English language and literature

This paper visits selected movies and TV series of the Marvel Cinematic Universe (MCU) and uses the theory of postcolonial feminism, focusing on Chandra Talpade Mohanty’s term “Third World Women” and Dr. Ritu Tyagi’s term “Double colonization,” to identify how the representation of postcolonial female characters has evolved from the earlier phases of the MCU as mere sidekicks and love interests to main characters and superheroes having more substantial narratives in later phases. Postcolonial feminism redefines women’s roles in the non-Third World countries, ex-colonies, and neocolonial countries, challenging both patriarchies and Western feminist stereotypes. It explores how the MCU has empowered and reshaped them with the passage of time to resist patriarchal and colonial injustice, stereotypes, and oppressions which shaped their lives and enhanced their character arcs, silencing the misrepresentations done by the white feminists. This paper finds how these postcolonial female characters can be rendered as people having their own culture, heritage, and identity instead of being stereotyped as mere Third-World women, and how their empowerment can redefine and subvert the colonial discourse.

This paper visits selected movies and TV series of the Marvel Cinematic Universe (MCU) and uses the theory of postcolonial feminism, focusing on Chandra Talpade Mohanty’s term “Third World Women” and Dr. Ritu Tyagi’s term “Double colonization,” to identify how the representation of postcolonial female characters has evolved from the earlier phases of the MCU as mere sidekicks and love interests to main characters and superheroes having more substantial narratives in later phases. Postcolonial feminism redefines women’s roles in the non-Third World countries, ex-colonies, and neocolonial countries, challenging both patriarchies and Western feminist stereotypes. It explores how the MCU has empowered and reshaped them with the passage of time to resist patriarchal and colonial injustice, stereotypes, and oppressions which shaped their lives and enhanced their character arcs, silencing the misrepresentations done by the white feminists. This paper finds how these postcolonial female characters can be rendered as people having their own culture, heritage, and identity instead of being stereotyped as mere Third-World women, and how their empowerment can redefine and subvert the colonial discourse.

Abstract
Jane Austen’s Pride and Prejudice depicts the immense significance of complying with upper-class societal ideologies to secure a place within the higher strata in 19th-century England. As illustrated in Marxist criticism of culture, ideology is an exigent instrument of dominance imposed by the ruling class to naturalize an “exploitative relationship” with the working class, obscuring the recognition of “oppression by the oppressed”. Austen vividly reveals the widespread acceptance of cultural supremacy imposed by the bourgeoisie through their ideology. The rigid social norms aim to determine the class of a person through etiquette, education, social quo, and psyche. Middle-class people of the Regency period aspire to get their rights and a respectable position in society through blind adherence to the prevailing ideologies. During this era, women were often regarded as commodities in the marriage market, with little right to marry for love. As a result, mothers and daughters were frequently preoccupied with securing wealthy, higher-class bachelors, as exemplified by Mrs. Bennet in Pride and Prejudice. Oppression and discrimination based on social status, along with the characterisation of the working class as “dirty, immoral, and dishonest”, reflect the uncivilised attitudes of the ruling class. This paper aims to demonstrate how etiquette prevails through ideological forces like beliefs, values, tendencies, class relations, and education to define one’s class status in cultural hegemony coined by Antonio Gramsci. The research will also explore how cultural hegemony serves to the dominance of the ruling class during the late 18th and the early 19th century in England.

Role of women and their contribution to the development in and out of home are valued nowadays mostly all around the world though to some extent women are still underestimated now and then. The paper aims to show the patriarchal dominance over the females in J. M. Synge's Riders to the Sea, as it finds that Bartley, being a male, always intends to control his mother and sisters. Even when he is determined to go to the Mainland for selling the ponies, he instructs his sisters what they should do if he is missing because of roughweather. Based on the critical analysis on Riders to the Sea, the paper advances to develop its aim.