Feministic Approach in The Novel’s of Githa Hariharan: A Critical Study

Githa Hariharan, a well-known Indian woman author, has tried to focus on the deeply entrenched biases of Indian society against the feminine gender. Githa Hariharan’s new-age feminism is not about the eradication of differences between the sexes or the attainment of equal prospects, but rather concerns the individual’s rights to identify one and be comfortable in one’s own skin. The chief psychological consistencies between the sexes include women’s emotive uncertainty, greater acceptance for tiresome details, inability for intellectual thought and proneness to submission. The feminist mindfulness is to identify oneself as the victim to the power of men in society and the system. However, modern day feminists are against masculinist hierarchy but are firm believers of sexual dichotomy. This paper will study the feministic approach of Githa Hariharan in her four novels that is The Thousand Faces of Night, The Ghosts of Vasu Master, In Times of Siege and Fugitive Histories.

Woman-character and woman-author in ancient Greek and Roman literature: an attempt at the typology

The article proposes a typology of female characters of ancient literature. The typology is based on the dominant categories of «moral» (expressed by the dichotomy of «moral – immoral»), «heroic» («achievement – offence») and «aesthetic» («beautiful – ugly»). Through the prism of mythology, the semantics of the figurative gallery «woman-character» and «woman-author» reflects the specifics of the position of women in the ancient world. Misogyny is typical for the male world of antiquity. This determined the emphasis in the interpretation of women's masks, which were mainly given the role of the object of erotic posing. This, however, does not diminish the reception potential of female images of ancient origin in the subsequent world literary discourse.

Romancierele: traducerile de romane scrise de femei în cultura română (1841-1918)

This article uses the data from the Chronological Dictionary of Novels Translated in Romania from its Origins to 1989 in order to chart the presence of foreign women novelists and their works in Romanian translation between 1841 (the year of the first translation of a novel originally written by a woman author, Sophie Cottin) and 1918 (the year marking the end of the long nineteenth century and the unification of Romanian provinces). The study separates two main periods, starting from the domination of the French novel: 1841-1890 and 1890-1918. The former period comprises more French novel translations, from authors such as Sophie Cottin, Stephanie-Felicité Genlis, George Sand, Countess Dash, M-me Charles Reybaud, and Mie D’Aghonne. The latter comprises Italian and American authors, such as Carolina Invernizio, Matilde Serao, Anna Katherine Green, Frances Elisa Hodgen Burnett, and even northern authors such as Clara Tschudi.

The Voices of Aged Buraku Women

This chapter discusses Nakagami's representation of old women or oba from Kumano. To articulate the significance of the oba in Nakagami's narratives, it first investigates Nakagami's reading of the work of well-known woman author Enchi Fumiko to provide insights into his view of the tradition of the “old woman” (omina/ōna) as a storyteller of monogatari. Based on this discussion, the chapter examines Nakagami's depiction in Sen'nen no yuraku (1982) of the aged roji woman, Oryū no oba, as a Burakumin omina. Furthermore, it discusses how Nakagami presents Oryū no oba's silenced voice. Oryū no oba has a special status that derives from her role as omina who passes down monogatari to the younger generation in the community. In contrast, the chapter considers Yuki and Moyo, two aged outcaste women who feature in the Akiyuki trilogy, as oba who can never assume the voice of community storyteller. Thus, this chapter investigates how Nakagami depicts the (im)possibility of these sexed women's voices speaking to or being heard by the community while also demonstrating how the writer presents an alternative representation of their voiceless voices.

TRAVELING INWARD IN SEARCH OF GENDER BALANCE IN THE NOVEL “THE BELL JAR” BY S. PLATH

In the article the analysis of “The Bell Jar” by S. Plath is conducted for the purpose of studying and understanding the escape motifs inherent in the heroine of the new American female prose of the mid-20th century and the author himself. The novel is considered as an example of escapism and possible reasons for the use of this method by S. Plate are suggested. Methods of rethinking of women’s prose in the context of disputes about literary reputation are analyzed. In this novel, S. Plath reveals her secret thoughts, experiences, allows entering her life, because it is a semiautobiographic work. There are several reasons for such an admission. First, it’s a desire to be heard and tell her story. After all, being a woman-author at that time was very difficult, S. Plath was subjected to crushing criticism, and during her life her creativity was not very popular. Secondly, the hard way of the betrayed woman and the mother made her to take desperate steps, and this novel is an attempt to free herself and her thoughts from things that Silvia worried about the most part of her life: here we find relations with the mother, and the absence girlfriends, and attempted rape. So, this novel is like a confession, before the final act of the writer, her suicide.