This presentation is part of presentation season semester 4, M.A, at the Department of English, MKBU

1. Department of English
Maharaja Krishnakumarsinhji Bhavnagar University
Date: 1st April 2024
Sem 4। Batch 2022-24
Contemporary English Literature
Presentation on
Unveiling Female Objectification: A
Critical Analysis of ‘Revolution Twenty20’
Rinkal Dangar

2. Academic Details
Name : Rinkal Dangar
Roll No:18
Enrollment no : 4069206420220007
Paper name: Contemporary Literatures in English
Paper no: 207
Paper code: 22414
Topic: Unveiling Female Objectification: A Critical Analysis of
‘Revolution Twenty20’
Submitted to : Smt. S.B.Gardi, department of English M.K.B.U
Dated on: 01/04/2024
E-Mail : dangarrinkal0609@gmail.com

3. About
Author
01
About the
Text
02
Objectificati
on of ‘Aarti’
03
Conclusion
04
Table of Contents

4. Chetan Bhagat
Chetan Bhagat is the author of fourteen blockbuster books.
These include ten novels – Five Point Someone (2004), One
Night @ the Call Center (2005), The 3 Mistakes Of My Life
(2008), 2 States (2009), Revolution 2020 (2011), Half
Girlfriend (2014), One Indian Girl (2016) The Girl In Room
105 (2018), One Arranged Murder (2020), 400 Days (2021) and
four non-fiction titles— What Young India Wants (2012)
Making India Awesome(2015), India Positive (2019) and 11
Rules For Life (2024). Chetan’s books have remained best
sellers since their release.(Bhagat)

5. “Revolution Twenty20" is a thought-provoking novel penned by
Chetan Bhagat, renowned for his insightful narratives on
contemporary Indian society. Set in the backdrop of Varanasi,
the novel intricately weaves together the lives of three main
characters - Gopal, Aarti, and Raghav - as they navigate through
the complexities of love, ambition, and corruption. Against the
backdrop of India's education system and the pursuit of success,
Bhagat crafts a compelling tale that explores themes of societal
inequality, moral dilemmas, and the quest for personal
redemption. Through its engaging storytelling and relatable
characters, "Revolution 2020" offers readers a captivating
journey that provokes reflection on the challenges and
aspirations of modern-day India.
About the Book

6. Major Characters in the Novel
There are three major characters in ‘Revolution
Twenty20’
1. Gopal,
2. Raghav, and
3. Aarti
Each of them significantly contributes to the
storyline, aligning seamlessly with the author's
intentions.

7. Authorial Intentions in the written
Text
● When a text is written, technical choices must be made in view of producing a
particular result in the story's verbal representation. In this way, the narrative
employs distancing and other effects to create a particular narrative mood that
governs "the regulation of narrative information"(Genette 245). The narrator’s
voice sometimes merges with the voice of the omniscient author, sometimes with
the voice of one of the characters, but sometimes it separates and makes a direct
appeal to the reader (Hlavatska).
● Any definition of narrative that ignores the importance of use is giving an
incomplete picture.(Rudrum)
● Patriarchy is a social system in which men are the primary authority figures in the
areas of political leadership, moral authority, and control of property(Adams and
Bell)
● Narrative is also linked to language. The way a story can be manipulated by a
character, or in the display of medium contributes to how a story is seen by the
world.(Rimmon-Kenan)

8. ● Focus on Physical Appearance: Throughout the novel, Aarati's physical attributes are emphasized,
often more than her inner qualities or intellect. This focus on her appearance contributes to her
objectification, reducing her to a superficial level.
Aarti’s looks had always drawn appreciative comments from the school teachers. However, two
years ago when she turned fifteen, the whole school started talking about her. Statements such as
‘the most beautiful girl in Sunbeam School’, she should be an actress’, or ‘she can apply for Miss
India’ became increasingly common.(Bhagat 23)
● Transactional Relationships: Aarati is often depicted as being valued for her connections or potential
as a spouse rather than for her individual qualities. For example, discussions about her marriage
prospects are framed in terms of financial gain or social status, reinforcing her objectification as a
commodity.
‘So, Aarti’s father can’t and Aarti won’t. Son-in-law, maybe?’(Bhagat 238)
Go meet her at the hotel. Take an entire day off for her. That’s all she wants, your time and
attention. She’ll return your love ten , times over,’(Bhagat 239)
● Limited Agency: Aarati's actions and decisions are often influenced or dictated by male characters,
particularly Gopal and Raghav. This portrayal limits her agency and reinforces her objectification as a
passive figure whose purpose is to serve the desires or ambitions of others.
Unveiling Female Objectification: A Critical Analysis of
‘Revolution Twenty20’

9. Continue…
Stereotypical Gender Roles: Aarati is sometimes depicted conforming to
traditional gender roles, such as being submissive or accommodating, which can
contribute to her objectification by reinforcing societal expectations of how
women should behave.
Lack of Depth: Aarti's character is not always given the depth or complexity
afforded to other characters in the novel. Instead, she is sometimes portrayed in
a one-dimensional manner, focusing solely on her role in relation to the male
protagonists rather than her own aspirations or struggles.
‘Yeah,’ she giggled. ‘ Main Hoon Na is releasing that week. How can I miss a Shah
Rukh film? They
should postpone AIEEE.’(Bhagat 26)

10. Continue…
● Let’s begin with Aarti. The girl who did this to you.’(Bhagat 11)
● “Like If I told her,'but you said missed me',she would jump and
say,'but I also said as a friend!' as if we were in a court of
justice.It is so hard to figure girls out”(Bhagat 86)
● I had no answer. I used a women’s trick. When in doubt, send a
smiley.
I sent three. :) :) :)(Bhagat 148)
● ‘So, Aarti’s father can’t and Aarti won’t. Son-in-law,
maybe?’(Bhagat 238)

11. Conclusion
In both "Revolution Twenty20" by Chetan Bhagat and the contemporary movie
"Teri Baaton Mein Aisa Uljha Jiya," we witness the portrayal of female characters
like Aarati and Sifra who grapple with societal expectations and gender norms.
Aarti's objectification and Sifra's submission as a potential dutiful Indian wife
reflect the challenges faced by women in navigating traditional roles and
asserting their individuality in a patriarchal society.
Sifra adopts the role of a potential dutiful Indian wife, acquiescing with a 'theek
hai' to everything which points out on a perfect woman has got to be engineered to
fall in line.

12. References
Adams, Maurianne, and Lee Anne Bell, editors. Teaching for Diversity and Social Justice. Taylor & Francis,
2016.
Bhagat, Chetan. “Books – Chetan Bhagat.” Chetan Bhagat, https://www.chetanbhagat.com/books/. Accessed
1 April 2024.
Bhagat, Chetan. Revolution Twenty20 : Love . Corruption. Ambition. RUPA PUBLICATIONS INDIA PVT
Limited, 2014.
Chatterjee, Saibal. “Teri Baaton Mein Aisa Uljha Jiya Review: An Experiment Gone Awry.” NDTV, 9 February 2024,
https://www.ndtv.com/entertainment/teri-baaton-mein-aisa-uljha-jiya-review-an-experiment-gone-awry-1-5-star-
5024561. Accessed 1 April 2024.
Genette, Gerard. Narrative Discourse: An Essay in Method. Translated by Jane E. Lewin, Cornell University Press, 1980.
Hlavatska, Yuliia. “Narrator as the moderator of the author’s intention (case study of the literary biography by
W. Isaacson “Steve Jobs: Biography”).” ResearchGate, 9 November 2017,
https://www.researchgate.net/publication/373895490_Narrator_as_the_moderator_of_the_author's_inte
ntion_case_study_of_the_literary_biography_by_W_Isaacson_Steve_Jobs_Biography. Accessed 1
April 2024.
Joshi, Amit, and Aradhana Sah, directors. Teri Baaton Mein Aisa Uljha Jiya. 2024.

13. Continue..
Rimmon-Kenan, Shlomith (1989). "How the Model Neglects the Medium: Linguistics, Language, and the Crisis
of Narratology". The Journal of Narrative Technique. 19 (1): 157–166. JSTOR 30225242.
Rudrum, David. “From Narrative Representation to Narrative Use: Towards the Limits of
Definition.” Narrative, vol. 13, no. 2, 2005, pp. 195-204. JSTOR,
http://www.jstor.org/stable/20107373.

14. Thank You!