Bibliografías temáticas / Shashi Deshpande

Literatura académica sobre el tema "Shashi Deshpande"

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Publicado: 18 de mayo de 2024

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Artículos de revistas sobre el tema "Shashi Deshpande"

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Satendra Kumar. "Women: Perspectives and Issues in Shashi Deshpande’s A Matter of Time and Small Remedies". Creative Launcher 7, n.º 2 (30 de abril de 2022): 97–101. http://dx.doi.org/10.53032/tcl.2022.7.2.12.

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A noteworthy novelist and author of many children books, Shashi Deshpande, has acquired a unique place in Indian writing in English. Her novels are written in simple and lucid language. All of them deal with simple people belonging to small strata of society in general as well as predicament of women in particular in the society and family. Her women characters seem to be alive and breathing in the surrounding nearby each of us as we see in our daily life. They are ordinary women who struggle for their own identity, self-realization and emancipation. Since Indian society is adhered to patriarchal set up, as a result the traditional women in Shashi Deshpande’s novels face the problem of suppression, oppression, injustice, exploitation and marginalization. Even if they are educated, they are the victims of several kinds of evils. Shashi Deshpande is much sieved to think the condition of women and fought for the cause of women. In the time of Shashi Deshpande men thought women as child-bearing machine. She tries her best to make aware her women their rights and fills them with courage in order they may demand their rights and make a niche in the society.
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Sarkar, Shilpa. "The Delineation of Human Relationship in Shashi Deshpande’s ‘A Matter of Time’". SMART MOVES JOURNAL IJELLH 8, n.º 3 (28 de marzo de 2020): 5. http://dx.doi.org/10.24113/ijellh.v8i3.10478.

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Human relationships are enormously complex in nature. God created human and on the other hand human created complexity. Due to different thought process and mentality conflict and problems arise and how to manage those problems can have an impact on the relationship. This complexities of human relationship is beautifully dealt by Shashi Deshpande in her novel ‘A Matter of Time’. In most of her novels, she deals with problems related to married life. This paper focuses the complexities of human relationship in Shashi Deshpande’s novel A Matter of Time. In the novel, Deshpande beautifully portrayed the traumas, difficulties and sufferings faced by women in the Indian society.
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Choudhury, Romita. "Interview with Shashi Deshpande". World Literature Written in English 34, n.º 2 (enero de 1995): 15–26. http://dx.doi.org/10.1080/17449859508589222.

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Sharma, Alpana. "The Modernism of Shashi Deshpande". South Asian Review 33, n.º 1 (julio de 2012): 207–22. http://dx.doi.org/10.1080/02759527.2012.11932871.

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Saraswathy, M. "Optimistic Changes in the Characters of Shashi Deshpande’s in A Matter of Time". SMART MOVES JOURNAL IJELLH 9, n.º 5 (27 de mayo de 2021): 72–80. http://dx.doi.org/10.24113/ijellh.v9i5.11045.

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Shashi Deshpande focuses the need of human beings of present generation to be optimistic in the fast moving planetary as human life across the world is turning bleak time and again. In modern society, people fail to train their minds to be positive, they intentionally or unintentionally give space for emotions and thoughts to torture their thoughts perhaps and that leads to mental illness and carries malicious reflection in individuals, families and societies. Shashi Deshpande does a complete analysis on the rational thinking process of human beings to create happiness and to experience the power of one’s creation in this cosmic. Through her characters, Shashi Deshpande makes the readers understand that to enhance and empower their role in life, they must learn to unlearn negative thoughts and fill their minds with positive thoughts.
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Pandey, Abha. "MODERN WOMENS ASPIRATIONS IN SHASHI DESHPANDE THE DARK HOLDS NO TERRORS". International Journal of Advanced Research 9, n.º 10 (31 de octubre de 2021): 732–34. http://dx.doi.org/10.21474/ijar01/13604.

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Shashi Deshpande in her novel has presented a realistic picture of the modern educated, intelligent middle class woman in the novel. The New Woman is neither fully traditional nor fully modern. A new paradigms related to a womans life came into existence i.e. tradition and modernity, economic dependence, self-assertion, aspiration and independent in life in her novel.The New Woman in Deshpandes novel gets all types of rights in their life hence they struggle a lot to get free from the traditional world andin quest for her own identity. The present paper is an attempt to analyze Shashi Deshpandes novel The Dark Holds No Terrors.The Methodology followed in the analysis is of comparative and contrast.Sarita is the main protagonist of the novel, who is modern emancipated middle-class educated woman in the novel. She plays different roles to achieve her goals and aspirations in her life through facing various traumas in the novel.An attempt has been made to highlight Deshpandes story The Dark Holds No Terror that allocates the educated women in all possible ways.
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Kannan .D y Narasimhamurthy S V. "Feminine Sensibility and Self-Affirmation of Woman in Shashi Deshpande’s “The Dark Holds No Terrors”". Shanlax International Journal of English 12, S1-Dec (14 de diciembre de 2023): 380–85. http://dx.doi.org/10.34293/rtdh.v12is1-dec.122.

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Shashi Deshpande’s novel “The Dark Holds No Terrors” explores themes related to feminine sensibility and self-affirmation in the context of a woman’s life.Fictional works by Shashi Deshpande depict the struggles of Indian women and build a world from the perspective of feminists. Her story presentations in That Long Silence are very real, thanks to the emotional identification and validation of self-anguishing via their difficulties. She stands in for the feminist longing for India’s rich cultural heritage and traditional practices that these women feel. She admits her fictitious art world was lacking strength and significance due to a lack of understanding of Indian women’s inner lives. Deshpande disrupts the typical matrix of ‘home and homelessness’ in the galaxy of feminist fiction by creating different narrative patterns that give her feminist protagonists adequate freedom to show their repressed sense for their motherland. Aside from the characters’ sentimentality, she promotes local sensibility via poetry, performances, ethics, and ethnic arts. In her narrative work, she has come to terms with the paradigms and commitments.
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Sinha, Arti. "Shashi Despande as a Feminist". Journal of Advanced Research in Journalism & Mass Communication 07, n.º 01 (15 de junio de 2020): 15–16. http://dx.doi.org/10.24321/2395.3810.202004.

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Shashi Deshpande, born in 1938 at Dharwad, Karnataka, is the daughter of renowned Kannada dramatist and Sanskrit scholar, Late Adya Rangachar Shriranga. Deshpande, a recipient of the prestigious ‘Sahitya Akademy Award’ for ‘That Long Silence’ is well known for her short stories, children books and novels. Her chief novels include ‘The Dark Holds No Terror’ [1980], ‘The Roots and the Shadows’ [1983], ‘That Long Silence’ [1989], ‘A Matter of Time’ [1996], ‘Small Remedies’ [2000], ‘The Binding Vine’ [2002] etc. In these novels, she has very subtly voiced the agonies, sufferings, hopes, aspirations and frustrations through the protagonists and other characters, who are generally the respresentative of middle class urban educated women.
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Sekhar, V. "WOMEN’S ENDURING SILENT IN SHASHI DESHPANDE’S ‘THE BINDING VINE’, ‘THE DARK HOLDS NO TERRORS’ AND ‘ROOTS AND SHADOWS’". International Journal of Research -GRANTHAALAYAH 4, n.º 7(SE) (31 de julio de 2016): 1–4. http://dx.doi.org/10.29121/granthaalayah.v4.i7(se).2016.2620.

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The heroines of Shashi Deshpande’s novels has to pass through difficult situations all of her life. They have continued to get attacks of depression and dejection all through even when they are in the happiest moments of their life, they are not free from a fear of some misfortunes as they could see lurking in near future. As the novel “The Dark Holds No Terror” Shashi Deshpande records a deep impression upon Sarita’s psyche and also in the novel “ The Binding Vine“, the women characters are unhappy mostly due to their being superstitious conservation and reactionary. Then in” Roots and Shadows’, which describes how a woman dependent, insecure and gives her an incomplete sense of identity.
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Sarkar, Shilpa. "Feministic Images of Women in Shashi Deshpande's Fiction Roots and Shadows and The Binding Vine". SMART MOVES JOURNAL IJELLH 8, n.º 4 (28 de abril de 2020): 269. http://dx.doi.org/10.24113/ijellh.v8i4.10545.

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Shashi Deshpande is the most prolific writer among her contemporaries. Her writing reflects her image of middle class Indian woman. In most of her novels her protagonists are modern, well‑educated and financially independent women. The main theme of her novels are problems of middle class women who were trapped between tradition and modernity. The protagonists always try to maintain their marriage in spite of the fact that they are mentally and physically tortured by their husbands. The objective of this study is to show the feminist perspective of Shashi Deshpande's women characters in her two novels Roots and Shadows and The Binding Vine. This study also aim to figure out how the women characters of these novels assert themselves.
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Tesis sobre el tema "Shashi Deshpande"

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Roy, Amitabh. "Negotiating modernity in the novels of Shashi Deshpande". Thesis, University of North Bengal, 2017. http://ir.nbu.ac.in/handle/123456789/2582.

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Mondal, Lily. "Rewriting Indian woman: a study of the novels of Shashi Deshpande". Thesis, University of North Bengal, 2011. http://hdl.handle.net/123456789/1388.

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BALVANNANAOHAN, AIDA. "Tradition hindouiste, colonialisme et evolution de la conscience feminine chez quatre romanceires indo-anglaises (kamala markandaya, anita desai, shashi deshpande et githa hariharan)". Paris 12, 2000. http://www.theses.fr/2000PA120016.

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Apres l'independance de l'inde, le roman feminin indien s'est peu a peu detache de l'influence des deux traditions patriarcales qu'il avait subi : la britannique par la colonisation et celle ancestrale contenue dans la mythologie hindoue. L'evolution du roman feminin n'a pas ete facile comme nous avons essaye de le montrer a travers les romans etudies. Nous avons pris pour cela quatre romancieresrepresentatives des phases de son evolution. Nous avons montre qu'avec la premiere des romancieres, kamala markandaya, l'influence patriarcale contenue dans les discours mythologiques, ainsi que dans le discours nationaliste de la periode etait difficile a surmonter pour la femme, faisant des efforts de markandaya a donner une image positive de la condition feminine indienne un echec. Nous avons ensuite montre que le repli de l'inde sur ellememe pour retrouver son identite, a coincide avec la recherche identitaire de la femme, donnant au roman feminin de cette periode un aspect introspectif et torture. Cependant, anita desai qui represente cette deuxieme phase, annonce l'arrivee de la subversion des mythes patriarcaux a travers une conscience feminine qui cherche a s'affirmer. Ce n'est qu'avec shashi deshpande et githa hariharan, representantes de la troisieme phase, que la subversion est renforcee et rendue efficace par la proposition de solutions alternatives et positives pour la femme. Nous avons conclu qu'apres des debuts difficiles le roman feminin indien a pu se detacher et murir suffisamment pour proposer des solutions ancrees dans la realite de la culture indienne, pour que la femme puisse etre un individu entier, libre des repressions qui l'entravaient dans la realisation de ses aspirations, sans contenir l'alienation que provoquait le modele propose par les reformateurs du debut du siecle.
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Jagtiani-Naumann, Lalita. "Briser le moule de Sita : statut et libération de la femme indienne dans une sélection de romans d'Anita Desai, Shashi Deshpande et Githa Hariharan". Rennes 2, 2002. http://www.theses.fr/2002REN20047.

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@Quelle image de la femme indienne se dégage de ces écrits? A quelles techniques littéraires ces romancières ont-elles recours pour débattre des questions liées au statut de la femme ? En conjuguant méthodologie indocentrique et narratologie occidentale, cette thèse entend montrer que ces romans, choisis plutôt pour la féminité des auteurs et personnages centraux qu'en raison de leur intérêt pour le féminisme, révèlent, par leur utilisation de l'allégorie et du mythe, comment des romancières de l'époque postcoloniale défient des siècles de domination patriarcale. Ces écrivains relisent du point de vue de la femme les mythes créés par les hommes pour justifier leur supériorité. Les protagonistes des romans inversent les positions de pouvoir en brisant le mythe de Sita pour finalement se situer en dehors du moule qu'il impose. Une différence majeure entre les féministes indiennes et occidentales se dégage : alors que les héroi͏̈nes occidentalisées et bourgeoises de ces romans entendent négocier leur libération des contraintes de la tradition, elles ne veulent pas briser le continuum social indien dans leur quête d'individuation. Les trois sections de la thèses, ordre, désordre, nouvel ordre, reflètent la spirale ascendante qui traduit le progrès accompli par les personnages féminins lorsqu'ils franchissent le seuil des contraintes qui les marginalisent et les jettent dans l'instabilité. Ce progrès, né de leur exploration des espaces situés au-delà des frontières qui leur sont imparties, devient la dynamique de déconstruction des normes patriarcales
@What is the image of Indian women that emerges in these writings? What are the literary techniques exploited by the writers to discuss the issues related to the status of women? By fusing an Indocentric methodology with Western approaches to narratology the thesis shows that the novels, selected on the basis of gender rather than their feminist concerns, reveal, through the use of allegory and myth, how centuries of patriarchal dominance in Indian women's lives are being challenged by women in the post-colonial era. The writers create new myths to replace male-oriented ones by narrating them from a woman's viewpoint. The protagonists of the novels reverse the position of power as they break out of the myth of the Sita-mould. A significant difference between the Indian and Western feminsit emerges : while the novels' Western-educated, middle-class protagonists are willing to negociate their liberation from the hold of tradition, they are unwilling to break the Indian social continuum in their quest for indivuation. The three sections of the thesis, order, disorder and reorder, reflect the upward spiral that gathers momentum in the progress that the female characters make in moving beyond the threshold of marginalizing limitations. The subsequent instability as they explore hitherto out-of-bound spaces becomes the impetus that deconstructs the stability within patriarchal norms
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García, López Isabel. "La femme hindoue et ses mythes dans l'imaginaire romanesque de quatre écrivains indo-anglaises : Kamala Markandaya, Anita Desai, Shashi Deshpande et Bharati Mukherjee : une perspective de gender". Rennes 2, 2001. http://www.theses.fr/2001REN20034.

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La présente recherche essaie de cerner l'idéologie de gender transmise à travers les images littéraires de 4 romancières hindoues de langue anglaise : Kamala Markandaya, Anita Desai, Shashi Desphande et Bharati Mukherjee. Puisqu'il s'agit d'une littérature féminine, issue de la colonisation et enracinée dans une tradition patriarcale, il faut d'abord comprendre d'une part, le contexte historique du roman indo-anglais et d'autre, le contexte sociologique de la femme et du personnage féminin. Par conséquent, nous analysons l'impact de la colonisation britannique et de la modernité sur la culture indienne ainsi que les bouleversements dramatiques qui ont particulièrement déterminé la figure de l'hindoue, socle de la culture indienne et garante de sa continuité. Ensuite, vu que la tradition hindoue est imprégnée d'une mythologie millénaire, nous étudions le rôle fondamental que déesses, telles que Kali, et héroi͏̈nes épiques, comme Sita, jouent dans la construction de l'image du féminin hindou. Kali et Sita sont en effet des symboles d'un féminin divisé traditionnellemnt entre un côté destructeur, donc négatif, et un autre bienveillant, donc positif. Les romancières indo-anglaises utilisent souvent ces deux mythes comme repères pour articuler leur définition de la "femme". En faisant référence à Kali et à Sita dans la représentation littéraire de l'hindoue ces romancières ont pour but, par la transmission même des mythes de leur culture, de reformuler l'idéologie patriarcale de gender
The research aims at identifying the gender ideology transmitted by the literary images of four Hindu women writers in English : Kamala Markandaya, Anita Desai, Shashi Deshpande and Bharati Mukherjee. Because we are dealing with a literature by women, product of a colonial encounter but rooted at the same time in the Hindu tradition, we are compelled to understand the historic context of te Indo-English literature as well as the sociological context of the Hindu female protagonist. Therefore, we analyse the impact of the British colonisation and modernity on the Indian culture to point out the dramatic convulsions which has shaken particularly the Hindu woman, symbol of the culture and responsible for its continuity. Given the fact that the Hindu tradition is pervaded by an ancient mythology, we will study the crucial role played by goddesses, such as Kali, and epic heroines, such as Sita, in the cultural construction of "Hindu woman". Both myths are interpreted as symbols of a feminine divided between a negative/destructive side, Kali, and a positive/benevolent one, Sita. The Indo-English women writers use the references to Kali and Sita in the literary representations of the Hindo-woman as a vehicle to articulate their vision of gender. Their new readings, reveal the engagement of those authors in a new formulation of the ideologie of gender, continuing at the same time with the cultural transmission of myths
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Mathai, Kavita. "A question of identity : a study of three Indian novels in English of the nineteen eighties /". Thesis, Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1886174X.

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Vijay, S. "Margaret Laurence and Shashi Deshpande: A study of the notion of Marginal woman in Canadian and Indian fiction in English". Thesis, 1998. http://hdl.handle.net/2009/1695.

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Libros sobre el tema "Shashi Deshpande"

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Shashi Deshpande. Tavistock, U.K: Northcote House, 2006.

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Suman, Bala, ed. Women in the novels of Shashi Deshpande. New Delhi: Khosla Pub. House, 2001.

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The novels of Shashi Deshpande in postcolonial arguments. New Delhi: Prestige Books, 2000.

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Atrey, Mukta. Shashi Deshpande: A feminist study of her fiction. Delhi: B.R. Pub. Corp., 1998.

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Chow, Sheat Fun. Silences that speak in selected novels of Shashi Deshpande. [Minden], Pulau Pinang: Penerbit Universiti Sains Malaysia, 2009.

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Chow, Sheat Fun. Silences that speak in selected novels of Shashi Deshpande. [Minden], Pulau Pinang: Penerbit Universiti Sains Malaysia, 2009.

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A feminist perspective on the novels of Shashi Deshpande. New Delhi: Prestige Books, 2001.

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Silences that speak in selected novels of Shashi Deshpande. [Minden], Pulau Pinang: Penerbit Universiti Sains Malaysia, 2009.

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Gendered realities, human spaces: The writing of Shashi Deshpande. Jaipur: Rawat Publications, 2003.

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Sandhu, Sarbjit K. The image of woman in the novels of Shashi Deshpande. New Delhi: Prestige Books, 1991.

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Capítulos de libros sobre el tema "Shashi Deshpande"

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Ghosh-Schellhorn, Martina. "Deshpande, Shashi". En Metzler Autorinnen Lexikon, 124–25. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_88.

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Gunwant, Suraj y Rashmi Gaur. "Resisting Patriarchy Without Separatism: A Re-Reading of Shashi Deshpande’s The Dark Holds No Terrors". En The English Paradigm in India, 125–38. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5332-0_9.

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"Front Matter". En Shashi Deshpande, i—vi. Liverpool University Press, 2004. http://dx.doi.org/10.2307/jj.3078972.1.

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"Small Remedies". En Shashi Deshpande, 75–86. Liverpool University Press, 2004. http://dx.doi.org/10.2307/jj.3078972.11.

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"A Matter of Time". En Shashi Deshpande, 62–74. Liverpool University Press, 2004. http://dx.doi.org/10.2307/jj.3078972.10.

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"Notes". En Shashi Deshpande, 93–102. Liverpool University Press, 2004. http://dx.doi.org/10.2307/jj.3078972.13.

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"The Binding Vine". En Shashi Deshpande, 49–61. Liverpool University Press, 2004. http://dx.doi.org/10.2307/jj.3078972.9.

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"Select Bibliography". En Shashi Deshpande, 103–9. Liverpool University Press, 2004. http://dx.doi.org/10.2307/jj.3078972.14.

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"Biographical Outline". En Shashi Deshpande, ix—x. Liverpool University Press, 2004. http://dx.doi.org/10.2307/jj.3078972.4.

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"Conclusion". En Shashi Deshpande, 87–92. Liverpool University Press, 2004. http://dx.doi.org/10.2307/jj.3078972.12.

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Actas de conferencias sobre el tema "Shashi Deshpande"

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"CONCEPT OF BOUNDING AND BONDAGE IN SHASHI DESHPANDE’S THE DARKS HOLDS NO TERRORS". En 2nd National Conference on Translation, Language & Literature. ELK Asia Pacific Journals, 2015. http://dx.doi.org/10.16962/elkapj/si.nctll-2015.6.

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