View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Etheses - A Saurashtra University Library Service Saurashtra University Re – Accredited Grade ‘B’ by NAAC (CGPA 2.93) Jadeja, Jaylaxmi M., 2007, “Feminist Concern in the Novels of Anita Desai and Varsha Adalja : A Study in Comparison”, thesis PhD, Saurashtra University http://etheses.saurashtrauniversity.edu/id/832 Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Saurashtra University Theses Service http://etheses.saurashtrauniversity.edu [email protected] © The Author FEMINIST CONCERNS IN THE NOVELS OF ANITA DESAI AND VARSHA ADALJA: A STUDY IN COMPARISON DISSERTATION SUBMITTED TO SAURASHTRA UNIVERSITY RAJKOT FOR THE AWARD OF DOCTOR OF PHILOSOPHY IN ENGLISH Supervised by: Submitted by: Dr. K. H. Mehta Jaylaxmi M. Jadeja Professor and Head, Lecturer, Smt. S. H. Gardi Institute of Matushri Virbaima English and Comparative Mahila Arts College, Literary Studies, Rajkot (Gujarat ) Saurashtra University, Rajkot (Gujarat) 2007 CERTIFICATE This is to certify that this dissertation on FEMINIST CONCERNS IN THE NOVELS OF ANITA DESAI AND VARSHA ADALJA: A STUDY IN COMPARISON is submitted by Ms. Jaylaxmi Jadeja for the degree of Doctor of Philosophy, in the faculty of Arts of Saurashtra University, Rajkot. No part of this dissertation has been submitted for any other Degree or Diploma. Rajkot. Date: / 05 / 2007 Supervisor (Kamal Mehta) ACKNOWLEDGEMENTS Words cannot express enough the heartfelt gratitude. A research work of this kind cannot be completed without the help and support of family members, friends, teachers, relatives and well wishers. I take this opportunity to express my sincerest gratitude to one and all. I express my profound sense of gratitude to my supervisor, Kamal Mehta, Professor and Head, Department of English and Comparative Literary Studies, Rajkot. I am extremely thankful to him for his great patience, insightful guidance and ever encouraging attitude that made my research work a pleasant experience rather than a stressful toil. I thank Professor Avadhesh Kumar Singh for his useful critical observations. I also thank Dr. Jaydipsinh Dodiya, Dr. Sanjay Mukherjee, Mr. Ravisinh Zala and Mr. Anoop Nair, faculties of the Department of English and Comparative Literary Studies for their academic support. I thank my teacher Mr. M. R. Dave for his ever readiness to help and encourage me throughout my work. I owe thanks to Shri H. M. Mansatta, former Principal, M. V. Mahila Arts College, for his continuous encouragement to apply for minor research project. My sincere thanks go to Professor K. K. Khakhkhar, the Secretary, Board of Trustees, Shri Jalaram Uchcha Kelavani Mandal, who takes keen interest in the academic progress of teachers at M.V.M. College. I thank the present Principal Dr. H. S. Sedani and all my colleagues for their co-operation and motivation. I thank Shri Vinodiniben Jani, Dr. Rashmiben Vyas, Dr. Pragna Zaveri, Dr. Kalyaniben Bhatt, Dr. Kusumben Bhojani and Shri Annapurna Shah, Mr. I. B. Vaja, who have extended their help in different capacities. I am not less indebted to the different libraries that have provided necessary material pertaining to the dissertation. I thank the central Library of the Saurashtra University, Rajkot, Library of the Department of English and CLS, Gujarat University Library, Ahmedabad, Lang Library, Rajkot, M.V.M. College Library and Library of the Gujarati Department. I would like to thank Mr. Rajesh Mehta for his immense help in documentation and library work. I thank Miss Neeta Choksi for her prompt help in proof reading. I am ever grateful to my parents for instilling in me such academic interest. I cannot but too warmly express my heartfelt gratitude to my family, without whose constant care and timely help, this study would not have been possible. I thank my husband Mr. Harvijaysinh Vadher for his great tolerance and help. My sister–in–law Jayshriben, my parents– in–law, mummy and papa bore patiently the many inconveniences in order to facilitate the completion of this work. I thank my both the families and friends for their wishes and moral support. This doctoral dissertation would have never been completed but for my mother– in–law’s immense aid and assistance in looking after my children and the household so as to enable me to fully concentrate on my work. I accept her love and care and ever remain indebted to her, for thanks would not suffice. I cannot forget to mention abundance of thanks to my sons Arjun and Vishvajit who showed more understanding and patience than was expected at their age. I thank Mr. Nirav Ajmera Mr. Kiran K. Jaroli and Miss Hemanti Vora for computer job work and assistance. Lastly, but quite significantly, I thank Varsha Adalja for answering my queries. I thank UGC WRO, Pune for the economic assistance at this juncture. Ms. Jaylaxmi Jadeja Lecturer in English M.V. M. ARTS COLLEGE RAJKOT. CONTENTS Acknowledgements Chapter I INTRODUCTION Chapter II THEIR NOVELS AT A GLANCE Chapter III THEMATIC CONCERNS Chapter IV CHARACTER DELINEATION Chapter V CRAFTSMANSHIP Chapter VI CONCLUSION SELECT BIBLIOGRAPHY Chapter I Introduction CHAPTER I INTRODUCTION I Narrative in India is as old as literature. India is the cradle of narratives. Narratives in prose particularly fiction too is very old. Narrative fiction has been a part of Indian literature for more than ten centuries, but the upsurge of the novel form occurred during India’s confrontation with the west through colonization. It would not be out of place to mention that Kapil Kapoor asserts that novel form has evolved from Sanskrit narratives. All over the world the novel has become the dominant literary form. Wherever literacy has spread, the novel-realistic, precise, this - worldly, has swiftly followed. "The Art of fiction,” as Henry James reverently called it, is not reserved for a few initiates. The modern world demands novels, just as it demands films and television program. Indeed, it is only through the novel that literature, the unglamorous written world without colour or illustration, is able to compete with its brash competitors of the screen. No other form of literature would suit better to reflect and represent the present chaotic situation of the universe in general and nation in particular. It should be evident that the novel is adapted to any culture which shares some of the rational, scientific, inquisitive tendencies and also almost world-wide, curiosity about society. In the modern world, all these interests develop with education and literacy. So the novel has become international. India had many cultural conditions favorable to the novel before she came into contact with Europe. But now she has social forces actively favorable to the production of fiction: a large audience, an educated class, a new questioning of age-old socio-religious dogma, and a consuming urge for knowledge and interpretation of society. Novel has proved to be the best instrument of reflecting the prevalent social circumstances and recording the changes. Apart from changes perceived in political, religious, economic, social and cultural structures of India, a change was also eminent in the position of women. As a result of Raja Rammohan Roy's efforts and under the great motivation of Gandhiji, women came out of the four walls and zealously participated in the struggle for Nation's freedom. This in turn led them towards their own emancipation. The socio-politico environment of the nation and status of women are mutually correlated. This correlation is genuinely perceived by the novelist and presented through novels. The interconnectivity of locus of women and rise of novel and nation is best explained by Namwar Singh. In his keynote lecture at a seminar on " Early novels in India " held in Tiruvanthapuram in March 2000, he says: The novel and the country were born together. Which are our novels that give us the sense of this birth of a country? I find most such novels have women at the centre. Sometimes she is a "fallen" woman (as in Umarao Jan), sometimes she is a slave (not just hidden behind purdah, but locked up in castles as well), or subservient in love. The oppressed woman frequently appears as a heroine in what appears to be a national allegory to borrow Frederick Jameson's term. When the novel and the country were born together, in India, the focus became the woman's freedom. (Singh in Mukherjee, 2002:5) Women has ever since 1857 been the centre of focus for writers and researchers. Whether in the form of silent sufferer, sacrificial mother or a domestic angel she occupied attention of one and all. Novels of many regional novelists provide us with an example of the above statements. Most of the early novels by men, though sometimes their perspective may be quite different from that of women writers deal with child marriage, suppressed life of widows, widow remarriage, women's attempts to break the patriarchal clutches and norms etc. Bankimchandra Chatopadhyay's Bangla novel Krishnakantar Will (1878) and Rabindranath Tagore's Chokherbali (1902) deal with the state of widow in Indian society (here Bengali) and the ensuing problems. B. Bh. Brokar's Marathi novel Bhavin (1950) is a social sarcasm on the so called aristocrats’ interest in courtesans and a marriage of one such young noble man with a daughter courtesan.