scholarly journals AGGRESSIVE NATURE OF WOMEN IN THE NOVELS OF ANITA NAIR

Author(s):  
Pushpanathan

This paper seeks to focus primarily on the psychological exploration of inner mind of Indian women in the novels written by an Indian writer in English. There is a need and relevance to dwell briefly on some of the novels of Anita Nair to study the aggressive nature of her women characters and their significance with a view to substantiating this issue. Physical behavior which is threatening or involves harm to someone or something or behaving in an angry and violent way towards another is one sort of aggression.

2018 ◽  
Vol 7 (3) ◽  
pp. 08
Author(s):  
Sultana Jahan

<p>The present paper is a sincere effort to explore the image of Indian women in the early 19th century social context as depicted in Sharat Chandra’s  novel S<em>rikanta</em>. In this novel Sharat Chandra’s  portrayal  of  women  characters-  Rajlaksmii,  Annada,    Abhaya  ,  and  Kamal Lata  assert    their  individuality, self-worth  and    deliverances  boldly  in  the  then  male-controlled  and traditional society. These characters are unwavering and resolute enough to cast around an emancipated futuristic outlook. They are all precursors to the later day women characters depicted by the feminist writers. Sharat chandra is not a feminist in the traditional sense nor does he take the side of forceful assertion of women rights but he shows    a  significant  understanding  of  woman  psyche  and  to  a  great  extent, protests against  social  and  religious  double  standard  that  ultimately  results  in  gender nonconformity.  He  values humanity more than chastity  and raises his voice against traditional  morality  and religious dogmatism  in depicting  illicit  love relationship  and in disclosing  the deceptions  underlying  the established  marriage  custom. To all  female  characters, Rajlaksmi,  Annada,Kamal  Lata,  and  Abhay,  marriage  fails  to provide  congenial atmosphere  to love and value each other;  rather to them, marriage is nothing but  religious  and social yolk that come up with patriarchal applaud   but result in self-deception. This paper is an attempt to elucidate Sharat Chandra’s unconventional idea of chastity and reversed roles of women going deep into the female characters of this novel who fearlessly look down on the patriarchal impediments.</p>


Author(s):  
Rajneesh Kumar ◽  

Identity crisis is one of the most dominating thematic concerns in the novels of Arundhati Roy and Kiran Desai. Sucked into the vortex of ascribed and achieved identities, the characters portrayed by these two authors struggle to create their personal identity and individuality. Roy has dwelt on the idea of identity on several platforms, be it on the page or stage. She has an in-depth understanding of individual and collective identities. On the other hand, Desai focuses on multiculturalism and dislocation in families that pose athreat to one’s social, civic and cultural identity. Her works offer some fresh insights into diaspora identity. This paper critically examines identity crisis suffered by the women protagonists in the novels of Roy andDesai within the comparative literature study framework by focusing on the method of thematology. Roy mulls over the significance of women in families and society. There is no dispute regarding their inevitable role, but their status is definitely a matter of debate. In her debut novel, Roy speaks freely about the concerns of women, but the issue of identity crisis outdoes in her second novel due to the polyphonic sounds of her women characters. Desai, to the contrary, presents an idealistic picture of Indian women. This paper delineates that Roy and Desai unearths various dimensions of womanhood in general and wifehood in particular. Both Roy and Desai deal with the issue of identity against the socio-cultural backdrop of India. They depict a panoramic view of identity crisis faced by women.


2021 ◽  
pp. 71-81
Author(s):  
Mrs Sarika

Bharati Mukherjee is a famous Indian born American non-fiction writer, short story writer and journalist. She is one of the well-known novelists of Indian Diaspora. Within a really short creative time, she has achieved enviable position in the field of English literature. In her works, she has very well depicted the Indian immigrant experience of her women characters both in her novels and short stories. In her works, she talks about the lives of Indian women immigrants in the U.S.A and their journey of transformation and adjustment of their lives and personalities. She tries to explore the themes of immigration as well as transformation. She portrays the various phases of her characters such as the phase of expatriation, the phase of transition and phase of immigration. She very well depicts how the cultural clash or cultural conflict between the west and the east leads to the psychological crisis in the minds of her women characters. In her novels, she has given importance to the feministic perspective of her women characters. Her women characters are the protagonist and hero of the novels. She has tried to portray how her female characters sacrifice their dreams, hopes, desires, wishes, what the various problems, fear, torture they face, and how they finally do their best to overcome from all the hurdles. She has drawn her female characters in various situations and circumstances.


2021 ◽  
Vol 3 (1) ◽  
pp. 122-130
Author(s):  
Jayavelu D ◽  
Mamta Pillai

The portrayal of women in literary texts over the centuries has been stuck in the conviction that women are enormously subjugated, but now repetition of the same is considered unjustified. The canon of reformers in the literary world has started to interpret feminism from various perspectives. Women characters are reformulated and rethought by the new emerging authors and those authors reinforce a new dimension to the status and moral experience of women which was largely criticized in the domain of traditional literature. The present research, therefore, intends to elicit the narrative technique of Amish’s writings and his treatment of women characters in his novels. Amish’s women characters falsify the claims of traditional portrayal. The female protagonists of his novels highlight the punctuated identities of Indian women. They are strong, challenge traditional norms. In this regard Amish’s the Ram Chandra Series is a mythical fiction based on mythology of Ramayana with a multilinear narrative. This paper is intended to provide a brief and authentic exposition of status of women in India during the Vedic times with reference to the women characters in Amish’s the Ram Chandra Series in every aspect of social order like education, philosophy, religion, administration and warfare.


2020 ◽  
Vol 8 (3) ◽  
pp. 37-41
Author(s):  
Jai Shankar Tiwari

The study has been able to ascertain and prove beyond doubt that Das’s prose works are of no less ranking than her poems and that she has effectively employed the short story form to present the predicaments of Indian womanhood and their quest for identity and self-assertion. The exhaustive evaluation and thorough scrutiny taking up various aspects of he stories right from her themes, structure and style, narrative techniques to her portrayal of Indian women, their status in society, and identity crisis have finally led to the emergence of the New Indian woman. Das’s feminist approach and overt outlook, along with the quest for a self-determined and self-affirmed identity for Indian women, have been well established through a methodical and exhaustive contemplation of the diverse women characters. The conclusion that emerges from this study undoubtedly corroborates and attests that Kamala Das’s name stands at par with the pioneer Indian woman short story writers. Das has efficiently and effectively used the short story genre as a document of social criticism and has established herself as a feminist crusader, campaigning to acquire for the Indian womanhood an independent identity and self-dignity. Das’s short story, with its innovative style and techniques, simple language, and concise form, has been brilliantly explored in discussing the problems facing Indian womanhood, especially her search for selfhood. Das has adeptly highlighted and presented her outlooks with the help of her characters. The fact that her English fictional work has remained obscure and un-honored is a sad story and a loss to literature.


Author(s):  
Dr. Vatika Sibal Bassi

Cinema is believed to entertain, to take the viewer to a world that is different from the real one, a world which provides escape from the daily grind of life. Cinema is a popular media of mass consumption which plays a key role in moulding opinions, constructing images and reinforcing dominant cultural values. The paper deals with representations of women characters in mainstream Bollywood movies. Women constitute fifty per cent of the population and hence their portrayal on screen is crucial in determining the stereotypes that exist in the society. The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. It also undertakes some glimpses from popular films to analyze this process of stereotyping. Cinema is always constructed from the male view point. In conclusion, a debate ensues on whether mainstream Hindi cinema has been successful in portraying Indian women of different shades in a society dominated by patriarchal values.


2020 ◽  
Vol 8 (2) ◽  
pp. 14
Author(s):  
Dr. Rajni Sharma ◽  
Mrs. Poonam Gaur

The autobiographical impulse and act is central to woman's writing in India. The range of Indian women's writing generates an unending discourse on personalities, woman's emotions and ways of life. In a way, it presents the socio-cultural state in India from a woman's stance. It affords a peep into Indian feminism too. Besides giving a historical perspective, it throws ample light on woman's psychic landscape. It takes us to the deepest emotions of a woman's inner being. The varied aspects of woman's personality find expression in the female autobiographical literature. We find that a deeper study of women’s autobiographies unravel the hidden recesses of feminine psyche of Indian society. Whatsoever the position of women maybe, behind every social stigma, there is woman, either in the role of mother-in-law, sister‑in‑law or wife. The women writers with sharp linguistic, cultural and geographical environment represented the problems and painful stories of Indian women from 19th century until date. However, they have not shared the contemporary time of the history, the problems of patriarchal society, treatment women, broken marriages and the identity crises for the women remained similar. Women writers have also been presenting woman as the centre of concern in their novels. Women oppression, exploitation, sob for liberation are the common themes in their fiction. Dalip Kaur Tiwana is one of the most distinguished Punjabi novelists, who writes about rural and innocent women’s physical, psychological and emotional sufferings in a patriarchal society. As a woman, she feels women’s sufferings, problems, barricades in the path of progress as well as the unrecognized capabilities in her. Dalip Kaur Tiwana has observed Indian male dominated society very closely and has much understanding of social and ugly marginalization of women. She can be considered a social reformer as she is concerned with human conditions and devises for the betterment of women's condition in Indian Punjabi families. This paper focuses on the theme of feminist landscape. It presents the miserable plight of women characters. She has come across since her childhood. Women, who felt marginalized, alienated, isolated and detached in their lives, but were helpless as no law was there in her time to punish the outlaws. Dalip Kaur Tiwana beautifully portrays the landscape of her mind. The paper shows how Dalip Kaur Tiwana presents the unfortunate image of her mother, grandmother aunts and some other obscure women who were unable to mete out justice during their life time.


2010 ◽  
Author(s):  
Shilpa V. Jasubhai ◽  
Pratiksha H. Raval ◽  
Vaishali V. Raval

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