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Feminist essays literary criticism
Introduction to feminist literary criticism
Feminist essays literary criticism
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Shashi Deshpande is one of the prominent contemporary women writers in India writing in English. She excels in projecting a realistic picture of the middle class educated women who are sandwiched between tradition and modernity. She is entirely different from any of her contemporary women writers. Although critics indiscriminately dub her as a feminist, she is not a feminist in the sense that is probably applied to certain women writers. During the course of her narration while unfolding the drama of an individual is life – a women’s life, “ she almost compatibly portrays Indian middle class women with their turmoils, convulsions, frustrations endurance .”( Sabita Ramachandran: Sashi Deshpande’s Craft as a novelist”) One admirable …show more content…
Either their voices are unheard or misinterpreted. The characters are also portrayed in a way that they are under some influence.Deshpande's women protagonists remain ideal. Both Savitri Bai and Leela in' Small Remedies' appear as independent and significant, each having sentiments of dissimilar nature. Breaking the tradition is of late a thinking and they are unable to present themselves. Their search for peace and harmony is out of their orthodoxy. The stories of these women, independent spirits, both who give up respectability to gain love and unhappiness in equal measure. Not only this, in' Small Remedies' Madhu, the biographer of Savitri Bai tries to make sense of her own life, writing the biography of Savitri Bai. Grieving the death of her only son Aditya,she hopes to find a way out of her own despair."This is a kind of novel which presents a problem, analyses it and posits a kind of solution so that the focus is on the psychological process of becoming a mature person. The desperate search for meaning, the effort to find a sense of one's identity and one's relationship to the world outside, culminates in the realisation that loss is never total, and it is essential to realise it because, in any event, life has to be made possible."(Nanda Kumar,'The Emerging Voice: A Comparative Study Of Shashi Deshpande's That Long Silence and Small …show more content…
She believes that love is a basic human emotion and there is nothing banal about it. However one cannot walk away from the consequences of the choices we make in life. In this way while taking up the theme of love in the backdrop of the feminine sensibility, the author goes on to describe the protagonist s quest in search of answers to some of the existential questions of life. Devayani falls in love with the DSP Ashok, who is already married and had a nine year old girl and soon realizes how everything in life is not that easy to be classified as right or wrong the' Ananda' which the protagonist experiences and describes nowhere makes her look like a voluptuous female. On this way the issues of women sensuality and sexuality taken up by the author implies rejection of prudery associated with them. At the same tone one cannot overlook the fact that the author has a very balanced approach. She is meticulous about the socio- cultural milieu of the society for which she writes. The love story of Devayani has no future and she was fully conscions of it from the very beginning. This however, never belittles the sorrow which feels on betrayal. She could not escape form the repercussions of the choices she made this seems to be the message of the author to this open minded novel. The reader is left with the food for thinking that traditional approach
Miranda thinks she is in love with Dev but in reality she is not because she doesn 't know him as a person at all. She soon realize this after the child tell her the meaning of Sexy. It because of her innocent and lack of knowledge of good relationship with people. She finally lets go of the romance when she knew that it would not change at all because he is a marry man. The main character seem to not be in love with Mala even though they have meet several of times before, It just like how Miranda does not know Dev in any way and is in love with him. They are arranged to be married to each other and force to live with each other. He even mention how he was not touch by her words when a letter was sent to him. The main character did not even kissed or hugged his wife. He just knew that she was the perfect wife do to the explanation given to him by his older brother.” The only thing I ws not used to was Mala.” (Lahiri 's 190). I think he was afraid to get to know someone he didn 't know about. It may be because he grew up in a different way than his wife. It was something he could not get used to. Shoba fell out of love with his wife even though he tried to get back with her. He did not know that he was not in love with her anymore. He assume that they would be together after the second day of the game they played. It was like he was getting things
Radha is emotionally detached and fairly disdainful of her husband, Shyam. Their matrimony existed only in name, without any effort on the part of Radha to keep it lively. She was unable to create a bond with him and considered that her marriage was already “fractured” as she mentioned to Chris. It is the beginning to enjoy her life and first step indirectly to voice out her travail. An affair can add excitement and a sense of purpose to life, and often this activity helps to taste up the state of achieving autonomy, from the hands of the dominati...
The first sign of the boy’s true desire and love for this girl occurs when he is sitting in his room almost day dreaming of the girl. With the boy’s quote “But my body was like a harp and her words and gestures were like fingers running upon the wires,” it is obvious that this girl has intense control over the young boy even before they interact in any direct form. His life and emotions are completely tied up with this girl and he finds it hard to live his everyday life because of that. Once he has his encounter with the girl and they discuss the upcoming bazaar, his desire and focus c...
This shows that she has strong emotions towards what Aditi is doing. She believes in marrying someone you love, which she believes may never happen in an arranged marriage. This scene shows its viewers that Aditi can be both modern and traditional. She reads cosmopolitan magazines and is having an affair with a married man which we can assume is more modern, but yet when talking about marriage she says, “My older, unmarried cousin Ria” which depicts the traditional side of her.... ... middle of paper ...
Love and affection is an indispensable part of human life. In different culture love may appear differently. In the poem “My god my lotus” lovers responded to each other differently than in the poem “Fishhawk”. Likewise, the presentation of female sexuality, gender disparity and presentation of love were shown inversely in these two poems. Some may argue that love in the past was not as same as love in present. However, we can still find some lovers who are staying with their partners just to maintain the relationship. We may also find some lovers having relationship only because of self-interest. However, a love relationship should always be out of self-interest and must be based on mutual interest. A love usually obtains its perfectness when it develops from both partners equally and with same affection.
When Sripathi and his family receive the news of Maya’s and her husband’s fatal road accident, they experience a dramatic up heaval. For Sripathi, this event functioned as the distressed that inaugurated his cultural and personal process of transformation and was played out on different levels. First, his daughter’s death required him to travel to Canada to arrange for his granddaughter’s reverse journey to India, a move that marked her as doubly diasporic sensibility. Sripathi called his “foreign trip” to Vancouver turned out to be an experience of deep psychic and cultural dislocation, for it completely “unmoors him from the earth after fifty-seven years of being tied to it” (140). Sripathi’s own emerging diasporic sensibility condition. Not only must he faced his own fear of a world that is no longer knowable to him, but, more importantly, he must face his granddaughter. Nandana has been literally silenced by the pain of her parent’s death, and her relocation from Canada to Tamil Nadu initially irritated her psychological condition. To Sripathi, however, Nandana’s presence actsed as a constant reminder of his regret of not having “known his daughter’s inner life” (147) as well as her life in Canada. He now recognizeed that in the past he denied his daughter his love in order to support his
The main character is Mrs. Das whom is flirtatious, careless, and needy. She and her husband take their family to see the country India for the first time. The tour guide Mr.Kapsi whom is curious, understanding, and quite aware. He sees something unusual at the beginning of the trip, but does not say anything. As the children continue their site seeing, the husband takes picture with his camera as if he lost in his own world. Meanwhile the wife gets to know the driver instead of site seeing. Mr.Kapsi is aware that the family is not like most Indians which lead him to be attracted to Mrs.Das. It states, “The family looked Indian but dressed as foreigners did, the children in stiff, brightly colored clothing and caps with translucent visors (29). This quote shows the difference in cultural clash as well the difficulty of communication. Mr.Kapsi tells Mrs. Das that he is an interpreter for a doctor which makes her believe she can discuss her personal business without him telling anyone. It states, “He decided to begin with the most obvious question, to get to the heart of the matter, and so he asked, “Is it really pain you feel, Mrs. Das, or is it guilt?”(39) Made the wife realized what she was truly feeling about her mistakes. After the conversation Mr.Kapsi did not look at the Mrs.Das the same way. The unusual
In this chapter Mahasweta Devi’s anthology of short stories entitled Breast Stories to analyze representations of violence and oppression against women in name of gender. In her Breast Stories, Devi twice evokes female characters from ancient Hindu mythology, envisions them as subalterns in the imagined historical context and, creates a link with the female protagonists of her short stories. As the title suggests, Breast Stories is a trilogy of short stories; it has been translated and analyzed by Gayatri Chakraborty Spivak and, in Spivak’s view, the ‘breast’ of a woman in these stories becomes the instrument of a brutal condemnation of patriarchy. Indeed, breast can be construed as the motif for violence in the three short stories “Draupadi,” “Breast-Giver,” and “Behind the Bodice,”
Her fictional stories represent this relationship dynamic in the real world exceptionally well. Relationships featuring a younger and older figure, not by age, but by personality, often fail. In Indian culture, women often cannot make the choice of a partner themselves due to arranged marriages in which they meet their husband at a young age. In these cases of relationships, women are required to be submissive and are thought of as inferior to society. Misogyny in India should be undoubtedly put to an end, but to make that happen people need to accept women as equals. In any culture, a partner should not act like a parent, because they often end up to be too controlling and restrictive. They should not act like a teenager either and be mature in handling adult responsibilities. Relationships go exceptionally better if there is trust but also a level of
feminism is in actuality quite limited in tha t she only applies it to British, upper middleclass women writers. Virginia Woolf’s essay-which to Bennett seemed non- feminist and to Daiches seemed feminist- universalist-is, by our modern definition, feminist; however, the borders of culture, class, and profession that composed her frame of reference drastically limit the scope of Woolf’s feminism.
Recent years have witnessed a large number of Indian English fiction writers who have stunned the literary world with their works. The topics dealt with are contemporary and populist and the English is functional, communicative and unpretentious. Novels have always served as a guide, a beacon in a conflicting, chaotic world and continue to do so. A careful study of Indian English fiction writers show that there are two kinds of writers who contribute to the genre of novels: The first group of writers include those who are global Indians, the diasporic writers, who are Indians by birth but have lived abroad, so they see Indian problems and reality objectively. The second group of writers are those born and brought up in India, exposed to the attitudes, morale and values of the society. Hence their works focus on the various social problems of India like the plight of women, unemployment, poverty, class discrimination, social dogmas, rigid religious norms, inter caste marriages, breakdown of relationships etc.
Right from the ancient epics and legends to modern fiction, the most characteristic and powerful form of literary expression in modern time, literary endeavour has been to portray this relationship along with its concomitants. Twentieth century novelists treat this subject in a different manner from those of earlier writers. They portray the relationship between man and woman as it is, whereas earlier writers concentrated on as it should be. Now-a-days this theme is developing more important due to rapid industrialization and growing awareness among women of their rights to individuality, empowerment, employment and marriage by choice etc. The contemporary Indian novelists in English like Anita Desai, Sashi Deshpande, Sashi Tharoor, Salman Rusdie, Shobha De, Manju Kapoor, Amitav Ghosh etc. deal with this theme minutely in Indian social milieu.
Mahasweta Devi, always writes for deprived section of people. She is a loving daughter, a clerk, a lecturer, a journalist, an editor, a novelist, a dramatist and above all an ardent social activist. Her stories bring to the surface not only the misery of the completely ignored tribal people, but also articulate the oppression of w...
The fragility of marriage is an issue that is almost constant throughout Lahiri’s Interpreter of Maladies. Lahiri demonstrates that marriages are held together by a verbal promise that obscures the fact that a person falls in love, not with another person, but with the way that person makes him/her feel about him/herself. In “A Temporary Matter,” Shoba and Shukumar’s relationship is destroyed because of their loss of the ability to make each other feel the way they once did. In “Sexy,” Miranda falls for Dev because he makes her feel important and
This essay focuses on the theme of forbidden love, The God of Small Things written by Arundhati Roy. This novel explores love and how love can’t be ignored when confronted with social boundaries. The novel examines how conventional society seeks to destroy true love as this novel is constantly connected to loss, death and sadness. This essay will explore the theme of forbidden love, by discussing and analysing Ammu and Velutha's love that is forbidden because of the ‘Love Laws’ in relation to the caste system which results in Velutha’s death. It is evident that forbidden love negatively impacts and influences other characters, such as Estha and Rahel, which results in Estha and Rahel’s incestuous encounter.