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The Patriarchal Perspectives on Female Subjectivities in the Selected Plays of Atamjit and Mahesh Elkunchwar for the Award of DO

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The Patriarchal Perspectives on Female Subjectivities in the Selected Plays of Atamjit and Mahesh Elkunchwar for the Award of DO The Patriarchal Perspectives on Female Subjectivities in the Selected Plays of Atamjit and Mahesh Elkunchwar Thesis submitted to the Central University of Punjab For the Award of DOCTOR OF PHILOSOPHY In Comparative Literature BY Amandeep Kaur Supervisor Dr. Alpna Saini Centre for Languages and Comparative Literature School of Languages, Literature and Culture Central University of Punjab, Bathinda August, 2019 CERTIFICATE I declare that the thesis entitled “THE PATRIARCHAL PERSPECTIVES ON FEMALE SUBJECTIVITIES IN THE SELECTED PLAYS OF ATAMJIT AND MAHESH ELKUNCHWAR” has been prepared by me under the guidance of Dr. Alpna Saini, Associate Professor, Centre for Languages and Comparative Literature, School of Languages, Literature and Culture, Central University of Punjab. No part of this thesis has formed the basis for the award of any degree or fellowship previously. (Amandeep Kaur) Centre for Languages and Comparative Literature, School of Languages, Literature and Culture, Central University of Punjab, Bathinda-151001. Date: i CERTIFICATE I certify that AMANDEEP KAUR has prepared her thesis entitled “THE PATRIARCHAL PERSPECTIVES ON FEMALE SUBJECTIVITIES IN THE SELECTED PLAYS OF ATAMJIT AND MAHESH ELKUNCHWAR” for the award of Ph.D. degree of the Central University of Punjab, under my guidance. She has carried out this work at the Centre for Languages and Comparative Literature, School of Languages, Literature and Culture, Central University of Punjab. (Dr. Alpna Saini) Associate Professor Centre for Languages and Comparative Literature, School of Languages, Literature and Culture, Central University of Punjab, Bathinda-151001. Date: ii ABSTRACT THE PATRIARCHAL PERSPECTIVES ON FEMALE SUBJECTIVITIES IN THE SELECTED PLAYS OF ATAMJIT AND MAHESH ELKUNCHWAR Name of student: Amandeep Kaur Registration number: CUP/MPh-PhD/SLLC/CPL/2010-11/07 Degree for which submitted: Doctor of Philosophy Name of supervisor: Dr. Alpna Saini Name of centre: Centre of Languages and Comparative Literature Name of school: School of Languages, Literature and Culture Key words: Subjectivity, Patriarchy, Woman, Atamjit, Mahesh Elkunchwar The 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 consultation with diverse disciplines such as Psychoanalysis, Marxism, Gender Studies and Performativity. This study will help forge an understanding of the female subjectivities from varying standpoints under the light of various discourses prevalent in the contemporary Indian locations, particularly, those of the selected playwrights. (Amandeep Kaur) (Dr. Alpna Saini) Supervisor ACKNOWLEDGEMENTS From the deepest corner of my heart, I want to express my gratitude to the greatest source of inspiration – the Almighty. Without His blessings, this work would not have been materialised. I extend my sincere gratitude to my supervisor, Dr. Alpna Saini, Associate Professor Centre for Languages and Comparative Literature whose supervision, encouragement and support forged my strength to overcome the difficulties that I encountered in shaping my research work. I am heartily thankful to Prof. Paramjit Singh Ramana whose encouragement, and support enabled me to develop an understanding of the subject. I am grateful to Dr. Amandeep Singh and Dr. Rajinder Kumar Sen Assistant Professors, Centre for Languages and Comparative Literature for their always acute, insightful suggestions, and for their munificent help in this research work. I would also like to thank Dr. Zameerpal Kaur, Associate Professor, Centre for Languages and Comparative Literature. I would like to thank my father S. Kundhha Singh Hayer and my mother Smt. Shinder Kaur Hayer, my husband S. Harjinder Singh Dhaliwal, my sisters Mandeep and Saman, and my brother Baldev Singh Hayer who have given me their unequivocal support throughout. I would like to express my sincere thanks to my friends Yeshpal, Barjinder Singh, Tania Bansal, Manpreet Kaur, and Neha Sharma for their generous help and moral support. The cheery face of my little angel Rupneet also made me happy during this period. Lastly, I would like to offer my regards to all those who have supported me in any respect during completion of my research. (Amandeep Kaur) TABLE OF CONTENTS Sr. No. Content Page No. 1. Introduction (Chapter - 1) 1-40 2. Gendered Construction of Subjectivities in the Selected 41-84 Plays of Atamjit (Chapter - 2) 3. Female Subjectivities in the Selected Plays of Mahesh 85-124 Elkunchwar (Chapter - 3) 4. Comparative Analysis of Two Perspectives on Female 125-150 Subjectivities in Selected Plays (Chapter - 4) 5. Conclusion (Chapter-5) 151-157 6. Selected Bibliography 158-174 vi CHAPTER 1 Introduction In the recent years, the term subjectivity has been given new dimensions by literary theorists. The question of identity can be addressed only in terms of subjectivity that is constructed within the scope of culture, politics, language, and society in the contemporary world. Globalisation, cultural locations, and social surroundings play a significant role in constructing subjectivity. Subjectivity is a philosophical term, and it can be defined in the historical and political contexts. Subjectivity defines the way in which an individual perceives the world, and it may differ from one individual to another. It is based on an individual‟s personal experience of life and analysis of his/her opinions based on past experiences. Simone de Beauvoir observes subjectivity as the expression of human body enmeshed in a social matrix (Atkins 2). But for Donald E. Hall, “subjectivity is the intersection of two lines of philosophical inquiry: epistemology (the study of how we know what we know) and ontology (the study of the nature of being or existence)” (4). This is shaped by the individual‟s background and upbringing, the environment in which he/she lives, his/her likes and dislikes, discriminations and biases developed over his/her existence, and through his/her interactions with other human beings. Michel Foucault‟s conception of subjectivity can be understood with the help of Mark G E Kelly‟s essay “Foucault, Subjectivity, and Technologies of the Self,” where he states that Foucault associates subjectivity with “a reality ontologically distinct from the body . Subjectivity is a form, rather than substance” (513). Primarily, there is the question of the historical constitution which is the most radical part of Foucault‟s conception of subjectivity because it contradicts the traditional notion of subjectivity as historically invariant and transcendent. According to Michel Foucault, description of subjectivity applies across history; this may seem to be another instance of an apparent contradiction, often encountered in his thoughts between his radical historicism and his use of modern terminology to understand the past. His conception of subjectivity is not self - contradictory in this way. However, he takes subjectivity precisely as something that has no universal content but rather needs to constitute itself in particular ways at any given time. Linda Alcoff, an American thinker of race theory, feminist, 3 epistemologist and existentialist also comments, “Foucault‟s demotion of subjectivity to an analytic position posterior to power results in a conception of subjectivity deprived of agency. In the absence of agency. .Resistance to domination is impossible and even conceptually incoherent” (qtd. in Taylor 167). Foucault articulates that power exists at all stages, in every human relationship. An individual, consciously or unconsciously, participates in what Foucault calls „power relations.‟ For Foucault, power relations exist when any individual involved has certain degrees of both individual freedom and power over the others. In Discipline and Punish Foucault proclaims: . by an analysis of penal leniency as a technique of power, one might understand both how man, the soul, the normal or abnormal individual have come to duplicate crime as objects of penal intervention; and in what way a specific mode of assujettissement was able to give birth to man as an object of knowledge.
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