This blog is part of assignment of Paper 106: The Twentieth Century Literature: 1900 to World War II
Breaking the Mold: How Orlando and Chandigarh Kare Aashiqui Redefine Gender Through Fiction
Table of Contents :
Personal Information
Assignment Details
Abstract
Keywords
Understanding Queer Theory
Orlando's Gender Odyssey
Chandigarh Kare Aashiqui: Navigating Trans Identity in Bollywood
Contrasting Narrative Styles and Cultural Contexts
Transcending Boundaries: Gender-Bending Fiction Across Eras
Conclusion
Personal Information:-
Name:- Dhatri Parmar
Batch:- M.A. Sem 2 (2023-2025)
Enrollment Number:- 5108230032
E-mail Address:-dhatriparmar291@gmail.com
Roll Number:- 7
Assignment Details:-
Topic:-Breaking the Mold: How Orlando and Chandigarh Kare Aashiqui Redefine Gender Through Fiction
Paper & subject code:- 106: The Twentieth Century Literature: 1900 to World War II
Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
Date of Submission:- April 26, 2024
Abstract :
This paper contrasts the portrayals of gender transformation in Virginia Woolf's "Orlando" and the Bollywood film "Chandigarh Kare Aashiqui" through a queer theory lens. Woolf celebrates gender fluidity fantastically, her protagonist transcending gender markers. Conversely, Kapoor's film realistically depicts a trans woman's struggles amid societal prejudice. Juxtaposing narrative styles and contexts highlights unique perspectives challenging gender binaries.
While "Orlando" explores utopian gender ideals, "Chandigarh Kare Aashiqui" grapples with contemporary Indian transgender issues. Both center trans/non-binary characters, inviting inclusive understandings of gender. However, their fantasy versus realist approaches reflect distinct eras addressing marginalized identities. Ultimately, this analysis underscores fiction's power to redefine gender, promote empathy through boundary-pushing creative storytelling.
Keywords: gender fluidity, transgender, queer theory, Virginia Woolf, Bollywood, gender norms
Introduction :
Gender norms and roles have been deeply entrenched in societies worldwide. However, works of fiction possess the power to challenge these conventions and present alternative perspectives. Virginia Woolf's novel "Orlando" (1928) and the Bollywood film "Chandigarh Kare Aashiqui" by Abhishek Kapoor (2021) exemplify this by using imaginative narratives to deconstruct traditional gender binaries and explore evolving, non-conforming identities.
"Orlando'' celebrates gender fluidity through fantasy, while "Chandigarh Kare Aashiqui" portrays the challenges of transgender identity realistically within a social context. By examining these contrasting portrayals, we gain a richer understanding of the evolution of LGBTQ+ representation in fiction. Through their bold depictions of gender transformation and trans representation, these works invite audiences to reconsider societal assumptions and embrace a more inclusive understanding of gender.
Understanding Queer Theory:
Queer theory originated from the term "queer," which was used pejoratively in the 19th century to refer to homosexuality. However, it has been reclaimed to encompass gender identities and sexualities that defy traditional societal norms. According to the Cambridge English Dictionary, "queer" relates to "a gender identity or a sexuality that does not fit society's traditional ideas about gender or sexuality."(“QUEER | English meaning - Cambridge Dictionary”)
Philosopher Judith Butler, in her essay "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory," posits that “As a public action and performative act, gender is not a radical choice or project that reflects a merely individual choice, but neither is it imposed or inscribed upon the individual, as some post-structuralist displacements of the subject would contend.’ [Butler]
Gender expression is not merely a personal choice or an imposition; rather, it is shaped by a combination of individual decisions and societal expectations. This complexity challenges simplistic notions of gender.
Orlando's Gender Odyssey :
Virginia Woolf's novel, Orlando , offers an imaginative biography of a character who lived from 1500 to 1928, and who, inexplicably, in the late seventeenth century at age thirty changes from a man into a woman. The protagonist, Orlando, journeys through centuries, experiencing life as both a man and a woman.
"He - for there could be no doubt of his sex, though the fashion of the time did something to disguise it - was in the act of slicing at the head of a Moor which swung from the rafters"
Orlando leaves England and goes to Turkey to work as an ambassador. It is here where the change from male to female happens in a miraculous way. If we do a deeper reading we see that the protagonist of this work is experiencing both genders in one person. The character does not change his personality; he only changes his appearance and due to this Orlando can be seen as an androgynous human being.
Orlando's metamorphosis goes beyond the physical where he/she explores real identity. This challenges societal gender norms. Woolf's dreamlike narrative blurs reality and fantasy, freeing Orlando from societal constraints. The novel also has the idea of Androgyny described in the non-fiction book “A Room of One’s Own.” Through attire and relationships, Orlando transcends traditional markers.
The story highlights gender fluidity ahead of its time. Orlando defies the male/female dichotomy.Orlando, in a social context and pretending to show how humans are molded by social constraints.
“He had eyes like drenched violets, so large that the water seemed to have brimmed in them and widened them; and a brow like the swelling of a marble dome pressed between the two blank medallions which were his temple.” (Orlando 12)
This description of Orlando highlights the femininity in her masculine body. Looking through the queer theory Orlando at the end of the novel accepts her true identity as a woman.
What is Transphobia ?
According to Mariam Webster, Transphobis means, “irrational fear of, aversion to, or discrimination against transgender people”Transphobia is the phrase used to describe the intense dislike of or prejudice against transgender people. It also covers the dislike of transsexual, intersex or androgyne people. A transgender person feels that the gender they were assigned at birth is not the gender they are.
Chandigarh Kare Aashiqui: Navigating Trans Identity in Bollywood :
"Chandigarh Kare Aashiqui" tackles the complexities of transgender identity in contemporary India. The film follows Manu, a bodybuilder, and his burgeoning relationship with Maanvi, a trans woman played by Vaani Kapoor. Director Abhishek Kapoor sensitively portrays Maanvi's identity, humanizing her experiences.The film centers on Manpreet[Manvi], a transgender woman who navigates societal prejudice and the challenges of finding love.
Unlike "Orlando's" imaginative exploration, "Chandigarh Kare Aashiqui" adopts a realistic approach. The film portrays Manpreet's struggles for acceptance within her family and the community. Despite these challenges, the film celebrates Manpreet's resilience and her pursuit of a fulfilling life.
However, limitations exist. Catering to a mainstream audience, the film might simplify the complexities of the transgender experience .Maanvi is not defined solely by her gender identity, but portrayed as a fully realized individual with hopes, dreams, and struggles like anyone else. Eventually, he[Maanvi] realizes being born in a male body was a biological defect that Maanvi rectified via surgery, and only he had to step up and accept her for who she was.
In an article in Indian Journal of Medical Ethics, Queer writers Rohin Bhat and Kris Chudawala mentioned that the film missed the mark in proper representation of transgender community in the film. She frequently referred to herself as a “trans girl”. That’s a very clear word choice. She could say “transsexual”, or “Hijra”. But instead she chooses a phrase which says “I am a girl, just in a different way”.
When director Abhishek Kapoor cites "the need to talk to people in their own language" as a rationale for not casting a trans actor as Maanvi, he is clearly pointing to the "normalization" necessary to make a trans woman "desirable" for the mainstream audience.
Contrasting Narrative Styles and Cultural Contexts :
Virginia Woolf's "Orlando" employs an imaginative, dreamlike style to explore gender fluidity, reflecting the desire to challenge and reimagine societal gender constructs in the early 20th century, an era grappling with shifting gender roles and emerging feminism. In contrast, "Chandigarh Kare Aashiqui," released nearly a century later, portrays transgender identity realistically within the cultural context of increasing trans visibility yet persistent discrimination in India.
While "Orlando" luxuriates in fantastical gender exploration without realistic constraints, "Chandigarh Kare Aashiqui" cannot fully escape real-world complexities. Manpreet's character navigates transphobia, familial rejection, and objectification, reflecting India's complex attitudes toward gender and sexuality.
Both works push cultural boundaries surrounding gender by centering trans/non-binary characters. However, their contrasting narrative approaches reflect their unique historical moments and contexts. "Orlando" revels in imaginative gender utopia, while "Chandigarh Kare Aashiqui" advocates for trans inclusion within contemporary Indian society.
Transcending Boundaries: Gender-Bending Fiction Across Eras :
Orlando was published in 1928. It came from the Bloomsbury Group in England after World War I. This group challenged old thinking on gender and sexuality. Woolf explored ideas like androgyny. Her writing pushed against patriarchal limits on women.
Orlando plays with fiction genres. A single character transforms between male and female over centuries. Woolf imagined identity outside rigid male/female boxes. Her gender-fluid tale defied normal ideas. It reflected the experimental modern art movement.
In Woolf's time, Britain remained conservative about gender and sexuality. Despite some progress, strict social rules existed. Orlando's queerness pushed boundaries. The novel remade traditional biographical fiction in a daring way. Its fantasy style gave Woolf creative freedom to provoke society.
Chandigarh Kare Aashiqui released in 2021. It exists in current complex realities for India's trans community. Some laws protect trans people now. But discrimination, violence, and lack of opportunity remain big problems. Cultural stigmas and misinformation persist, even as trans visibility increases.
This film takes a realistic approach. It shows a romance between a cis man and a trans woman. Centering a trans character's experiences aims to build empathy and openness with general audiences. The goal is to reduce stigma around trans lives.
However, the film cannot capture all complexities. Appealing to broad commercial interests may mean oversimplifying narratives. It cannot represent the diversity of all trans and non-binary experiences. Still, its existence marks growing trans representation through popular culture.
Both works redefine gender through fiction in different ways. Orlando imagines transcending boundaries ideally. Chandigarh grapples with fighting for acceptance in reality today.
Conclusion :
Orlando and Chandigarh Kare Aashiqui redefine gender understanding. They challenge old beliefs through creative storytelling. One uses fantasy while the other uses real-life settings. Both aim to break gender stereotypes. They entertain and educate audiences. These films promote empathy and acceptance. They show the complexity of gender. In our changing society, such works are important. They challenge biases and promote inclusivity. They contribute to a better world through storytelling.
Words : 1584
Images : 2
References :
Butler, Judith. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal, vol. 40, no. 4, 1988, pp. 519–31. JSTOR, https://doi.org/10.2307/3207893. Accessed 18 Mar. 2024.
Kumar, Pushpesh. “Chandigarh Kare Aashiqui and Transfeminine Identity: Representation or Exclusion?” Economic and Political Weekly, 3 September 2022, https://www.epw.in/engage/article/chandigarh-kare-aashiqui-and-transfeminine. Accessed 18 March 2024.
Olesea Brasovean. “The Queerness of Orlando: Judith Butler’s Performance and Constructiveness of Gender in Virginia Woolf’s novel.” https://uvadoc.uva.es/bitstream/10324/33029/1/TFG_F_2018_6.pdf. Accessed 18 March 2024.
“QUEER | English meaning - Cambridge Dictionary.” Cambridge Dictionary, 13 March 2024, https://dictionary.cambridge.org/dictionary/english/queer. Accessed 18 March 2024.
Rohin Bhatt, and Kris Chudawala. “Chandigarh Kare Aashiqui: Bollywood, bioethics, and trans bodies.” Indian Journal of Medical Ethics, 23 July 2022, https://ijme.in/articles/chandigarh-kare-aashiqui-bollywood-bioethics-and-trans-bodies/. Accessed 18 March 2024.
No comments:
Post a Comment