Language and genderGHAZAL,GENDER AS ESSENCE, CONSTRUCT AND PERFORMANCE

Theories of gender

There are three theories of gender as follows. Gender as essence Gender as construct Gender as performance

Gender as essence

This theory, gender as essence says that gender is fixed and biological factor. It is pre-social and pre determined. It is innate one. It is a fixed dichotomy. Gender is essential, universal, stable and is reflected in one’s personality. This view says that males and females should not be different but they are different.

Gender as construct

This theory, gender as construct is in view that it is constructed through language and culture, language of our society. It is not an innate quality. It’s a social phenomena.

Gender as performance

This theory says that gender is fluid one. Gender is not that we inherently have, but they are effects that we are perform by our activities. Gender is under constant construction, a series of performances, a work in progress.

Gender is not an identity, someone just has, rather it involves what people “do"

Ghazal

A ghazal is a short lyric poem composed of a series of about 5 to 15 couplets, each of which stands independently on its own as a poetic thought. Themes usually are connected to love and longing, either romantic desire for a mortal beloved, or a spiritual longing for communion with a higher power. The closing signature couplet of a ghazal often includes the poet’s name or an allusion to it.

Application of gender as essence, construct and performance on ghazal

Couplet 1

Wo Agr Ban Sanwar Gaye Ho’n Gy,

Daikhny Waly Mar Gay Ho’n Gy…

Application of couplet 1

This ghazal is closely relevant to romantic love of male for female. This couplet shows following negative qualities of males. illogical (gender as performance) unboastful (gender as performance)

Couplet 2

Zara Unki Shokhi Daikhye K Zulf-e-Kham Shuda Hath Main,

Mery Pas Aw K Daby Daby Mujy Sanp Keh K Draa Dia…

Application of couplet 2

This couplet carries the negative traits of males. coward (gender as performance) non- practical (gender as performance and construct) emotional (gender as performance) expressive (gender as performance)

Couplet 3

Hazro’n Wada-e-Shab Us Ny Is Soort Taaly Hain,

Kabi Mehndi Lgaa’i Hai Kabi Gaisu Sambhaly Hain…

Application of couplet 3

This couplet carries negative traits of females as follows: diplomatic (gender as performance) careless (gender as performance) clever (gender as performance)

Couplet 4

Mareezo’n Ka Dam Ankho’n Mein Hai Or Wo Hain Mahv Araish,

Whan Honto’n Py Laali Hai Yha’n Janoon Ky Laaly Hain…

Application of couplet 4

This couplet shows the traits of males and females: beauty (female) (gender as essence) self grooming (gender as construct) extra emotional(male) (gender as performance) non aggressive(male) (gender as performance)

Couplet 5

Dil Mera Ly Ky Zalim Ny Kaha,

Jao Rasta Lo Tumhara Kuch Nahi…

Application of couplet 5

This couplet describes the traits of male and female. helplessness (male) (gender as performance) coward (male) (gender as performance) attitude (female) (gender as essence and

performance) carelessness(female) (gender as performance)

Couplet 6

Kaam Aye Na Mushkil Main Koi Yaha’n, Matlabi Dost Hain Matlabi Yaar Hain,

Is Jha’n Main Nahi Koi Ehl-e-Wafa, Aye Fnaah Es Jaha’n Sy Kinaara Karo...

Application of couplet 6

The last couplet of ghazal shows the sensitive sense of narrator and describes positive and negative traits of males as follows: sensitive (gender as performance) helpless (gender as performance) emotional (gender as performance) expressive (gender as performance) logical (gender as performance)

Two Cultural Approach

it challenged deficit model and dominance model Based upon the deficiencies in males and females

speech patterns

Conclusion

As the analysis shows that gender is what that we perform in our activities. It is not a fixed dichotomy. It is fluid one as male can perform the roles of females and female can perform males roles.