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End date: 2019Subject: search.filters.subject.patriarchy

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    PARADIGM OF FEMINISTIC INTROSPECTION IN THE SELECT NOVELS OF COETZEE
    (IJELLH, 2018) Kanchana C M; Narasingaram, Jayashree
    J.M. Coetzee is the most celebrated South African novelist. He has engraved the feministic persona in a variety of dimensions. The emergence of postcolonial feminism is due to the direct repercussion of colonialism, imperialism, and primitivism. It can be regarded as an invasion into the intricacies of thoughts in the societal hegemonic set up. The term colonial feminism echoes the word equality in gender perspective. It follows a different conduit of diversity; true feminism finds a channel to cease the implication of sexism, racism and servitude in their totality. Coetzee’s prime novels, In the Heart of the Country, Disgrace, Waiting for the Barbarians, Foe, encompass the theme of women and femininity. The women characters in these novels are positioned differently being pertinent to the Apartheid era. In the former South African society the governance of patriarchy led to the pathetic plight of women. The portrayal of women characters in Coetzee’s novels visibly exhibit the dark side of masculinity where women are ill-fully taunted and marginalised. Magda in In the Heart of the Country, Lucy and Melanie in Disgrace, Barbarian girl in Waiting for the Barbarians, Susan Barton in Foe are the emblematic illustrations of indignity. In Disgrace, both Lucy and Melanie undergo a mental instability because of seduction, whereas the barbarian girl and Susan Barton suffer an identity crisis in Waiting for the Barbarians and Foe respectively.
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    A READING ON THE PORTRAYAL OF THE FEMALE TRAGIC FATE IN MANJU KAPUR’S SELECTED FICTION
    (Language in India, 2015-12) Anusha Mathew; Narasingaram, Jayashree
    Manju Kapur in her works, Difficult Daughters, Home, A Married Woman and Immigrant vividly portrays how gender operates within the framework of traditional family disturbing it to its roots. A detailed reading of Kapur’s novels make us aware that through the story of her female protagonists, she projects the view, when an Indian woman, in spite of her education, status and intelligence, tries to marry according to her own choice, is likely to spoil her prospects in both the worlds- the one that she revolts against and the other she embraces. The daring step is severely condemned and rejected. Such marriage is quite likely to prove disastrous dragging the couple to melancholy, depression and despair. The first novel Difficult Daughters, pictures the event during the turbulent years of Indian freedom movement and the partition of the country. It presents the life of Virmati through various ups and downs, with her dreams, desires, longings and aspirations but ultimately ending with a lot of compromises in her life. A Married Woman, traces the life of Astha from her childhood to her forties through various desires and despairs, complements and rejections, and recognitions and frustrations. Nisha in Home quite successfully represent the victimization of female in many joint families behind the veneer of relations. Immigrant focuses on Nina who struggles to break the shackles of the patriarchy and is in a search for the meaning of her life opposing the dogmas of cultural and social critical thinking.