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TASLIMA NASRIN'S POETRY-IMAGES OF ENSLAVEMENT AND LIBERATION
This paper is a modest attempt to reinterpret Taslima Nasreen selected poems from her collection of poems 'All about Women'. This will help us to understand the situation of women in Bangladesh. Taslima Nasreen is appreciated as a feminist, a staunch fighter for women's rights, and against religious fundamentalism, which she holds responsible for the oppression of women in Bangladesh. Her courage in denouncing fundamentalism in her country is appreciated widely and Rushdie is among her admirers for her stance. In order to appreciate her poems in the collection All About Women, it is necessary to understand the situation of women in Bangladesh. In her opinion, women live in a state of oppression in Bangladesh, and political freedom has not done much to alleviate it. Since 1975, the Islamic identity of Bangladesh has been emphasized and women's rights have been constantly violated. Women continue to be subordinate within the male-dominated state structure.
Taslima Nasreen as a Third World Feminist Writer: A Review
This paper intends to re-read Taslima Nasreen to see if her writings are really anti-patriarchal, or may be unknowingly she is conforming to patriarchy. In this connection, this paper gives light on some portions of her novels, poems, non-fictional writings and newspaper columns. The writings are critically evaluated in a new way. This paper also reflects on her personal life as a doctor and her first person narrative technique, her body politics. Finally, this paper wants to conclude that Nasreen is not totally anti-patriarchal, there are some gaps in her feminist protest against patriarchy, which, perhaps, she is not aware of.
WOMEN STUDIES THROUGH TASLIMA NASRIN'S SHUFTI IN POETIC SCOPE
JAC : A Journal Of Composition Theory, 2023
In women studies, Taslima Nasrin, is a notable writer to contribute with her writings on women issues since 1980s. Between 1989 and 1994, she authored nineteen books and wrote columns for various local daily and weekly newspapers. Of the books, seven were novels, one was a collection of short stories, seven were collections of poems, and four were volumes of articles previously published as newspaper columns. Her straightforward and provocative style made her well known and controversial in Bangladesh. For instance, her book, Nirbachita Kolam (Selected Writings), was on the bestseller list in Bangladesh and more than 100,000 copies were sold in 1992.
Representation of ‘The New Woman’ in Taslima Nasrin’s Select Poetry
ʺHere she comes, running, out of prison and off the pedestal; chains off, crown off, halo off, just a live woman.ʺ Charlotte Perkins Gilman The changing trends in teaching literature come into existence according to the changing trends, concepts and theories of literature. The trend of New Woman in literature is in vogue since the past till the present for its debates and dilemmas on tradition, culture, modernity and the patriarchal politics in constructing and consuming women. The New Woman was the term used at the end of the nineteenth century to describe women who were pushing against the limits which society imposed on women. Today she might be called a liberated woman or a feminist. The New Woman typically values self fulfillment and independence rather than the stereotypically feminine ideal of self-sacrifice. She believes in legal and sexual equality and often remains single because of the difficulty of combining such equality with marriage. She is more open about her sexua
Today, many assorted Indian women poets are examining the character of form in modern poetry. They require to be spoken about and their work accordingly showcased. Indian women poets writing in English from Toru Dutt to Kamla Das tell the astonishing variety of theme as well as style that poetry is competent of offering. It needs to be remembered that poetry written by women require not be viewed only as feminist poetry. In fact the belief that one is a woman is almost as illogical and scholar as the belief that is a man. Though, literature by women tends to get marginalized because of the different tendencies of treatment to their writings.. In writing and mainly in writing poetry women are prearranged personal but not public space, a personal but not a opinionated or symbolic voice. With regards to the novel trends and techniques in women's poetry there is a amazing movement concerning the domestic with the public spheres of work. Increased municipal activities, complicated life styles, globalization, developed influences of pop, disco and bar culture, Anglo-Americanization and the public and convent culture of the current generation of women poets have made their lyrical language, chiseled, sharp, terse and effortless. The deconstructive strategies of story and theoretical frames, along with the concurrent integration of pan-Indian elements have made their poems a terrifying area of study and learning. Other than the practiced use of typical poetic devices, the semiotic, symbolical and representative properties of speech help to highlight the feminist strategies of interrogation. The fissures and remains of post-modern life are questioned and reflected in the highly new articulation. The problems of sociological vis-à-vis literary political affairs, of gender inequities of margilization and sub-humanization of women, of their communal and artistic elimination and of the prevailing need for enclosure and democratization, all give towards the characteristic character of this verse. For the first time, mapping out new terrains the poetry of such Indian women poets bring forwards the concealed desires, lust, sexuality and gestational experiences. This novel poetry is new forms of new thematic concerns of modern issues has changed the course of human development as the country entered the new millennium.
The real feminists in Indian English writing: Kamala Das and Imtiyaz Dharkar
International Journal of English and Literature, 2013
Kamala Das belongs to the first generation of modern English poets who evolved a new poetics for themselves and made a new start both in theme and technique around the 1960s. The first phase of Indo-Anglican poetry ended in the 1950s. To the poets of this period the spirit of modernism was almost alien. Their main preoccupation was the spirit of nationalism and the war of independence, partition of country. It was only in the sixties that things began to take a new dimension where a new generation of young poets took control of the Indo-Anglican poetic realm. Kamala Das is one of the most powerful voices of this post-colonial era. In Kamala Das's poetry we find the best expression of feminine sensibility, its suppression in a male dominated society. So her poetry is confessional and autobiographical to a great extent, but at times she universalizes what is personal. The main themes of Dharker's poetry include home, freedom, journeys, communal conflict and gender politics. Purdah and other poems deal with the various aspects of a Muslim woman's life where she experiences injustice, oppression and violence engineered through the culture of purdah. This mixed heritage and itinerant lifestyle is at the heart of her writing: questioning, imagistic and richly textured poems that span geographical and cultural displacement, while also interrogating received ideas about home, freedom and faith. This research paper would unfold how both above mentioned poetesses rebel against the conventional restraints of society which are meant to exploit women in this man made world. "An Introduction" and "Stone Age" are two of Kamala Das's poems where she is intensely conscious of herself as woman, and by writing about the self she challenges the accepted notions of the female and redraft general opinion of the feminine mystique."Purdah" and "Living Space" are Imtiyaz Dharkar's poems which show the passion of an undaunted rebel, not to retreat and not to fail. The intensity and eloquence of her life and poetic accomplishment have dumbfounded the male-chauvinists and have left her female counterparts in soaring spirits not only inside the Islamic social, cultural and religious setup but also outside it. That is why her life and poetry make a fascinating study in the crushing indictment of the suppressive prescriptions against the freedom, dignity and respectful living of women, especially in the Muslim society. Imtiaz confirms our convictions that socio-cultural and socio-religious restrictions on women have robbed them of all their potentialities, leaving them not only physically and mentally handicapped but also psychological wrecks age after age. The lived experiences of Imtiaz have been honestly expressed in her poetry with the courage of conviction.
FEMINISM IN TASLIMA NASRIN’S WORK “LAJJA”
The aim of the study reveals the purpose of the work explicitly. It emphasizes on what needs to be established in the present study. The following review paper aims at analyzing the notion of feminism in the novels of Taslima Nasrin with a special reference to “Lajja”. In this context, the author has portrayed the female protagonists who were oppressed in the patriarchal society not only by the men but also due to the political and religious conflicts. The women suffered from identity crisis. Keeping a focus on these themes, the author has developed the following objectives to cover the study intention. The objectives of the study are as follows:i.To identify the theme of feminism in the novel, ‘Lajja’ii.To analyzethe female characters of the novel with reference to the patriarchal subjugation and marginalizationiii.To identify the theme of feminism with reference to the religious and political conflicts in Bangladeshiv.To assess the theme of ‘identity crisis’ as portrayed in ‘Lajja’By developing these objectives, the theme of feminism on the basis of “Lajja” has been highlighted in the literature review section of the study. Further, the researcher has gathered relevant materials on the patriarchal subjugation and marginalization of the females in
Indian Women Novelists in English: Art and Vision
Vishwabharati Research Centre, Latur, India, 2018
The book Indian Women Novelists in English: Art and Vision is a volume of twenty five research articles on contemporary Indian women novelists and their works ranging from Anita Desai, Shashi Deshpande, Manju Kapur, Shobhaa De, Meena Alexander, Githa Hariharan, Arundhati Roy to the younger generation of novelists Anita Nair, Kiran Desai and Jhumpa Lahiri along with two less explored novelists Rita Garg and Nayeema Mahjoor. Three regional writers- Sarah Joseph, Qurratulain Hyder and Mahasweta Devi are also part of this volume, though their write-ups are in regional languages, yet their translated works in English have earned wide popularity. The volume with its diversity of topics will instill knowledge into the critical minds and open many unopened doors from where many unexplored regions of knowledge will be revisited.
Urdu literature prides itself on the presence of many significant female voices, both in fiction and poetry. I would like to investigate whether women’s writing in Urdu is merely one homogenous category, or are the women in the Urdu literary scene creative writers first and women writers afterwards? The case of Bilqees Zafirul Hasan would be an interesting one to explore, as she blossomed into a full-fledged writer only about the time when she was in her fifties, and had mothered six children. She gave up writing after marriage and devoted herself to the care of her husband and family. What were her possible concerns in turning to poetry? Bilqees Zafirul Hasan (b. 1938) has published two collections of poems in Urdu, Geela Eendhan (“Damp Fuel”), 1996, and Sholon Ke Darmiyan (“Amidst the Flames”) in 2004. A volume of short stories, Weerane Aabad Gharon Ke (“The Wildernesses of Flourishing Homes”), came out in 2008. She also writes plays. Very little of her work is available in translation, although her entire body of work deserves to be translated into English, and into Hindi and other Indian languages. This interview (conducted over several sessions in 2008) aims to present an introduction to the poetry of Bilqees Zafirul Hasan, who has not received the attention she deserves. It includes many excerpts from her beautiful poetry which may not necessarily dwell on a woman’s identity.
RISING OF THE PHOENIX : INDIAN WOMEN-EMPOWERMENT THROUGH POETRY
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.