Layout of the Chapters Chapter- 1: introduction

The first chapter begins with a general discussion of the concept of role model as hindu goddesses images and a methodology for understanding why do we need to live with myth. It discussed how the goddesses image is important and also applicable in the present day context.

There are various representations of goddesses images as like wife, daughter, independent goddesses, dark and motherly one. It varies with the time and situations so it leads to a moral dilemma as to which particular role model be the chosen one if one has to. It discusses the literature and the research questions and objectives for the further chapterasations.

Chapter- 2: Introducing goddesses as role models: A selective examination of some Sahadharmini ideals in goddesses

After the general introduction and literature review made in the first chapter, in the second chapter, we are attempting to understand, goddesses as role models draw inspirations from Hinduism as a religion and also as a culture that has tremendous influence in shaping mind set of Hindu women at large, it depends which particular role model is suitable or desirable to a particular class, caste or section of the people. As per literature reviews guidelines this chapter tries to explore the possibility of one specific kind of role model that we may name as a complementary model, where both the male and the female counterparts, both the gods and the goddesses remain complementary to one another. This model is usually described as the Sahadharmini model for the Goddess. While examining a possible role model in a goddess that an ordinary family bound girl looks forward to imitating in her life also. She may look forward to this kind of Sahadharmini model. Male and female goddesses are counterparts to each other which will portray human life also illustrated in how husband and wife are the ideal counterparts to each other in real life.

Chapter- 3: Women as Lakshmi and Sita: the most popular and perfect Sahadharmini role model for Hindu woman in particular

In continuation with the earlier chapter here is a selection of two particular sahadhrmini role models that are Lakshmi and Sita, this chapter will try to explore the role models provided by goddesses Lakshmi and Sita. Goddess Lakshmi means more than a yearning for wealth and prosperity. She embodies a goal, an aspiration to be like her, fiercely independent even in the role of a wife, mother, being an embodiment of femininity. Another Lakshmi like sahadharmini image is reflected in the image of Sita. In the evolution of the position and roles of Indian womanhood, the phase to which Sita belongs spells the status of women in the domestic sphere of activity. Sita is considered to be the incarnation of Sri or Lakshmi, the consort of Vishnu, who comes to the transitory plane of existence in order to endure an arduous life that illustrates to humanity the finest of virtues—virtues that need to be inculcated and put into practice A gradual shift toward a singularity and a strong darker image independent of her eternal consort Vishnu is seen in the later turn to Mahalaxmi image than that of Laxmi- Vishnuu. And trace the interpretations that the way which would be relevant to see the currency of Sita in today’s world. To get an accurate and balanced perspective, the first step is to go

beyond the rigid lines of either putting her on a pedestal as the ideal woman for all times and climes or denigrating her as a mere patriarchal tool for ensuring submissiveness in women.

Chapter- 4: Woman as Kali and Durga: Some dark and powerful Goddesses as a role models for women

This chapter begin with Kali and Durga as a possible role model, they represent apparently a counter-image to the typical usual role models for women, especially with the Hindu Society context. But she is both a wife, a mother and at the same time an immodest aggressive terrifying and a violent image for all possible aspiring women who may like to like Kali in challenging tamed and domestic role model for women. She is extreme in both cases, in death, destruction and is radically rebellious positions always. She has four arms showing aspects both creation and destruction with blood sword in one hand she defects the enemies and carries the head of a demon on the other hand. She holds the bowl on the third hand where the blood of the enemy is collected, and last is held out in blessing. Kali is associated with blood, death and destruction, she is also seen as a mother figure and often referred to as Maa Kali meaning mother Kali. Kali is the dramatic expression of a fierce Mother’s anger and the feminine power that awakens to attack those who threaten her children. In the first face we can see that two basic versions of Kali in popular Indian religion. Often see as goddess of margins, scary, half demonic deity. Basically They are invoked for protection and magical purposes by mostly uneducated tribal people, often in night-time rituals and seasonal dances in which goddess-possessed worshippers enact the myths with lots of shouting and roaring, fuelled by home-distilled local liquor. Black magicians worship this same aspect of Kali with mantras, for the sake of acquiring magical powers and killing enemies. Kali is the force many young women call on in those moments when they courageously face and move beyond their own trauma, or when they want to break through sexual shyness, politesse, insecurity, and discomfort. Kali’s image offers an entrance into a wild audacity that has historically been denied both to the divine feminine and to individual women.

Chapter- 5: Can a marginal Goddess of desire remain a role model for aspiring women in our time? Kamakhya, The folk goddess of desire at Shaktipitha Kamakhya as a Role Model

This chapter males an attempt at analysing the particular folk goddess of North East India. Mother Goddess Kamakhya is associated with different socio cultural political changes

in her transition from a goddess of a tribe to Shakti, to the the the eternal powerful goddesses as the ultimate role model. Kamakhya consists of images as we find of women and the feminine via story. Especially focusing on the attitudes toward females, in this case, goddesses, reveals much of interest regarding male responses to the feminine and women. One primary approach that engagement for this chapter is especially to the areas where some medieval texts contest received portraits of women’s identities, in the process negotiating new ways for us as scholars in the twenty-first century to be open to the diversity of women’s images. With this, we see how the voices and representations of women in some texts with their own approaches to revising women’s identities.

Chapter- 6: Conclusion

This chapter mainly takes into account the summary of the research objectives of the all chapters and along with the important finding of the thesis that can be related to contemporary problems. This in turn keeps inspiring actual women in their own struggles in life to explore one such suitable role model to bestow strength and power upon them and to continue their own journey in a committed and an inspired way and along with this ended up by assigned some future possibilities.