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Child Marriage As A Major Concern in Pashto Poetry
Get PDFChild marriage is a major concern we read in Pashto poetry. They believe fewer financial resources left people in desperate need to survive, and it has caused both girls and boys to pay the price. Poor parents give away their girls to wealthy men regardless their background check and that child marriage is one of the tragedies that got the attention of Pashto language poets. Before to read poems about child marriage, explanation is needed to the age which is considered as child. According to Afghanistan Civil Law a legal age for a female is 16 and 18 for male. It means a girl can marry at the age of sixteen and a boy at eighteen. It also means a child in Afghanistan is no longer a child as soon he/she reaches 16 and 18. UNFPA reported that child marriages are illegal because both partners did not cross the age they were prescribed by the law. Afghanistan’s minimum age of marriage 16 or 18 is well below the internationally recommended standard of 18. Child marriages are usually aimed at strengthening ties with rival families and tribes, as part of deals or to settle blood feuds and disputes. At the meantime, a financially poor families often end up selling daughters for large dowries that is offered by wealthy mean who by age or much older.
Representation of prudence and Maturity at The Teenage: A Thematic Study of Anne Frank\u27s Autobiography
Get PDFThis research explores the maturity of a teenage girl during the horrible circumstances of the Second World War. Anne Frank’s diary does not only present external conflicts but also figures out the inner psychological growth and resilience. At the age of thirteen, her writing reflects the everyday concerns about friendships, disputes, and existential challenges. She talks about the consequences of war, which confront the harsh realities of human identity, massacre, and the pathetic condition of women. Her relationships with the residents of the secret annex accelerate her maturity in complex surroundings, like the acceptance of flaws, adjustments, morality, and ethics. She dedicates herself to studying while hiding, which helps her to understand the surroundings, friendships, relationships and curiosity to know the world. She has nothing to prove, no hidden agendas to keep secret, and no propaganda to spread except for the revealing of truth with the help of writing, which poorly screams from the victims’ side. She believes that only a diary can provide a great source of comfort and support because she expresses her thoughts with the great innocence and sincerity that only a child can possess. The diary still makes it real for those who read and for those who come after her; it is only by keeping the memory of the wound alive, by remembering and sharing, that people can find true emotions. It is a kind of testament to the indestructible human will to preserve and survive in the face of the most adverse circumstances. Her diary as many times as it is read, and its inspirational dialogue brings the catharsis closer. She has space to express herself in the most honest and candid of terms, which bears her soul on every page of the diary. So, this research deals with the results and consequences of war, which include social anxiety, social disorder, trauma, psychological dysfunctions, and disfunctions, and the suffering of the survivors.
Gender Perspectives in Ambai\u27s Short Stories,\u27The Forest \u27and\u27 Gifts
No full textIntroduction of the Writer: Ambai is a Feminist researcher focussing on women’s issues through her works. C.S.Lakshmi wrote her fictional literary works like novels and short stories under the pseudonym Ambai. She wrote her non-fiction, articles and published research papers as C.S.Lakshmi.She published her first literary work, a novel ,’Andhi maalai\u27 in 1966.Her short story ‘Siragugal Muriyum\u27 published in 1967 received a good response. The kitchen in the corner of the house, A Purple Sea, In the Forest, a Deer, are her popular works. Her short stories are characterized by her passionate writing on gender issues suffused with satire, humour, love for nature and need for ecological balance.In 2021, She won the Sahitya Academy Award for her collection of short stories‘ A Red-necked Green Bird’
Nothing Scares Me More & The Lamp
No full textNothing Scares Me More
The poem is a ghostly reflection on the dead eye, which is a representation of complete inertia. In comparison to a blind eye that still feels and still reacts, the dead eye is represented as a soul sucking animated eye, its pupil emptied of the soul. Its careless eye, with its unpredictable movements, and its slow fading Association brings the sadistic decay. The speaker looks back at how the dead eye conveys a more profound truth that there is lack of vitality and accountability and brings a silent and obscure message to the dead souls around the dead eye. Finally, the poem touches on the issue of mortality, spiritual barrenness, and deep silence that characterizes the end of life.
The Lamp
This spiritual adventure is basically what the poem is leading me through where the narrator no longer has to freak out about death but it is more of an opportunity to experience a chilled entrance into some other worldly feeling such as this Shambhala scene. He is basking in beauty, harmony, and healing, and then the Supreme Soul lays a clue that it would like to see this lamp in his heart that that was present when everything was created. The lamp turns out to be off, which is a significant atmosphere of losing innocence, purpose, or moral light, and as such, the narrator has no choice but to strike back to the real world with this heavy sense of regret and the desire to have what was. It is all about spiritual responsibility, achieving the inner radiance, going beyond the mundane, and addressing the hurtling haste of returning to the state of being an ordinary person
The Borders of Humanity: Cormac McCarthy and the Western Genre
Get PDFCormac McCarthy’s Western novels, including Blood Meridian, All the Pretty Horses, The Crossing, and Cities of the Plain, offer a profound reimagining of the American West, blending stark violence with philosophical reflections on the human condition. This paper aims to analyze the existential themes that are present in McCarthy’s work including fate, morality and the cyclical nature of time within the context of the frontier. However, these novels are not strictly Westerns because they go beyond simple frontier myths to explore other aspects of human experience including love, loss and failure of the myth. Through his poetic and often violent narrative, McCarthy paints a bleak picture of the American West not only as a geographical region but as a symbol of the human condition. In this paper, McCarthy’s literary skills are described to show that his books are not just about the Western world but contain elements of human experience
Negation and Silenced Love: A Critical Stylistic Analysis of Abdulrazak Gurnah’s The Last Gift
Get PDFAbdulrazak Gurnah’s The Last Gift revolves around delicate existential issues migrants face living abroad. This study highlights the expression of love particularly the paradox of its manifestation in a foreign land. The word ‘silence’ appears eighty-two times and is integral to the silencing of love. Abbas has the rare opportunity to attend school and relish the potential opportunities which a Western education portends but he is restricted by a forced early marriage to a girl he doesn’t know. Abbas’ life comes spiraling after this. Ironically, he becomes silent after getting married to the girl he truly loves and bottles up his past, particularly about running away from a previous marriage, which he felt was a trap till his dying days. Through Leslie Jeffries ‘Negating’ as a textual conceptual function tool, this study presents the paradox of love and its silencing in Gurnah’s text as ‘negating has the effect of producing mental images of both the negated and the positive proposition’
Exploring Third Gender Presupposition in the Play Seven Steps around the Fire by Mahesh Dattani
Get PDFAbstract: The factive presupposition admits the presence of hijra in Indian society. On the other hand, the non factive presupposition is not to consider the hijra community as human. The assumptions about the transgender are discriminating like transgenders are useful only on the occasions like childbirth and marriage. They are supposed to beg by wearing sarees on the streets and at the traffic signals. They are filthy, beggars, homeless and worthless. They are easily subjected to violence and sexual exploitation. They are not males or females. Thus, the assumptions about the third gender have become part of the study. Hijra, eunuch, transgender or third gender marrying a male in Indian society is a taboo. The same theme has been put forward by Mahesh Dattani in his play Seven steps around the Fire. He calls the hijra community an invisible minority. That\u27s why they don\u27t matter to normal people. Mahesh Dattani is the writer who speaks for such dejected, poor common folks in his plays. In line with the theme, this research paper is an attempt to explore the presuppositions of Indian contemporary society about the transgenders. The study has been undertaken to see if the assumptions are always derogatory, insulting, full of disgust. The researchers have studied the utterances of normal male and female characters in light of the pragmatic assumptions made by the characters whenever they express themselves about third gender in general. After the study it\u27s been found vividly that the majority of the characters are having a biased, discriminating attitude towards the third gender except seeking the blessings from the third gender on the auspicious occasions that take place in the family. The study has fathomed the crisis of third gender identity in Indian society
Poetry and Body Positivity: Listening to Sonya Renee Taylor’s The Body is Not an Apology
Get PDFThe article highlights Sonya Renee Taylor’s performance of The Body is Not an Apology, a spoken word poem asserting radical self-love for the body, no matter how it looks or how ill it is. It is a reclamation of space and voice hitherto denied to certain types of bodies, which are the primary loci of people’s identities. Activists, artists and writers often find in electronic media an avenue for raising awareness, for creating alternative definitions of (women’s) beauty and generating body-positive content to promote self-love and radical self-acceptance. The body is central to control and oppression, hence, feminist discourses and activism must necessarily consider the body as a foundation of self-love and self-acceptance. The most potent way to reach the people with such messages is not through theory or jargon, but through art or entertainment. In this context, contemporary performance poetry is of significant relevance. Rooted in a history of resistance, modern performance poetry has found platforms in digital and electronic media, in ways such that it can reach thousands in just a click of a button. One such performance poet is Sonya Renee Taylor, an African American woman who has emancipated thousands of women through her movement ‘The Body is Not an Apology’. The objective of the close reading (or watching) of this spectacular work is to highlight Taylor’s feminist attempt at resistance through art, body-positivity and self-love using her own body, voice and ingenious creativity. The paper highlights how performing the poem is an act of resistance itself.