Journal articles on the topic 'Women – India – Fiction'
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1
Mukherjee, Sayan. "Dark Portrayal of Gender: A Post-colonial Feminist Reflection of Bapsi Sidhwa’s The Pakistani Bride and The Ice-candy Man." History Research Journal 5, no. 5 (September 26, 2019): 81–88. http://dx.doi.org/10.26643/hrj.v5i5.7919.
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The portrayals of women by fiction writers of Indian sub-continent can be seen in the context of postcolonial feminism. Sidhwa’s novels may be a part of postcolonial fiction, which is fiction produced mostly in the former British colonies. As Bill Ashcroft suggests in The Empire Writes Back, the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the colonizers. About the role of postcolonial literature with respect to feminism, Ashcroft writes, “Literature offers one of the most important ways in which these new perceptions are expressed and it is in their writings and through other arts such as paintings sculpture, music, and dance that today realities experienced by the colonized peoples have been most powerfully encoded and so profoundly influential.” Indian sub-continent fiction is the continuation and extension of the fiction produced under the colonial rulers in undivided India. As such it has inherited all the pros and cons of the fiction in India before the end of colonial rule in Indo-Pak. Feminism has been one part of this larger body of literature. Sidhwa has portrayed the lives of Pakistani women in dark shades under the imposing role of religious, social, and economic parameters. These roles presented in The Pakistani Bride and The Ice-Candy Man are partly traditional and partly modern – the realities women face.
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Meyer, Neele. "Challenging Gender and Genre: Women in Contemporary Indian Crime Fiction in English." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 105–17. http://dx.doi.org/10.1515/zaa-2018-0010.
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Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.
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Das, Jyotirmoy. "The British Lion’s Triumph over the Bengal Tiger: The Royal Combat and the Allegory of Imperial Dominance." Praxis International Journal of Social Science and Literature 6, no. 9 (September 25, 2023): 1–12. http://dx.doi.org/10.51879/pijssl/060901.
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This article shows how the allegory of British-tiger rivalry became a distinct feature in 19th-century British imperial visual culture to imagined imperial attitudes over India. After the second Anglo-Mysore war (1799) between the East Indian Company and the Tipu Sultan, in 1808, a visual description of lion-tiger bloodshed was issued as a medal by the East India Company to reward its troops. Such a description shows a lion, representing the British nation’s suppression over a Bengal tiger, the royal emblem of Tipu Sultan. After this, the same imagery served to be imagined and visualised the British dominance and control over ruthless and unwilling India. Moreover, in such an allegory, a fiction of dead white women was added to invoke nationalism among Britons. This raises a feminist issue of how this fictional image of victimised women fulfils the British masculine agenda of imperialism and nationalism while the women remain deprived.
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Madavi, Dr Manoj Shankarrao. "Literary Representation of Natives in Indian Regional Literature-A Vast Panorama of Indigenous Culture, Imperialism and Resistance." International Journal of English Language, Education and Literature Studies (IJEEL) 2, no. 5 (2023): 01–04. http://dx.doi.org/10.22161/ijeel.2.5.1.
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Indian English fiction writing shows the development of Indian literature which takes a dive deep into the colonial past of India along with the detail observation of the history of deviation of social strata and its psychological effects on common masses of India. Social realism was checked through the early independence period of English writing. In Indian English fiction writing, partition trauma was glorified, celebrated as the main theme and Gandhian age is also described by most of the prominent novelist like Raja Rao, Chaman Nahal, and Khushwant Singh. The women novelists took the initiative after the independent period and Kamala Markandeya, Ruth P. Jabhawala, Shashi Deshpande, Geeta Hariharan, Anita Nair and Namita Gokhale have shown the rebellious feminism though their postcolonial sensibilities. If we want to write historical, social and cultural literature of India, we do not have escapism from the history of adivasi victimization and several adivasi harassments of centuries in India.
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Dr. Sampath Kumar Chavvakula. "Feminism In The Novels Of Anita Desai." Journal of Namibian Studies : History Politics Culture 33 (May 20, 2023): 5462–70. http://dx.doi.org/10.59670/jns.v33i.4824.
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Feminism in western nations are epitomized in literature and different books, that is in composed shape however in the east, especially in nations like India, attributable to its oral tradition and more noteworthy lack of education, the effect of these investigations was limited to the urban populace. In any case, as of late, even the rural regions have been secured due to the regularly spreading wing of electronic media. Since the most recent couple of decades, women have been attempting their hands at writings and that too effectively. Anita Desai is a standout amongst other known contemporary women writers of Indian fiction in English. She has picked up qualification in investigating the human psyche and the enthusiastic sentiments of her protagonists. She has included a new dimension and great support to the contemporary Indian English fiction and has a huge place because of her creative topical concerns and arrangements in her fiction with feminine sensibility.
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Et al., Bisma Butt. "An Analysis of Kanthapura by Raja Rao: A Postcolonial Study." Psychology and Education Journal 58, no. 1 (January 15, 2021): 4701–8. http://dx.doi.org/10.17762/pae.v58i1.1629.
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This study focuses the ‘Kanthapura’ to analyze the construction of historical consciousness in narratives and this fiction is used as literary aspect of nationalist ideology. Particularly, this work examines the political representation of women in Indian national movement in 1930 by using the theory of nationalism by Bhabha (1990). The study demystifies this novel to find out challenges of stereotypical Indian women and how they become solidified in the building process of Indian national identity. Kanthapura (Delhi Orient) is very much concerned to focus on the construction of Vedic Hindu ideal for women and the reason of writing true and authentic history to investigate the women’s issues they face during the colonial period of India. The study sheds light on imagined and true nature of nationalist discourse and its effect on women in postcolonial India. It is not concerned with those doctrines of nationalist sentiments which are generalized through religious stereotypes rather it is paradoxical in nature that begins to assume identification with European accounts of India so it explores the idea of political desirability that shapes and constructs the ideology and as well as it allows for the presentation of unified identity of India.
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Subitha, M. "Home: Depiction Of Social Reality In Manju Kapur’s Novel." Shanlax International Journal of English 12, S1-Dec (December 14, 2023): 59–61. http://dx.doi.org/10.34293/rtdh.v12is1-dec.45.
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The portrayal of women in Indian English fiction as the silent sufferers and upholders of the tradition and traditional values of family and society has undergone tremendous change in the post independence period. Manju Kapur’s novel, Difficult Daughters, A Married Woman and Home, displays a new confidence in using the fictional mode for creative expression and depicting social reality. Taking into account the complexity of life, different histories, cultures and different structures of values, women’s question, despite basic solidarity, needs to be tackled in relation to the socio-cultural situation. The impact of patriarchy on the Indian society varies from the one in the west. Manju Kapur has her own concerns, priorities as well as her own ways on dealing with the predicament of women protagonists. Kapur, being one of the modern day women authors, has expressed herself freely and boldly on a variety of themes without adopting feminist postures. Her novels furnish examples of a whole range of attitudes towards the importation of Indian tradition. However, the novelist seems to be aware of the fact that the women of India have indeed achieved their success in sixty years of Independence, but if there is to be true female independence, too much remains to be done. The present paper attempts to portray the reality of a typical Indian family in Manju Kapur’s Home.
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Kadam, Dipali M. "Diasporic consciousness in contemporary Indian women’s fiction in English: at a glance." RUDN Journal of Studies in Literature and Journalism 27, no. 3 (October 12, 2022): 532–40. http://dx.doi.org/10.22363/2312-9220-2022-27-3-532-540.
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Diasporic literature is a pivotal term in literature that includes the literary works of the authors who are the outsiders for their native country but their work is deeply rooted in homeland by reflecting native culture, background, displacement and so on. Indian women’s literary work is at the forefront of diasporic literature. The advent of Indian women novelists on the literary horizon is an important development in the Indian English literature. These women writers have also contributed to other genres, such as drama, poetry and short stories, not only in English but also in regional languages like Hindi, Marathi, Bengali, Punjabi, Tamil, Kannada and so on. Some modern women writers flourish their writing in the form of fables as a literary genre in an impressive way to focus on the specific themes. In last two decades, Indian women’s writing in English is blossomed, both published in India and abroad. The present paper is the review of diasporic consciousness in select works of contemporary Indian women novelists. It focuses on the attempt to highlight the quest for identity of those women who played a crucial role in defining themselves through their literary work in diasporic background.
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Mahapatra, Aruni. "Irreverent Reading: Humor, Erudition and Subalternity in the fiction of Bankim Chandra Chattopadhyay and Fakir Mohan Senapati." Cambridge Journal of Postcolonial Literary Inquiry 6, no. 2 (March 26, 2019): 179–98. http://dx.doi.org/10.1017/pli.2018.52.
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This essay examines scenes from prose fiction in which two Indian novelists (Bankim Chandra Chatterjee and Fakir Mohan Senapati) interrogated subalternity in colonial India by talking about books. It first examines narrators’ frustration with books as acts of “irreverent reading” in colonial India, where the presence and scarcity of readable print produced anxieties about language and community. It then examines “reading” in the novels and compares how different kinds of irreverence allows narrators to introduce women characters as agents of very different kinds of violence in colonial India. Following insights of Gayatri Spivak, Elleke Boehmer, and Leah Price, and others, this article argues that Fakir Mohan Senapati’s sensitivity to his readers’ inability to access books enabled his novel to empower readers without books and emphasize how community in colonial India was constituted by the collective forgetting of women.
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Jackson, Elizabeth. "Gender and social class in India: Muslim perspectives in the fiction of Attia Hosain and Shama Futehally." Journal of Commonwealth Literature 53, no. 1 (May 11, 2016): 124–39. http://dx.doi.org/10.1177/0021989416632373.
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This article investigates representations of gender and class inequality in Attia Hosain’s classic novel Sunlight on a Broken Column (1961) and her short story collection Phoenix Fled and Other Stories (1953). It compares her work with that of Shama Futehally, another elite Muslim Indian woman writing in English several decades later. Born 40 years after Attia Hosain, the postcolonial world of Shama Futehally is very different, but the issues she explores in her fiction are remarkably similar: social and economic inequality, exploitation of the poor, and the ambiguous position of women privileged by their social class and disempowered by their gender. Both authors write carefully crafted realist fiction focusing predominantly on the experiences and perspectives of female characters. Shama Futehally’s novel Tara Lane (1993), like Attia Hosain’s Sunlight on a Broken Column, is a coming-of-age novel whose protagonist is a young Muslim woman in an affluent family, coming to terms with the uneasy combination of class privilege, gender disadvantage, and a strong social conscience. Both authors explore the perspectives of working-class Indian women in their short stories, emphasizing their vulnerability to exploitation (including sexual exploitation), as well as the deeply problematic nature of “noblesse oblige”. Aware of the interconnections between gender and class inequality, Attia Hosain and Shama Futehally have written powerful fictional works which effectively dramatize not only the complex relationship between gender and social class hierarchies, but also the ways in which all privilege is predicated on inequality.
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Kaur, Dr Harpreet. "New Women in Selected Indian Chick Lit Novels: From Stereotypical Roles towards Modernity." International Journal for Research in Applied Science and Engineering Technology 11, no. 10 (October 31, 2023): 1871–74. http://dx.doi.org/10.22214/ijraset.2023.56343.
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Abstract: Women in India have had a challenging time developing in a male subjugated society, class and caste systems. But within time, women have become educated, emancipated and independent. In the era of globalization and change, Women are no longer confined to the walls of a house. They have become cognizant of the need to be modern and new woman. The image of woman in literature in recent decades as presented by Indian English writers is different from that past. The journey of women smashing the stereotypical roles and stepping ahead towards modernity and ‘new woman’ has been depicted by several Chick Lit writers in their writings. Being a Subgenre of Chick Lit, Indian Chick Lit is a genre of fiction written for and advertised to young women, particularly solitary and employed women in their twenties and thirties. This new genre has appeared as a different tendency especially for the young independent employed women who are struggling hard to find a space for themselves in the twenty first century. This paper highlights the journey of women from stereotypical roles towards modernity. It elucidates how the protagonists in Indian Chick Lit novels smash the stereotypes of self-sacrificing and self-effacing roles of women discussing the novels Piece of Cake by Swati Kaushal and and Salaam, Paris by Kavita Daswani. These leading characters of selected Indian chick lit novels are at great pains to get themselves free from the stereotypical and traditional roles
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Taye, Parishmita. "The Empowered Pen: The Enduring contribution of women writers in Indian Literature." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 466–69. http://dx.doi.org/10.22161/ijels.83.70.
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The contribution of women in Indian literature has been pivotal, shaping and enriching the literary landscape of the nation. Over the years, women have played a significant and transformative role in the landscape of Indian literature, showcasing their creative abilities, resilience, and the feminine identity. Their contribution spans across various literary genres, including poetry, fiction, memoirs, and plays, highlighting diverse themes. This paper explores the invaluable contribution of women writers in Indian literature, throughout history to the contemporary era as well as displaying their unique perspectives, thematic explorations, and literary achievements. It also discusses the emergence of feminist literature in India, emphasizing how women writers have given voice to the marginalized and championed gender equality. Moreover, it aims to highlight the indelible mark left by women in Indian literature, emphasizing their phenomenal contributions in enriching the literary landscape, empowering generations, and fostering social progress.
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Gautam, Devi Prasad. "“Disgrace, Distress and Death: Traumatized Women in Partition Fiction”." Advances in Social Sciences Research Journal 9, no. 7 (August 2, 2022): 673–90. http://dx.doi.org/10.14738/assrj.97.12765.
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This paper analyzes fictional works written around the massive violence of Partition of South Asia into two nations--India and Pakistan--in 1947. It reads short stories such as Saadat Hasan Manto’s “The Return,” Kartar Singh Duggal’s “Kulsum,” Khadija Mastur’s “They Are Taking Me Away, Father, They Are Taking Me Away,” and Ghulam Abbas’s “Avtar: A Hindu Myth;” and novels like Khushwant Singh’s Train to Pakistan, Bapsi Sidhwa’s Cracking India, Bhisham Sahni’s Tamas, and Chaman Nahal’s Azadi to examine the impact of the genocidal violence specifically on female characters. The study finds that the fictional texts corroborate with the theoretical arguments of scholars such as Urvashi Butalia, and Ritu Menon and Kamla Bhasin that notwithstanding the suffering of millions of people, the irrational Partition made women the worst victims of the subcontinent’s tragedy highlighting the moments when they are abducted, raped, kept as mistresses, forced to work as prostitutes, traded, or even killed. The texts show that—despite rare moments of women’s agency—men from the warring communities in both nations sexually exploit vulnerable women mostly from the opposing community. The paper argues that the scenes of intense physical and psychological pain of women depicting their dishonor, disgrace, distress, trauma, or death in the examined works reveal that men assaulted vulnerable women not only to flaunt their own manliness but also to demean the religion and the manhood of the victimized community.
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Surekha, Dr. "Human Rights and Portrayal of Women in Indian English Fiction." International Journal of English Literature and Social Sciences 8, no. 1 (2023): 083–87. http://dx.doi.org/10.22161/ijels.81.10.
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Human Rights” are those rights which belong to an individual as a consequence of being a human being. It is birth right inherent in all the individuals irrespective of their caste, creed, religion, sex and nationality. Human Rights, essential for all round development of the personality of the individual in society and therefore, ought to be protected and be made available to all individuals. Literature has substantially contributed to the protection of human rights. Literature can inspire us to change our world and give us the comfort, hope, passion and strength that we need in order to fight to create a better future for us. The literary creation such novels, short-stories etc. are the mirror of society. The novelists of Indian writing in English are keenly aware of the fundamental incongruities which life and world are confronting us in day to day life. The heroes of R.K. Narayan present the ironies of life and the heroines expose the deprivation of common housewives who are denied equal rights in their day to day life. Mulk Raj Anand is a great humanist and his prime concern is human predicament. Manohar Malgoankar presents the pathetic life of the labourers of tea-plantation of Assam. Kamla Markandeya highlights pitiable conditions of peasants of India. Anita Desai shows the denial of social justice to women. Khuswant Singh and Salman Rushdie draw attention towards sexual abuse of children. Thus, literature carries the human experience which reaches the heart of those who have been treated improperly by denial of basic human rights.
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Henry, Nancy. "GEORGE ELIOT AND THE COLONIES." Victorian Literature and Culture 29, no. 2 (September 2001): 413–33. http://dx.doi.org/10.1017/s1060150301002091.
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Women are occasionally governors of prisons for women, overseers of the poor, and parish clerks. A woman may be ranger of a park; a woman can take part in the government of a great empire by buying East India Stock.— Barbara Bodichon, A Brief Summary in Plain Language, of the Most Important Laws Concerning Women (1854)ON OCTOBER 5, 1860, GEORGE HENRY LEWES VISITED a solicitor in London to consult about investments. He wrote in his journal: “[The Solicitor] took me to a stockbroker, who undertook to purchase 95 shares in the Great Indian Peninsular Railway for Polly. For £1825 she gets £1900 worth of stock guaranteed 5%” (qtd. in Ashton, Lewes 210). Thus Marian Evans, called Polly by her close friends, known in society as Mrs. Lewes and to her reading public as George Eliot, became a shareholder in British India. Whether or not Eliot thought of buying stock as taking part in the government of a great empire, as her friend Barbara Bodichon had written in 1854, the 5% return on her investment was a welcome supplement to the income she had been earning from her fiction since 1857. From 1860 until her death in 1880, she was one of a select but growing number of middle-class investors who took advantage of high-yield colonial stocks.1 Lewes’s journals for 1860–1878 and Eliot’s diaries for 1879–80 list dividends from stocks in Australia, South Africa, India, and Canada. These include: New South Wales, Victoria, Cape of Good Hope, Cape Town Rail, Colonial Bank, Oriental Bank, Scottish Australian, Great Indian Peninsula, Madras. The Indian and colonial stocks make up just less than half of the total holdings. Other stocks connected to colonial trade (East and West India Docks, London Docks), domestic stocks (the Consols, Regents Canal), and foreign investments (Buenos Aires, Pittsburgh and Ft. Wayne) complete the portfolio.2
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Sharma, Dr Rajni, and Mrs Poonam Gaur. "Women Predicament in 'A Journey on Bare Feet' by Dalip Kaur Tiwana." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 11, 2020): 14. http://dx.doi.org/10.24113/ijellh.v8i2.10391.
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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.
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Gvili, Gal. "The Woman Question and China-India Horizons in Xu Dishan's Shangren Fu." Comparative Literature Studies 58, no. 4 (November 1, 2021): 780–806. http://dx.doi.org/10.5325/complitstudies.58.4.0780.
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Abstract In the 1921 short story Shangren fu, Xu Dishan challenges nineteenth century developmental thought, which saw the condition of women in certain societies as touchstone to these societies' level of civilization. The link between civilization and the “the woman question” circulated across Asia, disseminated by new disciplines such as folklore studies, and through missionary education, which enshrined female literacy as the first rung in the ladder of civilizational progress. Many Chinese writers portrayed female characters simultaneously as emblems of national backwardness and of hopes to rise from “savagery” to “civilization.” My reading of Xu Dishan's work reveals a radical alternative to this view. Xu Dishan drew upon ancient Indian folktales to imagine a nonlinear literary horizon in which women do not stand for the nation but embody transregional possibilities. Taking Xu Dishan's work as a key intervention in Chinese literary culture, this study seeks to move beyond the notion that modern knowledge “arrived” in China from Europe by way of Japan exclusively, by revealing India in particular to be a critical site through which Chinese fiction grappled with the woman question as part of a larger discussion about the meaning of civilization in the modern world.
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Shapira, Yael. "Somebody's Complaint: Isabella Kelly, Warren Hastings, and the Strange Case of Ruthinglenne." Eighteenth-Century Life 46, no. 2 (April 1, 2022): 113–42. http://dx.doi.org/10.1215/00982601-9664436.
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In 1795, novelist Isabella Kelly (ca. 1759–1857) sent a plea for financial help to Warren Hastings (1732–1818), the first British governor-general of India, who had known her late father-in-law. Six years later, her Minerva Press novel Ruthinglenne, or, the Critical Moment (1801) included a scene in which a widowed woman novelist asks for the help of a senior East India official and is rudely rebuffed. Was Kelly writing about her real-life exchange with Hastings, and if so, what might she have been hoping to achieve? The essay attempts to answer these questions in a speculative argument that examines Ruthinglenne's straddling of fact and fiction; by analyzing both the novel and its paratexts, I propose that Kelly's fictional encoding of fact would have been obvious to at least some of her readers. The case of Ruthinglenne, I further argue, lends support to recent critical claims regarding the overlooked richness of Minerva novels, and demonstrates the need to round out our historical understanding of neglected women writers through combined textual and biographical research.
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Chakraborty, Arijit. "Love and Spirituality in Anita Desai’s ‘Cry, the Peacock’ and Rabindranath Tagore’s ‘Breezy April’." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 12. http://dx.doi.org/10.24113/ijellh.v8i2.10408.
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Rabindranath Tagore (1861-1941) was the first non-European and the first Indian to win the Nobel Prize for Literature in 1913. He was awarded the prize for Gitanjali. Tagore was a multi-faceted personality who not only composed poems, verses, short stories, novels etc but also sketched and painted with equal brilliance. As a flag-bearer, he presented the best of India to the West and vice-versa. In Breezy April, Tagore combines romanticism with spiritualism. On the other hand, Anita Desai (born-1937) is the youngest among the women novelists of eminence in India. The spiritual aspect of human life is at the centre of attention in her works. Women protagonists of fragile exterior and strong interior take the lead in Anita Desai’s works of fiction. Spirituality is an integral part of most of her works. In her first novel Cry, the Peacock (1963), Desai minutely depicts both love as well as deep spiritual intricacies.
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Pandey, Shalini. "Pangs of Widowhood in Bapsi Sidhwa’s Novel Water." YMER Digital 21, no. 02 (February 26, 2022): 701–7. http://dx.doi.org/10.37896/ymer21.02/65.
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Since the dawn of time, gender inequity and sex discrimination have been the result of the human mentality. Internationally acclaimed author Bapsi Sidhwa has contributed significantly to the field of feminist fiction. Her magnificent novels are a mix of conflict and beliefs, sensibility and dignity, all of which are rooted in the Indian Subcontinent's historical, political, and socio-cultural context. Bapsi Sidhwa’s novel Water, set against the backdrop of Indian Freedom Movement, questions the orthodox religious traditions and the repressive restraints imposed on Hindu widows, pushing the bounds of India's male-dominated cultural narratives beyond patriarchal predicaments. She exposes the centuries-old practices that oppress women though her internationally acclaimed novels. The novel Water’s theme is contentious and complicated. It is about the plight of widows in India in 1930s. Water exposes traditional intrinsic indifference, fatalism, and orthodox conventions and injustice to women.
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Hazarika, Dilip. "Representation of Women in the Partition Fiction: A Study through the short stories of Saadat Hasan Manto." International Journal of Management and Development Studies 13, no. 1 (January 26, 2024): 16–21. http://dx.doi.org/10.53983/ijmds.v13n1.003.
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The partition of India had led to a holocaust of almost one million deaths and displacement of innumerable numbers on the both side of the border. Out of this huge numbers of casualties the number of women’s death was not less than one lakh. This loss of life and property as well as separation from near and dear ones created a vacuum which could only be realistically portrayed through fiction. Partition fiction recreates that tumultuous period, through dramatization of emotions like anger, hatred, jealousy in order to enable the readers to re-live the past. However, there is a difference in magnitude and intensity to the sufferings of women than of men which most of the fictions failed to deal with. The pain and agony of women were never heard clearly in the bustling sound of violence. An in-depth study of stories of Khuswant Singh, Bapsi Sidhwa, Bhisam Sahni, Saadat Hasan Manto etc. will show that women were not only the subject to communal hatred and suspicion of that time, they were also subject to predatory gaze and beastly lust of the attackers. They suffered humiliation before their death. Even those who survived the onslaught could not overcome the traumatic pain that they went through. Because their pain was not only physical, it had a psychological dimension too. In the stories of Manto, we find a poignant and sensitive portrayal of the pitiable and traumatic condition of women during the partition. In this paper, an attempt is made to explain the psychological impact of the violence on the women through analyzing selected stories of Saadat Hasan Manto.
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Jhansi, Mallavarapu, and Dr Madupalli Sureshkumar. "Conjugal Strife in Anita Desai's “Cry, The Peacock”." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 9. http://dx.doi.org/10.24113/ijellh.v7i11.10094.
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Marriage is a supposedly sacrosanct establishment in each community. It is the perceived social organization for building up and keeping up the family as well as for making and supporting the ties of connection. Conjugal disharmony is characterized as a battle between individuals with contradicting needs, thoughts, convictions, qualities, or goals. The disharmonized character's quest for satisfaction is a typical theme in contemporary fiction. Anita Desai is considered an authority on uncovering the issue of present-day women in India. She is increasingly worried about the inward situation of her estranged protagonist in the modern, patriarchal society. In her novels, she has depicted the man-lady relationship and the untold sufferings of ladies out of the connubial disharmony. Desai's novel Cry, the Peacock is considered as the initial phase toward mental fiction in Indian writing in English. This paper talks about the connubial disharmony between Maya and Gautama and its outcomes in Anita Desai's Cry, the Peacock.
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Manoj Kumar and Prof. V. Ch. N. K. Srinivasa Rao. "Narrating Marginality: Gender Crisis in Shashi Deshpande’s The Dark Holds No Terror." Creative Launcher 7, no. 6 (December 30, 2022): 171–76. http://dx.doi.org/10.53032/tcl.2022.7.6.19.
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Feminine sensibilities and gender issues are based on different cultures and diasporic essence. The desire and aspirations of women of different countries are not similar. Their demands are influenced by a number of variables, including familial, societal/racial, marital, economic, cultural, and personal ones. It is considered incorrect to compare Indian feminism to western feminism, which is characterised by radical rules, in such a varied culture. In its early stages, Indian feminism was wholly liberal and addressed every facet of mankind. There hasn't been a significant political or social uprising in India against the male-dominated culture. In beginning, they seek to address the inequality and dissimilarity that existed between males and females. They desired to bridge the gaps between men and women through their social revolt and provide the psychological reason for the male violence against women. Some feminist intellectuals extended the gender issues focusing the intention on rape and other forms of sexual violence. To them, such gender issues of exploitation are because of the male dominant society. They agree with Liberal feminists that material change and patriarchy is the sole reason for women's discrimination. They argue against the existing tradition of love, marriage, and gender inequality and demand equal social rights. The women writers like Shashi Deshpande have used fiction to explore and share their experiences. The myriad conflicts, which they face in everyday lives, are woven into the fictional world of their creation. To Shashi Deshpande, traditional beliefs also play a major role in female discrimination.
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D, Jayavelu, and Mamta Pillai. "Women Empowerment in Amish’s The Ramchandra Series: A Dharmic Narrative." International Journal of Language and Literary Studies 3, no. 1 (March 30, 2021): 122–30. http://dx.doi.org/10.36892/ijlls.v3i1.507.
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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.
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Madhuri, M. Bindu. "Mythical Women and Journey towards destined Roles -Comparison between the Contemporary Characters in the Novels: The thousand Faces of Night and the Vine of Desire." Vol-6, Issue-2, March - April 2021 6, no. 2 (2021): 325–28. http://dx.doi.org/10.22161/ijels.62.49.
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India is a land of culture and tradition. Indian mythology has carved its niche om the world of Mythology. Indian Mythology is rich in scriptures and Vedas. The Hindu mythology has its roots in the religion. The rituals and tradition area part of the Hindu Mythology. The present paper focuses on the Hindu Mythology with special reference to the Panchakanyas from the Vedic Scriptures. These Panchakanyas were revered in the scriptures and their names were chanted during the sermons and rituals as they are believed to be the Pativratas. This paper focus on the mythical figures from the fiction of Sudha Murthy “The Daughter from a wishing tree” these women carved their own destiny. This paper gives a comparative study of the characters ‘ Devi’, from “Thousand Faces Of Night” and ‘Sudha’ from “The vine Of Desire” with that of the mythical characters .These people from the novels carved their own destinies .Along with these mythical women the writer talks about many women and their tales were of importance to mention.
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Naseem, Afshan, Umme Laila Naqvi, and Saman Safdar. "Female Self-objectification and Identity in Fiction “Before She Sleeps” by Bina Shah." Spring 2023 3, no. 2 (June 30, 2023): 842–52. http://dx.doi.org/10.54183/jssr.v3i2.324.
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This novel is about women's objectification and identity through the concept of polyandry. This research highlights these types of problems related to women that are increasing in society day by day. This article aims to illustrate Polyandry and pain in women. They do not have the choice to live their life freely. They are like scapegoats in a patriarchal society. Polyandry is an ancient Greek word that means many men. It is first practiced in India. This article is wrapped with the viewpoints of some writers such as Tiwari, Goldstein, and Peter. This article presents a clear picture of Green City. Though it looks like a prosperous city yet it is proved a hell for women. In this regard, women chose an underground place to live named Panah. They deal with forty clients in order to win bread and butter. Men use different types of techniques to tempt women, such as whisky and champagne, to fulfill their purposes. Women in Panah provide them intimacy in the shame of lullaby, not sex. So, the study explains traumatic realities and also the relationship between agonies and physical distortion concerning the women characters, along with the concept of polyandry, which affects the life of women.
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Sankar, G., and L. Kamaraj. "SOCIAL REALISM AND PSYCHOLOGICAL TRANSFORMATION OF WOMEN PROTAGONIST IN NAYANTARA SAHGAL’S STORM IN CHANDIGARH AND A SITUATION IN NEW DELHI-A STUDY." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 5, no. 2 (February 28, 2018): 17. http://dx.doi.org/10.19085/journal.sijmas050201.
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The Research paper aims to focus on Nayantara Sahgal’s position in it as a novelist. It also discusses in detail a critical study of the social realism and Psychological Transformation with survival strategies of the woman protagonist in Nayantara Sahgal’s Storm in Chandigarh and A Situation in New Delhi. How Nayanara Sahgal’s writing was different from other Indian writers. During almost six decades of post-colonial history of Indian English fiction, a wide variety of novelists have emerged focusing attention on a multitude of social, economic, political, religious and spiritual issues faced by three conceding periods of human experience. With the turn of the century the Indian English novelists have surpassed their male counterparts outnumbering hem quantitatively as well as maintaining a high standard of literary writing, equally applauded in India and abroad, experimenting boldly with not only technique but also incorporating tabooed subject matters in their novels and short stories.
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Jain, Aditya, and Dr Anshu Raj Purohit. "Female characters in the novels of R. K. Narayan." International Journal of Multidisciplinary Research Configuration 4, no. 1 (January 28, 2024): 27–37. http://dx.doi.org/10.52984/ijomrc4103.
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R.K. Narayan is considered one of the most eminent Indian authors in the English language. Narayan mostly focuses on portraying middle-class folks from Malgudi, a fictional location he created in South India. His writings feature a diverse array of male and female characters. Within each of his novels, there exists a female character that holds a significant role in the narrative. Rosie, in The Guide, is one such female character. She embodies a contemporary woman who is well-educated and driven, who aspires to achieve financial independence based on her own preferences and abilities, despite facing significant sacrifices. Raju's mother and Velan's sister are among the other female characters depicted in the story. Raju's mother embodies the conservative and orthodox ladies who adhere to tradition and culture. She is a conscientious spouse and an affectionate parent. She provides guidance to both Raju and Rosie regarding moral principles and ethical conduct. However, if her advice is ignored, she departs from her residence and accompanies her brother to reside with him. Velan's sister has a little yet significant part in the narrative, as her presence contributes to portraying Raju as a saintly figure. This research aims to investigate this particular component of R.K. in a modest manner. The characterisation of Narayan. Keywords: The role of women, fiction, family, stories, novels, general literature
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Ali, Muhammad, Muhammad Ahmad, and Ramsha Zabta. "Investigating Marginalization, Loss, Trauma and Resilience of Third World Women in Joshi's Henna The Artist." Global Social Sciences Review VII, no. II (June 30, 2022): 227–35. http://dx.doi.org/10.31703/gssr.2022(vii-ii).23.
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The current research elegantly examines the majority of the time,enveloping the reader in a dreamscape of currencies, parrots, and exquisite meals. Joshi's narrating technique is captivating and the time passes quickly in the globe she has created. Nevertheless, her prose occasionally devolves into elaborate cramps and there are omissions and inconsistencies in her portrayal of the class structure in 1950s India, especially regarding ladies. Reading this straight historical fiction is a mistake; writing about class in a reliable or full of thought thinking will compose more about brutality and injustice. The current class and religious character issues in India are a section of the goal the state is in disorder today. Nevertheless, the study of Margaret Mitchell's Gone with the Wind, where a blameless Black Lives Matter strike is taking place, has the same effect.
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Roy, Dibyadyuti. "From Non-places to Places: Transforming Partition Rehabilitation Camps Through the Gendered Quotidian." Millennial Asia 9, no. 1 (April 2018): 19–39. http://dx.doi.org/10.1177/0976399617753752.
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The political partition of India in 1947 into a truncated India and the dominion of Pakistan witnessed a wave of forced migration, hitherto unseen in human history. The alteration of a singular national space into two separate nation-states based on religious identities forced the movement of almost twelve million people, in search of a new homeland. Although this exodus was experienced differently based on socio-economic backgrounds—unfortunately in ways akin to any violent transition—women formed the most susceptible ground to the rigours of the Partition. Gross and barbarous acts of violence perpetuated against women were derived from a hypermasculinized nationalist ideology: one that perceived women’s bodies as sites where national and religious identities needed to be forcibly inscribed. Partition historiography, however, has frequently privileged only the political circumstances and elided the traumatic human micro-histories, which dominated and continue to impinge on postcolonial subjectivities. This article explores a key facet of Partition history, which has often been relegated to the footnotes of both political and social narratives: transitory rehabilitation camps established primarily for the recovery of female refugees. Through an analysis of non-fictional testimonies and selected Partition fiction, I demonstrate how the transformation of these refugee rehabilitation camps—from transitory non-places into referential spatial locations or places—was facilitated through the quotidian performances of the female Partition Refugee.
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R, Bhuvaneswari, Cynthiya Rose J S, and Maria Baptist S. "Editorial: Indian Literature: Past, Present and Future." Studies in Media and Communication 11, no. 2 (February 22, 2023): 1. http://dx.doi.org/10.11114/smc.v11i2.5932.
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IntroductionIndian Literature with its multiplicity of languages and the plurality of cultures dates back to 3000 years ago, comprising Vedas, Upanishads, Puranas and Epics like Ramayana and Mahabharata. India has a strong literary tradition in various Indian regional languages like Sanskrit, Prakrit, Pali, Hindi, Marathi, Bengali, Oriya, Tamil, Kannada, Telugu, Malayalam and so on. Indian writers share oral tradition, indigenous experiences and reflect on the history, culture and society in regional languages as well as in English. The first Indian novel in English is Bankim Chandra Chatterjee’s Rajmohan’s Wife (1864). Indian Writing in English can be viewed in three phases - Imitative, First and Second poets’ phases. The 20th century marks the matrix of indigenous novels. The novels such as Mulk Raj Anand’s Untouchable (1935), Anita Nair’s Ladies Coupé (2001), and Khuswant Singh’s Memories of Madness: Stories of 1947 (2002) depict social issues, vices and crises (discrimination, injustice, violence against women) in India. Indian writers, and their contribution to world literature, are popular in India and abroad.Researchers are keen on analysing the works of Indian writers from historical, cultural, social perspectives and on literary theories (Post-Colonialism, Postmodernity, Cultural Studies). The enormity of the cultural diversity in India is reflected in Indian novels, plays, dramas, short stories and poems. This collection of articles attempts to capture the diversity of the Indian land/culture/landscape. It focuses on the history of India, partition, women’s voices, culture and society, and science and technology in Indian narratives, documentaries and movies.Special Issue: An Overview“Whatever has happened, has happened for goodWhatever is happening, is also for goodWhatever will happen, shall also be good.”- The Bhagavad-Gita.In the Mahabharata’s Kurukshetra battlefield, Lord Krishna counsels Arjuna on how everything that happens, regardless of whether it is good or bad, happens for a reason.Indian Literature: Past, Present and Future portrays the glorious/not-so-glorious times in history, the ever-changing crisis/peace of contemporary and hope for an unpredictable future through India’s literary and visual narratives. It focuses on comparison across cultures, technological advancements and diverse perspectives or approaches through the work of art produced in/on India. It projects India’s flora, fauna, historical monuments and rich cultural heritage. It illustrates how certain beliefs and practices come into existence – origin, evolution and present structure from a historical perspective. Indian Literature: Past, Present and Future gives a moment to recall, rectify and raise to make a promising future. This collection attempts to interpret various literary and visual narratives which are relevant at present.The Epics Reinterpreted: Highlighting Feminist Issues While Sustaining Deep Motif, examines the Women characters in the Epics – Ramayana and Mahabharata. It links the present setting to the violence against women described in the Epics Carl Jung’s archetypes are highlighted in a few chosen characters (Sita, Amba, Draupati). On one note, it emphasises the need for women to rise and fight for their rights.Fictive Testimony and Genre Tension: A Study of ‘Functionality’ of Genre in Manto’s Toba Tek Singh, analyses the story as a testimony and Manto as a witness. It discusses the ‘Testimony and Fictive Testimony’ in Literature. It explains how the works are segregated into a particular genre. The authors conclude that the testimony is to be used to understand or identify with the terror.Tangible Heritage and Intangible Memory: (Coping) Precarity in the select Partition writings by Muslim Women, explores the predicament of women during the Partition of India through Mumtaz Shah Nawaz’s The Heart Divided (1990) and Attia Hosain’s Sunlight on a Broken Column (2009). It addresses ‘Feminist Geography’ to escape precarity. It depicts a woman who is cut off from her own ethnic or religious group and tries to conjure up her memories as a means of coping with loneliness and insecurity.Nation Building Media Narratives and its Anti-Ecological Roots: An Eco-Aesthetic Analysis of Khushwant Singh’s Train to Pakistan, analyses the post-Partition trauma in the fictional village, Mano Majra. It illustrates the cultural and spiritual bond between Mano Majrans — the inhabitants of Mano Majra — and nature (the land and river). It demonstrates how the media constructs broad myths about culture, religion, and nation. According to the authors, Mano Majrans place a high value on the environment, whilst the other boundaries are more concerned with nationalism and religion.Pain and Hopelessness among Indian Farmers: An Analysis of Deepa Bhatia’s Nero’s Guests documents the farmers’ suicides in India as a result of debt and decreased crop yield. The travels of Sainath and his encounters with the relatives of missing farmers have been chronicled in the documentary Nero’s Guests. It uses the Three Step Theory developed by David Klonsky and Alexis May and discusses suicide as a significant social issue. The authors conclude that farmers are the foundation of the Indian economy and that without them, India’s economy would collapse. It is therefore everyone’s responsibility—the people and the government—to give farmers hope so that they can overcome suicidal thoughts.The link between animals and children in various cultures is discussed in The New Sociology of Childhood: Animal Representations in Leslie Marmon Silko’s Garden in the Dunes, Amazon’s Oh My Dog, and Netflix’s Mughizh: A Cross-Cultural Analysis. It examines the chosen works from the perspectives of cross-cultural psychology and the New Sociology of Childhood. It emphasises kids as self-sufficient, engaged, and future members of society. It emphasises universal traits that apply to all people, regardless of culture. It acknowledges anthropomorphized cartoons create a bond between kids and animals.Life in Hiding: Censorship Challenges faced by Salman Rushdie and Perumal Murugan, explores the issues sparked by their writings. It draws attention to the aggression and concerns that were forced on them by the particular sect of society. It explains the writers’ experiences with the fatwa, court case, exile, and trauma.Female Body as the ‘Other’: Rituals and Biotechnical Approach using Perumal Murugan’s One Part Woman and Matrubhoomi: A Nation Without Women, questions the society that limits female bodies for procreation and objectification. It talks about how men and women are regarded differently, as well as the cultural ideals that apply to women. It explains infertility, which is attributed to women, as well as people’s ignorance and refusal to seek medical help in favour of adhering to traditional customs and engaging in numerous rituals for procreation.Life and (non) Living: Technological and Human Conglomeration in Android Kunjappan Version 5.25, explores how cyborgs and people will inevitably interact in the Malayalam film Android Kunjappan Version 5.25. It demonstrates the advantages, adaptability, and drawbacks of cyborgs in daily life. It emphasises how the cyborg absorbs cultural and religious notions. The authors argue that cyborgs are an inevitable development in the world and that until the flaws are fixed, humans must approach cyborgs with caution. The Challenges of Using Machine Translation While Translating Polysemous Words, discusses the difficulty of using machine translation to translate polysemous words from French to English (Google Translate). It serves as an example of how the machine chooses the formal or often-used meaning rather than the pragmatic meaning and applies it in every situation. It demonstrates how Machine Translation is unable to understand the pragmatic meaning of Polysemous terms because it is ignorant of the cultures of the source and target languages. It implies that Machine Translation will become extremely beneficial and user-friendly if the flaws are fixed.This collection of articles progresses through the literary and visual narratives of India that range from historical events to contemporary situations. It aims to record the stories that are silenced and untold through writing, film, and other forms of art. India’s artistic output was influenced by factors such as independence, partition, the Kashmir crisis, the Northeast Insurgency, marginalisation, religious disputes, environmental awareness, technical breakthroughs, Bollywood, and the Indian film industry. India now reflects a multitude of cultures and customs as a result of these occurrences. As we examine the Indian narratives produced to date, we can draw the conclusion that India has a vast array of tales to share with the rest of the world.Guest Editorial BoardGuest Editor-in-ChiefDr. Bhuvaneswari R, Associate Professor, School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. She has pursued her master’s at the University of Madras, Chennai and doctoral research at HNB Central University, Srinagar. Her research areas of interest are ELT, Children/Young Adult Literature, Canadian writings, Indian literature, and Contemporary Fiction. She is passionate about environmental humanities. She has authored and co-authored articles in National and International Journals.Guest EditorsCynthiya Rose J S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. Her research interests are Children’s Literature, Indian Literature and Graphic Novels.Maria Baptist S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. His research interests include Crime/Detective fiction and Indian Literature.MembersDr. Sufina K, School of Science and Humanities, Sathyabama Institute of Science and Technology, Chennai, IndiaDr. Narendiran S, Department of Science and Humanities, St. Joseph’s Institute of Technology, Chennai, India
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Alam, Fakrul. "Sexuality and the Fiction of R. K. Narayan." Crossings: A Journal of English Studies 1, no. 1 (December 1, 2008): 21–36. http://dx.doi.org/10.59817/cjes.v1i1.420.
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This essay depicts R. K. Narayan as a writer intricately and intensely involved with a changing India by looking at his treatment of sexuality in his fiction. It reveals a writer who is able to represent sexual proclivities in Malgudi subtly as well as comprehensively. The essay argues that in Narayan’s fiction. women increasingly display their dissatisfaction with prevailing sexual norms and attempt to negotiate a new role for themselves where they can respond to the sexual overtures of men they like in their own terms without giving up their quest for self-fulfillment. Orr the other hand, it argues that Narayan sees male sexuality as insidious, disruptive and uncontrollable. In tact, the essay shows that the plots of quite a few of Narayan’s novels depict male sexuality as a fundamentally unsettling phenomenon and suggests that many of his narratives are constructed to reveal it as constituting a threat to the status quo.
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Harold, John. "Tagore: Global Author Through A Pepperean Lens." Journal of Indian Philosophy and Religion 26 (2021): 88–114. http://dx.doi.org/10.5840/jipr2021264.
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The global reach of Tagore’s achievement can be freshly understood through a theory of purposive behavior by the American philosopher, Stephen C. Pepper. Pepper proposed dividing human purposes in three categories: conative achievement, and affective. Tagore’s prose fiction can fill out the theory with more complex and problematic examples towards a cross cultural ethics. His novels about the emerging professional class in India reveal the tensions between traditional values of the family and religious observance against individual efforts to fulfil desire, find pleasure, and be productive outside or in home life. The last completed prose fiction of the Bengali master presents a distinct challenge for critics and filmmakers as his longstanding sympathy for the plight of women may cause us to misread the rollickingly satirical "Laboratory" in which a scientist's legacy is fought over by a thoroughly corrupt mother and daughter.
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Mekathoti, Dr Hemanth Kumar, and Dr Narasinga Rao Barnikana. "Marriage is a Mirage." SMART MOVES JOURNAL IJELLH 8, no. 11 (November 30, 2020): 35–46. http://dx.doi.org/10.24113/ijellh.v8i11.10832.
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Indian female writers attempt to depict the problems of women in the modern society dominated by male chauvinism and in rural India in particular, touching the feministic sensibilities. These female writers handle astonishing variety of themes. Among the women modern writers of fiction Kavery Nambisan occupies a unique place for more than one reason.She has begun her literary career by writing numerous children’s books. Female characters in her novels truly feel that love and marriage are not mere accidents but it is a trap and a cage where emotional stress haunts them through lack of care, bondage and love.
The character ‘Shari’ of Kavery Nambisan’s second novel Mango–Coloured Fish (2000), is a young girl, who is caught in a complex, entanglement of uncertainties and disillusionments, and she has different notions about the institution of marriage. Nambisan successfully depicted the contemporary younger generation pre and past marriage dilemmas and ordeals effectively and lively. The protagonist Shari wants to trace out her self-identity and freedom in this world and this is clearly presented in the novel Mango –Coloured Fish.
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Pillai, Sharon. "Margaret Paul Joseph, Jasmine on a String: A Survey of Women Writing English Fiction in India." Notes and Queries 64, no. 4 (October 31, 2017): 690–92. http://dx.doi.org/10.1093/notesj/gjx154.
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A, Yogaraj, and Kavitha M. "A Brief Analysis on the Impact of Minority Parsi Community Issues by Rohinton Mistry’s Novels." IAR Journal of Humanities and Social Science 3, no. 01 (February 28, 2022): 61–65. http://dx.doi.org/10.47310/iarjhss.2022.v03i01.009.
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Literature has always represented society in one form or another because writers are the sensitive souls of the society who are affected by the slightest possible change in their surroundings. This paper deals with Indian literature especially focuses on Indian diasporic writer Rohinton Mistry who represents the realistic picture of the most sustained explorations of post – independence Indian society through his chronicles of individual and community lives. Mistry’s fiction covers many themes, from politics to parsi community life and economic inequality to national ‘events’ such as wars, rigorously examining the impact of historical forces and social events on ‘small’ lives. As his novels depicts the social, cultural and political life in India. Most of his concerns are devoted towards the preservation of the parsi community which is marginalized sections of the society which include the economically and socially downtrodden, old and decrepit, women, etc. His concerns for the socially downtrodden and socially marginalized have found genuine representation in his works. Rohinton Mistry rеflects the reality of India’s post colonial greedy politics of corruption, oppression, exploitation, violence, strong opposition to social and class differences have extended the spectrum of contemporary reality through his novels.
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Khan, Mohammad A., Rahul Katiyar, Manisha Verma, and Anoop K. Verma. "Spectrum of vitriolage in India: A retrospective data record-based study." Journal of Family Medicine and Primary Care 13, no. 2 (February 2024): 556–67. http://dx.doi.org/10.4103/jfmpc.jfmpc_539_23.
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ABSTRACT Introduction: Vitriolage or acid attack or acid throwing is a gender-based terrible violent crime. There are many everlasting sequels of vitriolage which consist of permanent scarring of the face or body, blindness as well as socioeconomic and psychological intricacy. The sufferer of acid attack is competitor, hatred, enmity or jealousy. Vitriolage are most common in the Asian countries especially in south east Asian region followed by Europe and South America. Bangladesh, India, Pakistan, Colombia and Cambodia are the countries having the highest incidence of acid attacks. There is a sharp rise in vitriolage cases in India in the last few years as indicated by data from the National Crime Record Bureau (NCRB). Seventy per cent victims of vitriolage are women in India as indicated by the annual reports of the Acid Survivor Foundation. Aims and Objective: The aim of the study was to report incidence of acid attacks in India, Indian states and metropolitan cities. To analyse various police and court procedure and to discuss various steps to give justice to the victim of vitriolage. Materials and Methods: Present study is a retrospective data record-based study. Available data for the last 5 years (from 2017 to 2021) were taken from National Crime Report Bureau (NCRB). Available as per NCRB, data were analysed as per aims and objectives. Results: The trend of incidence of acid attacks in India was decreasing in the last 5 years, that is, the incidence was 244 in the year 2017 which become 176 in the year 2021. West Bengal and Uttar Pradesh were the states having the highest number of acid attack incidence during the last 5 years. Delhi city was the top most metropolitan city having the highest acid attack incidence in the last 5 years. Police investigation of cases of acid attacks against women and cases disposed of by the police decreased in the last 5 years. The chargesheeting rate was better in metropolitan cities than overall chargesheeting in India. There was an increased trial of cases of acid attacks against women and a decrease in cases disposed of by the court during the last 5 years. Conviction rate by the court was better in India than the metropolitan cities of India during the last 5 years. Case acquitted by the court in India was 24, 9, 10, 4 and 10, and in metropolitan cities it was 2, 1, 3, 0 and 2 during year 2017, 2018, 2019, 2020 and 2021, respectively. Conclusion: Vitriolage not only destroys physical health but also destroys mental health. Despite of strict action taken by the Indian government, vitriolage is still prevalent in India. Male dominancy and inadequate legal systems are responsible for this. Though there is a standard set by the Supreme Court for the sale of acid, it remains easily available as the guidelines are frequently violated by the preparator. Case investigation and chargesheeting should increase by the police. Trial of the case and conviction should increase by the court. Vitriolage victims must be sure of their scope to obtain education and job opportunity and societal fiction should be reviewed to support people to acknowledge why vitriolage is committed mainly against females.
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Taylor, Claire. "Between Science Fiction and a Travelogue: Albalucía Angel’s Tierra de nadie." La Manzana de la Discordia 4, no. 2 (March 16, 2016): 7. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v4i2.1447.
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(Entre la ciencia ficción y la bitácora de viaje: Tierra de nadie de Albalucía Ángel)Resumen: Este artículo explora la estructura dualde Tierra de nadie,última novela de Albalucía Angel,como tanto una bitácora de viaje como una obra deciencia ficción. El primer hilo tiene que ver con lo que laautora ha llamado mujeres galácticas, un grupo demujeres extraterrestres que descienden a la Tierra yviajan por diversas regiones y circunstancias en buscade desatar la ‘bondad’, y que corresponde a lascaracterísticas de una narrativa de ciencia ficción. Elsegundo de estos hilos narra las experiencias de unamujer protagonista, claramente colombiana de origen,y narra sus viajes alrededor del globo, experimentandodiferentes culturas, desde la europea a la australiana yla india. Estas experiencias reflejan de modo libre las dela autora en sus viajes en estos países, y por lo tantopodría clasificarse como escritura de viajes. De este modoel texto combina y entrelaza las localidades geográficascon la narrativa, cambiando de viajes galácticos a relatosde viajes cotidianos. La conclusión, donde se unen losdos hilos, se interpreta en términos de la posición teóricade Luce Irigaray sobre el proceso de «convertirse endivinidades mujeres».Palabras clave: Novela, mujeres escritoras, género,ciencia ficción, bitácora de viaje.Abstract: This article explores the dual structure ofTierra de nadie, Albalucía Angel’s latest novel, as both atravelogue and a work of science fiction. The first stranddeals with what the author has termed mujeres galácticas,a group of extraterrestrial women who descend to Earthand travel through various regions and circumstancesin their quest to unleash ‘bondad’, and it corresponds tothe characteristics of a science fiction (SF) narrative.The second of these strands narrates the experiences of afemale protagonist, clearly Colombian in origin, andnarrates her travels around the globe, experiencingdifferent cultures, from European to Australian andIndian cultures. These experiences loosely mirror theauthor’s own in her travels around these countries, andcould therefore be classified as travel writing. Thus thetext combines and intertwines geographical locations,with the narrative, switching from galactic journeys toeveryday travel accounts. The conclusion, where the twostrands are united, is interpreted in terms of LuceIrigaray’s theoretical position regarding the process of‘becoming divine women’.Key words: Novel, women writers, gender, sciencefiction, travelogue.
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Azhar, Dr Darkhasha, and Dilkesh Kumar. "Amrita Pritam’s ‘Pinjar’: A Poignant Depiction of Wrath of Partition on Weaker Sex." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 026–30. http://dx.doi.org/10.22161/ijels.83.4.
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In 1947, a ghastly incident occurred in the Indian Sub-continent known as Partition of India under which two new countries India and Pakistan came into existence. And for these countries the incident proved to be the most atrocious and catastrophic incident in human history due to the occurrence of incessant robbery, kidnapping, rape and murder. Since then, Partition of India has been the most gruesome and ugly past of Indian history which puts the nation to shame whenever remembered or discussed. The partition and the associated bloody riots compelled many creative minds to create literary pieces capturing the inhuman acts of murder and brutal slaughter on both sides. The trauma of partition and agony experienced by the people of Indian Sub-continent found its voice in the literature of Partition written by various writers of India, Pakistan and Bangladesh in different languages. While some creations depicted the massacres during the refugee migration, others concentrated on the aftermath of the partition in terms of difficulties faced by the refugees on both sides of the border. Even now, after more than 75 years of partition, works of fiction and films are made that relate to the events of partition. A few literatures describing the human cost of independence and partition are ‘Train to Pakistan’ by Khushwant Singh, ‘Toba Tek Singh’ by Saadat Hassan Manto, ‘Tamas’ by Bhisham Sahni, and ‘Midnight’s Children’ by Salman Rushdi. The present paper deals with the sensitive story picked from a Punjabi novel ‘Pinjar’ written by Amrita Pritam. Amrita is a prominent writer from Punjab who has provided an avid expression of the lives and experiences of women during Partition in many of her poems and novels. Pinjar is an appalling and petrifying story of a Hindu Girl who is kidnapped by a Muslim young man who marries her. In the course of events the girl again gets a chance to meet her family and re-unite which she is compelled to refuse as her parents denied accepting her saying that she has been defiled by a non-Hindu. The novel, in its flow of narration, unfolds the harrowing journey of innocent females whose whole life is rendered shattered due to a single episode called ‘partition’.
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Karthikadevi, C. G., and C. Jothi. "Discourse of Psychoanalytic Insight and the Sufferings of Immigrants in Chitra Banerjee Divakaruni’s The Mistress of Spices." World Journal of English Language 12, no. 2 (March 15, 2022): 72. http://dx.doi.org/10.5430/wjel.v12n2p72.
Full textAbstract:
South Asian novelist Chitra Banerjee Divakaruni is one of the most famous diasporic writers. She is also a great short-story writer, poet, and essayist. Her books have been translated into 29 languages including Hebrew, Dutch and Japanese. Her themes are relevant to South Asian Diasporic experience, History, Myth, Magic Realism and Cultural Diversity, Women Immigrants etc. Her works largely set in India and United States. There may be a galaxy of women writers. Most of her works give the insight and lively experience to the readers. Her poetic language in the text is far more appreciable. The reader may fall in love with the way of her expression and her beautiful poetic way of writing. She explores all her immigrant experiences through her writing. She gives life to her stories and fiction in such an excellent manner. She expresses her own pain and suffering especially through her women characters. Many autobiographical incidents are employed by her. So that she is distinguished from all other immigrant writers. Most of her works deal with the images of Bengali customs and habits. This paper is an attempt to deal with the psychoanalytic perspectives of the characters in Mistress of Spices and the predominant role of culture which focuses traumatic and sufferings of immigrants.
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Malathi, V. P. "Sufferings and Starvation in Kamala Markandaya’s Nectar in a Sieve." Shanlax International Journal of English 9, no. 3 (June 1, 2021): 70–73. http://dx.doi.org/10.34293/english.v9i3.3992.
Full textAbstract:
Kamala Markandaya is one of the best known contemporary Indian novelists. Her novels are remarkable for their range of experience. Her first novel Nectar in a Sieve is set in a village and it examines the hard agricultural life of the south Indian village where industry and modern technology played havoc. Kamala Markandaya occupies a very important position among the women novelist who have made substantial contribution to Indian fiction after the Second World War. Markandaya had not always lived abroad. She was born as Kamala Purnaiya in 1924 in Mysore and she was also a journalist. At some point, she decided to spend 18 months in a village “out of curiosity”. This inspired the setting of her first novel, centred on Rukmani and her husband Nathan. Nectar in a Sieve is remarkable for its portrayal of rustics who live in fear, hunger and despair. It is of the dark future; fear of the sharpness of hunger; fear of blackness of death. Almost all the characters in this novel lead miserable life and most of them fail to survive. There are at least a couple of them who were not successfully struggle and have the concept of survival. This novel tells the story of landless peasants of India who face starvation, oppression, breakup of family, home and death. Yet they retain their compassion, love, the strength to face their life and take delight in the little pleasures of the daily existence.
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Ashutosh Kumar Yadav and Prof. Sanjoy Saxena. "The Role of Women Characters in the Select Novels of Salman Rushdie." Creative Launcher 8, no. 3 (June 30, 2023): 67–73. http://dx.doi.org/10.53032/tcl.2023.8.3.08.
Full textAbstract:
Salman Rushdie, a postmodernist immigrant, is considered as one the greatest novelist of the 20th century. His apt use of magical realism, incorporates mythology, religion, history, fantasy, and humor into the real world. He narrates his life story and relates it to the national history of India. Rushdie uses the magical realist technique to deal about the postcolonial people of India, and various postcolonial issues. His writing focuses on India’s history, politics, and identity as seen through his narrators. There is a blending of fantasy and reality with his fantastical fiction. Salman Rushdie presents women as strong characters to break free from their oppressive roles through his works. He develops strong female characters who face life with great fortitude and strength rather than meek personality. This research article critically investigates the role of women characters in selected novels by the acclaimed author, Salman Rushdie. A corpus of three major works—Midnight’s Children, The Satanic Verses, and Shame—has been selected for detailed analysis. The study aims to illuminate the varying dimensions of women’s representation, their influence, and the evolution of their roles in these narratives, serving as mirrors to the sociopolitical realities of their time. The article applies a combined theoretical framework of feminist literary criticism and postcolonial discourse to unpack the intricate characterizations and their wider implications. Findings reveal that Rushdie’s women characters are often depicted as multi-dimensional, complex individuals who actively influence the plot and resist conforming to traditional roles. They embody strength, resilience, and liberation in the face of cultural, political, and religious adversities, breaking the mold of passive feminine stereotypes. Despite being enmeshed within patriarchal societal structures, these characters often subvert normative constraints, highlighting the intersection of gender, power, and resistance in Rushdie’s novels. Through the use of magical realism, Rushdie juxtaposes reality with the fantastical, further challenging conventional expectations of women in literature. Rushdie’s depiction of women provides significant insights into the complexities of postcolonial feminist identities, societal norms, and cultural heritage. His novels, while being grounded in their specific contexts, resonate on a universal scale, enriching the discourse around the representation of women in literature.
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Solanki, Pankaj. "A Comparative Study of Kalidasa’s Abhijnana Shakuntalam and Namita Gokhale’s Shakuntala: The Play of Memory." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 9. http://dx.doi.org/10.24113/ijellh.v7i12.10234.
Full textAbstract:
Shakuntala is one of the most acclaimed women characters of Indian Literature. For the first time Shakuntala’s character originated in The Mahabharata. Since then she has been represented in various texts in various languages of India. The present paper is an attempt to analyze the representation of Shakuntala by the authors from ancient times to the present. For this purpose ancient work Abhijnana Shakuntalam by Kalidasa and the modern work Shakuntala: The Play of Memory by Namita Gokhale are studied.
In Kalidasa’s Abhijnana Shakuntalam Shakuntala is the real daughter of Sage Vishvamitra and nymph Menka. However, she is adopted and brought up by Sage Kanva and his wife Gautmi. She is a rustic girl, brought up in a hermitage. With the progress of the play, she is married to King Dushyanta who forgets her because of a curse. Later, she was adopted by sage Kashyapa and his wife Aditi. She gives birth to a brave child Bharat and finally reunites with her husband.
Shakuntala: The Play of Memory by Namita Gokhale was Published in 2005 and it is a challenging work of Indian English fiction. Like the remakes of films there may be re-invention and re-interpretation of old myths embodied in literary works. In her masterpiece Shakuntala, Namita Gokhale has portrayed the story of a woman named after the heroine of Kalidasa’s classic drama Abhijnana Shakuntalam. In contrast to her legendary namesake, she is bold, spirited and imaginative. Right from her childhood she is conscious of the discrimination towards female. In her marriage with a mahasamant, Srijan, she feels suffocated by social customs. Hungry for experience she deserts home to travel with a Greek horse merchant, Nearchus. Together they travel far and wide and surrender to unbridled pleasures. Shakuntala assumes the identity of Yaduri: the ‘fallen woman.’ But she forsakes this life as well to meet her salvation in her death at Kashi.
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L RAVEENDRAN, PRASADITA. "MYTH AND FOLKLORE EMBODIMENT IN THE FEMALE PROTAGONISTS OF CONTEMPORARY FICTIONS: A READING OF THE SHIVA TRILOGY AND BULBBUL." Poetika 9, no. 1 (July 26, 2021): 1. http://dx.doi.org/10.22146/poetika.v9i1.60734.
Full textAbstract:
The collective consciousness of a community is tremendously shaped by myths and folktales passed on from generation to generation. With the publication of Joseph Campbell's book The Hero with a Thousand Faces, the idea of the hero and his journey took a giant leap, allowing the commoner's life narratives to be equated with the mythical journey. This study analyzes how mythology is demythified and symbolically represented in two of India's famous narratives, a novel series Shiva Trilogy by Amish Tripathi and an “over-the-top” (OTT) film Bulbbul by Anvita Dutt. The objects of this research are Indian mythological narratives about Goddess Shakti and her various manifestations — Durga, Kali, Sati, and Parvati — whose respective nature and purpose differ vastly from one another. Through the qualitative research method, the paper shows that the reader/viewer has well-received the interweaving of myth with contemporary fiction. It has given way to a change in diegesis, from the predominantly male-hero-focused outline to a female-driven narrative. The myth-bound heroines thus represent the power to break the shackles of patriarchy and normative culture, allowing an area for women to radicalize themselves through bold actions. Kesadaran kolektif suatu komunitas sangat bergantung pada mitos dan cerita rakyat yang diturunkan dari generasi ke generasi. Dengan diterbitkannya The Hero with a Thousand Faces karya Joseph Campbell, gagasan tentang pahlawan dan perjalanannya memungkinkan narasi kehidupan orang biasa untuk disejajarkan dengan perjalanan mitos. Studi ini bertujuan untuk menganalisis bagaimana mitologi didemistifikasi dan secara simbolis direpresentasikan dalam dua narasi terkenal India, yakni serial novel Shiva Trilogy karya Amish Tripathi dan film “over-the-top” (OTT) Bulbbul karya Anvita Dutt. Objek penelitian ini adalah narasi mitologi India tentang Dewi Shakti dan berbagai manifestasinya — Durga, Kali, Sati, dan Parvati — yang sifat dan tujuannya masing-masing sangat berbeda satu sama lain. Melalui metode penelitian kualitatif, ditemukan; 1) pembaca/pemirsa telah menerima dengan baik jalinan mitos dengan fiksi kontemporer; 2) memberi jalan pada perubahan diegesis, dari garis besar yang berfokus pada pahlawan pria menjadi narasi yang digerakkan oleh wanita; 3) para tokoh wanita yang terikat mitos, mematahkan belenggu patriarki dan budaya normatif, memungkinkan area bagi perempuan untuk meradikalisasi diri mereka sendiri melalui tindakan yang berani.
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Pandit, Dr Kamble Sanjay. "Chetan Bhagat's One Indian Girl: A Depiction Of Careerist Woman." Journal of Language and Linguistics in Society, no. 12 (November 19, 2021): 12–16. http://dx.doi.org/10.55529/jlls.12.12.16.
Full textAbstract:
Chetan Bhagat a very popular name among the modern age and new generation because of different style and subjects. Being well qualified man from IIT and IIM he could get the best job in corporate sector specially known as IT industry. In spite of his good educational background he chooses creative writing as his career and passion. He gave new dimension to Indian Writing in English because of his innovative themes and subjects handled in his creative fiction. His fictions have been transformed into movies. He explores cross cultural issues of marriage and career. He earned name and fame in very short period of time and that is the secret of his writing. He discusses the crucial issues of the present world. Almost all his novels are based on IT sector and that are labeled as Campus novels. LPG has brought many changes in the life of thousands of Indian. Chetan Bhagat is and intellectual magician of creative writing. Who has given new dimension to Indian Writing in English? He one of the popular and new generation fiction writers of IT sector. He is known for his different style, themes and ideas. But he is famous for career and feminism. When the world was in modern age, India was in medieval. For Indians modernism mean to adopt new way of life and that is fashion. He is well qualified man from IT sector but he chooses to be creative writer. The present paper is an honest attempt to bring into notice of researcher and readers that Chetan Bhagat's One Indian Girl is skillful depiction of Careerist woman of present age.
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Chakraborty, Sanchayita Paul, and Dhritiman Chakraborty. "Bengali Women’s Writings in the Colonial Period: Critique of Nation, Narration, and Patriarchy." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 19–34. http://dx.doi.org/10.1515/zaa-2018-0004.
Full textAbstract:
Abstract Critical engagements like the first autobiography written by a Bengali woman, Rasasundari Devi, and the non-fictions by Kailashbasini Devi, Krishnabhabini Das, and other women writers in the second half of the nineteenth century contested the imagined idealization of the Hindu domesticity and conjugality as spaces of loveableness and spiritual commitment. They criticized coercion in child-marriages and the forceful injunctions of the Hindu scriptures on both married and widowed women. Such rhetoric of quasi empowerment needs to be disaggregated to perpetuate issues of ‘double colonization,’ ‘dual-hold’ in feminism in India. The question is whether there can be any grounds of women’s agency in the Indian tradition. Eurocentric critiques are ill-equipped to politicize all modalities of a culture of social exclusion in Hindu imaginaries. Henceforth, as questions of equality, emancipation, and empowerment are fiercely debated in the public domain in contemporary India, we need to argue how immanent dissenting woman subjectivity can originate to counteract multiple patriarchies formed in Indian immediacies.
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Jat, Sunita. "Farmer and laborer references in Premchand's stories." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 3 (March 25, 2022): 46–49. http://dx.doi.org/10.53573/rhimrj.2022.v09i03.007.
Full textAbstract:
Premchand's novels Godan and Rangbhoomi related to farmers and laborers are such works, which if called the epic story of laborers, farmers and Dalit victims and women victims, then it will not be an exaggeration because India being an agricultural country, farmers and laborers are the foundation of Indian culture. The stories of Premchand's Poos Ki Raat, Sava Seer Wheat, Muktimarg, Algyozha, Demolition etc. are mainly focused on the life of the farmer. The full depiction of rural life that we get in Premchand's literature is rare elsewhere, in his fiction, in spite of the predominance of the mainstream farmers of the society at that time, the Dalits, farm-labourers, Bhabbuje, living in the margins of rural life, Poor-farmers, shepherds, kanjars, tailors, etc. all came under his gaze with their heat and sorrow. Such marginalized characters are seen in their stories.
Abstract in Hindi Language:
प्रेमचन्द के किसान व मजदूरों से संबंधित उनके उपन्यास गोदान और रंगभूमि ऐसी रचनाएँ है जिनको मजदूर, किसान और दलित पीडित व महिला पीडित की महागाथा कहा जाये तो अतिशयोक्ति न होगी क्योकि भारत एक कृषि प्रधान देश होने के कारण किसान व मजदूर भारतीय संस्कृति का मूलाधार है। प्रेमचन्द की पूस की रात, सवा सेर गेहूँ, मुक्तिमार्ग, अलग्योझा, विध्वंस आदि कहानियाँ मुख्य रूप से किसान जीवन पर केन्द्रित है। ग्रामीण जीवन का जितना भरा पूरा चित्रण हमे प्रेमचन्द के साहित्य में मिलता है वह अन्यत्र विरल है इन्होने अपने कथा साहित्य में तात्कालीन समय में समाज के मुख्यधारा के किसनों की प्रधानता के बावजूद ग्रामीण जीवन के हाशिए में जी रहे दलित, खेत-मजदूर, भड़भूजे, गरीब-किसान, घसियारे, कंजड़, दर्जी आदि सब उनकी निगाह के दायरे में अपने ताप-त्रास के साथ आये। इनकी कहानियों में ऐसे ही हाशिए के विभिन्न चरित्र देखने को मिलते है।
Keywords: ग्रामीण जीवन, मजदूर, किसान, पिछडे वर्ग
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Gupta, Anjana. "Concept of ‘New Woman’ and Indian Women Fiction Writers." International Journal of Scientific & Engineering Research 12, no. 05 (May 25, 2021): 743–53. http://dx.doi.org/10.14299/ijser.2021.05.09.
Full textAbstract:
Literature is one of human creativity that has universal meaning as one of the way to communicate each other about the emotional , spiritual and intellectual experiences that needed to build up intellectual and moral knowledge of mankind . A creative writer has the perception and the analytical mind of a sociologist who provides an exact record of human life, society, and social system. Fiction , being the most powerful form of literary expression today, has acquired a prestigious position in Indian literature. Indian women novelists in English and in other vernaculars try their best to deal with , apart from many other things , the pathetic plight of forsaken women who are fated to suffer from birth to death.
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Bhabad, P. R. "Native Feminism in the Globalized Indian English Novel." Feminist Research 1, no. 1 (December 29, 2017): 37–41. http://dx.doi.org/10.21523/gcj2.17010105.
Full textAbstract:
Fictional medium is really very useful to know reality of society. Literature and visual art used realistically to depict several methods in which perfect description of feminism is the aim. The novel is depiction of day to day life, custom and the woman is portrayed as the key figure of Indian families and at the same time, she has been projected as the subject of suffering domestic slavery and suppression. Native feminism in India is not as aggressive as feminism in the West. Patriarchy is another name of native feminism reflected in the novels; through self-realization, it is expected that the woman can emerge as a new woman. The social realist writers have been very much interested in recording social changes and the status of women. Industrialization, urbanization and globalization have brought considerable changes in social life and status of women in India. Position of educated women is quite better than illiterate but gender discrimination still persists. To face all hurdles of their life the next generation women very boldly and intelligently achieve their aims to get their identity.
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Pandit, Dr Kamble Sanjay. "Chetanbhagat's One Indian Girl: A Depiction of Careerist Woman." Journal of Women Empowerment and Studies, no. 11 (September 25, 2021): 27–31. http://dx.doi.org/10.55529/jwes.11.27.31.
Full textAbstract:
Chetan Bhagat a very popular name among the modern age and new generation because of different style and subjects. Being well qualified man from IIT and IIM he could get the best job in corporate sector specially known as IT industry. In spite of his good educational background he chooses creative writing as his career and passion. He gave new dimension to Indian Writing in English because of his innovative themes and subjects handled in his creative fiction. His fictions have been transformed into movies. He explores cross cultural issues of marriage and career. He earned name and fame in very short period of time and that is the secret of his writing. He discusses the crucial issues of the present world. Almost all his novels are based on IT sector and that are labeled asCampus novels. LPG has brought many changes in the life of thousands of Indian