Thematische Bibliographien / VIJAY TENDULKAR

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Auswahl der wissenschaftlichen Literatur zum Thema „VIJAY TENDULKAR“

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Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "VIJAY TENDULKAR"

1

Tiwari, Dr Devendra Kumar. „Tradition and Modernity in the plays of Vijay Tendulkar’s“. SMART MOVES JOURNAL IJELLH 7, Nr. 12 (28.12.2019): 14. http://dx.doi.org/10.24113/ijellh.v7i12.10222.

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Present paper is a holistic attempt to focus on depiction of tradition and modernity in the plays of Vijay Tendulkar. One might also say that modernity is an economic force with social, cultural, and political correlatives. Tradition is a cultural force with social, economic, and political correlatives. Vijay Tendulkar in his plays reveals not only traditional but also modern trends. He has made an amalgamation of tradition and modernity in his plays. They are intertwined with tradition and modernity. In Tendulkar’s plays, one can clearly see his acute observation of life. The event and incidents depicted in his plays have their origin in real life. While projecting the social reality, he uses the fine balance between tradition and modernity. Tendulkar is not a traditional but a new (modern) playwright.
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2

Panguni Malar, R. „The Theme of Misogyny: A Study of the Select Plays of Vijay Tendulkar“. Shanlax International Journal of English 9, S1-i2-Dec (22.12.2020): 40–46. http://dx.doi.org/10.34293/english.v9is1-i2-dec.3692.

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This study is an investigation of the theme of misogyny as represented by the female characters in the select plays of Vijay Tendulkar. The study argues that the Indian cultural context leaves space for man to be superior and woman to be inferior. The term misogyny denotes hatred, dislike, or mistrust of women, manifested in various forms such as physical intimidation and abuse, sexual harassment and rape, social shunning and ostracism, etc. In most of the plays of Vijay Tendulkar women stand to be the objects of subjugation in the hands of their male counterparts with whom they happen to connect with in the hope of leading their normal life. Tendulkar’s plays display a wide range of complex behaviours those constitute different forms of violence – physical attacks and verbal abuses. A thorough analysis of the situations and circumstances related to women in Vijay Tendulkar’s plays reveal that the domestic, personal, political and social ambience in which the characters live in contribute them much violence physically, sexually, psychologically and verbally. As Tendulkar’s plays stand for the middle class society, the man in his plays quite often is brutal towards his female counterpart with his deep rooted ideologies. The paper’s finding speaks on how the woman characters evolve to be strong individuals amidst their adverse ambience.
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Islam, Md Alemul. „Parallel Interplay between Tradition and Folk Theatre: A Study of select works of Vijay Tendulkar“. International Journal of English Literature and Social Sciences 8, Nr. 5 (2023): 210–14. http://dx.doi.org/10.22161/ijels.85.34.

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Folk theatre is the root of modern Indian drama, and with the advancement of modernity, folk theatre keeps balancing the dynamic aspect of modernity. Most of India's well-known playwrights overcame the limitations of regional language throughout the 1970s and produced a number of excellent plays on a national scale. The majority of their experimental productions were focused on incorporating Indian folk theatre components or performance traditions into mainstream theatre. As a result, we see Utpal Dutt using Jatra in Surya Sikar and Girish Karnad adopting Yakshagna, a traditional type of theatre, in his play Hayavadana (1972). In order to create a new type of theatre that he called the "Third Theatre" or "Street Theatre", Badal Sircar experimented with incorporating folk elements into proscenium theatres. Similar to his contemporaries, Vijay Tendulkar also experimented with many types of folk drama in Ghasiram Kotwal (1972) and other plays. The current study is an integrated effort to concentrate on how tradition and modernity are portrayed in Vijay Tendulkar's plays. Another way to put it is that modernity has economic, social, cultural, and political ramifications. A cultural driving force with social, economic, and political ramifications is tradition. Vijay Tendulkar explores both conventional and contemporary tendencies in his plays through folk theatre. In his plays, he combines elements of heritage and modernism. They are entangled with both modernity and tradition. One may easily notice Tendulkar's keen observation of life in his plays . He strikes a delicate balance between tradition and contemporary in expressing the social realities . The purpose of this article is try to understand how Tendulkar employed various folk theatre styles to express power dynamics and the outcome of oppression, a very modern and postcolonial subject, on stage.
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Dr. Neetu Kumar. „Social and Sexual Exploitation of Women in Vijay Tendulkar’s Sakharam Binder“. Creative Launcher 8, Nr. 5 (31.10.2023): 113–19. http://dx.doi.org/10.53032/tcl.2023.8.5.12.

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Vijay Tendulkar's dramatic piece, Sakharam Binder, stands out as a critical examination of the sociocultural paradigms that perpetuate the exploitation of women. This article delves into the multiple layers of oppression and discrimination faced by the female protagonists and situates the play within the broader context of postcolonial Indian society. Tendulkar, through his audacious characters and narratives, throws light on the deep-rooted patriarchal norms that dictate female subjugation. The central figure, Sakharam Binder, is both a product and propagator of these entrenched societal beliefs. As a man who provides shelter to destitute women in exchange for domestic and sexual services, Sakharam becomes the embodiment of male entitlement and dominance. The women in his life, including Laxmi and Champa, become representative of the countless women whose identities are stifled by a male-centric worldview. Laxmi, the submissive, and Champa, the defiant, are instrumental in demonstrating the spectrum of female experiences under the weight of patriarchal constructs. While Laxmi's meek surrender highlights the internalization of patriarchal values, Champa’s rebellion underscores the dire consequences women face when challenging the status quo. Tendulkar masterfully juxtaposes these characters to critique the ways in which society polices and punishes deviance from gendered expectations. The spatial dynamics within Sakharam's house serve as a potent metaphor for the wider societal space where women are confined, controlled, and commodified. The narrative underscores how economic dependency and cultural conditioning become tools of subjugation, forcing women into cycles of exploitation. Tendulkar’s sharp, unflinching portrayal of the social and sexual exploitation of women demands introspection and reform, making the play a significant contribution to postcolonial Indian literature and feminist discourse. The play provides the various themes and concerns related the middle-class psyche.
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M. Gayatri, Dr. „Revisiting Sarita as Sita: A Comparative Study of Vijay Tendulkar’s Kamala“. International Journal of English Literature and Social Sciences 7, Nr. 4 (2022): 379–81. http://dx.doi.org/10.22161/ijels.74.57.

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Vijay Tendulkar, the frontline of Indian theatre, is well known for sensitising his audience and readers of the dogmas of this cultural society. The social order , once framed are discerning the women as the weaker sex and eventually trapping the rights levered in the name of social structure weaved by the myth. Though engrossed with a pack of Indian nobility , femininity portrayed in the myths like the Ramayana often show the fragility loaded in abundance in the female protagonist- Sita. Thus while portraying the character of Sarita, Tendulkar intentionally or naively has brought out the character of Sita to the view of his audience. This research article is an attempt to bring out the magnetized but feebly tabulated character of Sarita by Vijay Tendulkar in his play Kamala.
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JOHARI, DR SANJAY. „Caste Conflict In Vijay Tendulkar’s Play ‘Kanyadan’“. Journal of Language and Linguistics in Society, Nr. 12 (18.11.2021): 7–11. http://dx.doi.org/10.55529/jlls.12.7.11.

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Literature is the mirror of society. This is so because literature gives shape to civilization and impacts on social norms. It changes the entire atmosphere. Mostly literature changes the political issues and it also exposes in justice. Literature presents before us the real human existence. In English literature there are many dramatists who present the emerging issues in the contemporary life. Girish Karnard, Mahesh Dattni and Vijay Tendulkar are the famous dramatists who show the mirrorto the society by their deft artistic excellence. Vijay Tendulkar one of the most celebrated marathi dramatists, who presents the realistic problems of human society which are emerging in contemporary life. No phase of problem is intouched with his literature that is not depicted in his writings. That is why his plays become the high criticism of Indian society. He penetrates into the inner souls of his characters, especially the women in patriarchal society. In this way Tendulkar presents the complexity of human relationship in contemporary life. He has shown conflicts, violence and sex characterized in his plays.
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Kumar, Ranjeev, und Indu Prabha. „MALE HEGEMONY IN THE PLAYS OF VIJAY TENDULKAR“. SCHOLARLY RESEARCH JOURNAL FOR HUMANITY SCIENCE AND ENGLISH LANGUAGE 9, Nr. 46 (01.08.2021): 11218–22. http://dx.doi.org/10.21922/srjhsel.v9i46.1526.

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In the sphere of drama, the name of Vijay Tendulkar does not require any introduction. In the galaxy of Indo-Anglo playwrights, Tendulkar is one of the most shining stars. Marathi Theatre is incomplete without the contribution made by Vijay Tendulkar. This Marathi literary figure is a multifaceted personality. He is the one who brought revolution in Marathi Theatre. An avant-garde playwright, Tendulkar has shown versatility by writing several works including one-act plays, children’s plays, short stories, essay collections etc. Vijay Tendulkar is the mouthpiece of the oppressed women in male dominant society. He has deep insight into human nature. He has proved in his plays that it is the male dominant society that does not allow woman to rise from the status of man’s foot. They are exploited, tortured, taunted both physically and emotionally. They are considered inferior to male human beings as male human beings are victims of their superiority complex. Even in some of the societies they are treated as bane while the male child is hailed as boon. His plays depict that women are treated as mere commodities. He has shown how the voice of women is suppressed when they try to voice their concerns against the cruelties. He makes a psychological study of human characters in his plays. An analytical approach to his plays reveals that women are deprived of the life they wish to live. The present research paper focuses on his four plays, to bring to light the enslaved and exploited position of women in society. In ‘Sakharam Binder’ and ‘Kamala’ he brings to light how women are enslaved and exploited. In ‘Silence! The Court is in Session’ and ‘Kanaydaan’ he ascertains the fact that it is male human being who is responsible for the exploitation of women.
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Kumar, Dr Santosh. „Tendulkar’s Kanyadaan: A Critical Representation of Caste, Class and Gender“. International Journal for Research in Applied Science and Engineering Technology 11, Nr. 12 (31.12.2023): 2294–96. http://dx.doi.org/10.22214/ijraset.2023.57833.

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Abstract: One can see the primary difference between man and woman on the basis of their gender. This biasness depicts the biased mentality of men and their dominating society. It is seen in Indian English Drama that Gender consciousness is one of the most burning and dominating issue that Indian dramatists aim to reflect in their plays. After six decades of post - colonial account of Indian English fiction, we get that a wide-ranging range of playwrights have emerged concentrating consciousness on a huge figure of marvelous concerns whether economic, political, spiritual, and social. These playwrights confronted three corresponding periods of human experience. As we know that there is a large number of playwrights who emerged and focused on the burning issues of India. Among those Vijay Dhondopant Tendulkar is such a playwrights who not only see the social evils but also depicted on literary canvas as it should be. Tendulkar (1928 - 2008) is a foremost and televisio’s prominent Indian playwright. He wrote for movie and television. Besides these, he is a legendary essayist, radical columnist, and social interpreter too, chiefly in Marathi language. As we have me ntioned earlie r t hat Tendulakar has experie nced the problem, need and necessities of Indian societ y. In thi s way it can’t be argued that the most of Tendulkar’s plays derived motivation from real - life happenings orsocial disorders which helped him to provide a clear estimate of the punitive genuineness
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Rajeev Yadav und Dr. V. P. Singh. „Decoding Caste and Power-Structure in Tendulkar’s Kanyadaan“. Creative Launcher 7, Nr. 1 (04.03.2022): 16–21. http://dx.doi.org/10.53032/tcl.2022.7.1.03.

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Social structure is a power-structure where every social category reflects the power relations with other in hierarchy. Caste is one of the decisive derivatives in India to measure human relations. It is something which has defined the social hierarchy based on the birth of an individual. Caste has become the most striking method of discrimination of people in India with its maligned and fabricated interpretations. Indeed, it has been originated for distribution of people on the basis of their work for proper functioning of society. Vijay Tendulkar, a Marathi playwright and one of the founding pillars of Modern Indian Drama along with Mohan Rakesh, Badal Sircar and Girish Karnad, has discussed the problems of caste discrimination and general perspectives about inter-caste marriages in India in his play Kanyadaan. Through this play Vijay Tendulkar also tries to reflect his thoughts on contradictory relationship between imaginary idealism and harsh realism; and also on texture of modernity and social change in India through the marriage of two people of different castes and backgrounds. The present paper is an effort to analyse Tendulkar’s Kanyadaan, originally written in Marathi and later on translated into English, as social documentary on relationship between caste and social structure based on power-relations, caste-based discrimination, inter-caste marriage and pseudo-idealism prevalent in the course of social and cultural progress. The present paper also deals with decoding of the phenomenon of ‘violence’ employed in caste-based power relations in the society.
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Singhal, Dr Kamini. „Major Themes in the plays of Vijay Tendulkar“. International Journal of Applied Research 6, Nr. 10 (01.10.2020): 1086–88. http://dx.doi.org/10.22271/allresearch.2020.v6.i10p.9817.

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Dissertationen zum Thema "VIJAY TENDULKAR"

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Bhattacharyya, Joydeep. „THE PLAYS OF VIJA Y TENDULKAR AND GIRISH KARNAD: CRITIQUING POST-INDEPENDENCE INDIAN SOCIETY“. Thesis, University of North Bengal, 2013. http://hdl.handle.net/123456789/1505.

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Bücher zum Thema "VIJAY TENDULKAR"

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1928-, Tendulkar Vijay Dhondopant, Hrsg. Vijay Tendulkar. New Delhi: Katha, 2001.

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1957-, Sathe Makarand, Hrsg. Vijay Tendulkar omnibus. Gurgaon: Arvind Kumar Publishers, 2007.

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Vijay Tendulkar: The playwright. Delhi: B. R. Publishing Corporation, 2019.

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Devulapally, Vani. Vijay Tendulkar, the playwright: Champion of social justice. New Delhi: Prestige Books International, 2015.

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Jabbar Patel's The threshold =: Umbartha : screenplay by Vijay Tendulkar. Calcutta: Seagull Books, 1985.

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Sudhakar, Pandey, und Barua Freya, Hrsg. New directions in Indian drama: With special reference to the plays of Vijay Tendulkar, Badal Sircar, and Girish Karnad. New Delhi: Prestige, 1994.

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Patane, Yasavanta Sambhajirava. Satyasodhaka Tendulakara: Vijaya Tendulakara yancya natyakrtinca sarvangina abhyasa. Pune: Saskrti Prakasana, 2009.

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1954-, Sarat Babu Manchi, Hrsg. Vijay Tendulkar's Ghasiram Kotwal: A reader's companion. New Delhi: Asia Book Club, 2003.

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M, Madge V., Hrsg. Vijay Tendulkar's plays: An anthology of recent criticism. Delhi: Pencraft International, 2007.

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Naṭakakāra Śaṅkara Śesha evaṃ Vijaya Tendulakara. Kānapura: Vidyā Prakāśana, 2013.

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Buchteile zum Thema "VIJAY TENDULKAR"

1

Vanita, Ruth. „Vijay Tendulkar: Mitra’s Story (Marathi)“. In Same-Sex Love in India, 332–35. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-349-62183-5_51.

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Vanita, Ruth. „Vijay Tendulkar: Mitra’s Story (Marathi)“. In Same-Sex Love in India, 332–35. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-137-05480-7_51.

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Nikhila, H. „Nishant and the New Dawn: Towards a Sacerdotal–Secular Modernity?“ In ReFocus: The Films of Shyam Benegal, 29–47. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474452861.003.0003.

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Nishant (1975) can be interpreted as the saga of the end of feudalism, an order that is characterized as expropriating the labour and enslaving the bodies of the toiling peasant classes. Thus, when the labouring classes rise in rebellion and kill the landlord and his family in Nishant, their death symbolically marks the end of the dark feudal night. But, Nishant also appears interesting for the way in which the new dawn is brought about: a dawn where the sacerdotal and the secular need, buttress, and aid each other.With this backdrop, the two questions that this chapter addresses are: (a) does the critique of feudalism from the position of modernity re-inscribe the sacerdotal, and thereby work to reinstate caste?; and (b) how much of the anxiety surrounding the figure of the upper-caste woman who (forcibly or by volition) cohabits with a lower caste man comes from the contemporary theatre of the time, where such scenarios of female crossovers and transgressions of caste boundaries were being staged (this is pertinent since Vijay Tendulkar, a leading Indian playwright with liberal leanings, wrote the original screenplay of Nishant)?
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Sasidharan, Saritha, und Prasuna M. G. „Identity, Roles, and Choices Within the Space of the “Home” in Vijay Tendulkar's Kamala“. In Gender, Place, and Identity of South Asian Women, 68–88. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-3626-4.ch004.

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Societies present gender norms as “natural” to enforce an uneven power hierarchy. This “naturalness” often generates a desire within the gendered body to conform to their assigned identity within particular spaces. This chapter aims to explore gender identity and relations within the domestic space of home in South Asian context through an examination of Vijay Tendulkar's play Kamala, translated by Priya Adarkar. To this end, the study benefits from Nivedita Menon's Seeing Like a Feminist. More specifically, the chapter focuses on the characters Kamala, Kamalabai, and Sarita to analyze the protections offered to the “good” women but denied to the “bad/fallen” ones. It is hoped that the analysis highlights the different workings of gendered identity and roles within particular spatial settings.
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