Elizabeth, despite the fact that she still fulfills her societal roles to a slight extent, still contrasts her mother in that she balances care for others with her own well-being, indicating that she remains sympathetic without sacrificing her own needs to fit the expected role of women at the time. In contrast, both Elizabeth and the rest of her sisters are limited by Mrs. Bennet’s influence on their life decision. Author Sylvia Myers takes a far more critical approach on the role of Mrs. Bennet in comparison to her daughters in deeming her the “bad mother” through hindering the lives of her daughters. Myers asserts that Mrs. Bennet desires only for her daughters to fulfill their societal expectations, rather than reach their own full potential (Myers 228). She lacks the same free will which Elizabeth displays in her growth as a character, and therefore directly opposes Austen’s vision of an ideal woman.
The daughter in Manju Kapur’s Difficult Daughters and Saru in The Dark Holds No Terrors are quite different from the qualities of above mentioned daughters. These Daughters struck into Matrophobia feelings and started to show resentment towards their mother. Adrienne Rich in her book Of Woman Born calls 'matrophobia ' - "not the fear of one 's mother or of motherhood, but of becoming one 's mother" (1976-
Her advice is intended to help her daughter, but also to scold her at the same time. This mother is strong believer in domestic knowledge and believes that through this wisdom her daughter will be spared from a life of promiscuity or being, in her words, a "slut". Most importantly, it allows readers to see the detrimental measures of gender roles that are brought upon young girls just coming into womanhood. It is through the understood setting, constructive
O’Connor also carefully draws out her characters. O’Connor made the Grandmother a women so that any reader felt lower than and feel below in authority. The grandmother is shown as a pushy woman with characteristics of selfishness. These characteristics show when she insisted on going to the old house. When she realized that Bailey was not too keen on the idea, she made up a story about treasure to get the kid’s to help beg their dad.
and, as time went on, she did not only become Lady Russell’s “most dear and highly valued god-daughter, favourite and friend” but also “it was only in Anne that she could fancy the mother to revive again” (Persuasion 7), meaning she sees herself as a substitute mother. From this it follows that Lady Russell is very protective of Anne and naturally only wants what is best for her in order to ensure that she has a good future. However, Lady Russell’s goodwill/favour becomes a danger to Anne’s happy ending since the best for Anne is actually what Lady Russell personally considers to be best and this view is not necessarily in accord with what would make Anne happy as the two women do not share the same basic set of beliefs: Lady Russell is presented as a wealthy (cf. Persuasion 7), “benevolent” (Persuasion 12), “charitable” (ibid.) widow (cf.
In the late 1800’s and early 1900’s it was incredibly difficult for a woman to express her thoughts simply because she was not a man. The two novels, The Awakening, by Kate Chopin, and The House of Mirth, by Edith Wharton, use their writing to explore what it would be like for a woman to explore herself. The Awakening is a story about a woman, Edna, who is determined to find her true self no matter what it takes. In the story, Edna leaves her husband and begins living on her own, in her own house in order to find her independence. This search for independence is interesting because I believe that it is something that I can relate to, even in this day and age.
She does not pursue a career after her graduation from USA. In US, she is with Dan but Dan’s culture was totally different from Devi’s and she felt like a stranger, different and unfit for Dan. She hears her ‘culture calling’. She leaves her past life in U.S and comes back to India to marry. Devi is tamed by ‘memories’ of all the stories told by Grandma.
India is the second highest populous country of the world comprises women as half of its population. Women of ancient India especially during the Vedic and Indus civilizations received a great Divine honour and were worshiped as Goddesses as a part of society she used to perform her independent role. Even going by the great epics it can be found that the position of women was not only on par with the men but it was authoritative one. Practices like Swayamwara where the women had the freedom to choose her husband from the vast choice. She was not only a homemaker but also a decision maker in society.
Initially, the society stigmatized women from acting in films (Ganti 2004). So, when women started acting, the directors had to comply with the social norms in the portrayal of women. Women mostly played the roles of a daughter (taking care of her brothers, helping the mother in the kitchen, and marrying the man of her father 's choice), a great wife (who was responsible for all household chores, taking great care of her husband, children, and would lead the rest of her life by embracing her husband 's memories, once she became a widow), and of a great mother (who is selfsacrificing) (Gokulsing & Dissanayake 2004).
But this question has become quite repetitive. It’s time to turn topics around. How about we discuss about top actors who have worked with two of Bollywood’s reigning queens as well as global icons – Priyanka Chopra and Deepika Padukone! The Bajirao Mastani co-stars Priyanka and Deepika are Hindi cinema’s best exports. They have done over 80 movies between them – earning both commercial and critical successes.