A FEMINISTIC OUTLOOK ON THE DIPLOMACY OF TRIVIALIZED IN MAHASWETA DEVI'S DRAUPADI

Authors

  • D. Sunitha Deva Kumari
  • Dr V. Jaisre

Abstract

Draupadi's account of an old, absurd, terrifying individual's human advancement has taken on a new, perhaps not altogether exceptional, shape by Mahasweta Devi. Draupadi was a woman who displayed herself after the unmatched Indian models. The Mahabharata has recognized the significance of its records and representation of a woman driven by five legends known as Pandus, and the story of Draupadi from a unique, harsh, male-dominated society has been converted into an assistant shape. Despite not being unique, Draupadi has established a strong image in the standing universe of inescapability from that point forward, replying and killing the horrific norms of India's deeply embedded male caretakers. Mahasweta Devi need not bother with a show. However, her effect on society through her designs and socio-political activities has been critical, with hypothetical works like The Breast Stories, Rudaali, and the cash from the offer of her property testing women’s status. Devi's last breath flagged the finish of an extensive stretch of battle, and a show of all parts of an individual's wife Draupadi expressed her displeasure about her absence when a play was scheduled at a division of English in a supported relationship in northern India during a period of weight on the border with a neighbouring country. A considerable number of Devi's works, like Rudaali and Sunghursh, have been adjusted for screens of various sizes. However, the subject of Draupadi's stage change, which is a story, has turned into a tornado for the essayists.

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Published

2022-01-20