According to feminist critics, Brave New World does a great injustice, not only to female characters like Lenina, but additionally to women in general. .Just like Lenina in Brave New World, Julia in Nineteen Eighty-Four is recognized purely for her physical characteristics and personal desire for sexual rebellion. The reader is never introduced to any more depth within her personality. Again this exemplifies the “spiritual dimension” lacking in women, but present in the men of these dystopian societies
New Delhi: Creative Books, 2010. Dhawan, R.K, ed. Indian Women Novelists, Vol. 1. New Delhi: Prestige, 1991.
The 1947 partition of British India into two independent nations (India and Pakistan) was accompanied by enactments of violence unspeakable in their brutality and horror, leading Mushirul Hasan to label it a “bloody vivisection” (xii). Amongst the several atrocities at the time of partition were those committed specifically against women. Several women were raped, murdered, abducted and forced into marriage. They became the targets of horrific violence and their bodies became the sites over which victory was sought. Gendered violence has mostly been read as metonymic of the violation of the land.
Violence includes harassment, maltreatment, brutality, cruelty, physical injury or attempting to place a woman in fear of injury or psychological violence. Impact of physical violence may be more visible than psychological violence but repeated humiliation restricted social mobility and denial of economic resources is more subtle and insidious forms of violence ; makes a woman mentally destabilized and powerless . In India patriarchy and gender discrimination are the main reasons of violence perperiated against women and girls. Violence against women is a global issue; it’s a stigma on civilized society which is compelling intellectuals to focus on this alarming situation. So many laws are introduced day by day to eradicate the problem but it is not so easy to overcome it without awakening of society.
Her women characters try to subvert the traditional model of a man-centred world where the women are always marginalized and pushed towards the periphery. Deshpande’s women characters are not the uneducated and under-privileged women. Rather her protagonists are women of good education and cultured upbringing. It seems natural that an uneducated and naive person can be easily exploited and suppressed. But the story becomes different when a well educated and professional woman is succumbed to oppression by her male counterparts.
New York: McGraw-Hill, 2003. Fisher-Hertz, Lanette., “Countdown.” Kesselman, McNair, and Nancy Schneidwind, eds. Women: Images and Realities, a Multicultural Anthology. 3rd ed. New York: McGraw-Hill, 2003.
2005. Band Ghari. In Diddi: My Mother’s Voice. Translated by Ira Pande. New Delhi: Penguin, 78-87.
The mental abuse she endured was humiliation privately or publicly, verbal threats of physical abuse, indirect physical violence such as the destruction of objects, striking or... ... middle of paper ... ...ggled with leaving her violent relationship. The factors, her positioning and social construction of her love for him strongly influenced her decision making process. Her decision was also rooted by gender and power it represents society attempts to maintain dominance and control over women. There is just not one single reason why Roz remained in this abusive relationship, but it helps to understand and assess the internal and external barriers as not mutually exclusive. It is important that as women we integrate a feminist perspective to maintain that hindering barriers to escape abusive relationships are both, external or structural, and internal or personal.
The Rape of Women in “Draupadi,” by Mahasweta Devi, and “Open It,” by Saadat Hasan Manto Where there is war, there is the rape and abuse of women. From the Trojan War to the Middle East conflict, rape has been a tactic of war. Rape is commonly viewed by society as a symbol of female degradation, female submission, and the stripping of honor and humanity. In the stories “Draupadi,” by Mahasweta Devi, and “Open It,” by Saadat Hasan Manto, the rape of women is a common theme. In Manto’s “Open It,” a young girl, Sakina, is raped by young men of her community, while in Devi’s “Draupadi,” a tribal rebel is raped by authorities of the state.
Spivak, Gayatri Chakravorty. 1995. “Can the Subaltern Speak?” in The Post-Colonial Studies Reader, edited by B. Ashcroft, G. Griffiths and H. Tiffin, pp. 24-28. © 1995 New York: Routledge