A Feminist Stylistic Analysis of Ayesha Tariq’s Sarah: The Suppressed Anger of the Pakistani Obedient Daughter

Bushra Zahid, Dr. Muhammad Ajmal, Dr. Rubina Masum


This descriptive study attempts to analyze Sarah: The Suppressed Anger of a Pakistani Obedient Daughter from a feminist perspective in order to investigate the transition of the Pakistani female author to her novel. This is a pictured novel composed and shown by Ayesha Tariq. The main character of the book is Sarah, who has to suppress her anger to meet the expectations of her family and society. In numerous Pakistani families, young ladies are viewed as great, quiet and delightful and to do as such they need to stifle their displeasure no matter what: this is the focal subject of a new and exceptional realistic book. This paper examines women's representation through feminist stylistic analysis of women's rights. There is a need to observe portrayal of Pakistani ladies according to the perspective of female journalists and this hole is made here. Pakistani society is for the most part known as a male-overwhelmed society. Orientation relations in Pakistan depend on two essential ideas: that women are subordinate to men, and that men's dignity lies in the actions of the women of his family. Feminist analysis shows that women are portrayed as materially active but they are powerless and their actions highlight their negative and distorted image. Their exercises make them monetarily and socially obliging to men. As in the Tariq's clever Sarah is a dutiful little girl, and dreams of autonomy, travel, and sentiment. However, her existence with her moderate family is a snag to the existence she truly cares about. The absence of a fantasy arrangement doesn't make this clever less ladylike, nor does it debilitate Sarah. Instead, it shows what Sarah needs to bear consistently and the amount she needs to battle to ensure she proceeds to study and dream notwithstanding the gigantic strain to adjust. Coins Sarah's story is a significant update that there are not just open places that should be reclaimed against orientation segregation - these are largely places, counting and especially at home and in the cerebrum. As a women's activist exploration study, this original brings issues to light locally.

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There is a general perception that a male member of the society projects only male perception of life and generally ignores female perception of life. As a result, women are discriminated and subordinated to men which is projected in the literature as it reflects the true picture of society. In the present study, the researcher has tried to find out the stylistic features that represent the gender discrimination in the play of Wajahat Ali. The present research has been conducted to decode the text of The Domestic Crusader stylistically by applying 'Sara Mills' model of Feminist Stylistics. The data have been analyzed at the level of words, sentences and discourse. This research has been conducted by qualitative approach. The present research concludes that the writer has used negative words and sentences to represent women and men and used body parts to describe a woman while man is described overall either positive or negative. Furthermore, the writer has used generic noun, woman as marked form, naming and androcentrism, semantic derogation of women at the level of words, readymade phrases, metaphors, jokes and humor and presupposition and inferences at the level of sentences while fragmentation has used at the level of discourse. Moreover, the writer has portrayed male character opposite to female characters for instance when female has defined as sex object, weak and helpless, the writer has used male as pleasure seeker, terrorist and extremist.

DOI: http://dx.doi.org/10.21015/vtess.v9i2.995


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