Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Hindu marriage easy
Throughout Hindu sacred texts, women seem to fill a diverse and conflicting position. From texts such as The Ramayana to The Birth of Kali, women are portrayed in many different lights; one shown to be the perfect woman, calm, devoted, loving, while the other is nothing but destructive, crazy, and bloodthirsty. Although there are different perspectives, one theme seems to frequently occur, women need men to take care of them and to put them in their place. My goal in this paper is to compare the feminine divine of the Hindu religion and to better understand the notion of Stridharma in ancient India’s patriarchal society. Coming from a feminist society, I believe that it is important to study the way that the feminine divine are portrayed throughout …show more content…
These qualities are understood as good ones if they are controlled by forces that are identified as masculine. The protective and creative goddess’s qualities are controlled by male gods. Goddesses like Lakshmi, Sita or Pavarati respect and pay attention to their husbands. Goddesses like Kali are considered dangerous and are not controlled by male Gods. If you look at the Goddess Kali, she is a prime example of this belief; she is feminine energy that is free of any male …show more content…
As a wife, a Hindu woman was expected to live up to the ideals of Stridharma, and to perform the duties of the good wife, become a mother to sons, and should regard her husband as a god. She should serve him, follow him, pray for his well-being and eat after he eats. Women were to respect societies rules and conventions and to remain at her husband’s side no matter what. In The Ramayana, dharma plays a major role; it includes both men’s dharma as well as women’s. It attempts to try and show what the perfect person should be like; the perfect husband, perfect wife, perfect father, perfect brother, and so on. But was Sita’s devotion to her husband the result of Stri dharma? Or was it the result of a loving wife who understands the struggles of
In Nehru’s India, women were victims of a “passive revolution” that subtly advanced bourgeoisie men of higher castes under a guise of parliamentary democracy. Though women have presided over the Indian National Congress, served as a prime minister, and represent a large part of India’s la...
Phrases such as “she is a such a strong woman,” and “I am a strong woman” are very popular, because women still esteem women who possess great strength — whether it be physical or mental strength. Women may not be conquering land and enemies like Semiranis, but women are still conquering other fierce battles, such as abuse, addiction, illness, death, inequality, and so much more. Therefore, think not that women do not possess the strength and fight in battles like from the times of old, but instead understand that women still do have that amazing Amazon strength, it just that for many the battles are depression, divorce, et cetera. Women may not be creating alphabets like Nicostrata or inventing sciences like Minerva, but women are still channeling the same intelligence that the ancient renowned women channeled. Thousands of women are involved in science, technology, literature, and arts. Like Semiranis who was a leader and warrior, there are countless female politicians and females soldiers. In conclusion, one should not read this text in awe that women were able to do incredible things, but instead one should read this text in astonishment that women are
The myth of female and the relation between males and females in these days is totally different from what it used to be before. Women in myth considered who brings the peace and love. Although Oglala men deprived of their historical roles and they have difficultly come over and adapted with their new status comparing to females, they continue to be chiefs, leaders, and Warriors. In same time, Women who settle oneself in one of the work fields or professional social statues such as superintendents of reservations, district and community leaders and other more proved them selves in myth and Oglala. Even if Oglala women don’t have seigniory , they dignify and support their men, and present them as persons who have a high statues such as leaders or bosses. By supporting men, women try to push them up in the white men’s society or world. However, the wrong support women's which actually should called productive and reproductive roles as the basis for female subordination, to unreal leading or power make it difficult to Oglala men to me real leader to free society. Between the women’s superiority and men dominate the world move and what actually happened the superiority and dominate one of men or women cause of superiority and dominate of the
The Ramayana as retold by R.K. Narayan, explores the roles and duty of women and what it takes in order to be a good woman in Indian society. He explores these roles through the women through out the epic whether it is the wife of a King or some form of deity. While in general women were viewed as subpar to men and were seen as second-class citizens, the women in the book shape the men into who they become and account for much of the manipulation of the individuals and the caretaking of the individuals. Women such as Sita and Kausalya demonstrate those women that are good. These women were regarded as beautiful, not only for their physical attributes, but for their behavior in regards to the males in the epic. They are everything women should be- they are kind and respect the males in their lives above all else. However these women are also met with their opposites, those women who have much improvement to make before being recognized as good women in the Indian society. These women, like Kaikeyi and Soorpanaka go against all Indian ideals. They use their sexuality in order to attempt to manipulate the men of the epic. They do everything in their power in order to get their way, even if it is at the cost of others.
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,”
Nanda, Serena. Neither Man nor Woman: The Hijras of India. 2nd ed. Belmont, CA: Wadsworth Pub., 1990. Print.
As we compare the traditional women versus modern women, we perceive differences and similarities. Prachi fights for a belief system that controls her meanwhile Ruhi struggles with self-identity and depends on the beauty pageant to empower her as an Indian woman. Prachi defends Hinduism but at the same time, is Hinduism that restrains her from becoming “modern.” Ruhi on the other hand considers herself a very modern girl and she values freedom therefor the pageant is a road to liberation for her. Both girls struggle in distinct ways but their goal is similar, to shape their countries future.
The biological differences that set apart the male and female gender throughout any culture remain eminent. Men are perceived as the stronger and dominant gender; women play the role of the weaker. In each culture the expectation of the manner in which men and women behave are influenced by the ideals and customs of that culture. In most predominant cultures, the man undertakes the role as a leader, and the woman devotes her life to the husband. Throughout history, traditions and literature provide a template to the identities of various cultures. Sleeping Beauty’s classic tale of a beautiful princess takes a central precept that previous patriarchal archetypes dominated during the 17th Century. The archetypal perceptions of women resulted from conscious and unconscious literature influenced by male-dominated perspectives and social standards.
As a common theme in society, politics, and books, gendering originated from mythology. Hindu mythology repeatedly reinforces gendering in Indian society, in which the males have a certain point to prove and the females are forced to sacrifice their own happiness. In the Ramayana, a ruthless villain Ravan kidnaps Sita. Her husband, Rama, saves her, but then doubts her chastity because she has lived with another man for so long. Sita is then forced to prove her innocence. Stories with this same archetype are repeated throughout the Mahabharata, another Hindu mythological text. In this story, the female character, Draupadi, is the common wife for a group called the Pandavas. The Pandavas pawn her as a prize in a game against a villain named Duryodhana. The Pandavas lose, and Duryodhana takes Draupadi captive. As a standard characteristic of Hindu mythology, the female sacrifices for the male's ego. Hindu mythology epitomizes the roles of males and females, which as a result, influences gendering in modern-day society by disadvantaging females.
Comparatively men are not subject to gender constraints. Rama asserts that, “I am a king and my first and final dharma is toward my people”(Valmiki,649). In contrast Sita endures extreme events of calamity dependent upon Rama. Rama mentions, “Do not think of a moment Sita that I came for your sake” (Valimiki, 494). Therefore women are portrayed as secondary to honor and status of men. The role of women is predetermined to exemplify a paradigm wife, with contrastingly miniscule reciprocal behavior from the role men. Women are viewed as property of men vulnerable to suffering and hardship at the demands of the male characters. The men are liberated from gender constraints whereas women are sexually oppressed with a role dependent upon their relationship and subordinate nature to their
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.
This report summarizes my Ph.D. Research progress from Jan 2015-June 2015. The focus of the study in this chapter is on Chitra Banerjee Divakaruni’s novel, The Palace of Illusion. It studies and analyzes the Mahabharata from a woman’s perspective, i.e. on how Draupadi would have felt and narrated the epic story. The authoress fictionalized history and mythicized it from a new perspective. The Palace of Illusions is a narration of Mahabharata in first person as the protagonist seeing all the events during her life time from her view point. The study explores the portrayal of the myths created by the writer, their divergence from the original text and their point of similarities. The elements of mythopoeia, fantasy, storytelling, fiction and myth making are identified with the struggle of women to regain her lost prestige. Most of the Indian literature is based on patriarchal mythology. Significant theoretical and critical work has been prepared on male-centered myths.
Therefore, although women acted in Indian Sanskrit Dramas, the roles ascribed to them were heavily dependent on their male counterparts. This dependence on the male character(s) is reflective of a male-dominated society, in which women are viewed as low class. Another cultural element depicted in Shakuntala is illustration of Karma. Karma refers to an individual’s work and the consequences for that work. Shakuntala is a “good” character because she is benevolent, compassionate, and respectful.
After marriage, more of these values are expected to be carried on is the way the family decisions are made and the ways things are done. The male is known as the authority figure in the family. An Indian woman has to abide be what the men say and basically allow him to run the show. This does not say that he has no responsibilities, because that is wrong be all means. He has a responsibility to support the family and show the children how to work the fields and support the family.
Classical Hindu Mythology. Cornelia Dimmitt and J. A. B. van Buitenen. Philadelphia: Temple University Press, 1978. 38-40. Print.