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The modern trauma that the children of divorced parents undergo is very painful. With cases of divorce on a sudden rise, divorce has become a major issue in our society. Mannu Bhandari (1931) is a prominent Indian author, popularly known for her two Hindi novels, Aapka Bunti and Mahabhoj. She has played a great role in portraying the society and bringing out its loam to the surface with her effective plot and skillful diction in her novel Aapka Bunti (1971). She sketches the existing world around her so wonderfully that the theme impacts powerfully on the readers. This novel forces us to think that before the parents become impatient and take a decision thinking that only one way out is divorce, they should ponder twice keeping in view the emotions and sentiments of their children. Probably then, they will be able to decide better and live happily. The theme is very popular but never presented with such intense fervor. The novel ends with an unstated message that a child requires love, care and bonding; he does not want to live with a single mother or single father, but wants both his parents to live together to nurture him and protect him. The present paper makes a thematic study of the poignant novel. [ABSTRACT FROM AUTHOR]

"Phineas Redux" (1874), the fourth of Anthony Trollope's "political" novels, depicts several unions between parties who remain formally tied to one another although they have no affective bond. Two failing marriages are dissolved, but actual divorce is never mooted. Debate over disestablishment of the Anglican Church opens the novel, but formal interest in the separation of church and state is supplanted by a murder trial and barely resurrected. And in the breach between these parties stands Phineas Finn, the novel's Catholic, Irish hero. This paper argues that the novel's early focus on unsuccessful marriages voices parallel albeit unspoken concerns about "Home" Rule and England's increasingly tenuous union with Ireland. More broadly, it suggests that through Phineas's trial initially political questions of church versus state authority governing the legitimacy of these unions are transformed into personal ones of conscience and feeling. This internalization of the political becomes an aspect of character formation that raises the questions of how law transforms national politics into personal conviction and how literature uses law to develop its characters. [ABSTRACT FROM AUTHOR]

Feminism is an expression which connotes a movement for securing equality between the sexes in all walks of life, social, economic and political. It aims at ensuring for womanhood freedom in all respects. Nayantara Sahgal primarily deals with feminism in most of her novels. She is a writer of feminist perspective. She projects her heroines struggle for freedom and self-realization in her fiction. She infuses into her heroines the spirit of self-respect and individualism. Her heroines always try to realize their self-hood either unconsciously or consciously and deliberately. In The Day in Shadow, she shows how a woman can be criminally exploited 'without creating a ripple.' The novel delineates the emotional and economic strains of divorce on the female protagonist, Simrit. Simrit is an independent woman who can make choices. She marries Som, solely attracted by his colour, life and action disregarding opposition from her parents and the dislike of her friends. Very soon, she realizes her folly when she is forbidden in his house to have a say even in routine matters like choosing servants or a cook, selecting curtains or sofa covers. Disappointed at Som's attempts to restrict her individuality and the humiliating treatment meted out to her, Simrit resolves to dissolve her seventeen-year-old marriage. Even as a divorcee, she asserts her individuality. In the sight against the outworn traditions, she chooses to start a new life with Raj, a liberal thinker. This paper presents in detail the problems faced by woman and their struggle for self-identity and their emancipation from the traditional bondage of the patriarchal society. [ABSTRACT FROM AUTHOR]

Traditional theatre narratives in China have altered to accommodate changing gender attitudes over the last century. One such narrative, the Zhu Maichen story, revolves around a female-initiated divorce. Though traditionally a reviled figure, in recent and contemporary theatre Zhu's story is reoriented to make the transgressive woman either more of a victim of feudal society, or blameworthy for reasons unrelated to the divorce. What is called 'traditional theatre' and thought of as conservative performance of heritage scenes is nevertheless highly responsive to social shifts. [ABSTRACT FROM AUTHOR]

A literary criticism of the novel "Aapka Bunty," by Manu Bhandari and translated Jai Ratan is presented. It discusses the effect of divorce and family dispute on the well being and subsequent development of a child as protrayed by the protagonist in the novel. It examines the attributes of each character in the story including Shakun, a college principal and father to Bunty.

This article examines the evidence regarding the printing of John Milton's Tetrachordon (1645), the third in the author's series of divorce tracts. This work appeared without a printer's name, thus contravening the 1643 Licensing Order. While it has long been understood that Tetrachordon was printed collaboratively, this article questions the common attribution to the printers Samuel Simmons and Thomas Paine, who had printed The Doctrine and Discipline of Divorce (1643), and introduces the possibility that Francis Neile had a hand in the work, and that printing likely involved a network of printers working together. Exploring the forensic evidence of type, the complex printing contexts of Milton's divorce writings, and examining the unstable political identities of printers also brings to light Milton's long association with news-men. Further, the reappearance of Tetrachordon in John Starkey's book catalogues from the 1670s is addressed. [ABSTRACT FROM PUBLISHER]

This article is about the critical responses to the book "The Custom of the Country" have been deeply influenced by events in its writer Edith Wharton's life during the period over which the novel was written. Connections between the novel and Wharton's financial success, her affair with Morton Fullerton, and the difficult decision to divorce her husband of nearly thirty years are readily apparent. In this article, the article author argues that "The Custom of the Country" should be read as a novel about changing property relations and the ways in which those property relations are constitutive of personal identity.

Examines the integration of divorce context in John Milton and Elizabeth Cary's literary works. Integration of views on marriage and woman, and assumptions on female silence and speech in the text; Characterization of neoclassical tragedies; Exposition of the Mosaic divorce law; Parallelism between both writers' experiences and literary works.