Relevant bibliographies by topics / Women in Mahabharata

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Academic literature on the topic 'Women in Mahabharata'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Women in Mahabharata"

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Hemphill, Linda. "Chaturvedi Badrinath,Women of the Mahabharata: The Question of Truth." South Asia: Journal of South Asian Studies 35, no. 3 (September 2012): 765–66. http://dx.doi.org/10.1080/00856401.2012.701801.

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Singh, Jyoti. "Chitra Banerjee’s empathetic view of Draupadi as a protagonist in The Palace of Illusion." SMART MOVES JOURNAL IJELLH 1, no. 5 (February 28, 2014): 4. http://dx.doi.org/10.24113/ijellh.v1i5.3049.

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It is said that “Whatever is here is found elsewhere. But whatever is not here is nowhere else.” These lines are said for the great epic of India The Mahabharata. The name means “great [story of the] Bharatas.” Bharata was an early ancestor of both the Pandavas and Kauravas who fought each other in a great war, but the word is also used for the Indian race, so the Mahabharata Sometimes is referred to as “the great story of India.” The portrayals of women Characters in this epic were left unsatisfied. It wasn’t as though the epic didn’t have powerful, complex women Characters that affected the action in major ways, for instance, there was the widowed Kunti, mother of Pandavas,who dedicates her life to making sure her sons become kings. There was Gandhari, wife of the sightless Kaurava king, who chooses to blindfold her in marriage, thus relinquishing her power as queen and mother. And most of all, there was Panchali, king Drupad’s beautiful daughter, who has the unique distinction of being married to five men at the same time-the five Pandava brothers, the greatest heroes of their time. Panchaali who, some might argue, by her headstrong actions helps to bring about the destruction of the third Age of man. But in some way, they remained shadowy figures, their thoughts and motives mysterious, their emotions portrayed only when they affected the lives of the male heroes, their roles ultimately subservient to those of their fathers or husbands, brothers or sons. Relevant to today’s war-torn world, The Palace of Illusions takes us back to a time that is half history, half myth, and wholly Magical. Narrated by Panchaali, the wife of the legendary Pandava brothers in the Mahabharat, the novel gives us a new interpretation of this ancient tale.
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Bora, Prerona. "Recreating Draupadi: A Study of Chitra Banerjee Divakaruni’s The Palace of Illusions." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 28, 2021): 297–308. http://dx.doi.org/10.24113/ijellh.v9i5.11067.

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Mythological retellings have explored those issues of the epics which were submerged in the objective representation of the events. Redefining the existence of the epical characters, these revisionist writings have presented the events from the alternate perspectives. With an attempt to deconstruct the concept of ‘truth’, the contemporary mythological retellings have tried to demystify the dominant ideologies, and for this purpose they had brought into forefront the overlooked characters. In the grand narrative of the epics like the Ramayana and the Mahabharata the perspectives of the women characters were often overlooked; at the same time the objective representation of the events could not provide the necessary space to delve deep into their psyche. Therefore, ample numbers of the contemporary mythological retellings have highlighted the lives of the women characters of the epics, by presenting the events from their perspectives to explore those facets of the ‘truth’ which were overlooked in the source texts. This research article has attempted to reconstruct the identity of Draupadi of the Mahabharata by focusing on her character as depicted by Chitra Banerjee Divakaruni in her The Palace of Illusions, a wonderful mythological fiction reinterpreting the events of the epic Mahabharata from Draupadi’s perspective. Adopting a feminist stance, this research article has explored Draupadi’s resistance to patriarchal domination, and in this way, here an attempt has been undertaken to reassert her individuality and to redetermine her role in the epic.
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Chayanika Roy. "Reversing the Gaze: Subversion and Re-interpretation of Mythical Stereotypes in Chitra Banerjee Divakaruni’s The Palace of Illusions." Creative Launcher 6, no. 2 (June 30, 2021): 113–18. http://dx.doi.org/10.53032/tcl.2021.6.2.16.

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Epics are indeed an indelible part of our existence carrying us into the timeless history where reality and fantasy blends into a harmonious whole. A diasporic women writer re-creating myth and folklore in a contemporary context and re-telling a popular epic Mahabharata from Draupadi’s perspective is monumental and extraordinary. There have been sudden inclinations on part of the contemporary writers to re-interpret the epics in a new light highlighting the women characters who have been otherwise neglected in the original story as tangible subjects. Usually, epic narratives portray women on an ideological viewpoint; women being embodiments of perseverance and forbearance, mute spectators of misery and injustice perpetrated on them. But Divakaruni re-created the women characters by assigning them a voice of their own so that they become strong enough to express their choices and by living their own bodies vis-à-vis lives. The mystifying feminine psyche of the mythical women characters is unfolded before the readers and many unknown crevices of the inner mind are laid bare. These impressions and explorations of the epic characters were actually a hidden trope for self-discovery and articulation. The Palace of Illusions is a re-creation of the illusionary, magical world of Draupadi and her dream destination and how this world gets shattered in front of her eyes is not only literal but metaphorical in course of the novel. In an attempt to re-work the epic, the contemporary women writers deviate from the usual phallocentric thrust of the epic and make Draupadi the hero of the novel; subverting the stereo-typed gendered version of an epic. Divakaruni’s fiction strives to subvert the gendered binaries looking at the epic and its magnificent characters and events through Panchaali’s gaze. Thus, the Western model of the male gaze is repudiated and the female gaze is celebrated in an altogether new form. Is the story of Mahabharata a familial clash between fraternity or a woman’s personal desire and Panchaali’s revenge which drenched the country and its inhabitants in the blood is the question that is left open-ended for the readers who revisits Mahabharata through the eyes of Draupadi vis-a-vis Chitra Banerjee Divakaruni.
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M., Ambili. "The Concept of Liberation in Chitra Banerjee Divakaruni’s The Palace of Illusions." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 107. http://dx.doi.org/10.24113/ijellh.v8i4.10527.

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The great Indian Epic Mahabharata celebrates the battle between Pandavas and Kauravas and signifies Draupadi as the fundamental cause of it. Chitra Banerjee Divakaruni unwrapped this belief and made Draupadi a powerful woman with great determination and courage. The Epics all over the world has portrayed woman as pale shadows of men, and men as great warriors. This silence of women has triggered Divakaruni to retell the epic in female voice. Literature always tried to share the changes in society. Unveiling the perfect lady images to the woman, modern female writers made their own literature. This paper goes through the life of an epic woman who has strong cravings of liberation. Also tries to find out whether a female protagonist can undergo inclinations in the life of Male characters who always hold the seal of divine figure, who always live for the warfare.
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Ruchi Tandon and Shweta Singh. "Shift in the Status of Women Orators in India." Think India 19, no. 2 (June 15, 2016): 17–21. http://dx.doi.org/10.26643/think-india.v19i2.7784.

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A woman with a voice is by definition a strong woman. But the search to find that voice can be remarkably difficult. – Melinda Gates. It is a general notion that there are not many good women speakers. However, on careful scrutiny, one can find that there have been impactful and wonderful women speakers since time immemorial. The world history is a testimony to this fact. Undoubtedly in Hindu mythology ample respect is given to women consorts, people take the name of a Goddess before the name of God which is why people say Radha-Krishna, Sita-Ram, Gauri-Shankar etc. Importance of women can be seen in Mahabharata where Draupadi had an important role to play. Undoubtedly the power of women is quite known to all of us, how they manage and organize everything so well. In the day to day life also, a lot of attention is given to women in every field, many beautiful adjectives are used for describing them. They are the centre of attraction all the time. But it is very surprising that when the discussion on the topic of rhetoric is done only a had full of people are able to remember the names of the women orators. In this context, it is imperative to analyse the following questions: 1. Why do people not remember the names of any woman orator? 2. Are there lesser number of women speakers? 3. Is there gender inequality in this field? 4. Do we have more strong male orators than the female orators? 5. Is it because males are better speakers than females? 6. How different are men and women when it comes to speaking in public?
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Dhand, A. "The Subversive Nature of Virtue in the Mahabharata: A Tale about Women, Smelly Ascetics, and God." Journal of the American Academy of Religion 72, no. 1 (March 1, 2004): 33–58. http://dx.doi.org/10.1093/jaarel/lfh003.

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Hidayatullah, Ahmad, and Syamsul Bakhri. "DEKONSTRUKSI KARAKTER DRUPADI DALAM PEWAYANGAN (STUDI GENDER DAN LIVING QUR’AN MENGENAI POLIANDRI)." Jurnal Sosiologi Reflektif 15, no. 2 (April 23, 2021): 424. http://dx.doi.org/10.14421/jsr.v15i2.2147.

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One of the many evidences about the concepts of justice and gender equality in Islam can be seen in the creation of the plot and of a central female character in the Javanese puppet, namely Drupadi. This article employs a qualitative research with this literature study approach to determine the deconstruction character of Drupadi. The validity of the data is obtained by triangulating data sources and integrating data from journals and books about Drupadi characters in puppets, supported by analysis of gender studies and living Qur'an studies of the concept of polyandry. The results showed that there is a deconstruction of the character of Drupadi figures from the Hindu to the Islamic version. Drupadi, who is described in the Mahabharata story of having five husbands, in a Javanese puppet show, especially after the arrival of Islam, is described only married to Yudhistira. The deconstruction of Drupadi's character as a symbol of women is no longer objectified. Drupadi's new character reflects equality between men and women in Islam.Satu dari sekian bukti tentang adanya konsep keadilan dan kesetaraan gender dalam Islam bisa dilihat dalam pembangunan alur dan karakter tokoh perempuan sentral pada pewayangan Jawa, yakni Drupadi. Penelitian kualitatif dengan pendekatan studi pustaka ini, bertujuan untuk menentukan dekonstruksi karakter Drupadi di Wayang. Validitas data diperoleh dengan melakukan triangulasi sumber data, mengintegrasikan data dari jurnal dan buku tentang karakter Drupadi dalam wayang dengan berfokus pada analisis studi gender dan Living Qur’an mengenai poliandri. Hasil penelitian menunjukkan bahwa telah terjadi dekonstruksi karakter tokoh Drupadi dari versi Hindu ke versi Islam; Drupadi dalam cerita Mahabharata melakukan Poliandri dengan 5 suami, dalam pewayangan Jawa setelah datangnya Islam hanya bersuamikan Yudhistira. Dekonstruksi karakter Drupadi menjadi simbol bahwa perempuan tidak lagi menjadi objektifikasi seksual. Karakter Drupadi yang baru mencerminkan kesetaraan antara pria dan perempuan dalam ajaran Islam.
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Bisht, Yashika, and Shweta Saxena. "Sub-version of Myth: Portrayal of Karna’s two wives in Kavita Kane’s Karna’s Wife." History Research Journal 5, no. 4 (September 12, 2019): 277–92. http://dx.doi.org/10.26643/hrj.v5i4.7748.

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Karna’s Wife is the first work of the writer, Kavita Kane who is “trying to portray a small chunk, a small aspect which has not been dealt with yet” in the Mahabharata. In Karna’s Wife, Kavita Kane portrays female characters like Uruvi and Vrushali who are victims at the hands of men and fate and how they still balance their lives and endure it all. Vrushali is the first wife of Karna and her husband married Uruvi and was deeply in love with her. Her rights, his attention, his love, everything is distributed. Uruvi who is Karna’s second wife is constantly seen striving throughout the novel to keep her husband away from Duryodhana’s evil camaraderie because she fears that this alliance will certainly lead to her husband’s catastrophe. It would be very interesting to see how these two women have come out of these gritty situations, faced the veracity and still lived mightily.
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Tri Priyatni, Endah. "CONTRADICTORY TRANSFORMATION OF AMBA NOVEL: CRITICAL RESPONSE WITH INTERTEXTUALITY APPROACH." Journal of Nusantara Studies (JONUS) 1, no. 1 (June 26, 2016): 46. http://dx.doi.org/10.24200/jonus.vol1iss1pp46-59.

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Amba, a novel written by Laksmi Pamuntjak, is one of the leading works in Indonesian literature and is classified as a world-class novel. From its title, characters involved, theme and story ideas, as well as excerpts taken from Udyoga Parva at the beginning of each chapter, it can be concluded that Amba is a transformation of Mahabharata, a great and famous story. What is transformed? What are the underlying motif and ideology for the transformation? And what are their effects? Those three questions are the focus of this research. The study was conducted using intertextuality approach (comparison technique) and critical response perspective, which states that no text is neutral; each text has a certain tendency – certain ideologies exposed behind the text. Research findings indicate that it is the intrinsic element that is absorbed by the novel. The transformation is a contradictory transformation with the perspective of emancipation. The author rejects the weak-willed Amba in the story of Bhisma Parwa, and gives birth to a tough, brave, and rational Amba in her novel. The contradictory transformation gives birth to a great work that has the same theme, but different in the ways of cultivating the story and the portrayal of women. Keywords: contradictory transformation, novel amba, critical response, intertextuality approach, literatureCite as: Priyatni, E.T. (2016). Contradictory transformation of Amba novel: Critical response with intertextuality approach. Journal of Nusantara Studies, 1(1), 46-59.
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Dissertations / Theses on the topic "Women in Mahabharata"

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Cederman, Helen. "Women in the Mahabharata." Thesis, University of Canterbury. Religious Studies, 2013. http://hdl.handle.net/10092/7556.

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This thesis documents a comprehensive search of all material relating to women in the ancient Hindu text, the Mahabharata. It follows three themes: 1. Women's experiences and views. 2. Women's and men's critiques of patriarchal society. 3. Religious and social constraints imposed upon women within patriarchy, On the surface, the Mahabharata upholds patriarchal attitudes. However, it also contains criticism of these conventions and challenges to its religious framework. This critical role is frequently adopted by women who show the limitations of dharma (conventional religion) and illuminate the path of Sanatana dharma (eternal religion). The Mahabharata records the Hindu understanding that religious symbols and social patterns change, and leave a record of their changes rather than any dogmatic truths. Women's critiques of patriarchal religion show the way that Hinduism allows it's own symbols and ideas of dharma to be fallible, transient, and inappropriate in the quest for Sanatana dharma.
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Books on the topic "Women in Mahabharata"

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The women of the Mahabharata: The question of truth. New Delhi: Orient Longman, 2008.

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Dhand, Arti. Woman as fire, woman as sage: Sexual ideology in the Mahabharata. Albany: State University of New York Press, 2007.

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"Mahābhārata" ane "Bhīlonuṃ Bhāratha" nārīpātro, tulanātmaka abhyāsa. Amadāvāda: Jñānamandira Prakāśana, 2015.

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Mahābhārata meṃ mātr̥-vandanā. Dillī: Jñāna Gaṅgā, 2006.

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Vishwa, Adluri, and Bagchee Joydeep, eds. When the goddess was a woman: Mahabharata ethnographies : essays. Leiden: Brill, 2010.

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Dutt, Toru. Eminent Women in the Mahabharata. Sharada Prakashan, 2002.

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Fitzgerald, James L. The Mahabharata, Volume 7: Book 11: The Book of the Women Book 12: The Book of Peace, Part 1 (Mahabharata). University Of Chicago Press, 2003.

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Woman As Fire, Woman As Sage: Sexual Ideology in the Mahabharata (S U N Y Series in Religious Studies). State University of New York Press, 2008.

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Srinivasan, Priya. Domesticating Dance. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.27.

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This chapter examines three scenes of “movement”—from the 2004 Tamil film Chandramukhi, the controversial documentary India’s Daughter that aired on BBC in March 2015, and the Star Plus Television serial of the Mahabharata focusing on the “Draupadi Vastra Haran” in 2014—to question how women’s bodies continue to be domesticated to delegitimize the upwardly mobile woman’s desire for remaking herself. The chapter suggests that neoliberalism has specific choreographies of violence perpetrated against women’s bodies. In particular, the author argues that within the choreographies of neoliberalism, neither public nor private space is safe for women in India. The chapter suggests that where women’s erotic dancing has been domesticated by institutionalized patriarchy in the service of capitalist systems, haunting and possession emerge as movement possibilities of the corporeal/incorporeal body that can negotiate the public/private space of a permeating neoliberal order.
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Pinto, Sarah. The Doctor and Mrs. A. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286676.001.0001.

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In the years leading up to India’s independence, a young Punjabi woman known to us only as Mrs. A., ill at ease in her marriage and eager for personal and national freedom, sat down with psychiatrist Dev Satya Nand for an experiment in his new and “Oriental” method of dream analysis. Her analysis, which appeared in a case self-published by Satya Nand, included a surge of emotion and reflections on sexuality, gender, marriage, ambition, trauma, and art. She turned to female figures from Hindu myth to reimagine her social world and its ethical arrangements. The stories of Draupadi and Shakuntala, from the Mahabharata, and Ahalya, from the Ramayana, helped her envision a future beyond marriage, colonial rule, and gendered constraints. This book is an exploration of Mrs. A.’s case, its window onto gender and sexuality in late colonial Indian society, and the ways her case put ethics in motion, creating alternatives to ideals of belonging, recognition, and consciousness. It finds in Mrs. A.’s musings repertoires for the creative transformation of ethical ideals and explores the possibilities of thinking with a concept of “counter-ethics” and from a position that sees ethics as plural in both content and form. Following Mrs. A. in pursuing mythic narratives and turning in its conclusion to art as a guide for theorizing, this book asks what perspectives on gender, power, meaning, and imagination are possible from the position of the counter-ethic and its orientation toward movement and change.
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Book chapters on the topic "Women in Mahabharata"

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Vemsani, Lavanya. "Urvashi: Celestial Women and Earthly Heroes." In Feminine Journeys of the Mahabharata, 229–41. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73165-6_12.

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Vemsani, Lavanya. "Draupadi: The Fierce Fire-Born Woman." In Feminine Journeys of the Mahabharata, 71–94. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73165-6_4.

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Gupta, Indrani Das, and Shashi Prava Tigga. "Woman and Statecraft: Reading Meenakshi Reddy Madhavan's Novels in the Series ‘Girls of the Mahabharata’." In Indian Popular Fiction, 173–91. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003239949-13.

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Doniger, Wendy. "Women in the Mahabharata 1." In On Hinduism, 537–46. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199360079.003.0038.

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"AMONG FRIENDS: Marriage, women, and some little birds." In Gender and Narrative in the Mahabharata, 130–63. Routledge, 2007. http://dx.doi.org/10.4324/9780203029640-14.

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de Bruin, Hanne M. "The Making of RāmaRāvaṇā." In Performing the Ramayana Tradition, 161–85. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552506.003.0009.

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This chapter provides a detailed exposition of the dramaturgical and performative decisions that went into the staging of a 90-minute new play on Ramayana titled RāmaRāvaṇā, adapted by veteran performer and director P. Rajagopal on the basis of his traditional knowledge of Kattaikkuttu. Working against the grain of the Kattaikkuttu repertoire, which focuses primarily on the valorization of heroism and war through episodes from the Mahabharata, RāmaRāvaṇā’s innovation can be attributed to Rajagopal’s strong decision to call attention to the politics of gender with young women playing all the leading roles in the production, thereby countering the dominance of male actors in the tradition. Refusing to play into the “othering” of Ravana as a demon or the condemnation of Rama within the larger context of Dravidian anti-brahmanism, Rajagopal attempts to see the two characters as mirror images of each other, with Sita and Shurpanakha questioning the legitimacy of both in the larger context of power and patriarchy.
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Pinto, Sarah. "Singularity and Uncertainty." In The Doctor and Mrs. A., 41–83. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286676.003.0002.

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Mrs. A.’s reflections on her daydream of “Hindu Socialism” continually returned to the conditions of marriage and her life as a privileged but unhappy Hindu wife. The eldest daughter in a progressive Gandhian family, though her marriage was a love match, she had been hurried into it and made to put aside her education when her family suffered a turn in financial fortune. As she reflected on thwarted ambitions, past loves, and current friendships, new concerns arose: perhaps her husband was having an affair, perhaps his parents were seeking another wife. Weaving these concerns with memories of childhood, she mapped connections between sexuality and the ethical foundations of marriage, those emphasizing emplacement, certainty, and belonging and casting dilemmas of female agency as matters of relationships. Describing the gendered double standards of those ideals, she imagined herself alongside Draupadi, heroine of the Mahabharata, and reflected on her erotically charged friendship with woman named Vidya. As a vision of life beyond marriage came into view, so did counter-ethical ideals for founding her future. Ideas about singularity and the pleasures of uncertainty helped her imagine not only her own future, but that of a just, independent society with an equal place for women.
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