The View Of Women In Varios Essay

Cultures Essay, Research Paper

In the narratives read refering India and South America, adult females play of import functions. Some are non so tasteful while others portray them as strong and independent. In each narrative, adult female are allowed to show themselves rather otherwise. They lead a life that dos non parallel ours but hopefully one twenty-four hours will.

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Womans in India occupy a self-contradictory position. On one manus, there is an copiousness of goddesses busying polar topographic points in Indian mythology. On the other manus, there are cold Atraditions @ piled against them ; Sati, Dowry-system, etc. come to mind. Yet, now there are perchance more Indian adult females in scientific, medical, and professional countries than many Aliberalized @ Western states. After all, India boasts of the first adult female Prime Minister in the universe! However there are no terminal of studies of married woman combustion, female infanticide, battery, colza that take topographic point in a democratic India. However it is barely mentioned that adult females and work forces in India are making something about this state of affairs. The mean record of the last decennary though is still really upseting. Harmonizing to a newspaper in New Delhi, every 6 proceedingss, a offense is committed against adult females. Every 7 proceedingss a adult female is raped, every 45 proceedingss a adult female is kidnapped or abducted. 335 of adult females are subjected to cruelty. 17 dowry deceases are reported every twenty-four hours. In the reading done this semester it is shown that the intervention of adult females in India is non frequently understood.

AThe Shroud @ , written by Prem Chand, is a perfect illustration on how adult females are disrespected by their hubbies. The adult females in the narrative dies during childbearing and her hubby is worried excessively much about his ain enjoyment than buying a proper shroud for her to be burned in. This is rather an stray instance though, because the people of the small town are ashamed by his actions. The hubby, Madhav, and his male parent, Ghisu, go around the town crying for the decease of the adult female but their cryings are false. All they want is money. She lived miserably, working merely to feed her and hubby and attention for the kids. Ghisu said it best when he sais Awhy do you cry my male child? Rather rejoice that she is freed from this web of semblance. Escaped from this tangle of wretchedness. She is lucky to hold broken free so shortly from the bonds of Mayan. A Possibly Ghisu is merely seeking to state that to relieve his guilt but he is right.

In Aresignation @ , the writer is seeking to demo that the chief character Fateh Chand is rather luckless. His name means AThe Moon of Victory @ but the writer claims it would be more appropriate to name him AThe Slave of Defeat @ . To turn out Ti the writer goes on to state Ahe had no boies, but tree girls, no brothers but two sisters-in-law & # 8230 ; @ By stating this he is at a disadvantage. In India the pattern of dowery has grown so kinky that birth of a girl is despised as a expletive to the household. Dowry implies the demand made by the bridegroom=s household on the brides household in an ordered marriage.. The bride=s household, under societal force per unit area, and holding respect to the public assistance and safety of the bride, has no option other than capitulate to the demand of the groom=s household. In AWho Cares? @ , he reader sees the emphasis an ordered matrimony can hold on a immature adult female. Anand, the chief character, has been set up to get married a adult female named Janaki. Anand=s female parent spends her clip developing her to be a good homemaker to her boy. Anand=s friend notices that Janaki is Aany mother-in-law=s ideal-quiet, obedient, helpful. @ The lone job was that Anand had gone to a school in America and the old traditions did non accommodate him really good.

Anand=s friend, a female, besides surveies in America with him and she is the prototype of a modern Indian adult female. She is independantm self-asserting and will non let any adult male to do determinations for her. America molded ner to be this manner. In AResignation @ though, the married woman of Fateh Chand, Sharda, is the strong 1

while Fateh Chand himself is weak. She has finding. It is her push that forces Fateh Chand to contend his foreman and to maintain his pride. AThe biggest thing for a adult male is to maintain his award ; { … } If you had borne the abuse mutely, I would hold hated to look at your face ; { … } in my bosom I would hold lost all regard for you. @ she told him.

In South America, adult females are subjected to constant devaluing of women=s economic function. In a survey of female workers in the garment industry in Puerto Rico, contends that a woman=s peculiar phase in the life rhythm, her economic functions mirror he household responsibilities. In Bolivia, adult females worked in industries that could be described as extensions of traditional female domestic undertakings. The adust staff of life and pastries ; catered nutrient ; knitted, sewed and embroidered apparels. The barbarous anguish of adult females barely exists any longer. The adult females in South America are doing alterations to go more independent and have greater calling chances in the work force.

In ANo One Writes to the Colonel @ The chief characters married woman is sallow but she has an interior strength to convert her hubby to sell his cock. She orders him AGet rid of that cock now. @ She is non afraid to talk her head and do her point of position heard. The colonel does non ever take what she says earnestly but does see her warnings and common sense. She persuades him to sell the cock.

The adult female in Tuesday=s siesta, who comes to see he son=s sculpt, is treated with much regard and the reader can state that she carries herself with much poise. Although she was used to poverty she carried herself with a sense of composure. A She bore a witting repose of person accustomed to poorness. @ When they get off the train and are on their manner to the church she give her girl a few regulations to follow. AAbove all no shouting @ she says. She does non desire people to experience sorry for her and commiseration her. She does non desire commiseration. This shows her strength of character. The terminal of the narrative demonstrates this strength. As she is go forthing the church, the priest warns her that a group of witnesss have formed outside to see the female parent of the dead stealer. He suggests she leaves by the back manner, but she merely says AWe=re are all right this manner. @ The people will non decrease her pride for her boy or her sense of dignity.

Rebecca who appears in both ATuesday=s Siesta @ and AOne Day After Saturday @ is a widow who lives by herself. In ATuesday=s Siesta @ the reader learns that she is the who shot the stealer who was seeking to acquire into her house. Rebecca took the jurisprudence into her ain custodies. It took much bravery to fire the gun. In AOne Day After Saturday @ , Gabriel Garcia Marquez describes Rebecca as Aan embittered widow @ who had Aan academic sense of authorization @ . She did non believe about anybody=s self-respect than her ain. In this narrative, Rebecca bursts into the mayor=s office to do a ailment. She demands to talk to person and garbage to take no as an reply. This shows power. She goes against every regulation of a widow and takes control of her state of affairs.

Women=s functions in society are invariably altering and the Third World is no exclusion. Women must contend for their rights and they must decline to be treated without regard. Indian adult females live in a province of confusion because they do non cognize their place. In South America, alteration is in advancement and traveling rapidly. The narratives read from both states show the implicit in strength that adult females possess, they merely must larn to tackle that power and portion it with the universe.


Bumiller, Elisabeth. May You be the Mother of a Hundred Sons: A Journey Among the Women of India. New York: Random House, 1990.

Lavrin, Asuncin. Latin American Womans: Historical Perspective. Connecticut: Greenwood Press, 1978.

Mitler, Sara. Dharma=s Daughters. United States: Rutgers University Press, 1991.