Concept of Fallenness and Patriarchy in Anuradha Sharma Pujari’s Novel “Kanchan”

Patriarchy places women in a marginalised position. Women always bare same feeling and same status of their lives in patriarchal oppression and exploitation. Men often speak about virtues and vices of women and on the basis of that categorise them as chaste or unchaste. Women in patriarchal society should be pure to get societal honour. The society decides what a woman should do, how a woman should behave and these views are the cultural determinant of a society or a community. If a woman challenges these lessons of morality, she will get the identity of fallen woman in a patriarchal society. The novelist Sharma Pujari through the portrayal of Kanchan as a fallen woman does not want to condemn her fundamental disorder but attempts to expose the exploitation and oppression that exist in sexual practices and thereby wants to challenge it. A patriarchal society mirrors some cultural views and attitudes of sexuality. On the basis of these norms a woman is relegated to the rank of fallen woman. The man being the superior section of the society proves his male power in the emotional, physical and material sphere of a woman’s life. This power of patriarchal authority determines the fallenness of a woman and thereby deprives her from availing the pleasures and securities which are only permissible for a wife. The culturally constructed feminine myth looks at her as an exception. People’s psyche is moulded by this cultural affinities constructed by patriarchal system. The novel Kanchan describes the discrimination on gender relation and sexual responses between two genders that exists in a patriarchy. Anuradha Sharma Pujari narrates the complexities in the life of the woman character who tries to come out of her destitute situation by using her body. Adopting a feminist perspective this research article attempts to discuss the construction of the idea “fallen women” by patriarchy and the experiences and struggles of the marginalised protagonist Kanchan in the novel Kanchan.

Sex for Sale: Prostitution and Visual Culture 1850-1910

"Sex for Sale: Prostitution and Visual Culture 1850-1910" is a Master's thesis that takes a historical approach to the visual in order to better understand the construction of the prostitute in Victorian culture. Recent scholars have noted ways in which the prostitute was routinely depicted as a threat and victim in nineteenth-century institutional discourse. This thesis complicates these readings by examining the construction of the fallen woman in commercial imagery. Far from depicting the streetwalker as a source of pity and disease, commercial culture redefined the image of the prostitute as a source of ambiguous visual pleasure. This allowed the signifiers of prostitution to extend through pornographic representation, entertainment advertisements, actress pin-ups and fashion magazines. Making illicit female sexuality a readily consumable pleasure, however, ultimately fostered greater efforts on the part of authorities to push prostitutes back into invisibility.

Sex for Sale: Prostitution and Visual Culture 1850-1910

"Sex for Sale: Prostitution and Visual Culture 1850-1910" is a Master's thesis that takes a historical approach to the visual in order to better understand the construction of the prostitute in Victorian culture. Recent scholars have noted ways in which the prostitute was routinely depicted as a threat and victim in nineteenth-century institutional discourse. This thesis complicates these readings by examining the construction of the fallen woman in commercial imagery. Far from depicting the streetwalker as a source of pity and disease, commercial culture redefined the image of the prostitute as a source of ambiguous visual pleasure. This allowed the signifiers of prostitution to extend through pornographic representation, entertainment advertisements, actress pin-ups and fashion magazines. Making illicit female sexuality a readily consumable pleasure, however, ultimately fostered greater efforts on the part of authorities to push prostitutes back into invisibility.

Portrait of Women in Victorian Novels

This article examines the representation of three female characters in three Victorian novels. These three novels are Bleak house, Ruth, and Lady Audley’s Secret. This work is, in fact, a study of how women were viewed in Victorian novels which actually depicted the Victorian society. The society of that time was male-dominated that tried to rule over women unfairly and made them as submissive as possible in order to handle them easily according to their selfish tastes. If women in Victorian society followed the expectations of men thoroughly, they were called angel-in-the-house; if not, they were labeled with negative labels like fallen-woman or mad-woman. This article tries to go through the characters of Esther Summerson, Ruth, and Lady Audley who appeared in the three aforementioned novels respectively in order to prove that the Victorian Society, which was represented in the novels of that period, was a harshly male-dominated society that ruled over women with bitter patriarchy.

Symbolic Annihilation Terhadap Tiga Tipe Perempuan Era Victoria dalam Hetty Feather Karya Jacqueline Wilson

Narasi perempuan dapat ditemukan dalam berbagai macam media sejak berabad-abad lamanya. Mulai dari yang dinarasikan oleh laki-laki sampai yang dituliskan oleh perempuan sendiri, media menampilkan bermacam-macam narasi perempuan. Novel anak, sebagai salah satu bentuk media, sebenarnya juga tak luput memotret narasi perempuan dan isu-isu yang berkaitan dengan gender lainnya, meski penelitian terhadap sastra anak masih terpinggirkan dalam kalangan komunitas sastra. Penelitian ini kemudian melihat adanya narasi perempuan yang dimusnahkan dalam novel anak Hetty Feather karya Jacqueline Wilson. Menggunakan teori symbolic annihilation yang digagas Gaye Tuchman dan beberapa konsep pendukung mengenai tipe-tipe perempuan era Victoria, penelitian ini bertujuan untuk mengidentifikasi bentuk-bentuk symbolic annihilation terhadap tiga tipe perempuan era Victoria. Penelitian ini kemudian menemukan adanya trivialization, omission, dan condemnation terhadap sosok angel in the house, fallen woman, dan new woman dalam Hetty Feather.Kata kunci:Era Victoria;narasiperempuan;media;sastraanak[The Symbolic Annihilation of Three Types of Victorian Women in Jacqueline Wilson’s Hetty Feather] Women’s narratives can be found in various types of media for centuries. Starting from one narrated by men to one written by women themselves, the media presents a variety of women’s narratives. Children’s novels, as one form of media, actually also capture women’s narratives and other gender-related issues, although research on children’s literature is still marginalized within the literary community. This research, then, examines the existence of the annihilation of women’s narratives in a children’s book Hetty Feather by Jacqueline Wilson. Using the theory of the symbolic annihilation proposed by Gaye Tuchman and some supporting concepts about types of Victorian women, this study aims to identify the forms of the symbolic annihilation of three types of Victorian women. This study, then, finds that there are trivialization, omission, and condemnation acts toward angel in the house, fallen woman, and new woman in Hetty Feather.

CRISIS OF FEMININE IDENTITY: A CRITICAL STUDY OF OSCAR WILDE’S LADY WINDERMERE’S FAN FROM FEMINIST PERSPECTIVE

This study explores the play Lady Windermere’s Fan by Oscar Wilde, and the feminist figures in the play and their role, to illustrate the dominant control of men in the Victorian period. And the discrimination towards women as a human being base on gender. This paper shows a piece of brief information about the author for what it has to do with Lady Windermere’s fan events. And demonstrates the feminism meaning and its impact on the events of the play, besides a short summary of the play. This paper focuses on the role of the fallen woman and how the author gradually transforms the audience's thinking about the fallen woman and contradicts the conventional view of it. And illustrate the inferiority view of women in the Victorian era and how the woman only meant to be part of domestic life. In addition to the motherhood and how a fallen woman acts with that in Victorian society according to Wilde’s point of view.

Adaptive Transformations: Nineteenth-Century Stage Adaptations of Nineteenth-Century Novels

This study analyses nineteenth-century stage adaptations of Victorian novels. It argues that doing so, provides an important insight into the way that nineteenth-century society engaged with and responded to proto-feminism. A selection of nineteenth-century stage adaptations of three novels, which were both popular at the time and have subsequently become canonical, are analysed. The thesis focuses on how dramatists responded to the germinal proto-feminist elements in the novel when they transferred the plot of the original source to the stage. In Chapter One, the issue of female agency is looked at in the nineteenth century stage adaptations of Jane Eyre. Chapter Two focuses on the figure of the ‘fallen woman’ in the shape of Isabel Vane, Mrs Henry Wood’s central figure in East Lynne. Finally, in Chapter Three the complex issue of madness, criminal culpability and femininity is examined in the stage adaptations of Mary Braddon’s Lady Audley’s Secret. Despite the attention devoted to the novels by feminist critics, the study of these popular adaptations has received comparatively little attention. One of the plays examined in this thesis has never been examined at an academic level before (The Mystery of Audley Court by John Brougham 1866). Building on the pioneering work of Patsy Stoneman, this thesis contributes to the growing interest in popular plays. The argument of this thesis is that by studying popular adaptations it is possible from both a New Historicist and a proto-feminist perspective to identify how nineteenth-century society engaged with and responded to proto-feminism. The key findings of this thesis are to do with the amount of license that the dramatists gave themselves as they went about adapting the original source to the stage, for example, the characteristics of the main characters are altered, characters are omitted and new characters are created and inserted into the plot, themes are removed or highlighted and it is the argument of this thesis that those changes were made due to contemporaneous events.