Anita Desai’s novels unravel the mystery of the inner life of her characters. Anita Desai is interested in the psychic life of her characters. For her it is a depth which is interesting, delving deeper and deeper into a character or a scene rather than going round about it. She incorporates themes such as the agony of existence, the meta-physical void, the fears and trembling of her protagonists whose values, beliefs and structures are jeopardized, which, in turn, stand in the way of the individual’s self-realization. However, there is a genuine attempt suggesting a struggle to attain a maturity of outlook, and positive growth. Her forte is “the exploration of sensibility – the particular kind of Indian sensibility that is ill at ease among barbarians and the philistines, the anarchists and the moralists.(Iyenger 1983: 464).
According to her, the warp and woof of her works attract attention when “ the themes are analysed, the social and political elements are subtly camouflaged and subdued by dwelling on emotions and responses which are far more engrossing than the hard facts of reality.(Jain 1987:1). As her discussion progresses from thematic concerns to philosophical and psychological issues.The primary task of this paper is to dwell upon the female strength without losing the inner self of the character in all critical situations. The focus will remain on the politicization of land and landscape through the study of women’s search for identity in this complex social world where alienation, disintegration and submissiveness are inherently attached to female psychology. For example, Where Shall We Go This Summer is based on relating Sita’s desperate search for direction of India’s anxiety to find her identity.
Meenakshi Mukherje...
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In every one of our patient analyses shows us that they had been carried back to some particular period of their past by the symptoms of their illness or their consequences. In the majority of cases, indeed, a very early phase of life is chosen for the purpose – a period of their childhood or even, laughable as this may sound, of their existence as an infant at the breast(Freud 1973: 314).
Works Cited
• Anita Desai,Cry, the peacock . New Delhi: Orient Paperback, 1980.
• K.R.S Iyenger, Indian Writing in English . New Delhi: Sterling Publishers, 1983.
• Jasbir Jain, Stairs to the Attic: The Novels of Anita Desai .Jaipur: Printwell, 1987.
• Meenakshi Mukherjee, “The Theme of Displacement in Anita Desai and Kamala Markandaya,” World Literature Written in English, Vol.17, 1978.
• Sigmund Freud, Introductory Lectures on Psychoanalysis .England: Penguin Books, 1973.
Jhumpa lahiri (1967), born of Bengal parents, was awarded Pulitzer Prize for fiction in 2000 for her debut collection of short stories entitled “Interpreter of Maladies”, (1999). Her very first novel “The Namesake” (2003) made her more popular. Her second short story collection “Unaccustomed Earth” (2008) has again established her as one of the most excellent and commendable fictionists of the world. Not only a Diaspora writer of Indian origin, but she can also be called an American writer, because of her constant obsession with the American way of life. Her narrative world shuttles between India and the U.S.A. The imbibing of influences of various past or contemporary authors and her excellent narrative technique establish her as one
Leenerts, Cynthia. "'How Can We Be Like We Used to Be?': The Collective Sita and the Collective Draupadi in Raja Rao's Kanthapuraand Jyotirmoyee Devi's The River Churning." South Asian Review 24.2 (2003): 84-105. Rpt. in Contemporary Literary Criticism. Vol. 255. Detroit: Gale, 2008. Literature Resource Center. Web. 21 Apr. 2014.
The world before her is a film of hope and dreams for Indian women. We examine two girls with different paths but one goal in common, empowerment. This term conveys a wide range of interpretations and definitions one of them being power over oneself. Both Prachi and Ruhi manifest a will for female empowerment but both have distinct views on how this is achieved. Prachi believes the way to achieve empowerment is through her mind and strength, while she still confines to tradition views of Indian culture. Ruhi desires to achieve female empowerment by exposing her beauty in a non-conservative way while maintaining her Indian identity.
In this book writer has also used the perspective of psychoanalysis to examine lahiri’s fiction and it has also used different ideas of Sigmund fraud, Andre Greene and Julia kristeva. The book comprises of four chapters and the first chapter of the book Diaspora Hereafters pertains the gap between first generation and second generation. First generation In Unaccustomed Earth is Indian American Immigrants with their American born children living in a community of diaspora, maintaining their American identity and also resisting their parent’s love for past life, migration experience and their memories of their mother country (1). Jhumpa lahiri’s interviews always gives an indication that after her parent’s death she felt she had lost her identity (2). The second chapter is Revenant Melancholy which deals with Kaushik crime and exile. The third chapter is Dead Mothers and Haunting which describes intentions of Hema. The fourth chapter is Future of Diaspora which explains the loss of immigrants’ identity and loss of mother land. Still this books lacks in describing immigrants predicaments due to shift in their identities. Though researcher has defined the problems of immigrants but lahiri’s play of continuous shifting identities is not even touched by
Part A Gender is a concept that is strongly emphasized in a majority of the stories, which are presented in the text, Separate Journeys by Geeta Dharmarajan. A very explicit story about gender roles and performance is presented in “Izzat” by Ashapurna Devi. Basanti’s daughter, Joyi is brought to Basanti’s former employer, Sumitra, in hopes of finding a safe place for Joyi to grow into her adulthood. We see gender performance both in the environment where Joyi lives, as well as in the way in which her physical appearance is emphasized by those around her. The reason that Basanti had to bring Joyi somewhere to protect her Izzat, or honor, is because there are males where Joyi lives that are intensely harassing her, almost to the point of there being an attempted assault.
Mahasweta Devi’s Outcast: Four Stories powerfully and realistically presents the dismal and pitiable fate of four marginalized women characters—Dhouli, Shanichari, Josmina and Chinta—who are marginalized even by those who are generally considered as the marginalized in society. The writer gives a picture of a three-tier structure in the Indian social order composed of three rungs, the first of the main stream, the second of the marginalized, and the third of the outcast. Herein the writer explores and exhibits the gendered causes lying beneath the social and ...
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...
In another technique applied in Psychodynamic therapy approach where a client’s past is brought in, psychodynamic therapists’ main goal is to understand or relate the past with the present. Furthermore, the therapists also seek to illustrate to the client how his or her past can claim its position in the present (Shelder 2010). According to his review, it is important then to understand that the only purpose the past can have in the therapy is to illuminate the current psychological issues. The Ultimate goal in Psychodynamic therapy approach is assisting the individuals in parting from the negatives of past and helping him or her transitioning to a life that is more
Shashi Deshpande novelist deals with the inner world of Indian woman in her novels she writes about the conflict between tradition and modernity in relation to women in the middle class society. A Woman’s desires, efforts and failures in the traditional Indian society the main highlight of her novels. Her depiction of women’s world is authentic, realistic and credible.
You’ve probably heard or seen of the classic “patient on the couch” form of therapy where a patient is asked to lay on a mysterious looking couch next to a chair where the therapist is to sit. The session is started by the therapist asking the patient to talk freely about what might be troubling them whether it be a dream or parts of daily life. The therapist then goes on to pick apart your discussion and go into detail on parts which he believes is where the problems are arising from, and no doubt somehow linking it back to your childhood in some way or another. All the while taking notes and on your mental state. This of course is the foundation for Freud’s theory of psychoanalysis, and is for many, an integral part of modern
Indian Writing in English has a special status in English Literature owing to its treatment of women characters. Short stories help the writers to project select characters in an impressive way to the readers. In Indian context the status of woman in a society and her treatment is very different from those of her European or American counterparts. Women are depicted both as a good and evil in literature by various writers. However, in no literature is a women stereotyped as was done in Indian literature. Away from the mythical stereotyping of women, Ruskin Bond portrayed his women in a different way. The female characters of his short stories range from a small child to a grandmother. These characters are as powerful as men and have left a strong impression on the readers. I have chosen following eight short stories for the critical analysis of Ruskin Bond’s Women in this paper.
Lahiri examines her characters’ struggles, anxieties, and biases to explain the details of immigrant psych and behaviour. Jhumpa Lahiri through her work states that the distinction between human cultures is man-made. The characteristic of her writing is “plain” language and her characters. Often Indian immigrants to America must find a way between the cultural values of their homeland and their adopted home. Jhumpa Lahiri has the abilitie to pass on the most seasoned social clashes in the most prompt mold and to accomplish the voices of a wide range of characters are among the one of a kind qualities that have caught the consideration of a wide crowd. She was conceived in London, and after that moved to Rhode Island as a youthful kid with her Bengali guardians. It is especially engaging that Jhumpa Lahiri is the child of Indian immigrants and that she also crosses from England, her birth place, to the U.S.A. and became an American citizen. In The Namesake, Lahiri’s experiences of growing up as a child of immigrants resemble that of her protagonist, Gogol Ganguly. Immigration became blessing in disguise as that makes her a Diaspora writer. In her novel, The Namesake, Lahiri deals with the frightful experience of Ashoke and Ashima, the Indian immigrants and their offsprings, Gogol and Sonia, the second generation, conceived and raised in America. This novel manages space, time, dialect, and societies for drawing out the substance of Indian diaspora. Lahiri has specified three landmasses - Asia, Europe and North America in her novel. She plans to build up the topic of the novel, diasporic dilemma, through the fundamental characters-Ashoke, Ashima, and Gogol. For Ashoke, diasporic strain isn't profound. It is exceptionally obvious in Ashima and Gogol. Sonia is
Charulata, one of Ray’s most admired films, inhabits a significant historical background that unfolds to problematise the presupposed role of the contemporary Indian woman. Based on Tagore’s novel, the film is set in 19th century Bengal on the threshold of change and is one of Ray’s attempts to chart female subjectivity at a time when Bengali society and culture was in a state of flux between modernity and tradition.
And once the mediums are pried apart and banished to separate corners, a novel like A Passage to India stands alone and can be admired for its complex study of people who interact in an unfamiliar landscape, a landscape that ignores humans entirely. This text is not about good breeding, dowries, or happy endings. With its multiple perspectives, fragile personal connections, and symbolic caves that house an echo of nothingness not every character can hear, A Passage to India is Forster's own quiet rendition of Modernism. He does not try, as do Woolf, Joyce, and Eliot, to break free from standard English fictive forms. Instead, Forster's text contains an innovative, urgent assertion that the core of things like love, friendship, and self-knowledge are perpetually capable of collapsing, yet are valuable in spite of their fragility. His work demonstrates the individual's need to connec...
A poem is a composite art symbol and is a signature of aesthetic competent. Gauri Deshpande excels in her poetic creativity and the fabric of sensibility that she articulates is not only significant but is also innovative. The enduring quality of her poetry is not only a sum total of past heritage but is also referential, expressive and connotative. Gauri Deshpande is a name that the critic and the reader of Indian English Poetry can not by-pass without leaving a conspicuous lacuna in his repertoire. As for her post of prestige in the tradition of the genre, she is, no doubt, with Toru Dutt, Sarojini Naidu and Kamala Das, comfortably bolstered up by the merit and the body of work that she has to her name. The structural manipulation of a poem is equally interesting and the canon of her English Poetry so far includes three collections, namely, Between Births (1968), Lost Love (1970), and Beyond The Slaughter House (1972) with a total of eighty poem, presumably and hopefully excluding the ones not published and not anthologised so far, depict the female psyche as well as the imagery with which her primary concerns are underlined. To mark out the singular feature of each of these collections, separate slots are assigned to each.