Mrs. Atule Karuna Kesavrao1*, Dr. N. M. Shah2

www.ignited.in

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Journal of Advances and Scholarly Researches in Allied Education

Vol. 20, Issue No. 2, April-2023, ISSN 2230-7540

India’s Daughter: A Review

Mrs. Atule Karuna Kesavrao1*, Dr. N. M. Shah2

1 PhD Student, Monad University Kastala Kasmabad, Uttar Pradesh.

2 PhD Guide, Monad University Kastala Kasmabad, Uttar Pradesh.

Abstract - Film and documentary films have a critical force and effect on public discourse and formal

pedagogic methods. A documentary's substance and message may be seen as the 'truth.' This is usually

based on the idea that because the documentary is focused on a genuine occurrence, it aims to

objectively highlight important problems and difficulties to show the truthfulness of the under

examination phenomena. This article explores the introduction, Can The Goddess Speak, Draupadi The

Exotic, Gods, Lovers, And Brothers, Dopdi Unbound, Persisting Ideologies, Exceptional Women

Keywords - India’s Daughter, Goddess Speak, Draupadi The Exotic, Dopdi Unbound, Persisting

Ideologies

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - X - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

1. INTRODUCTION

At 9 pm on December 16, 2012, a 23-year-elderly

person named Jyoti Singh Pandey and her male

companion Awindra Pratap Pandey boarded a private

transport in Munirka, New Delhi. Obscure to them, the

transport was involved by a gathering of men who

were hoping to raise hell, having just ransacked a past

passenger. Throughout the following scarcely any

hours, these men ruthlessly beat the two companions,

insulting them for being unmarried and out together

around evening time. As the transport traveled through

the city, the men thumped Awindra unconscious and

assaulted Pandey. The horrendous attack included

one of the attackers, at that point a juvenile,

embeddings an iron pole into Pandey's body and

tearing out her digestive organs. After this, Pandey

and her companion were left seeping out and about.

They lay overlooked for a few hours, until certain

passers-by at long last took them to a medical clinic.

As Pandey battled for her life throughout the following

fourteen days, she stayed open about her will to

endure and her longing to see her assaulters rebuffed.

As her condition intensified, her story turned into a

matter of public concern. Mass protests in her help

seethed in metropolitan zones and noticeable

government officials got included. On December 26,

Prime Minister Manmohan Singh led a gathering

where it was concluded that she would be traveled to

Mount Elizabeth Hospital in Singapore for a multi-

organ transplant. Media sources, for example, NDTV

scrutinized the need of this move, speculating that

Pandey was sent to another country in light of the fact

that the government was worried that the protests

would escalate on the off chance that she passed on

inside the nation ("Delhi Gang-assault: The Debate

over Moving the Student to Singapore"). Pandey

passed on at 4:45 am Singapore Standard Time on

December 29, 2012. She was incinerated the

following day in New Delhi under stringent

government organized police security.

The occasion caught exceptional consideration in

light of the ghastliness of the assault, which was

portrayed in unflinching subtlety in papers. The

public talk that developed around this misfortune

was all the while problematic and enlightening. The

conversation catalyzed genuinely necessary

changes in regards to the meaning of assault inside

the Indian lawful framework: the Verma Commission,

shaped in response to this occasion in 2013, rolled

out a few improvements to the Indian Penal Code's

laws on sexual attack. Further, it made obvious how

ladies are envisioned and surrounded in the plan of

religio-public legislative issues in current India.

During and after Pandey's death, the public's

response against the assaulter and the occasion

was gigantic, particularly in the significant Indian

cities. Candlelight vigils were held in Pandey's honor

and thousands rioted to dissent. In spite of the fact

that Pandey's family later uncovered her name21 to

the general population to enable different casualties

of sexual attack, the casualty's name couldn't be

intially uncovered with regards to Indian law.

Therefore, papers gave her different pseudonyms

that commended her apparently superhuman mental

fortitude.

2. CAN THE GODDESS SPEAK

The recent need to re imagine epic champions in

contemporary literature is personally associated with

the idealization of each woman like Pandey

alongside semi-divinities and goddess figures in

famous and political talk. Receiving these

Mrs. Atule Karuna Kesavrao1*, Dr. N. M. Shah2

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India’s Daughter: A Review

extraordinary women, regardless of whether real or

abstract, to advance the patriot plan reduces them to

images that are static and a recorded. Further,

elevating epic women to models for contemporary

Indian women to aspire to propels a particular

narrative of gentility. It can likewise offer a reductive

reading of their characters, which levels the

multifaceted nature of the jobs they play in the epics.

Therefore, there is a contemporary scholarly interest in

offering voice to these courageous women to stand up

against these solitary narratives. While the custom of

abstract re-envisioning the epics is anything but

another one in Indian literature, the rewriting the epic

from the viewpoints of female characters has acquired

a political desperation in light of contemporary

discussions encompassing women.

Sītā of the Ramayana and Draupadī of the

Mahabharata are considered to have different, if not

restricted personalities. This significantly affects the

manner by which their accounts are re-imagined in

contemporary Indian literature. Sītā is accepted to be a

more agreeable figure than Draupadī and therefore, a

superior model for patriarchally endorsed female

conduct in religio-public talk. Pamela Lothspeich has

noticed that goddesses or semi-divinities, for example,

Sītā inspired M.K. Gandhi, who trusted her to be an

ideal spouse. That Sītā is an ideal for female conduct

persists well into modern day India. Sutherland's

investigation revealed that men in North India see Sītā

as an ideal accomplice due to her "compliant quiet

submission" and long lasting unwaveringness to her

better half. She is accepted to be the ideal woman

whose life is set apart by misfortune that she

eventually acknowledges as a saint.

Researchers of the epic writings have likewise called

attention to that Sītā is regularly a more agreeable

spouse than Draupadī. Albeit the two women are

reliably depicted as pativratās, the individuals who

adhere to the female Hindu spiritual calling of being an

ideal spouse and friend, Sītā is frequently observed to

censure herself for the couple's adversities whereas

Draupadī reprimands her husbands for theirs. Kinsley,

for example, takes note of that Sītā's sexual and

spiritual commitment is depicted at a few focuses in

the Rāmāyaṇa, underlining that an ideal spouse

venerates her better half as god.

3. DRAUPADI THE EXOTIC

Chitra Banerjee Divakaruni is an Indian-American

author situated in Houston, Texas. She is most

popular for her second book The Mistress of Spices

(1997), which was adjusted into a Hollywood film of a

similar name in 2006. The media-canny author has a

huge Internet fan base that she regularly interfaces

with on her Facebook page. On September 30, 2015,

she gathered information on her page soliciting her

readers which from her books they loved the best and

a greater part of them responded that it was The

Palace of Illusions, which was distributed in 2008.

Some remarked that it was rare in giving a female epic

character a voice, which proposes that these fans are

not extremely acquainted with a few other women's

activist epic rewriting in English or other Indian

languages. The fans, who were Indians and Indian-

Americans, additionally expressed enthusiasm when

the author reported that the book had been optioned

for a film in January 2016 ("Chitra Banerjee Divakaruni

Facebook Fan Page"). The Palace of Illusions, a

transformation of the Mahabharata from Draupadī's

perspective, endeavors to speak more loudly about

numerous contemporary women's activist issues,

remembering the disregard of female education and

demand for women putting their families' honors

before their own needs and desires. While the book is

on the whole correct to generate these conversations,

it has not really been effective for its political message

but since of the manner by which it is advertised to

satisfy the neo-liberal reader, regardless of whether

high society Hindu Indian, diasporic Indian, or

Western.

Divakaruni's books are regularly showcased in a key

way that feature her work's outlandish

characteristics. For example, a statement from the

Houston Chronicle on the intro page of The Palace

of Illusions announces that the book is a "brilliant

entree into an ancient mythology virtually obscure

toward the Western world… " The reasonably picked

word "entrée" welcomes the figure of the Western

reader to both literally expend this item and to leave

on an excursion into a colorful world. The language

is reminiscent of the colonial manner of speaking

that promotes the utilization of Otherness through

food and geological investigation which has been

talked about differently by scholars, for example,

McClintock and Susan Zlotnick. Further, the idea

that the Mahabharata is an obscure mythology in the

"West" of the Houston Chronicle's hailing is

interested, since avoids both diaspora Indian readers

who reside in the West and scores of scholars and

fans of Indo-European mythology in America.

4. GODS, LOVERS, AND BROTHERS

In spite of the fact that Divakaruni's complicity in

advertising Indian culture is problematic, it might be

uncalled for to excuse the novel's women's activist

points entirely. By offering voice to Draupadī through

a first-individual narrative and an inside speech, the

author endeavors to wrestle with numerous concerns

that connect the issues of contemporary Indian

women to ideals that are socially upheld through

fanciful narratives. Two interlinked issues are

especially prominent in the novel. The first is the

scrutinizing of the courageous woman's office,

especially given the epic reflects the Hindu thought

that each human activity is pre-foreordained. The

second is Divakaruni's Draupadi's scrutinizing of

socially determined methods of propriety and

behavior for women, in spite of the fact that the

author's choice to remain inside the narrative

structure of the epic itself precludes any extreme

transgression for the character. Divakaruni in this

way presents how Draupadi endures on the grounds

that she is paradoxically considered responsible for

Mrs. Atule Karuna Kesavrao1*, Dr. N. M. Shah2

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causing a war, even while unmistakably her behavior

is ordered by heavenly, social and political forces that

are outside her ability to control.

From the earliest starting point of The Palace of

Illusions, it is built up that Draupadi will "change the

course of history". In some mainstream interpretations

of the Mahabharata, Draupadī is considered a

negative power that basically causes the war that will

end the two sides of Draupadi's conjugal family.

Irawati Karve has noticed that the readings of female

figures in the Sanskrit epic writings took a more sexist

turn after the Jain Puranas. A stanza one of writings

declares that women were kṛityās, a demonic and

dangerous female power, in each age:

In the Kritayuga Renuka was Kritya

In the Satyayuga Sita was Kritya

In the Dvaparayuga Draupadi was Kritya

Furthermore, in the Kaliyuga there are Krityas in each

house. (qtd. Karve 92)

Divakaruni's tale, then again, is focused on setting up

Draupadi as a positive power that welcomes the

reader's sympathy. In The Palace of Illusions, kid

Draupadi feels that she is both inferior to and by one

way or another more dangerous than her sibling

Dhristadhyumna, who was conceived simultaneously

as her and specifically to execute their dad's enemy.

Growing up in this manner, Divakaruni's Draupadi

struggles with her function in the occasions that finish

in the war and a few characters complicate her

feelings of trepidation. A sorceress, who isn't in the

first epic, says that women add to a large number of

the world's issues and Draupadi, being more

remarkable than normal women, could cause

significantly more of them. She therefore encourages

Draupadi not to get "cleared away by passion",

proposing that it is feminine passionate

overabundances that cause the world's great issues.

Nonetheless, the sorceress underscores the imminent

requirement for the war, so the earth can renew itself

and the age can reach a conclusion, indicating that

Draupadi has a higher spiritual objective that is pre-

appointed. Later in the novel, Bheeshma, Draupadi's

granddad in-law and a character who is in the first

epic, has a discussion with her. He reveals to her that

she is prepared to do either obliterating their group or

"lighting [their] approach to popularity". Both these

conversations stress that while her spiritual and other-

common forces are colossal, she should in any case

be engaged in fitting feminine behavior in her regular

day to day existence.

5. DOPDI UNBOUND

The two Divakaruni and Ray's adaptations are focused

on refining Draupadi and decide to do as such by

giving the courageous woman inferiority. This is

significant from a women's activist just as complex

perspective in light of the fact that the epic doesn't give

an admittance to interiority. Getting to these inward

considerations assist readers with testing their view of

Draupadi as reactive and vengeful and set up her as

an uncertain and relatable woman. Nonetheless,

neither of the epic adaptations invest a lot of energy on

the most awkward snapshot of Draupadī's life, when

she is hauled into court and undressed before male

family seniors (2.27). One of the Kaurava siblings,

Duḥśāsana, strips Draupadī of her imperial articles of

clothing to imply that she is presently a slave. This

humiliation is intended to connote a financial as well as

a sexual degradation. Planned as a transition to rebuff

Draupadī for her presumption, it is likewise a sign for

future private sexual humiliations. In playing out the

undressing, Kaurava siblings need to make it known

to Draupadī and the audience that her body is not, at

this point her own however theirs to utilize and

manhandle hereafter.

Divide Rajan composes that despite the fact that the

episode has the nature of a nightmare for the

courageous woman, "[she] abuses the public space

that she approaches through the sexual humiliation".

When Draupadī is brought to court, she shows up "in

her one piece of clothing, hitched underneath,

sobbing and in her courses" (MhB 2.27.59). This

proposes she was unprepared and underdressed to

be in broad daylight or presented to the male look.

Dhand noticed that Draupadī's state is huge on the

grounds that while her single piece of clothing leaves

her physically uncovered, the way that she is

bleeding shows that she is a prolific woman.

Showing up in such a state in the court features her

sexuality before a gathering of male older folks who

ought to always have been unable to get to her

thusly, which adds to the experience of her

infringement and humiliation. Despite the fact that

the political inquiries epic Draupadī raises before the

undressing are critical, in the epic and both these

adaptations it is at last her admittance to godliness

that spares her from further humiliation. She goes to

Kṛṣṇa who ensures magically that the single fabric

that is being torn away from her body is interminable

and hence, she is rarely completely unclothed.

Beam and Divakaruni engage differently with the

women's activist inquiries of body and autonomy that

this episode raises. Beam shows Draupadi's

indignation is full power that stretches out past the

space of the epic. She conveys a passionate

discourse where she refers to a long convention of

gendered oppression in Hindu custom. She cautions

that her humiliation will "demean the entire male sex

for constantly". Divakaruni's respectable Draupadi is

more repressed than Ray's. She invests energy

quietly considering her secret love Karna's failure to

support her and implores before she talks. At the

point when she talks, she restricts her searing

comments to her family by saying this occasion will

prompt the finish of the Kuru faction, to which her

spouses and their enemy cousins have a place. In

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spite of the fact that Divakaruni permits Draupadi

some indignation when she says: "I proved unable—

would not—stop my words", her hotness rapidly

passes. It clears a path for another inside monologue

where a hurt, relinquishing Draupadi expresses how

disillusioned she is in her spouses for not sparing her

since she "would have tossed [herself] forward to

spare them". Draupadi then spends the rest of the

monologue reflecting on the enthusiastic differences

among people, and regrets that she is tainted, "with

vengeance encoded in my blood".

6. PERSISTING IDEOLOGIES, EXCEPTIONAL

WOMEN

Composing on the sexual ideology in the

Mahābhārata, Dhand noticed that the Sanskrit epic

writings keep on applying a tremendous impact over

the construction of gender in Hindu society on the

grounds that at last, narrative is convincing. It is

effectively coursed and assimilated alongside its moral

and political substance:

Narrative is a delicate and nonthreatening vehicle for

ideology, yet enormously powerful for all its enchanting

characteristics; through stories skilfully told, the

audience receives a moral education that advises and

frames its own moral sense, and instructs it to

separate between opposite qualities.

Thus, the epic fanciful has kept on being a key

apparatus in deciding and reinforcing ideology,

especially concerning the parameters of feminine

behavior in India. The New Delhi assault of 2012 is

just one of numerous instances where the tales of the

epic infiltrate the every day realities of Indian women in

creative yet additionally dangerous ways. An

ahistorical and uncritical hailing of the epics to police

feminine behavior is problematic in light of the fact that

no human woman might have the degree of

supernaturally appointed respectability and help

managed by epic courageous women. Further, if the

epic champions were as yet considered responsible

for their attacks and the resulting occasions in both the

epic writings, it might be said no measure of

goodness, courage, or godliness can prevent women

from encountering savagery and oppression.

Further, since narrative is the vehicle for ideology, it

appears to be well-suited that philosophies are being

tested or re inscribed by adjusting the narrative itself.

Journalists who draw from the epic repertoire to

examine women's issues today can potentially engage

in a multi valent, bury textual discourse with genuine

and immediate political stakes. The Mahābhārata's

length and complexity gives numerous slippages and

chances to such imagined abstract departures that can

address a full range of women's issues, from the

accessibility of individual decisions to the realities of

sexual savagery. Notwithstanding, sincere goals don't

generally convert into the ideal results in light of the

fact that the contexts that reinforce gender segregation

on the planets past the epic content additionally keep

on multiplying.

While Divakaruni's anglophone variation of Draupadi's

story makes the epic accessible to a more extensive

audience, it likewise demonstrates how both neo-

liberal, transnational feminism and worldwide

commodity culture may wind up reinforcing a solitary

narrative of feminine goals and an exotic feminized

Other. Relatively, Mahasweta's story extends instead

of agreements the narrative of the epic and history

itself to incorporate gatherings of people, for example,

non-Hindu, ancestral Dopdi, who didn't approach the

Mahābhārata.

Nonetheless, Mahasweta's subject herself is very

different from the author and the little gathering of

educated middle class Bengalis who could have read

the first Bengali story. In spite of the fact that Spivak's

English interpretation of the story helps increase its

readership, it keeps on broadening the reach of the

story upwards into first class circles and not

downwards towards the subject and her context.

Nonetheless, it might be said that intervention is

required in both the world class circles where the

force lies, and in the sphere of the marginalized. It

should likewise be perceived that any artistic

variation of a Brahminical and tip top epic, anyway

ethically solid, ought to be one of numerous methods

for political and moral interventions in a nation.

Utilizing Draupadī to represent every Indian woman

and their issues is likewise sure to raise issues of

representation. On the off chance that Draupadī is a

spokesperson for other women and their issues, it

would imply that she stands for herself as well as for

a frequently solid thought of the Indian, usually

Hindu woman. Thus, the determination of Draupadī

as an unproblematic everywoman is laden with

challenges. Summing up Rajeswari Sunder Rajan's

article, "Is the Hindu Goddess a Feminist?", Rashmi

Luthra re-avows:

[F]ocusing on original female figures from

conventional Hindu writings, regardless of whether

goddesses, epic champions like Sita, or viranganas

(women warriors), is problematic in light of the fact

that it avoids women from the minority religious

networks, just as barring dalit (lower-position)

women. Likewise, the landscape of the prototype

women figures has been genuinely tainted by having

been appropriated by Hindu conservative forces in

administration of communal ventures.

Hence, an author may choose Draupadī and the epic

content, yet can rarely disregard the baggage of

traditionalist Hindu conservative ideology that

accompanies it. Draupadī is an exceptionally

powerful female figure in the Mahabharata, while the

epic itself is a significant custom for the prevailing

religious gathering in the nation. In this sense,

Draupadī can't be an every woman, regardless of

how sympathetically she is depicted. In this way, she

is significantly more problematic as a symbolic

representative of the issues of women in a country

Mrs. Atule Karuna Kesavrao1*, Dr. N. M. Shah2

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than Jyoti Singh Pandey, whose life was composed

more than a few times in recent public memory.

Finally, as much as there is a requirement for an

exchange about the real or imagined experiences of

women, it must be joined by the understanding that

continuing to zero in on goddesses or goddess-like

women or rendering them as images can dismiss the

discussion from building up the humankind and

estimation all things considered. While festivities of

courage and empathetic ID can be powerful motivators

for changing existing frameworks of oppression, valor

ought not be a condition for any woman's, or to be

sure any person's, all in all correct to wellbeing and

respect.

6. CONCLUSION

This article has raised the claim that both films

overlook the multi-faceted constellations and

discursive complexity of their concerns about the

particularly barbaric nature of the Jyoti Singh case,

which have to keep informing any premises or

hypothesis of perpetrators, victims' vulnerability,

structural and political ineptitude or social apathy in the

Indian c In identifying the reality of rape in

contemporary India, the presence of an ongoing

psychological dread of rape, frequently in the thoughts

and minds of women in Indian, cannot be understated

or sidelined. This anxiety is linked to the potential of

violations in unforeseen and unforeseeable situations

of everyday life.

Representations of rape in Mehta and Udwin's films to

a certain degree revitalise the stereotype of destitute

slum-dwelling that respond with the violations of more

economical victims to the inequality of their social and

economic surroundings. The #MeToo's revelations

and many instances of persistent sexual assault have

underlined the involvement of strong stakeholders and

religious custodians. The increase of populist right-

wing party politics in India since Narendra Modi

became Prime Minister in 2014 is not to diminish these

religious and political aspects of rape. The following

case scenarios have shown that rape has grown more

prevalent as an instrument of ethno-religious

punishment, discipline and punishment. Indeed, on the

macro, meso and micro-level, the uniquely Indian

context of rape, abuse, and violence against women is

done discursively, mentally and physically, frequently

via the everyday validity of the dominant national

narrative that favours patriarchy. The locations for

these acts are diverse, on buses, trains, cinemas with

item numbers, public and religious places in

Bollywood, in a home setting and, especially, in the

inner sanctuary of the cognitive space of the individual

- their thinking process. Mehta and Udwin's films, while

they contain compelling issues and emotional

storylines, have not properly taken care of their many

aspects or predicted them.

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Corresponding Author

Mrs. Atule Karuna Kesavrao*

PhD Student, Monad University Kastala Kasmabad,

Uttar Pradesh