Keep Up With The Men Fashion Trends 2012

Do you guys like to watch the fashion news on the TV, such as Fashion week spring/summer 2012 shows, or the fashion magazines? Maybe many women will say yes, but now, walking on the street, you may have a strong possibility to meet a fashionable boy or man with beyond glaring or exaggerated outfit, why? More and more men are paying lots of attentions on the dressing, which means the physical appearance, especially the famous actors, as far as we know. So not only the women fashion trend is eye-catching, but also the men fashion trends. Now we are at the beginning of 2012, as the seasons changes, the fashion trend may change, hence, keeping up with 2012 men fashion trends is not a moment to be lost particularly for the professionals, as fashion trend indicates that which one is going to be a continuation in the next year for the people.

In general, the men fashion trends contain several parts, like the clothes, shoes, hats, bags, accessories etc, and some eternal trend will be never out of date, some pieces are everlasting, especially the utility and stylish pieces, such as leather man bags. In our daily lives, the leather men bags are usually designed with mellow color and common shape, so that they could satisfy all kinds of needs and accompany men for different occasions, even go well with clothes in different styles, along with the everlasting concept, these kinds of bags are very attractive for the modern men, dont you think so? Of course, if you want to give them a refreshing look, you could try to change the styles of clothes.

Color is always an important element in the fashion trend, men fashion trends is no exception, this year we saw many warm, rich earth tones, such as clay, brass, we also say a lot of bold, eye-catching colors, electric blue etc, the most popular color for 2012 men fashion trends will be rust, as we have seen this color used for many areas on the major fashion week on the runways. Trousers, cargos, boots and accessories will have some part with this color in spring 2012; it will be very great if you like this color.

Some of the largest 2012 men fashion trends will be detailing, popular color in shoes, clothes, bags and accessories. As we mentioned above, the traditional, permanent, and classic design will still keep its popularity, the leather man bags are a wonderful example, leather bags for men are absolutely necessary for the men at present.

Want to keep up with the 2012 men fashion trends? Bring some the classical trends into your wardrobe now.

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How Bihari Weddings Are Celebrated

Bihar is one of the extremely backward regions in India. Though these days Biharis have turned quite liberal, they still stick to their modest traditions in every aspect. They dont exhibit any artificial pomp and are very proud of the rural touch of their roots. Usually a traditional Bihari wedding lasts for a month, but these days it has been reduced to a five days affair.
A Hindu Bihari matrimonial rite begins with Satyanarayan Katha, a prayer that is performed by the groom and his family, under the supervision of a Pundit or priest. All the attending family members are supposed to fast. The havan is performed on the last day to conclude all the wedding rituals.
Then the ritual Haldi Kutai takes place, in this grooms mother and other suhagins(married ladies) grind the turmeric to a paste that is sent to the bride for the ritual ubtan.
After that, an auspicious day is fixed for Cheka, which is the engagement ceremony. In this ceremony, 5, 7, 9, or 11 members from the grooms family along with the groom visit the brides house along with gifts, known as Chekas and the bride and groom exchange rings. The next day, the same ritual is repeated by the brides family and they visit the grooms house.
The Shagun is performed in which the brides priest, accompanied by her brother, the barber, and four other members, take auspicious gifts to the grooms family. The brides brother applies tilak/teeka on the grooms forehead that signifies that familys acceptance of the wedding. The brother gets along a lot of gifts like vessels, clothes, jewelry etc.
Shagun is followed by Tilak. IN this ceremony, Haldi paste, specially made by the brides mother, is brought in a silver bowl that is applied on the groom. Tilak is the one of the biggest ceremonies held by the grooms party, this is equivalent to a wedding reception.
On the wedding morning, once again the haldi/turmeric paste ceremony is performed so that the bride and the groom beautify and purify their bodies after which they are dressed up the Jaimala ceremony.
Silpoha a ladies ritual, is held early in the wedding morning wherein the grooms mother in her Chunri/shawl, along with her mother-in-law or her husbands elder brothers wife grinds akshat or rice on a flat grinding stone. While grinding they seek blessings of gods and ancestors. After that, a ritual Imli-Ghutai is performed by the grooms maternal uncle and aunt just before the paricchavan. It is to drive away evil omens and to warn the groom not to indulge in any form of vices. In this ritual, the uncle feeds a betel leaf to the groom, but the groom keeps it between his teeth while his mother takes it from him and eats it herself. This act signifies that the mother will accept all the evil omens falling on him upon her.
Now the wedding function begins. The bride is brought to the wedding ground where she performs an Aarti of the groom and then the couple exchange garlands. Before the commencement of wedding rites, the brides mother and other married women hold the Galsedi ceremony. During this ritual, the mother carries a plate that contains a small lighted lamp, betel leaves and small lumps of cow dung. All the women, one by one, heat the betel leaves on the lamp and foment the grooms face, forehead and eyes at least five times each from their left hand.
After that, the brides brother or brother-in-law escorts the groom to the mandap for Kangna Bandhana ceremony for which the bride adorns a yellow silk sari with zari/gold borders without absolutely no jewelry on her body. The pundit/priest ties the bracelets made of mango leaves, raw cotton thread, colored rice, turmeric and money, on the right hand of the couple and for the next four days they have to wear this symbolic bracelet. Then the barber, present in the mandap, cuts the fingernails and toenails of the both the bride and the groom.
Then the kanyadaan takes place. In this ceremony, the brides father stretches out his right hand to the brides mother who places her right hand on it, signifying the giving away daughter. All this time, the priests chant the mantras. The groom then retires to his room and once again the bride changes her dress for theKanya nirakshan which means an introduction to the grooms family and relatives.

INDIVIDUAL AND SOCIETY IN THE NOVELS OF MANJU KAPUR

INDIVIDUAL AND SOCIETY IN THE NOVELS OF MANJU KAPUR Manju Kapur has joined the growing number of women writers from India, like Shashi Despande, Arundhati Roy, Githa Hariharan, Shobba De On whom the image of the suffering but stoic women eventually breaking traditional boundaries has had, a significant impact. They invigorated the English language to suit representations and narration of what they felt about their women and their lives in post modern India. In a culture where individualism and prated have often remained alien ideas and marital bless and the women’s role at home is a central focus. These modern-day women authors are now expressing themselves freely and boldly and on a variety of themes without adopting feminist postures. Manju Kapur’s novels acquire a significant new meaning when read in the point of view of crisscross dogmas of cultural critical thinking. Manju Kapur’s novels furnish examples of a whole range of attitudes towards the importation of tradition. However, Mrs. Kapur seems aware of the fact that the women of India have indeed achieved their success in sixty years of Independence, but if there is to be a true female independence, too much remains to be done. The conflict for autonomy and separate identity remains and unfinished combat. Women under the patriarchal pressure and control were, subjected too much more burnts and social ostracism. They were discriminated and were biased in lien of their sex. The life women Lived and struggled under the oppressive mechanism of a closed society were reflected in the novels of Manju Kapur. Taking into account the complexity of life, different histories, cultures and different structures of values, the women’s question, despite basic solidarity needs to be tackled in relation to the socis-cultural situation. The impact of patriarchy on the Indian Society varies from the one in the west. Manju Kapur has her own concerns, priorities as well as their own ways of dealing with the predicament of their women protagonists. My purpose is to study individual and society in the novels of Manju Kapur. I have taken three novels of Manju Kapur entitled “Difficult Daughters Married Woman and Home” for this purpose. JUSTIFICATION Manju Kapur’s female protagonists are mostly educated, aspiring individual caged with in the confines of a conservative society. Their education leads them to independent thinking for which their family and society become intolerant of them. They struggle between tradition and modernity. It is their individual struggle with family and society through which they plunged into a dedicated effort to carve an identity for themselves as qualified women with faultless backgrounds. The novelist has portrayed her protagonists as a woman caught in the conflict between the passions of the flesh and a yearning to be a part of the political and intellectual movements of the day. MANJU KAPUR LIFE & WORKS Manju Kapur teaches English literature at Miranda House College, Delhi University. Her first novel ‘Difficult Daughters’ received huge international acclaim. This novel was published in 1998. Her second novel ‘A Married Women’ was published in 2002. Her third novel ‘Home’ was published in 2006. ‘Difficult Daughters’ was awarded the Commonwealth Writers Prize for the best first book (Eurasia) and was a number one best seller in India. She is married to Gun Nidhi Dalmia and lives in New Delhi. The portrayal of woman in Indian English fiction as the silent suffer and up holder of the tradition and traditional values of family and society has undergone a tremendous change and is no longer presented as a passive character. Kamala Markandaya, Nayantara Sehgal, Anita Desai, Shashi Despande and many women as an individual rebelling against the traditional role, breaking the silence of suffering trying to move out of the caged existence and asserting the individual self. This women is trying to be herself and yet does not wish to break up the family ties. Since Gandhiji helped the women to cross the threshold of family life and move out into the outer world of freedom struggle and social reform, the woman is presented with varied opportunities not only today but also yesterday during freedom movement. Yet writing in 1998, Manju Kapur, in her novels presents women who try to establish their own identity. The women of India have indeed achieved their success in half a century of Independence, but if there is to be a true female, independence, much remains to be done. The fight for autonomy remains an unfinished combat. I In her quest of identify, Virmati the central character of the novel, rebels against tradition. She is impelled by the inner need to feel loved as an individual rather than as a responsible daughter. The title of the novel ‘Difficult Daughters’ is an indication to the message that a woman, who tries in search of an identity, is branded as a difficult daughter by the family and the society as well. ‘Difficult Daughters’ is the story of a young woman, named virmati born in Amritsar into an austere and high mined household. The story tells how she is torn between family duty, the desire for education and ellicit love. This is a story of sorrow, love and compromise. The major portion deals with Virmati’s love affairs with professor and rest part describes fighting struggle for freedom. Virmati is the elderest daughter of Kasturi and Suraj Prakash. Kasturi has eleven children. One after another she gives birth to children and thus the whole burden of household work increases over Virmati, being the elderest daughter. Due to her busy routine she does not do well in her studies and fails. She falls in love with a professor, a man who is already married. He sublets a portion of Virmati’s house. Thus professor develops on intimate relationship with Virmati and decides an appropriate place for regular meeting. Here Virmati’s parents decides to marray her to an engineer Inderjeet but due to the death in his family marriage is postponed for two years. During this period Virmati passes her FA exam and denies for marriage. Professor insists Virmati on being firm. Now Virmati becomes mentally disturb and goes to Tarashika and drowns herself. She is escaped by the servants of her grand father Lala Divan Chand and returns to her house at Lepel Griffin Road. Everybody inquires the reason and finally she declares that the does not like the boy and wants to study further. So marriage is settled with Indumati, the second daughter. Now Kasturi has to go with Virmati to Lahore for getting her admit in RBSL college and principal assures Kasturi that there will be no problem and she has her eye fixed firmly on each one. Sakuntala who has been a source of inspiration for Virmati, visites her regularly. Professor’s course of meeting to Viru has yet not stopped and during this period she becomes pregnant. She becomes restless and with the help of her room mate Swarnlata she gets abortion. After completing her B.T. she returns to Amritsar and is offered the principal ship of a college, she joins it but in Sultanpur too Harish visits her and there meetings are observed by Lalaji. She is dismissed so she decides to go to Nariniketan but on the way she meets Harish’s close friend Poet who is already aware of their intimate relationship. So he does not let her go and calls Harish. He performs all the rituals of marriage. Professor with Virmati returns home. During her conjugal life Virmati feels that it would have been better if she had not been married with Harish. After sometime she gives birth to a daughter Ida. And at the beginning of the novel this girl Ida ponders over her mother’s life. Virmati has to fight against the power of the mother as well as the oppressive forces of patriarchy symbolized by the mother figure. The rebel in Virmati might have actually exchange one kind of slavery for another. But towards the end she becomes free, free even from the oppressive love of her husband. Once she succeed in doing that, she gets her husband all by herself, her child the reconciliation with her family. In the patriarchal Indian Society marriage is a means of deliverance from being socially condemned and it relieves a woman from the sense of insecurity and uncertainty. To the older generation marriage is no reason to rebel, it was accepted as a part of life’s pleasere and was a phase of initiating certain Dharmas associated with social and religious institutions. Off course love was not the prerequisite or a desired basis for marriage. If Virmati’s mother, Kasturi and Ganga (Prof. Harish Chandra’s first wife) seeks pleasure in domestic up doings. Virmate struggles between the physical and moral, the head and the heart. Finally she gives way to her heart and body. II In her novel ‘A Married Woman’ Manju Kapur has taken writing as a protest, a way of mapping from the point of a woman’s experience. Kanpur negotiates different issues emerging out of a socio – political upheaval in her country. In a realistic way, she has described the Indian male perception of women as a holy cow even though women are not very interested in history and those in power trying to twist and turn historical facts to serve their own purposes. Ms. Manju Kapur’s second novel ‘A Married Woman’ is the story of Astha an educated, upper middle class, working Delhi woman. As a girl, she was brought up with large supplements of fear. She was her parents only child. Her education, her character, her health, her marriage these were her parent’s burdens. But like a common school going girl she often imagines of romantic and handsome Young man holding her in his strong manly embrace. In her adolescence she falls in love with a boy of her age. Day and night the though of him kept her insides churning. She was unable to eat, sleep or study. In the main time she is emotionally engage with Rhan and they enjoy physical relationship. This relationship is finished within a few days as Rohan moves to Oxford for further studies and her marriage is settled with Hemant who belongs to a bureaucrat family. They live in Vasant Vihar, a posh colony in New Delhi. They start their married life and soon Astha is fed up with it. Astha starts teaching in a public school after much resistance from her husband and her parents. During her staying in this school she participates in a workshop on communalism which is being led by an intellectual artiste Aijaz Akhtar Kha, the founder of ‘The Street Theater Group’. Aijaz teaches history and during the holidays he performs plays in school, slums, factories, streets small town and villages to create empathy and to generate social awareness. Although Astha and been a mother of a son and a daughter by this time. She is festinated by the multifaceted personality of Aijaz. But ferocious soon this relationship is over as the workshop finishes. After a few days Astha reads the news of Aijaz’s murder. Babri Masjid is demolished in Ayodhya and there is a lot of turmoil throughout the country. To establish religious harmony and social integration processions are organized by ‘The Street Theatre Group’. In one of such processions Astha meets Pipeelika and she comes to know that she is the widow of Aijaz. She feels great empathy to Pipeelika and a powerful physical relationship is establish between them. This relationship is a challenge for her husband and family. They both live together and deep emotional attachment develops between them. Astha is on the verge of loosing her conventional marriage. Pipeelika leaves India to study abroad and Astha returns back to her family. ‘A Married Woman’ is beautifully, honest and seductive story of love and deep attachment, set at a time of political and religious turmoil. III ‘Home’ is the third novel, by Manju Kapok. This is fast moving story which makes an ordinary middle class family’s life in Delhi. The main character or the patriarch of a cloth business, Banwarilal lives in New Delhi neighborhood of Karol Bagh. Banwarilal believes in the old ways and is the firm believer of that men work out of the home, woman within. Men carry forward the family line, women enable their mission. His two sons unquestioningly follow their father but their wives do not. Both brothers carry their lives as well as business according to the wishes of their father. As the time passes Banwarilal dies and the whole burden of the family comes to Yashpal, being the elder one. He has one sister who becomes widow in her early life. She has a child named Vicky. They also join them in their house in Karol Bagh. At the beginning of the story Sona and Rupa both sisters are childless. They could not conceive for a long time. Sona keeps but it is of no use. Sona belongs to a rich family in comparison of her sister Rupa. Rupa’s husband is an educated man. They passes their lives happily. After a long time Sona gives birth to Nisha and then to Virat. Nisha is physically tortured by Vicky, her cousin. She feels mentally disturb so she is sent the Rupa’s home for a change. Here she gets education well. After some time she returns to her home where no one pays much attention towards her studies and she gets compartment in two subjects. She is guided by Premnath. She passes in it and enters in college for getting higher education. She meets a boy and decides to marry him ignoring his caste and creed. Thus the novel depicts how family norms are is ignored by the new generation. Manju Kapur’s novels present the changing image of women moving away from traditional portrayals of enduring, self sacrificing women towards self assured assertive and ambitious women making society aware of their demands and in this way providing a medium for self expression in the works of Manju Kapur. It will be interesting to note man woman relationship in the three novels of Manju Kapur. As an element of feminism especially in the realm of biological, sexual, cultural and racial aspects will also be probed in the three novels. ?

CHAPTER DIVISION CHAPTER 1 :Individual and Political Arena CHAPTER 2 :Individual and Social Space CHAPTER 3 :Individual Dynamic of Family CHAPTER 4 :Use of Language CHAPTER 5 :Conclusion ?

BIBLOGRAPHY (A) PRIMARY SOURCES : 1.Kapur Manju :’Difficult Daughters’ New Delhi : Penguin, 1998. 2.Kapur Manju :’A Married Women’ New Delhi : India Ink, 2002. 3.Kapur Manju :’Home’ New Delhi : Random House, 2006. (B) SECONDAY SOURCES : 1.Beauvaur, Simonde, “The Second Sex” Tran H.M. Parshley Harmondsworth 1971-London Pan Books 1988.Carbyn Heiburn : Marriage and Contemporary Fiction, Critical Inquiry, 5 No. 2 (Winter 1978). 2.Grimke, Sarah Letters on the Equality of the sexes and the condition of women New York, Burt Franklin 1970. 3.Gur Pyari Jandian : Manju Kapur’s Difficult Daughters : A Study is Transition from chaos to integration : The Common Wealth Review Vol. 12 No. 1, 2000-2001. 4.Hasin, Attia. Sunlight on A Broken Column, New Delhi : Arnold Heinemann, 1987. 5.Jaidev “Problematizing Feminism Gender and Literature, ed. Iqbal Kapur, Delhi, B.R. Publishing Corporation, 1992. 6.Jandial Gur Pyari “The Novels of Shashi Deshpande and Manju Kapur. Atlantic Literary Review. 7.Kakar, Sudhir “Feminine Identity in India” Women in Indian Society A Reader, Ed. Rehana Ghadially, New Delhi : Sage Publications, 1988. p.44-68. 8.Millett, Kate, ‘Sexual Politics’ (Garden City, New York, Double Day, 1970). 9.Mukul Kesavan : 50 Years of Indian Writing Edited by R.K. Dhawan, New Delhi : Indian Association for English Studies 2000. 10.Nahal, Chaman, “Feminism “Feminism in English Fiction : Forms and variations” Feminism and Recent Fiction in English ed, Sushila Singh, New Delhi Prestige, Books, 1991. 11.Palkar, Sarla. “Beyond Purdah : Sunlight On A Broken Column, Margins of Erasure Ed. Jasbir Jain and Amina Amin, New Delhi : Stcrling Pub Pvt. Ltd. 1995. 12.Seema Malik “Crossing Patriarchal Threshold : Glimpses of the Incipient New Woman In Manju Kapur’s Difficult Daughters” Indian Writing in English ed. Rajul Bhargava (Jaipur, Rawat, 2002). 13.Suman Bala and Subhash Chandra, “Manju Kapur’s Difficult Daughters : A Absorbing Tale of Fact and Fiction : In 50 years of Indian writing edited by R.K. Dhawan, IAES, New Delhi, 1999. 14.Sumita Pal “The Mother : Daughters Conflict in Manju Kapur’s Difficult Daughter’s in Indian Writing in the new Millenium (Edited by R.K. Dhawan) IAES, New Delhi 2000.

15.Sushila Singh “Recent Trends in Feminest Through” Indian women Novelist ed. R.K. Dhawan (New Delhi, Prestige 1991) Set I. 16.Uma Paramaswaran Review of Difficult Daughters : World Literature Today No. 2 Spring 1999. 17.Veena Das : Critical Events : An Anthropological Perspective On Contemporary Indian OUP Delhi 1995.

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