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Portrayal of women in literature
Gender roles and literature
Portrayal of women in literature
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The prominent characteristic of postcolonial writing is the incorporation of writing back or rewriting history into the narrative from the point of view of the colonized. Postcolonial narratives speak out and attempt to expose the injustices of dominant culture often within their own cultural system. Within this framework, many female authors give agency to the once silenced female voice of the colonized. By employing their own narratives, many postcolonial female authors demystify the prescribed ideologies thrust upon them by a patriarchal culture while at the same time expressing their own sense of loss of cultural identity. Therefore, postcolonial literature applies a counterdiscourse that depicts the realities and struggles of people that are from the eastern world.
This type of counterdiscourse can be readily applied to Bharati Makherjee’s Jasmine. Mukherjee uses Jasmine’s gender as a vehicle to reveal the struggles and oppression women must endure as part of a male dominated society. Additionally, the changing of Jasmine’s name after her marriage and while she is in America can be read as metaphors for how colonalizers had authority over the natives. Once Jasmine is married, Mukherjee utilizes the dialogue between Jasmine and her husband to reveal the realistic dominance of men over women in certain cultures while also symbolizing how the natives’ beliefs and traditions were repressed during colonization. Another important facet employed by Mukherjee’s narrative is it exposes and subverts the dominant values and beliefs regarding cultural practices. Lastly, Mukherjee employs Jasmine’s rape in America by Half-Face to symbolize the brutality that was inflicted upon the natives during colonalization.
Mukherjee uses...
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...men, Mukherjee exposes the brutal sexual exploitation by the colonalizer. Mukherjee also destabilizes the myth of the colonizers’ justification of the need to civilize the native “other” by showing that the colonizers’ were the true savages. Moreover, Mukherjee speaks for the past native women’s voices by rewriting history to include their story of the brutalization by the colonizer.
In Jasmine, Bharati Mukherjee establishes that gender plays a significant role in the determination of status in Hindu culture. Mukherjee’s also utilizes Jasmine’s changing of names to represent the physical dominance of the colonizers, and she brilliantly uses figurative language to expose the viciousness during colonization. Through Mukherjee’s novel, the reader witnesses the realities and the consequences that are part of the eastern world.
Compare The Successes And Failures Of Patriarchy In Colonialism, In “The Tempest”, “Translations” And “Things Fall Apart”.
Mary Rowlandson’s “A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson” and Benjamin Franklin’s “Remarks Concerning the Savages of North America” are two different perspectives based on unique experiences the narrators had with “savages.” Benjamin Franklin’s “Remarks Concerning the Savages…” is a comparison between the ways of the Indians and the ways of the Englishmen along with Franklin’s reason why the Indians should not be defined as savages. “A Narrative of the Captivity…” is a written test of faith about a brutally traumatic experience that a woman faced alone while being held captive by Indians. Mary Rowlandson views the Indians in a negative light due to the traumatizing and inhumane experiences she went through namely, their actions and the way in which they lived went against the religious code to which she is used; contrastingly, Benjamin Franklin sees the Indians as everything but savages-- he believes that they are perfect due to their educated ways and virtuous conduct.
Traditions control how one talks and interacts with others in one’s environment. In Bengali society, a strict code of conduct is upheld, with dishonor and isolation as a penalty for straying. Family honor is a central part to Bengali culture, and can determine both the financial and social standing of a family. Usha’s family poses no different, each member wearing the traditional dress of their home country, and Usha’s parents diligently imposing those values on their daughter. Those traditions, the very thing her [Usha] life revolved around, were holding her back from her new life as an American. Her mother in particular held those traditions above her. For example, when Aparna makes Usha wear the traditional attire called “shalwar kameez” to Pranab Kaku and Deborah’s Thanksgiving event. Usha feels isolated from Deborah’s family [Americans] due to this saying, “I was furious with my mother for making a scene before we left the house and forcing me to wear a shalwar kameez. I knew they [Deborah’s siblings] assumed, from my clothing, that I had more in common with the other Bengalis than with them” (Lahiri ...
The colony is not only a possibility in the geographical; it is a mental dominance that can imperialize the entire self. Entire continents have be domineered, resources completely dried, and at colonialism’s usual worst, the mental devastation of the indigenous culture has left a people hollow. Indigenous culture is no longer that. In the globalized world, no culture is autonomous; culture cannot breathe without new ideas and new perspectives, perspectives that have traditionally come from the people who have lived within the culture. But, the imposition of dominant cultures has certainly benefited from culture’s own vulnerability, as global similarities now exist throughout most different, yet not separate cultures. Postcolonialism is imperialism with a mask on, nothing less. As Franz Fanon puts it “that imperialism which today is fighting against a s true liberation of mankind leaves in its wake here and there tinctures of decay which we must search out and mercilessly expel from our land and our spirits.”
The writings of women in West Africa are similar to the writings of men in reaction to the distorting images and representation projected by the imperial colonial masters. Authors like Chinua Achebe and others wrote to tell the African man’s story by an African in order to set ‘the record straight.’ In doing this, they bring to the fore their own bias and stereotypes about women in the society. Their writings were replete with the ‘African way’ of treating women – objects, properties, and expendable (Boyce Davies 1994). While women like Flora Nwapa and other earlier writers told the African woman story without an appearance of opposition to the male hegemony, “male literary critics have tended to marginalize women’s writing and to dismiss foundational
When it comes to post-colonial literature, most initially think about the colonization of other countries and how it has affected the natives. Though it is the most well known form of post-colonial literature, it is not the most wide-spread. By slightly altering the framing in which one looks at it, the idea that feminist literature by women from a patriarchal society is post-colonial literature begins to make sense.
Postcolonial theory will be used throughout the essay defined as a theoretical approach that focuses on the part of the formerly colonized, the subaltern and the historically oppressed, using the prism of race and the historical context of colonialism, and analyzes or produces a critical commentary that serves as an act of cultural resistance to the domination of Euro‐American epistemic and interpretive schemes (Nayar, 2016:
Nunez-Harrell, Elizabeth. "The Paradoxes of Belonging: The White West Indian Woman in Fiction." MFS Modern Fiction Studies 31.2 (1985): 281-293.
Nunez-Harrell, Elizabeth. "The Paradoxes of Belonging: The White West Indian Woman in Fiction." MFS Modern Fiction Studies 31.2 (1985): 281-293.
These works of literature are not solely colonialist narratives. Postcolonialism includes a wide range of writers and subjects. The different experience each ex-colony faced, caused different geographical, historical, religious, social, and economic concerns and these are portrayed in each author 's novels (Ivison). Some wrote inspiringly about the struggle for independence while others focused on the conflicting interest of the natives under and after colonialists. When criticizing literature from a Postcolonial view there are elements that help us characterize it as fitting into this category of literature. The first characteristic of Postcolonialism is the appropriation of colonial languages. This is when language if their colonizer is used adding pieces of their own original language it. The second characteristic is that it is a metanarrative. This is when they show a different point of view of a story. Another aspect this type of literature has is colonialism and colonial discourse. Rewriting history is also found in this type of literature. European colonizers often thought that the people they colonized had no history, culture, or tradition. To take back what was lost or misbelieved these novels share the history of their country before the Europeans came. And last all Postcolonial literature shares decolonization struggles
In this paper feminist aspect of post colonization will be studied in “Season of Migration to the North” novel by Tayeb Salih. Postcolonial feminism can be defined as seeks to compute for the way that racism and the long-lasting economic, cultural, and political influences of colonialism affect non-white, non-Western women in the postcolonial world, according to Oxford dictionary. As it mentioned earlier about the application of Feminism theory in literature, the provided definition of postcolonial feminism also is not applicable in literature analysis. Therefore, Oxford defines another applic...
In this short story the protagonist is a newly married Indian woman who is attending a party with her husband’s western friends. Throughout the short story the reader senses her anxiety of being introduced to people who are not as conservative as her. “She longed for the sanctuary of the walled home from which marriage had promised an adventurous escape. Each restricting rule became a guiding stone marking a safe path through unknown dangers” ("The First Party"). In this quote, the narrator explains how the Indian woman did not feel comfortable or at ease with this new world she had been introduced too. She fiend to be back home but because of her tie that she made to this man through marriage she is in her mind, stuck with him. In addition to her anxiety of being with non-conservative woman, who drank, smoked, dressed provocatively, and had painted nails, the protagonist grew angry in her own head. “She had been so sure of herself in her contempt and her anger, confident of the righteousness of her beliefs, deep-based on generations-old foundations” ("The First Party"). Is this the way that the Indian people reacted to British colonialism? The things that western people found normal, was this disrespectful to the Indian people. The protagonist surely thought it was and was certain that her anger was not misplaced. She felt as her anger was a sign of her strong faith. She came to the realization that her husband was someone who would challenge her beliefs but above all she knew that her beliefs state that her life must be one with his (“The First Party”). This realization must be heartbreaking, to realize that one 's comfort is not found in their life partner. The protagonist was raised to believe that her life must be one with her husband, that she is
Every human being, in addition to having their own personal identity, has a sense of who they are in relation to the larger community--the nation. Postcolonial studies is the attempt to strip away conventional perspective and examine what that national identity might be for a postcolonial subject. To read literature from the perspective of postcolonial studies is to seek out--to listen for, that indigenous, representative voice which can inform the world of the essence of existence as a colonial subject, or as a postcolonial citizen. Postcolonial authors use their literature and poetry to solidify, through criticism and celebration, an emerging national identity, which they have taken on the responsibility of representing. Surely, the reevaluation of national identity is an eventual and essential result of a country gaining independence from a colonial power, or a country emerging from a fledgling settler colony. However, to claim to be representative of that entire identity is a huge undertaking for an author trying to convey a postcolonial message. Each nation, province, island, state, neighborhood and individual is its own unique amalgamation of history, culture, language and tradition. Only by understanding and embracing the idea of cultural hybridity when attempting to explore the concept of national identity can any one individual, or nation, truly hope to understand or communicate the lasting effects of the colonial process.
As I come to end of my presentation I am convinced Manto was sensitive to the potential and power women could hold in society and not a perverted writer who only typecast women as downtrodden, used objects. In a hypocritical society, the women I have talked about in the above-mentioned stories emerged as characters that salvaged life in the face of adversity. These characters from diverse backgrounds epitomized defiance by women in times of abject cruelty. These women in the background of the Indian partition rose above their sets of problems they faced to flout their positions in society in their own definite way.
Achebe's writing, "The Novelist as Teacher", serves as a request to African writers to take on the role of teacher in their works. After reading Achebe's "The Novelist as Teacher", I have identified two differences that Achebe observes in the orientation to literature of postcolonial and western writers. Firstly, Achebe expects that his audience will look to him as a teacher of the culture. Postcolonial readers will look to their writers for the reiteration of their culture and common concerns. Secondly, Achebe explains that racial inferiority plays a major role in the orientation to literature. Postcolonial writers must include affirmations in their works and remember to improve upon a state of repressed minds.