at a time of overwhelming social, ideological and political turbulence, the absence of historical conscience is unacceptable. Fictional discourse assumes then a restorative function, filling empty spaces, gaps and silences of historiographic discourse. In this process, one of the novelistic resources used in the transfiguration of History consists of the insertion, within the narrative’s plot, of 1936 newspapers’ texts. These articles focus on the European and Portuguese historical situation in this crucial year when authoritarian regimes of fascist character were being consolidated. The utilization of these fragments of the Portuguese press offers a detailed reconstitution of Portugal’s historic, social and political circumstances, thus creating a quotidian atmosphere that Ricardo Reis would have experienced in 1936.

Strolling in Tel Aviv: Setting Up and Breaking Down Boundaries in S. Yizhar'sPreliminaries(Mikdamot)

AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 67-88
Author(s):  
Dvir Tzur
Keyword(s):  
The Other ◽  
The Novel ◽  
Urban Experience ◽  
Tel Aviv ◽  
Other Hand ◽  
The World ◽  
The One ◽  
The Individual

The article discusses the image of Tel Aviv, the first Hebrew city, as it is described in the novelPreliminariesby S. Yizhar (Yizhar Smilansky), one of Israel's best-known authors. In this novel, which engages with the question of home and borders, borders function as a double-edged sword: on the one hand, they define home and create a circumscribed place for the protagonist and his family. On the other hand, the novel dwells on the urge to cross borders and shatter the distinction between home and the world. In this regard, Tel Aviv is sometimes described as a pleasant, “normal” city, yet at other times it is written as a perilous place—since it divides between Jews and Arabs. Tel Aviv is also the place where one can imagine a great future or see a concealed history. It is a total urban experience, encapsulating the individual.

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