Analysis Of Shashi Deshpande And Sivasankari

This collective experience by Shashi Deshpande and Sivasankari persuades them to study the female psyche of girl children as the product of cultural forces and show the gradual changes in their life style from the early twentieth century. Language comes back in the picture when the social dimensions and the cultural ideals that outline their vision are considered. They show the role of girl children in Indian families, their wishes, expectations, work load, anxiety, desperation, demand for equal priority, awareness about their career and their revolt to free themselves from the clutches that bind them. They depict how the young girls rebel to liberate themselves from the rules that stand as hurdles in their path towards progress. Whenever chances
Their optimistic approach towards life by sacrificing their self and their courage to overcome the hurdles in career development are brought to limelight in the works of Shashi Deshpande and Sivasankari. In the article “Feminist Criticism in the Wilderness” Elaine Showalter says, “One of the great advantages of the women's-culture model is that it shows how the female tradition can be a positive source of strength and solidarity as well as a negative source of powerlessness; it can generate its own experiences and symbols which are not simply the obverse of the male tradition” (204). Elaine Showalter insists the importance of reading the works of women writers with a special focus to know about the expedition and trials of women in the past and present. Shashi Deshpande and Sivasankari explain the trials and expedition of young girls in India for more than a century and how they try hard to be liberated without disturbing the Indian family unit. In the article entitled “Breaking that long silence” in The Hindu, written by Aditi De, Shashi Deshpande too pleaded to view the writings of women not as marginalised representation. “You've got to read women's writing differently. If you're going to say this is only
Sivasankari speaks about three generation of women in Pālaṅgaḷ and in each generation the girls are offended by the expectations of their mothers and grandmothers and revolt. She tries to present the gradual changes that enter inside the life of girls through Periya Pappa, Mythili, Padmini, Aparna and Bulbul who belong to different generations. She depicts vividly the unending arguments, protests and compromises in each generation and the slow and steady changes that are crept in to redeem the life of women folk in Indian families. Periya Pappa, Mythili, her daughter Padmini, Aparna and her daughter Bulbul express their dissatisfaction about the rules laid on them by the elder generation. Their mothers convince the children by explaining the motto of their grandmothers which is not appropriately accepted and understood. When they become mothers, they understand their responsibility of forming a link between two generations. Mythili and Aparna understand their grandmothers when they become mothers in Pālaṅgaḷ as Saru in The Dark Holds no Terrors. Shashi Deshpande and Sivasankari like to tie themselves with the womenfolk of India through their works. In the inaugural address at the national seminar entitled