Women and Nature in BP Koirala's Sumnima: An Ecofeminist Study

2020 ◽  
Vol 10 (1) ◽  
pp. 128-142
Author(s):  
Indira Acharya Mishra
Keyword(s):  
Gender Roles ◽  
Social Order ◽  
World View ◽  
The Novel ◽  
Human Beings ◽  
Traditional Gender Roles

The article aims to analyze the connections between women and nature in Bisheshwar Parsad Koirala's novel Sumnima. To examine the relation between women and nature in the novel, the theory of eco feminism has been used. Eco feminism deals with the relationships between women and nature that particularly deals with the domination of women and exploitation of nature in a patriarchal social order. Eco feminist critics believe that issues of women and ecology are interrelated. They critique that the domination of nature by human beings is guided by the patriarchal world view, the same world view that justifies the domination of women. Thus, they resist the exploitation of women and nature. Koirala's Sumnima underscores the patriarchal structure based on dualisms like men/woman, masculine/ feminine, culture/nature, and spiritual/material, which destabilizes the system based on the hierarchy of the traditional gender roles. Thus, the article argues that the novel is written from the perspective of eco feminism. The analysis of the study centers on the depiction of women and nature in the novel. The finding of the article shows that, in patriarchy, women and nature are treated as feminine and they are dominated and exploited. The analysis is significant as it helps to understand the importance of feminine to maintain harmonious relation between men, women and nature.

scholarly journals Female Authority And The Representation of Womanhood In H. Rider Haggard’s Ayesha

2020 ◽  
Vol 7 (4) ◽  
pp. 322-332
Author(s):  
Shokhan Rasool Ahmed
Keyword(s):  
Gender Roles ◽  
English Department ◽  
The Novel ◽  
Femme Fatale ◽  
African Culture ◽  
Postgraduate Students ◽  
Traditional Gender Roles ◽  
Sequential Structure ◽  
History Of ◽  
The New Woman

Haggard’s Ayesha is the continuation of the Victorian dream novel She. H. Rider Haggard's She, subtitled A History of Adventure, is figured to be among top rated books at any point distributed: it had sold exactly 83 million duplicates by 1965. Ayesha (really articulated 'Assha'), subtitled The Return of She, who takes after She in the book, is an amazing and puzzling white sovereign who administers the African Amahagger individuals. Ayesha has enchantment controls and is undying, which makes She a dream experience book. Despite the fact that She and Ayesha were distributed almost twenty years separated, H. Rider Haggard stated that Ayesha was a decision to a two-section book, not a continuation. There is likewise a "prequel," She and Allan (1921). In the two books, an imaginary manager shows an original copy portrayal by Ludwig Horace Holly. In Haggard’s She, considering that some parts of the novel are so comfortable, readers might feel compelled into thinking that they are going through Haggard’s tour in Africa. Fortunately, in any event, when the plot eases back to a nearly gastropod pace, the way Haggard's depicts the African culture and scene conveys the reader along. Ayesha, known as She-Who-Must-Be-Obeyed, first showed up in sequential structure from 1896 to 1897 in the novel She. Ayesha is one of the marvelous, kick-ass lady characters in Victorian writing who represents the misogynist construction of femininity and embodies the femme fatale. This paper is principally concerned about the representation of feminine power and the representation of womanhood in Haggard’s Ayesha. Some questions will be investigated here. Can one consider Ayesha as a “conclusion” or a “sequel” to She since the whole novel replicates the same thematic and structural maneuvers of She? Does Haggard revive Ayesha, the “new woman”, in The Return of She respond to the threat to traditional gender roles? The findings of this study will be beneficial for the researchers, and all the undergraduate and postgraduate students of English department. 

scholarly journals Exploration of Gender Role in Bisheswar Prasad Koirala's Tinghumti

2019 ◽  
Vol 10 (1) ◽  
pp. 12-24
Author(s):  
Asmita Bista
Keyword(s):  
Gender Roles ◽  
Gender Role ◽  
The Novel ◽  
Gender Theory ◽  
Traditional Gender Role ◽  
Traditional Gender Roles

Bisheshwar Prasad Koirala’s novel Tinghumti is always tempting for the reader as it still reflects the relevant picture of Nepali society. In this novel the characters defy as well as define the gender roles. Influenced with revolutionary thought they defy the prescribed gender roles; but chained in age old thought they, time and again, define the traditional gender role. This article aims to identify the reasons that drive these characters to defy and define the traditional gender roles. For that Judith Butler’s and Connell’s idea of gender theory has been used. The significance of this study is to contribute a different perspective for the reader to see the novel Tinghumti showing that traditional gender roles are meddled and confirmed in it. The study concludes that in the novel, the characters defy as well as define the socially prescribed gender role because gender is socio-political construction that achieves legitimacy and naturality via perpetual observation and repetition.

Ecofeminism and Post-Apocalyptic Environments in Roanhorse’s Trail of Lightning

2020 ◽  
Author(s):  
Talia Gukert
Keyword(s):  
Gender Roles ◽  
Indigenous Women ◽  
The Political ◽  
The Novel ◽  
Apocalyptic Literature ◽  
Traditional Gender Roles ◽  
The Earth ◽  
Female Protagonist ◽  
Complete Reversal ◽  
And Gender

This paper examines the significance of post-apocalyptic narratives as a means of expressing deep-seated anxieties about colonialism, capitalism, and cultural erasure in Rebecca Roanhorse’s Trail of Lightning. By viewing the novel through an ecofeminist lens, I seek to illuminate and explain the political changes Roanhorse’s post-apocalyptic world, and how this new environment allows for the transformation of social and gender structures of power. The theory of ecofeminism relies upon the belief that both women and nature are equally compromised and exploited by the patriarchy, constrained by the masculine forces of colonialization and capitalism. By situating her novel in a post-apocalyptic environment, Roanhorse implies that just as the earth has asserted its power over the effects of unrestricted capitalism through the consequences of global warming, Indigenous women have similarly taken back their powers of autonomy, liberating themselves from traditional gender roles. This paper shows how the connection between women and nature is most evident in the novel’s female protagonist, Maggie, who has been able to aggressively deviate from traditional gender norms and expectations due to the apocalypse. Through this complete reversal of common gender tropes in post-apocalyptic literature, Roanhorse demonstrates that the apocalypse has proven to be instrumental in freeing women from the constraints of gender roles, advocating the ecofeminist view that cooperation between women and nature is necessary for the liberation of both.

From Subversion to Liberation: Homosexuals and the Immigration Act 1952–1977.

1987 ◽  
Vol 2 ◽  
pp. 1-27 ◽  
Author(s):  
Philip Girard
Keyword(s):  
Cold War ◽  
Gender Roles ◽  
Family Life ◽  
Social Order ◽  
Sex Roles ◽  
Political Dissent ◽  
Traditional Gender Roles ◽  
The Social ◽  
The Cold War

Historians of the Cold War have tended to focus on the repression of political dissidents during that period, but only recently has attention been shifted to the simultaneous suppression of other types of non-conformity, such as sexual variance and non-traditional gender roles. Parallel to the repression of internal political dissent which accompanied the international Cold War, another, more subtle, campaign was proceeding. This was the attempt to re-establish the social order, based on family life and traditional sex roles, which the war had tended to undermine.

scholarly journals “NEXT TO GENIOUS”: G. FLAUBERT IN M.M. BAKHTIN’S THINKING

2021 ◽  
pp. 131-142
Author(s):  
Vitaliy Makhlin
Keyword(s):  
19Th Century ◽  
Critical Realism ◽  
World View ◽  
Point Of View ◽  
Literary Texts ◽  
The Novel ◽  
Human Beings ◽  
Artistic Vision ◽  
The 19Th Century ◽  
Methodological Difficulties

The article analyzes Bakhtin’s 1944 notes on Flaubert. Under discussion is, first, some general background of Bakhtin’s philosophical and scientific methodology as expressed in the notes, secondly, the notes themselves. Bakhtin’s views on Flaubert and the novel of the 19th century are re-presented in connection with the Russian thinker’s theories of the “grotesque realism” and “novelization”as opposed to the “ideological culture of the new times”. The article discusses some principal methodological difficulties of Bakhtinian approach to literary texts as expressed in his notes on Flaubert. In contrast to most philosophical approaches to literature, Bakhtin always treats any text, in his own expression, “in the liminal spheres” of different disciplines, that is, as both a philosopher and literary critic, a theorist and a historian of literature and culture. In these notes this specificity of the Bakhtinian methodology is expressed drastically, but in principal it is quite typical to his thinking “on the borders”. In the subsequent parts of the article Bakhtin’s approach to Flaubert’s “realism” is commented on, from the point of view of those elements of his artistic vision and his world view, which, according to Bakhtin, are not congruous with the concept of the so-called “critical realism”. These elements, Bakhtin implies, belong not so much to the classical novel of the 19th century, but, rather, to what he calls “grotesque realism” before the new times and in the 20th century. These elements are: mutual reversal of “short” and “long” (or “great” time in the images of the day, Flaubert’s artistic opposition to the “straightforwardness” of the idea of “progress” typical for the European Enlightenment and the modernity at large., the artist’s interest in the “elemental life” of human beings and animals. These and some other elements characteristic of Flaubert’s art and ideology, Bakhtin treats as if from within “creative consciousness” of the author.

scholarly journals PANDANGAN PENGARANG ATAS BURUH MIGRAN INDONESIA DALAM NOVEL SUMAYYAH KARYA NIZAR ABADZAH

Jurnal CMES ◽  
2019 ◽  
Vol 12 (2) ◽  
pp. 118
Author(s):  
Nur Hidayah
Keyword(s):  
Foreign Exchange ◽  
Migrant Workers ◽  
Social Problems ◽  
Migrant Worker ◽  
World View ◽  
The Novel ◽  
Human Beings ◽  
Human Needs ◽  
Work Abroad ◽  
Work Done

<p>Indonesian Migrant Workers are Indonesian workers who work abroad. They must leave Indonesia at a productive age, by leaving various social problems to bear the burden of solving family economic problems and providing foreign exchange for the country. These foreign exchange heroes in the country where they work are seen as tools to get work done, and not as human beings who need privacy, protection, respect and other human needs. This view has caused many problems, both psychological and social problems that have not been resolved until now, especially for migrant workers who work in the domestic sector, as happened to Marruni, a character of migrant worker in the novel of Sumayyah by NizarAbadzah. Abadzah is seen as a character who comes from the country that uses migrant workers’ services. This study is needed to understand the root problems that have been faced by Indonesian Workers who working in the Middle East. This study aims to find out author’s world view Marruni, the character of Indonesian Migrant Worker in the Novel of Sumayyah by using the theory of genetic structuralism.</p>

scholarly journals “I´ve Always Known…” La Mística de la Feminidad en Revolutionary Road de Richard Yates

2017 ◽  
Author(s):  
Macarena García Avello-Fernández
Keyword(s):  
Gender Roles ◽  
Social Order ◽  
Status Quo ◽  
Female Character ◽  
Final Decision ◽  
The Novel ◽  
Dominant Discourse ◽  
The Social ◽  
The Feminine

Resumen:El presente artículo propone analizar el malestar de April, el personaje femenino de Revolutionary Road (1961) de Richard Yates, en relación con el discurso dominante de la época conocida como “la mística de la feminidad”. A lo largo de este trabajo se profundizará en el inconformismo de April ante los mandatos sociales que como mujer recaen sobre ella, así como las diferentes estrategias mediante las que busca liberarse de los opresivos roles de género y el intento por parte de su marido de subyugarla cuando ve peligrar el “status quo”. Finalmente, se concluirá con las lecturas que se derivan de su decisión final de quitarse la vida.Palabras clave: Revolutionary Road, mística de la feminidad, discurso, género, inconformismo.Title in English: “I’ve always known…” The mystic of femininity in Revolutionary Road by Richard YatesAbstract: This article aims to analyse the prevailing sense of unease manifested by April, the female character in Richard Yates´ Revolutionary Road (1961) with regard to the dominant discourse of the “feminine mystique”. The novel displays April´s nonconformance to the social order imposed on women during that age. This work focuses on the strategies she devises in order to free herself from the oppressive gender roles, along with the reactions that her efforts imply. Finally, it will conclude with the readings derived from her final decision of committing suicide.Keywords: Revolutionary Road, feminine mystique, discourse, gender, nonconformance.

scholarly journals Thematic Analysis in The Edible Women

2021 ◽  
Vol 10 (1) ◽  
pp. 52-56
Author(s):  
S Udhayakumar
Keyword(s):  
Gender Roles ◽  
Thematic Analysis ◽  
World View ◽  
Point Of View ◽  
The Novel ◽  
Cultural Attitude ◽  
Patriarchal Society ◽  
Social Novel ◽  
Self Discovery

The Edible Women is one of the most outstanding novels of Margret Atwood which has set a big milestone in her writing career. The novel leaves multiple of interpretations since its subject touches the most sensitive and deepest chord of the society. The novel is more a social novel that it deals with the major issue of gender roles and relationships in general. Atwood has used the novel to magnify even the minute errors and ills of the society which is not touched by other writers of her time. She has clearly portrayed the actual problems of Canadian women of 1960s who have been suppressed by the patriarchal society. She has tried to name their problems which have no names and moreover her approaches to those problems are strange and new.And hence, the novel is called as a proto-feminist novel. Beyond the feministic point of view, the story conveys various themes such as self-discovery, marriage, love, sex, modernity, cultural attitude, relationship and many. Besides, the novel is filled with various symbolic and metaphorical elements that support the author’s presupposition of her world view. Therefore, the paper has made an inquiry in to various thematic elements and symbols to explore the hidden meanings bound with in the story.

scholarly journals The Play of Gender Roles in Sheeba Shah’s Facing My Phantoms

2020 ◽  
pp. 125-135
Author(s):  
Asmita Bista
Keyword(s):  
Gender Roles ◽  
Gender Stereotypes ◽  
The Novel ◽  
Historical Document ◽  
Traditional Gender Roles ◽  
Male Characters ◽  
The Social ◽  
Time Periods ◽  
Maoist Movement ◽  
Human Attributes

Setting the novel in different time-periods (Rana regime, Panchayat System and Maoist movement), Sheeba Shah’s Facing my Phantoms has depicted the condition of Nepali males and is considered a historical document. This article aims to examine the factors that constrain the male characters to traditional and anti-traditional gender roles. It also studies the consequences faced by the characters while performing and defying gender stereotypes. To address this objective, Butler’s and Connell’s ideas have been used as they have claimed that masculinity and femininity like any other human attributes are fluid; in fact, it is constantly reconstructed in response to socio-political changes under the pressure of social norms. According to Butler, gender is something that is not a corporeal thing, but it is reproducing, changing, and moving. The significance of this article is to find insights in understanding the condition of males in the Nepali society. It concludes that the male characters of Shah’s novel oscillate between traditional and anti-traditional gender roles. Under the social pressure, they perform the roles of an assertive and authoritative father, aggressive and ruthless lover/husband, and rational and responsible son. Likewise, when they get influenced by socio-political changes, they fail to stick to stereotypical gender roles. Consequently, they appear in the emotional, docile, dependent, confused, and unassertive roles.

Creating a Nonpatriarchal Lineage in Bertha Harris’s Lover

2017 ◽  
Author(s):  
Laura Christine Godfrey
Keyword(s):  
Gender Roles ◽  
The Novel ◽  
Lesbian Identity ◽  
Life And Death ◽  
Traditional Gender Roles ◽  
Critical Attention ◽  
Familial Relations ◽  
Critical Investigation

Bertha Harris' 1976 novel Lover garnered critical attention for its postmodern style, its commentary on lesbian identity, its use of nonlinear time in narration, and its redefinition of familial relations. Yet, one stylistic choice that is most apparent in reading the novel is absent from most critical investigation. Throughout the novel, Harris prefaces each chapter with an epigraph about a female saint, usually consisting of a few sentences on her life and death, yet these prominent pieces have been overlooked by all but one critic in the small pantheon of Lover criticism. This chapter proposes that Harris uses saints' narratives to provide alternative biological and familial connections in her creation of a nonpatriarchal lineage for women who seek to escape the confines of traditional gender roles.

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