In Chemmeen, Karuthamma is a character that is trying to fit into the fishing community by making the right choice. Throughout the story is shown that Karuthamma and Pareekutty grow a forbidden love relationship. As Karuthamma shows the reader that "She stood silently in the shadows of a boat pulled onto the shore. She felt his gaze on her firm high breasts. But she couldn 't say…- Don 't stare at me so, my Bossman" (Pillai 47) expressing that she felt uncomfortable around Pareekutty. The way Pareekutty stares at her symbolizes that he wants her to be his wife. For that reason, Karuthamma feels in a certain way because he likes her, but society does not allow their relationship. According to the moral rules, their love relationship cannot proceed because she as a Hindu cannot relate to a Muslim. However, Karuthamma 's conflict relates to Ammu and Velutha relationship from "The God of Small Things." Karuthamma focus more in the "Big God" rather than in the "Small God " because she feels like all eyes are on her to criticize her decisions. Indeed, she did not give herself the opportunity to live her life with Pareekutty like the Ammu and Velutha did secretly.
Begum Jaan and Rabbu are two
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Karuthamma is a young girl that is always concentrated in “the God of Big Things” rather than in the “Small God.” Karuthamma and Pareekutty love relationship is part of the forbidden love laws that are stated. Begum Jaan and Rabbu are two women that face gender issues. Rabbu and Begum Jaan are homosexual women, that decide to keep it a secret. They were both brave enough in terms of their relationship because their society do not allow the relationship they have. The short story “Draupadi” is a story that shows how she is abuse and brutalize only because she is a woman. The story is a good example of the patriarchy system that they live
This story is about two girls Mariam and Laila. Mariam grows up feeling unloved by her mother, with her mother's untimely death she married off to an older man. Laila is a girl that grows up in the shadows of her brothers who have gone to war. She has a best friend she grows up with and falls in love with, his name is Tariq. Tariq moves away with his family, and Laila loses touch with him. Her parents are killed and she is taken in by Rasheed, Mariam’s husband. Who soon makes Laila his second wife. The women do not like each other at all at first but in the end, they come together to get through the struggles.
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,”
She handled typical Indian themes and has successfully depicted the dilemmas and conflicts of women in their interactions and dealings with their partners. Through the aspects of kindness, tolerance and understanding of human relationships this novel can better be accepted by the readers. The despair and disappointments in the life of Jaya is clearly understood by the readers from the very beginning of the novel. She begins the novel by saying
Ranjha is the youngest and favourite child of a farmer in a Punjabi village. After his father’s death Ranjha leaves his brothers and their families because they mistreat him after the death of their father. But now that he has no property to his name his social caste is lowered. Ranjha travels further into Punjab to find a job, he eventually comes to a river where he meets a beautiful girl named Hir and the two of them fall madly in love with each other. Hir takes Ranjha to her father so he can give Ranjha a job and he becomes their cowherd. This allows them to court each other in the forest and their love becomes the talk of the town. Hir’s family is aware that Hir and Ranjha want to marry so they ask for the village elders approval but the elders do not agree with the match because Ranjha is of a different caste than Hir. Instead Hir is forced to marry Saida, a man of her class, and she is unhappy in her marriage because she is in love with Ranjha. Now that the two cannot be together Ranjha attempts to become a holy man. Realising that he belongs with Hir after multiple conversations with the Pirs, Ranjha goes to Hir and they run away together so they can get married. Pir translates to old man, but in this context it means a saint (Shah 10). But on their wedding day Hir’s uncle tells her that her ex-husbands clan has killed Ranjha. So Hir drinks poison so that she does not have to live without him, after hearing that Hir killed herself Ranjha also kills himself so he does not have to live without her. But they now live happily in the kingdom of God set apart for lovers (Shah
...epicted in creative literature. In this sense, it would not be inappropriate and unjust to say that the concerns of Anita Nair and Jhumpa Lahiri are feminist. The above discussion with regards to their feminist concerns in the selected novels exemplifies a visible pattern of women’s ‘rising consciousnesses towards their selfhood. What make this over-all pattern interesting and challenging are the variations within the overall pattern. The variation emerges from the different kinds of repressive forces depicted, the protagonists’ individual methods of dealing with these forces and most interestingly, the authors’ different attitudes to the same complex problem of establishing female selfhood. It could then be derived that all the women characters of Anita Nair and Jhumpa Lahiri become the victims of patriarchy. The patriarchal constructs may be family or/and society.
Its narrative realizes the female protagonist’s method of living to reconcile with her family, to be aware of the filial relationship and the marital circumstances. The novel is covered with a variety of narratives of Devi, of her mother Sita, her grand mother and of the house maid, Mayamma. This novel is a trial to disclose the inner lives of woman and the inner aspects are concentrated on with complete picture. This novel is written in a woman’s voice. This very novel makes an attempt to overcome an unsolved situation faced by the suppressed and oppressed womenfolk mainly in
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.
Pubertal rituals are viewed as a private affair and widowhood ceremonies are gradually stopped. The individual desires, feelings and wishes of the protagonists Mythili and Padmini are given some priority. However, conflicts of values are shown between the older and younger generations. Anandam’s ideals are objected by her granddaughter Mythili, and Mangalam’s by Padmini. Anandam and Mangalam criticise their daughters-in-law and granddaughters. Sivasankari has traced the rebellion and retaliation of adolescent girls Mythili and Padmini which is the prime reason for the gradual changes in the life of women. The desires and ambitions of Padmini are cherished by Padmini’s parents Venkat and Mythili which is a remarkable change in the Indian
By portraying women that find themselves in extraordinary situations at various points of their lives, Nair and Lahiri-whose novel does not focus primarily on women-challenge the traditional roles Indian women, are ascribed. Most of the women they depict in their novels are particularly strong women who are determined to fight for themselves no matter what. Doing so, they often break the codes the society has imposed on them, either deliberately or as a side effect. Crossing the lines of what is and what is not allowed in human relationships is what Nair's novel examines, as well as the consequences that it brings for all who are involved either directly or indirectly. The characters in “Namesake” are strong women who fight for their rights and are prepared to face the consequences. None of them is, however, able to imagine how different-and much crueler-the real consequences can be from what they expect. There is a great discrepancy between what they imagine would be an appropriate punishment if they cross the lines and what they really have to face when they do. What might seem to be a normal behaviour to a Western woman can have literally lethal consequences if performed by a South Indian middle class woman, acting on a whim or following one's dreams regardless of what the others may say is a behaviour that not only is not tolerated, but is punished rather severely.
The God of Small Things by Arundhati Roy tells the story of the communist state of Kerala and the forbidden love between two castes, which changes the lives of everyone. In the novel an ‘Untouchable’, Velutha is a carpenter and works at Paradise Pickles and Preserves for much less than he deserves because of his status as an Untouchable in the caste system. Velutha falls into a forbidden love with a divorced woman, Ammu who is associated with an upper caste Syrian Christian Ipe family. Marriage was the only way that Ammu could have escaped this life, but she lost the chance when marrying the wrong man, as he was an alcoholic and this resulted in them getting a divorce. Ammu breaks the laws that state ‘who should be loved, and how and how much’, as their affair threatens the ‘caste system’ in India, which is a hierarchal structure and social practice in India in which your position in society is determined and can’t be changed. Arhundati Roy portrays the theme of forbidden love within the caste systems and shows how they are t...
Yes, the Indian women in this era are born at a time when there is much consciousness about her rights, liberty to convey her ideas, freedom to enjoy finance and the chance to stand for a cause. Still the silence continues, the protagonist Jaya is an educated middle class woman who lives with her husband Mohan and their children Rahul and Rati. She is stereotype Indian middle class woman in the present century who is confined between her realizations and the restrictions. Her father brought up as an “individual”, who has the rights in the society as well as in the family irrespective of gender, but a society in which we live hesitates to accept the woman as an individual. Jaya, a father supported child,confident and ambitious girl, tries to find the true meaning and identity, in various roles assigned to her by familial and social codes. She starts her journey with her father’s favorite name Jaya and passes through different phases of daily life with other identifications as Suhasini and Seeta. She finds her role and life fit, only in Jaya, “Jaya, the winner as papa wanted to make her”. Her papa has made her different, indifferent to social taboos and familial rituals, as he often said
In her novel, Markandaya is all out to enhance the traditional picture of the Indian woman as a docile, weak before her life partner. She reshapes her women characters like Rukmani in Nectar in a Sieve as forceful blasters of male self image hierarchy. From this overview one can get two sorts of parts played by women characters in Indian Women Fiction: the traditional and the modern. The female novelists attempt genuine endeavours to extend the suffering of women with a specific goal to educate men and their cognizant. The unconventional are seen to suffer for their violation of accepted norms of society or for questioning them; death is the way out for them, unless their experiences teach them to subdue their individuality and rebelliousness
Lal’s observation is important to focus on Indian social matrix where women discriminations still exists. Though Indians are westernized externally, they are very Indian by psychology. They cannot consider women as separate and central part of humanity. The woman’s existence beyond man is still denied in Indian patriarchy. Manju Kapur has aptly caught the thread through the novel. She has depicted the woman’s yearning for self-autonomy and individual identity on the canvas of male dominated society. She has aptly depicted Virmati’s conflict, her dilemma whether to choose the psychological or sociological existence. Virmati combusts on each level of life, gains little, and lose much in journey. She struggles for education, love, individual space
Garg in ‘Hari Bindi’ discusses the story of a common woman and made it extraordinary by the active force she was experiencing in herself to live her life. The husband of the protagonist symbolises the power and control of patriarchy that had restricted her life in such a way
Rukumani, the protagonist is studying at the university and has fallen in love with a guy named Devanayagam, also from the same community as she is. So what is the problem one may think. Oh No! Rukumany has created a big problem. She has ruined her family's dignity and respect to an extend that her parents could not face the other members of their community ; Yes, falling in love is a great sin, according to her parents.