Browsing by Subject "Liberation"
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Item Change In Socio-Economic Status Of Ex-Kamaiyas After Liberation: A Case Study Of Kattha Rehabilitation Siver (Camp), Geta Vdc, Kailali(Central Department of Economics Faculty of Humanities and Social Sciences Tribhuvan University Kirtipur, Kathmandu, Nepal, 2013-12) Pandeya, Gyanendra PrasadAvailable with full text.Item Confinement, Transgression, Liberation: Dynamics of Gender Roles in Contemporary Nepali Novels and Films(Faculty of Humanities and Social Sciences ,English, 2022) Bista, AsmitaAvailable with full textItem Emancipation through Suicide in Plath's The Bell Jar(Department of English, 2007) Poudel, JamunaThe Bell Jar(1963), a confessional and autobiographical novel by Sylvia Plath, depicts the adventures of a young woman in a male–dominated society that doesnot let her true potential burgeon. Plath's alter ego, Esther, begins her career as a scholarship student at a prestigious women's college and works at an internship for ladies' Day Magazine in New York city. In course of development of this novel she faces a sense of anxiety and depression due to her ambitious revolutionary and independent nature. The society is gender-biased in which women are suppressed and confined. Esther's pain and despair grows deeper when she fails to reconcile the conflicts withinher. This leads to her mental breakdown, and she has to undergo electroshock therapy in front of indifferent and unkind doctors. At the end of the novel, though she seems to be transformed, she cannot resolve the problem she faces within and outside and attempts to commit suicide several times. Her suicide does not perish herself, and is not taken as annihilation but as rejuvenation, resurrection and transcendence to the world where she finds her liberation. As such, Esther undergoes liberating transformation through suicide.Item Examining Depiction of Women in Tilottoma Misra’s Swarnalata(Department of English, 2023) Gharti Magar, ManishaThis paper examines the depiction of women in Tilottoma Misra’s Swarnalata in the light of Gayatri Chakravorty Spivak’s notion of the Subaltern Perspective. The novel picturizes the condition of women in nineteenth-century Assam through the three female characters: Swarna, Tora, and Lakhipriya. Through these female characters, Misra presents the prevalent conventional notions in the then society that had suppressed females, in the beginning, and as the story grows she eventually releases that through the agency they were able to debunk the orthodoxical instances. Therefore, this research paper focuses on three specific questions: how have women been depicted in the novel? Why does the writer choose to write Swarnalata amidst the turbulence? And why a character like Gunabhiram has been presented? With the focus on these three characters, the paper argues that Misra’s politics is to address that women do not remain in a static position but rather their state of vulnerability changes when they are provided agency. Furthermore, it is through the agency that women can obtain a position equivalent to that of the males in society. Keywords: Swarnalata, Subaltern, Organic intellectuals, Agency, LiberationItem Kachahari Performances in Nepal:TowardsLiberation, Social Empowerment, Conflict Resolution and Therapy(Central Department of English, 2014) Aryal, Bhim LalThisresearchstudies the Kachahari performancewhich is the Nepali adaptationof Augusto Boal’s Forum Theatre. Unlike traditional forms of performances,it empowers the audience community to define their roles in analyzing the socio-economic conditions of their own as a fate maker of their own,who deserve to be called the director and actor of their own life and problems. Thus, this thesis studies few representative Kachahari Performances made by Aarohah Gurukul, Kathmandu and Shilpee Theatre.IttakesKachahari performances as the form of social avant-garde in resolving the socio-cultural issues of communities and relies heavily on Augusto Boal’s concept of Theatre oftheOppressed,Forum Theatre and his discursive theory of Spect-actor that radically deconstruct the traditional notion of artists and directors as the creators of the meanings.The functionality of the theatre is no longer in doubt, as many people have come to realize the potency of the theatre in development. It has the power to influence thought and opinion, and can serve as a popular and effective means of political propagation, economic empowerment and culture diffusion. This research tries to establish the fact that the nature of theatre being advocated, if explored to its fullness can create the awareness that conflict is antithetical to societal progress and development, by helping the people to understand issues through metaphoric communication and providing a communal experience, which relates the individual to groups, and the groups to the forces controlling the society.Item Liberation Conscience in Leena Yadav's Parched(Department of English, 2022) Kandel, RitaThe main thrust of this thesis is to show how the sense of self-discovery and independence comes into the mind of the protagonists Bijli, Lajjo, Janaki and Rani in the movie Parched as they undergo different types of unequal treatments on the basis of gender. Indian society is a patriarchal society where women are taken as commodity and their agency is not perceived. But these female characters become aware of how patriarchy misbehaves them. Bijli is used by her boss in order to earn money. Janaki's father sells her in 4 lakhs; Lajjo is stigmatized as barren women whom her husband uses to fulfill his daily necessities and Rani is compelled to suppress her desires and compelled to live her whole life as child-widow. Their psyche revives in order to challenge the social setting. Consequently, they deny what patriarchy says in order to get rid of all kinds of injustice that have been exercised upon female civilization for last many decades in Indian continent. They are fed up with the patriarchal codes and conducts and thus challenge it. They can control over their own body and mind in A Room of One's Own. Submissiveness, docility, fragility, and feebleness are attributes women reject in favor of self-exploration and emancipation as feminism envisions. Keywords: Self-exploration, liberation, female identity, submissiveness, patriarchal ideology.Item Liberation Conscience in Leena Yadav's Parched(Department of English, 2022) Kandel, RitaThe main thrust of this thesis is to show how the sense of self-discovery and independence comes into the mind of the protagonists Bijli, Lajjo, Janaki and Rani in the movie Parched as they undergo different types of unequal treatments on the basis of gender. Indian society is a patriarchal society where women are taken as commodity and their agency is not perceived. But these female characters become aware of how patriarchy misbehaves them. Bijli is used by her boss in order to earn money. Janaki's father sells her in 4 lakhs; Lajjo is stigmatized as barren women whom her husband uses to fulfill his daily necessities and Rani is compelled to suppress her desires and compelled to live her whole life as child-widow. Their psyche revives in order to challenge the social setting. Consequently, they deny what patriarchy says in order to get rid of all kinds of injustice that have been exercised upon female civilization for last many decades in Indian continent. They are fed up with the patriarchal codes and conducts and thus challenge it. They can control over their own body and mind in A Room of One's Own. Submissiveness, docility, fragility, and feebleness are attributes women reject in favor of self-exploration and emancipation as feminism envisions. Keywords: Self-exploration, liberation, female identity, submissiveness, patriarchal ideology.Item Ritual as Resistance against Divine Power in Abhi Subedi’s Bruised Evenings(Department of English, 2022) Baral, BuddhiThis research paper analyzes the drama Bruised Evenings by Abhi Subedi, a modern Nepali playwright and argues how the ritual performance becomes instrumental in the socio- cultural transformation of human society. It further explores the significance of ritual performance to facilitate the agency essential to institute progressive changes in socio- cultural dimension of society. It argues that through the contrasting portrayal of divine and human characters, the playwright reflects upon the growing conflict between classical and modern times and its perception on cultural identity, equality, individual liberation, justice and power. With human characters such as Elder and a young merchant who demonstrate against the hegemonic tendency of deities, the celebration of Newari ritual performance offers a platform for the oppressed voices to challenge the hierarchical structure of socio- cultural relations between divinity and human. In order to consolidate the argument, the research borrows insights from the theory of Performance Studies by Richard Schechner and Victor Turner and explores the ritualistic dynamism of Newari cultural performance. Likewise, it is further accompanied by Michel Foucault’s concept of resistance in order to probe into the resisting power of ritual performance for social change. The paper concludes with the finding that cultural celebrations such as Newari festivities are not only aesthetic events for mere purpose of entertainment but they also contain the element of activism to bring about changes in socio-cultural landscape of human society.