Quest for Female's Identity in Tiwari's Prashnaharuko Kārkhānā

International Journal of Development Research, 2021

The strongest and most prominent feminist voices are known in their countries as Kishwar Naheed and Kamala wijeratne, in their poetry, they convey thoughts and issues remarkably about the social status and identity of women in society. This paper is trying to Provide a distinctly feminist perspective like how women identify themselves as a mother, daughter, and wife and she is struggling a lot in society under the name of religion. If power is in the hands of women they lead their life without fear. The biological and social roles of humans are the same but sometimes it is changed because gender is different than sex. Women's identity in society depends on their gender expression, dress, religion, language, and behavior. The object of this paper is to understand and analyze the selected poems of Kishwar Naheed and Kamala Wijeratne whether they are capable of bringing in a new perception of the common experience of women in Pakistan and Srilanka.

Empowerment: a Creative Matter, 2013

There is a charming myth connected with the Creation of Woman by Brahma, who, in his generosity, wished to give man a companion. Having exhausted all the material in the creation of man, he borrowed several components from his bountiful creation, Nature, and made woman out of them. Hence the reference to Woman as “Prakriti”. After abortive efforts on Man’s part to adjust with the woman, Brahma rebuked him, “if you cannot live with her, neither can you live without her”. This primordial myth carries an unmistakable implication of the need for continual adjustment in Man-woman relationship. Even in these days, when so much has been said about the women’s issues etc/:, a gender-identity based study of literature has its own raison d’etre. The image of woman empowerment in Oriya literature, specifically poetry, emerges out of the existing world. The study has attempted to trace links of women empowerment in poetry. It serves a double purpose – shows which way the writer’s sensibility works and whether over the ages there has been a change in it. It also serves as a mirror to the society in which we exist. This study serves as a step in the radiating of self-awareness, self observation and self-appraisal for woman in general and as a meaningful comment on the creative effort of writers. “One peculiarity of the images of women,” says Mary Ann Fergusson,” throughout history is that social stereotypes have been reinforced by archetypes. Another way of putting this would be to say that in every age, woman has been seen primarily as mother, wife, mistress, sex object – their roles in relationship to men.” Roles outside this, i.e. woman as an achiever, leader or as a strong individual are, by and large, either non-existent or rare. They are also exceptions and represent the extra-ordinary types and not the average ones. In India too, both men and women writers have seen women in these relationships. Sociologists regard India as a traditionally male-dominated society where individual rights are subordinated to group or social role expectations. A woman’s individual self has very little recognition and self-effacement is her normal way of life. Indian woman too, as a part of that set-up has accepted it and lived with it for ages as is revealed in the works of Madhavi Dasi, Brundabati Dasi and Nishankaray Rani. By and large, in the ancient history of India, women have been deified, glorified and also regarded as myths. However, in reality, most of the times a contradictory state of affairs also existed. There was and perhaps is a duality in the projection of women in literature. Along with conventional types, there are also protesting women characters as revealed in the poems of Aparna, Sarala and Kuntala.

International Journal of Humanities in Technical Education, 2020

This paper attempts to examine the issues of feminism in India and the position of women in the Indian society in the light of Kamala Das’s poetry. Post-Independence, Indian women writers have exhibited a strong sense of freedom and self-dependence of thought and action in their works. Kamala Das’s poetry is a symbol of reliance, intellectual freedom and empowerment of Indian women. This is an endeavour to analyse how Kamala Das redefines womanhood in her poetry through the use of concrete imagery, symbols and her crisp and novel ideas about women, their position in a male-dominated Indian society and many other issues surrounding her and many other women of the country. Key-words: Feminism, Womanhood, Kamala Das, Poetry, Indian Writing in English.

2011

Indian poetry in English by women has undergone several phases of experimentations in terms of themes and expression in the last sixty years. Remarkable changes in domestic, professional and public spheres are responsible for the depiction of varied hues and colours of human life on the poetic canvas. A host of stylistic and thematic novelty has marked the growth of Indian poetry from its inception during colonial days down to the post-independence and post-modern periods. Increased metropolitan activities, urbane lifestyles , globalization, discotheque and café culture, hi-tech gizmos and gadgets for communication, internet along with exposure of mass media and the recent inter-disciplinary advancements in the fields like sociology, physiology, psychology and anthropology have not only broadened the mind-sets of the people but have also revolutionized the modern life and literature. The present paper is a critique of the poetry by Mamta Kalia, Sudha Iyer and Imtiaz Dharker. These three women represent three successive generations of women-poets. Mamta Kalia wrote in seventies, Sudha Iyer wrote in nineties while Imtiaz Dharker started in eighties and is still penning poetry. All these women-poets exhibit resistance towards the orthodox social and religious codes which debilitate woman's spirit and negate her identity outside the role of a mother/wife/lover. Kamala Das is indisputably the first Indian woman-poet who shocked and mesmerized readers with her highly original, confessional, uninhibited and severely introspective mode of poetic expression. Deriving inspiration from Das, the women poets started questioning the patriarchal system and began to articulate resistance and self-confidence through their writings. All the three women poets under study have marked skill in the use of language and creative expression, characterized by variations in versification, metre, line-length, syntax and use of other poetic devices. The critical appraisal of their poems includes the discussion on their innovations of style, form and technique. Mamta Kalia has published two volumes of English poems so far, namely Tribute to Papa and Other Poems (Calcutta: WW, 1970) and Poems' 78 (Calcutta: WW, 1978). To her,

The paper attempts to trace the intertextual connection between the selected poems of the Pakistani poem: Kishwar Naheed and the Indian short story writer: Mahshweta Devi. The paper argues that the writers share a common thematic concern with destabilizing hegemonic masculinist discourses that get reflected in the exploitation of subaltern and disempowered classes symbolized through the class of women. Both Devi and Naheed represent the class of intellectuals, Gramsci termed: organic intellectuals, the class that articulates and theorizes the subaltern class. A comparison of the selected works of the two writers, would offer interesting insights into the psyche of the ‘sub-continental female’. The premise of exploration of the sub-continental woman, essentialist as it sounds, follows from the premise of gynocriticism, as propounded by Showalter who argued that it entailed a “feminist study of women’s writing, including readings of women’s texts and analyses of the intertextual relations both between women’s writers (a female literary tradition), and between women and men. (Showalter). Drawing from Showalter, I shall try and examine a set of images, metaphors and themes, “which connects” the writing of Devi and Naheed, across the different periods of their composition, and builds it into something as cohesive and as intertextually rich as the traditionally sanctioned male literary canon”.

Advances in Language and Literary Studies, 2016

This paper is going to argue that the selected poems of renowned Indian poet Kamala Das are inclined to relocate both feminine and masculine identity through the politicized representation of body. Kamala Das' representation of body in her poems has always been viewed as a medium of re-historicizing the pain, sufferings, and psychological trauma that a woman goes through in a patriarchal society. Though apparently female body seems to be submissive under patriarchal dominance but this paper reveals how female body in Das' poems acts as a powerful agent over the male body. The objective of this paper is to analyze and evaluate kamala Das' representation of body to understand the gender reality in a patriarchal society, to question the existing discourse of sexed/gendered identity, to find a new way of viewing to both female and male body. Echoing Beauvoir, Judith Butler and Hall, this paper is going to analyze how Kamala Das represents body as an important factor in her poems to fight back the normative concept of identity based on patriarchal sex and/or gender stereotypes.

Alluring slogans like "Feminism is Dead" are not really relevant in the context of developing societies like India where this 'ism' has not really even been born. Unlike the West where excesses and eccentricities of some women_ libbers have resulted in 'backlash against feminism', India, with her skewed gender-ratio and increasing heinous crime and violence against women, stands much in need of such revolutionary and consciousness-raising literature which is instrumental in creating a gender_equal and egalitarian society. The issue of ' female identity' in one form or another has become an inevitable part of the contemporary Indian literary and critical discourse.

2020

This article explores feminist voice in selected poems of four Nepali female poets. They are: "Ma Eutā Chyātieko Poshtar" ["I, a Frayed Poster"] by Banira Giri, "Pothī Bāsnu Hudaina" ["A Hen Must not Crow"] by Kunta Sharma,"Ma Strī Arthāt Āimai"["I am a Female or a Woman"] by Seema Aavas and "Tuhāu Tyo Garvalai" ["Abort the Female Foetus"] by Pranika Koyu. In the selected poems they protest patriarchy and subvert patriarchal norms and values that trivialize women. The tone of their poems is sarcastic towards male chauvinism that treats women as a second-class citizen. The poets question and ridicule the restrictive feminine gender roles that limit women's opportunity. To examine the voice of protest against patriarchy in the selected poems, the article takes theoretical support from French feminism, though not limited to it. The finding of the article suggests that Nepali women have used the genre to...

The essay is an attempt to place the poetry of Kishwar Naheed within the modern feminist discourse by examining how it corresponds to various feminist theoretical constructs and displaces traditional phallocentric modes of writing and versification in her inimitable style of poetry. The essay will try to analyze the ideological moorings of the feminist poet and explore whether or not she borrows from the popular discourse of another transgressive school: The Progressive Writers Association. The objective is to read the selected poems closely and by an investigation of their syntactic and semantic transgressions observe the pragmatic shift in her poetry and analyze whether she is able to bring in a fresh perspective of the collective experience of the women in Post-Colonial Pakistan in specific and the sub continental women in general.

Female Fantasia in Indian English poetry, 2015

The subject of this article is to capture the voice of feminine sensibilities and confessionality in women poets and their poetry; while the article aims to select two female writers Kamala Das (1934 -2009) and Imtiaz Dharker (1954 for the abridgement of this research. Kamala Das and Imtiaz Dharker represent that part of the feminine sensibility, through their poetry, which arouses a peculiar kind of curiosity and self identification among the readers. The mystical flavour of feminine issues, that they lay bare, as well as the identities they portray brings out the complexities of being a woman. Although their works depict the predicament of the self, they also problematize the world of men and their polarized narratives. The poetic expression of fantasia by men and women are radically different; which is stylistically and thematically dissimilar because of their biological and sociological difference in the society. The male fantasia in poetry indulges in various stylistic features and shared thematic domains concerning the world of men, while female fantasia in poetry revolves around the myriad thematic articulations concerning the domestic life, societal interactions and the self of a woman. But what needs mention as a footnote, is with a very few number of published poetries by women poets, which are positively reviewed and filtered by editors (mostly male critics) coupled with the individual oeuvre of every women poet; research in this dimension becomes increasingly complex. The concept of 'fantasia' in this research, means a genre of literature -verse, which is not in a particular form, but articulated according to the unrestricted feelings of fancy by the poet, incorporating several themes, familiar or unfamiliar in nature. The modern and post modern reflection of fantasia, are coloured and opinionated on the equation between the self and the