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) Trivedi, Hiren H., 2009, “Representation of women in selected Gujarati and English novels and Gujarti and Hindi popular Films: With special reference to 'A Suitable Boy' and 'The God of Small Things' In English and 'Amruta' and 'Sat Paglan Akashman' in Gujarati Fiction and 'Sholay”, thesis PhD, Saurashtra University http://etheses.saurashtrauniversity.edu/id/837 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 REPRESENTATION OF WOMEN IN SELECT GUJARATI AND ENGLISH NOVELS AND GUJARATI AND HINDI POPULAR FILMS: WITH SPECIAL REFERENCE TO ‘A SUITABLE BOY’ AND ‘THE GOD OF SMALL THINGS’ IN ENGLISH AND ‘AMRUTA’ AND ‘SAT PAGLAN AKASHMAN’ IN GUJARATI FICTION AND ‘SHOLAY’ AND ‘HUM AAPKE HAIN KOUN’ IN HINDI AND ‘PARKI THAPAN’ AND ‘DESH RE JOYA DADA PARDESH JOYA’ IN GUJARATI FILM. DISSERTATION SUBMITTED TO THE SAURASHTRA UNIVERSITY, RAJKOT FOR THE AWARD OF DOCTOR OF PHILOSOPHY IN ENGLISH SUPERVISED BY SUBMITTED BY DR. NILA SHAH HIREN H. TRIVEDI HEAD ASST. TEACHER DEPARTMENT OF ENGLISH SHRI N.D. DESAI HIGH SCHOOL SHRI JASANI ARTS & COMMERCE COLLEGE VANKAL, DIST-SURAT RAJKOT (GUJARAT) (GUJARAT) Regi. No. 3554 Date: 31/07/2006 2009 STATEMENT UNDER UNI. O. Ph. D. 7. This is to certify that the work embodied in this thesis entitled “Representation of Women in Select Gujarati and English Novels and Gujarati and Hindi Popular Films: With Special Reference to ‘A Suitable Boy’ and ‘The God of Small Things’ in English and ‘Amruta’ and ‘Sat Paglan Akashman’ in Gujarati Fiction and ‘Sholay’ and ‘Hum Aapke Hain Koun’ in Hindi and ‘Parki Thapan’ and ‘Desh Re Joya Dada Pardesh Joya’ in Gujarati Films” has been carried out by the candidate Mr Hiren Trivedi under my direct guidance and supervision for the Degree of Doctor of Philosophy in the Faculty of Arts of Saurashtra University, Rajkot. I further declare that the work done and presented in this thesis is original and independent. I certify that the work has not been submitted either partly or fully to any other university or institute for the award of any degree. Date: 21st April, 2009. Place: Rajkot. Research Supervisor: Dr. Nila Shah Head Department of English Shree Jasani Arts & Commerce College Saurashtra University Rajkot. DECLARATION I hereby declare that the research work in this thesis is prepared by me after studying various references related to the thesis. The analysis and the critical interpretation found in this thesis are entirely original. Hence, I state that I am responsible for the critical opinions and other details found in this thesis. I further declare that this thesis is my original work and has not been submitted to any university or institute for the award of any degree. Date: 21st April, 2009. Place: Rajkot. Hiren Trivedi. ACKNOWLEDGEMENT I sincerely thank Dr. Kamal Mehta, Professor and Head, S.H. Gardi Institute of English & Comparative Literary Studies, Saurashtra University, Rajkot and other panelists of the members of the Research Degree Committee for granting my proposal for the research. I am heartily grateful to my guide, Dr. Nila Shah whose scholarly guidance and unconditional co-operation made this taxing exercise so easy and natural. She has always encouraged my strengths and rectified my weaknesses. Her patience and trust on me made me able to visualize the dream. I am deeply indebted to her for the present research work. I also express my gratitude to Prof. Mansukhabhai Gaijan, Prof. G. R. Bhadaraka and Prof. Nikunj Desai for their useful suggestions. I express my thanks to the librarian and staff of Central Library, Saurashtra University and the librarian, Shri Bhargavbhai Jani, Shamaldas Arts College, Bhavnagar. I would like to express my feeling of gratitude to respective librarians of the following libraries for helping me in more than one way: Central Library, Bhavnagar University, Central Library, Gujarat Vidyapith and Gujarat University, Hansa Mehta Library, Vadodara, INFLIBNET, Ahmedabad, M. J. Library, Ahmedabad and City Library, Vadodara. Above all, I owe everything to my parents, brothers and sister and relatives. I owe everything that I could do with their unfathomable patience to tolerate my obsession and involvement in the present research. My sister, Sonal’s active support inspired me to overcome hurdles and impediments during the course of study. I cannot imagine the completion of the present research without their sacrifices. April, 2009. Rajkot. Hiren Trivedi. CONTENTS TITLE OF THE CHAPTER PAGE NO. Certificate --- Declaration --- Acknowledgement --- Chapter – I 1 - 24 Introduction Chapter – II 25 – 52 Study of Representation of Women in Gujarati Novels Chapter – III 53 – 90 Study of Representation of Women in English Novels by Indian Writers Chapter – IV 91 - 99 Portrayal of Women in English and Gujarati Novels: A Comparison Chapter – V 100 - 132 Study of Representation of Women in Hindi Films Chapter – VI 133 - 157 Study of Representation of Women in Gujarati Films Chapter – VII 158 - 166 Portrayal of Women in Hindi and Gujarati Films: A Comparison Chapter – VIII 167 - 178 Conclusion Bibliography 179 - 186 INTRODUCTION CHAPTER – I 1 (I) Art is an extraordinarily difficult term to define precisely because it covers a wide range of human endeavour. Over the years the boundaries of its meaning have changed gradually but significantly. What we understand now by the term ‘art’ is that it broadly means the use of skill and imagination in the creation of aesthetic objects, environments or experiences that can be shared with others. Dictionary of the Arts defines it as, ‘all the processes and products of human skill, imagination, and invention; the opposite of nature. In contemporary usage definitions of art usually reflect aesthetic criteria, and the term may encompass literature, music, drama, painting and sculpture’.1 The term popular art, on the other hand, is loosely used to describe the kind of literature, music, painting, architecture, and other cultural matter that is produced for unsophisticated mass consumption, designed to reaffirm and comfort popular attitudes and tastes. It seems to be a matter of general agreement at the present day that ‘art’ is something that can be enjoyed in the hours of leisure, earned by other hours of inartistic pursuits. However, the things were different in the ancient times. A retrospect in the history will help us to understand how the conception of art has changed over the years, and how the film fits into the general pattern of art. In ancient time, seven activities such as history, poetry, comedy, tragedy, music, dance and astronomy were considered arts. Although each had its own principles, aims and rules, their immediate purpose was to describe the universe and our place in it. In fact, we can find the seeds of modern cultural and scientific categories of arts in these seven classical 2 arts. For instance, history led not only to the modern sciences but also to prose narrative. As the culture and civilization progressed, ‘art’ had begun to be viewed differently. By the thirteenth century, the literary arts of the classical period – history, poetry, comedy and tragedy – had merged into a vaguely defined mix of literature and philosophy. Precisely, the syntactic structure was a deciding factor and not the qualities. The range of the term underwent a change once again by the seventeenth century. It was increasingly applied to activities that had never been included – painting, sculpture, drawing, and architecture what we now call the ‘fine arts’. By the middle of the nineteenth century the term had more or less developed its connotations more clearly. It referred first to the visual, or ‘fine’ arts, then more generally to literature and the musical arts. As the concept of social science established its separate existence, the spectrum of art had narrowed to its present domain. Besides philosophy, economics and politics, technology also helps to develop and influence the art. Sometimes, technology leads to a change in the aesthetic system of the art and at times, art calls for a new technology. The development of recording media gave rise to photography, film and sound recording. Presently, we have a range of arts existing on three levels: 1. The performing arts. 2. The representational arts. 3. The recording arts. Compared to the representational arts which communicate through a very complex system of codes and conventions, the recording arts communicate directly through a much more simple system of language. The more a work is 3 conceived of as a fine or elite work, the less dependent it seems to be on performance. Performing arts like drama, music, dance and pantomime have the qualities of simplicity and familiarity. John G. Cawelti observes, “If we start from the premise that popular art must have the qualities of simplicity, familiarity and strong impact to succeed, it is easy to see that a performed work has certain built-in advantages which make it more likely to achieve these ends.”2 In fact, most of the popular arts are centrally involved with performance or vice versa. Film, primarily as a representational art form, has characteristics of performance and recording arts too, and in that sense it differs significantly than the rest.