Please use this identifier to cite or link to this item: http://hdl.handle.net/10603/254870
Title: The Partiarchal Perspectives On Female Subjectivities In The Selected Plays Of Atamjit And Mahesh Elkunchwar
Researcher: Kaur, Amandeep
Guide(s): Saini, Alpna
Keywords: Arts and Humanities,Literature,Literature
Subjectivity, Patriarchy, Woman, Atamjit, Mahesh Elkunchwar
University: Central University of Punjab
Completed Date: 22/08/2019
Abstract: ABSTRACT newlineTHE PATRIARCHAL PERSPECTIVES ON FEMALE SUBJECTIVITIES IN THE SELECTED PLAYS OF ATAMJIT AND MAHESH ELKUNCHWAR newlineName of student: Amandeep Kaur newlineRegistration number: CUP/MPh-PhD/SLLC/CPL/2010-11/07 newlineDegree for which submitted: Doctor of Philosophy newlineName of supervisor: Dr. Alpna Saini newlineName of centre: Centre of Languages and Comparative Literature newlineName of school: School of Languages, Literature and Culture newlineKey words: Subjectivity, Patriarchy, Woman, Atamjit, Mahesh Elkunchwar newlineThe present research is aimed at critically exploring the selected Marathi and Punjabi plays namely Pooran, Farash Vich Uggya Rukh, Main Tan Ik Sarangi Han by Atamjit and Old Stone Mansion, Garbo and Sonata by Mahesh Elkunchwar who are both well-known playwrights of the second half of the 20th century. Their plays are concerned with many social and political problems and divulge various dimensions which help construct female subjectivity. Both demonstrate woman as victim of the caste, class and gender discrimination. Inferior conditions of middle-class women, sexual issues like prostitution, violence, extramarital affairs, rape, murder, gender discrimination, exploitation, psychological disorders have been examined with special reference to construction of a woman s subjectivity. This research work is significant as these two are important contemporary authors who raise questions about the marginalisation and subjectivities of women in two different societies, languages and cultures of India. The selected plays analyse different women characters in the selected plays who sometimes accept the supremacy of a man, and resist at other times while also representing the psychological constitution of a woman in terms of her gender and her cultural placement. The present study has also undertaken a comparative study of selected plays in order to explore the typically patriarchal perspectives of the two authors in their given cultural locations on how a woman is constructed in contemporary Indian drama. The thesis employs readings of the plays in con
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URI: http://hdl.handle.net/10603/254870
Appears in Departments:Department of Comparative Literature



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