Dr. Md. Neyaz Hussain
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Gender, Class, Self-Fashioning, and Affinal Solidarity in Modern South Asia
Bucknell University Bucknell Digital Commons Faculty Journal Articles Faculty Scholarship 2009 Im/possible Lives: Gender, Class, Self-Fashioning, and Affinal Solidarity in Modern South Asia Coralynn V. Davis Bucknell University, [email protected] Follow this and additional works at: https://digitalcommons.bucknell.edu/fac_journ Part of the Asian Studies Commons, Human Geography Commons, Race, Ethnicity and Post-Colonial Studies Commons, Social and Cultural Anthropology Commons, and the Women's Studies Commons Recommended Citation Davis, Coralynn V.. "Im/possible Lives: Gender, Class, Self-Fashioning, and Affinal Solidarity in Modern South Asia." Social Identities: Journal for the Study of Race, Nation and Culture (2009) : 243-272. This Article is brought to you for free and open access by the Faculty Scholarship at Bucknell Digital Commons. It has been accepted for inclusion in Faculty Journal Articles by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. Im/possible Lives: Gender, class, self-fashioning, and affinal solidarity in modern South Asia Coralynn V. Davis* Women’s and Gender Studies Program Bucknell University Lewisburg, Pennsylvania USA Abstract Drawing on ethnographic research and employing a micro-historical approach that recognizes not only the transnational but also the culturally specific manifestations of modernity, this article centers on the efforts of a young woman to negotiate shifting and conflicting discourses about what a good life might consist of for a highly educated and high caste Hindu woman living at the margins of a nonetheless globalized world. Newly imaginable worlds in contemporary Mithila, South Asia, structure feeling and action in particularly gendered and classed ways, even as the capacity of individuals to actualize those worlds and the “modern” selves envisioned within them are constrained by both overt and subtle means. -
'Listen, Rama's Wife!': Maithil Women's Perspectives and Practices in the Festival of Sāmā-Cake
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bucknell University Bucknell University Bucknell Digital Commons Faculty Journal Articles Faculty Scholarship 2005 'Listen, Rama’s Wife!’: Maithil Women’s Perspectives and Practices in the Festival of Sāmā-Cakevā Coralynn V. Davis Bucknell University, [email protected] Follow this and additional works at: https://digitalcommons.bucknell.edu/fac_journ Part of the Asian Studies Commons, Folklore Commons, Other Languages, Societies, and Cultures Commons, Other Religion Commons, Performance Studies Commons, Social and Cultural Anthropology Commons, South and Southeast Asian Languages and Societies Commons, and the Women's Studies Commons Recommended Citation Davis, Coralynn. 2005. “'Listen, Rama’s Wife!’: Maithil Women’s Perspectives and Practices in the Festival of Sāmā- Cakevā.” Asian Folklore Studies 64(1):1-38. This Article is brought to you for free and open access by the Faculty Scholarship at Bucknell Digital Commons. It has been accepted for inclusion in Faculty Journal Articles by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. Coralynn Davis Bucknell University Lewisburg, PA “Listen, Rama’s Wife!” Maithil Women’s Perspectives and Practices in the Festival of Sāmā Cakevā Abstract As a female-only festival in a significantly gender-segregated society, sāmā cakevā provides a window into Maithil women’s understandings of their society and the sacred, cultural subjectivities, moral frameworks, and projects of self-construction. The festival reminds us that to read male-female relations under patriarchal social formations as a dichotomy between the empowered and the disempowered ignores the porous boundaries between the two in which negotiations and tradeoffs create a symbiotic reliance. -
Region in Context: Mithila, Its People and Its Art
Chapter III Region in Context: Mithila, its People and its Art 3.1 Introduction In the previous chapter, we critically examined the debates around art, particularly „folk‟ art, to delineate a discursive history of categories that unravel the politics of nomenclature. We also examined those discourses in the context of Mithila art, by surveying the literature from the earliest writings to the most recent ones. In this chapter, we shall present an understanding of the region of Mithila in the historical context. We shall also delineate the history of Mithila art, from the earliest times when it was done on walls and floors to its commoditized form. The objective of this chapter is to provide a background of the region- how structures and relations of society, economy, polity and culture have worked together to construct this region, which provides a context in which the painting tradition emerged. 3.2 Political History of Mithila Though Mithila shares some features with the „Hindi belt‟, owing to being part of the state of Bihar which comprises the other two regions of Bhojpur and Magadh on the one hand, and those of „eastern India‟, owing to the similarities with Bengal on the other, it developed its own unique features over time, leading to the development of a distinct social formation and cultural identity. The history of Mithila is mired in myth; infact, it is difficult to separate the two. Claude Levi-Strauss, among others, has argued for the understanding of history as another type of myth, for studying history not as separate from but as a continuation of mythology1. -
The Book Unbound: Two Centuries of Indian Print 14Th-15Th July 2017 H.L
The Book Unbound: Two Centuries of Indian Print 14th-15th July 2017 H.L. Roy Auditorium, Jadavpur University Abstracts Panel 1: Grammar and typography in early printed books Dating the first Bengali block print specimen: A review Abu Jar Md. Akkas Bengali printing with moveable types came into being with the publication of Nathaniel Brassey Halhead’s A Grammar of the Bengal Language in 1778. But there have also been, according to Sajananikanta Das (Bangla Sahityera Itihasa: Gadyer Prathama Yuga, Mitralaya [A history of the Bengali literature: the first phase], Kolkata, 1946), print specimens of Bengali alphabet or letters from blocks in at least six books before 1778. Sripantha, or Nikhil Sarkar, in his book Yakhan Chhapakhana Ela [When printing presses arrived], Pashchimbanga Bangla Akademi, Kolkata, 1977) lists eight such specimens, with the first being the one printed in China Illustrata by Atanasius Kircher published from Amsterdam in 1667. Sripantha gives a plate of the 1667 specimen, his first of the specimens of the Bengali prints from block, in his book under the caption ‘Specimen of the Bengali script as printed in China Illustrata in 1667’ on page 3 in the plate section. The specimen has also been referred to as being the first by Mofakhkhar Hussain Khan in his book The Bengali Book: History of Printing and Bookmaking (Vol. 1, Bangla Academy, Dhaka, 1999). He also gives the plate in his book, on page 495, under the caption ‘Alphabetum Bengalicum inserted after page 42 in China monumentis by Athanasius Kircher.’ While the Kircher book appears not have any such plate, and the face of the head as it is printed on the plate does not match the style of any of the plate heads in the Kircher book, the plate appears in Acta Eruditorum Quae Lipsiae Publicantur Supplementa (Vol. -
Who Am I ? Nepalese of Indian Origin, Or Indian of Nepalese Origin Or
w ho A m I ? Nepalese of Indian origin, or Indian of Nepalese origin or Bihari ?? July 13th, 2006 BY- Ram Manohar Who Am I ? Nepalese of Indian origin, or Indian of Nepalese origin or Bihari ?? Who is asking the question ? This becomes very important because this is also very important question. If a person asking this question is next to my house then the question can be very interesting. But the person asking is from far land then I can only say in one word “ ” Nepalese of Maithil origin . If the person is my neighbour then I would like to re-frame this question and wants to challenge them, if you have fire in the belly and you have guts then, search and prove it. “ ” I opening declaring I am Nepalese of Maithili Origin . Let me talk about the Mithila. Word originated from Miti, a age old Saint, from whose name the kingdom Mithila was named. It is same Mithila where King Janak, father of Goddess Sita (Heroin of Hindu epic Ramayana), had their rule. The Mithila in the modern history is have good history from 10th century onward . It is the period when Maithili language was born, at the same time when other Indian subcontinent languages like Bangali, Hindi, Oriya, Gujraji, Marthi was evolving. Modern Mithila Kingdom had its presence as different names. Some time Mithila, Some time Tirhut, Some time Makwanpur and so on. The ancient geography of Mithila region stretched from Koshi river, to Ganga river to Himalaya to Braj bhumi. In the modern history of Nepal during Mallas dynasty, people were Maithili speaking, and most of the kings were writer too. -
Place-Making in Late 19Th And
The Pennsylvania State University The Graduate School College of the Liberal Arts TERRITORIAL SELF-FASHIONING: PLACE-MAKING IN LATE 19TH AND EARLY 20TH CENTURY COLONIAL INDIA A Dissertation in History by Aryendra Chakravartty © 2013 Aryendra Chakravartty Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2013 The dissertation of Aryendra Chakravartty was reviewed and approved* by the following: David Atwill Associate Professor of History and Asian Studies Director of Graduate Studies Dissertation Adviser Chair of Committee Joan B. Landes Ferree Professor of Early Modern History & Women’s Studies Michael Kulikowski Professor of History and Classics and Ancient Mediterranean Studies Head, Department of History Madhuri Desai Associate Professor of Art History and Asian Studies Mrinalini Sinha Alice Freeman Palmer Professor of History Special Member University of Michigan, Ann Arbor * Signatures are on file in the Graduate School. ii Abstract My project, Territorial Self-Fashioning: “Place-Making” in Late 19th and Early 20th Century Colonial India, focuses on the province of Bihar and the emergence of a specifically place-based Bihari regional identity. For the provincial literati, emphasizing Bihar as an “organic” entity cultivated a sense of common belonging that was remarkably novel for the period, particularly because it implied that an administrative region had transformed into a cohesive cultural unit. The transformation is particularly revealing because the claims to a “natural” Bihar was not based upon a distinctive language, ethnicity or religion. Instead this regional assertion was partially instigated by British colonial politics and in part shaped by an emergent Indian national imagination. The emergence of a place-based Bihari identity therefore can only be explained by situating it in the context of 19th century colonial politics and nationalist sentiments. -
Thesis.Pdf (2.861Mb)
Center for Sami Studies Faculty of Humanities, Social Science and Education Visual Representation of Mithila Culture Through Mithila folk arts A study based on the search for cultural significance — Prameshwar Mandal Master of Philosophy In Indigenous Studies May 2018 VISUAL REPRESENTATION OF MITHILA CULTURE THROUGH MITHILA FOLK ARTS (A study based on the search for cultural significance) By Prameshwar Mandal Master of Philosophy in Indigenous Studies UiT The Arctic University of Norway May 2018 Thesis Supervisor Svein Aamold i Cover painting portrays Rama and Sita’s wedding Art by Amit Kumar Dutt Style: Madhubani painting ii Abstract Mithila paintings are at the center to signify the cultural importance not only in Nepal and India, but also in other countries. The artists of Mithila devote their much time to portray different cultural aspects and their importance, however, the artists have not got much recognition from the Nepal government. Yet, they keep on painting to promote Mithila culture globally. In this context, the present study seeks to explore the visual representation of Mithila culture through Mithila artifacts. The current study is the result of the field visit conducted in Janakpur and its neighboring villages in Nepal in June 2016. This study includes the voices of the artists, amateur artists of villages, scholars, teachers, social activists, and together with the researcher’s observation notes. Based on the theories of representation, the study aims at finding out how different cultural practices of Mithila are understood through the folk arts and cultural representation is needed to spread the message around the world. This thesis can be used to develop the tradition of Mithila paintings and to preserve the indigenous culture. -
An Autobiographical Essay on the Socio-Economic History of Tarar, Bihar (India)
MPRA Munich Personal RePEc Archive Growth, Stagnation and Decline of a Village: An Autobiographical Essay on the Socio-economic History of Tarar, Bihar (India) SK Mishra 22 November 2016 Online at https://mpra.ub.uni-muenchen.de/75226/ MPRA Paper No. 75226, posted 24 November 2016 15:23 UTC I. Introduction : This is an autobiographical essay on a village economy where I was born and grew up. The village is called Tarar (ताड़र ), which is located alongside the road that joins Ghogha railways station at some 3 kilometres north and Sonhaula, the Police Station, Tehsil and Block Development Office of Bhagalpur District (Bihar, India), some 12 kilometres south from my village. Tarar is a large village inhabited by over 10 thousand people. According to Census 2011, Tarar (geographical area: 371 hectares) was inhabited by 2006 households and its population was 10641 of which 5725 were males while 4916 were females. The dominant caste in village is the Rajput (locally called ‘Banaut’, बनॉत ) who make the majority (about 43%) as well, followed by the Brahmins and the Yadavs (who are about 20% and 16% respectively). There are some 18% households that fall under the Scheduled Caste category (and had a population of 1810 persons, as per Census, 2011). The households belonging to others castes are only a few that make a minority. Tarar has three tolas (cluster of households); Tarar proper (inhabited by Brahmin, Rajput, Yadav, and various others castes families), Dogachchhi (inhabited solely by Rajput families) and Makarpur (inhabited mostly by Rajput families and a handful of other castes families). -
A Reading Guide to Nepalese History
HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies Volume 25 Number 1 Himalaya No. 1 & 2 Article 5 2005 A Reading Guide to Nepalese History John Whelpton Follow this and additional works at: https://digitalcommons.macalester.edu/himalaya Recommended Citation Whelpton, John. 2005. A Reading Guide to Nepalese History. HIMALAYA 25(1). Available at: https://digitalcommons.macalester.edu/himalaya/vol25/iss1/5 This Research Article is brought to you for free and open access by the DigitalCommons@Macalester College at DigitalCommons@Macalester College. It has been accepted for inclusion in HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. jOHN WHELPTON A READING GUIDE TO NEPAL ESE HISTORY ·t.t. ' There is no single book or series that can be regarded as · an authoritative Chandra Shamsher and Family history of Nepal in the way that, This brief survey is intended as a list of works which Scientifique in France. This can be consulted online at for example, I have found especially useful myself or which I http://www.vjf.cnrs.fr/wwwisis/BIBLI0.02/form.htm the Cambridge think would be particularly suitable for readers wanting to follow up topics necessarily treated very · Ancient History BASIC NARRATIVES cursorily in my recent one-volume History of Nepal ' or the Oxford (Cambridge: Cambridge University Press, 2005). It There is no single book or series that can be regarded History of England includes some of the pre-1990 works listed in my as an authoritative history of Nepal in the way that, is accepted in the earlier Nepal (World Bibliographical Series, Oxford for example, the Cambridge Ancient History or the & Santa Barbara: Clio Press, 1990) and, though it Oxford History of England is accepted in the United United Kingdom. -
Towards a Historiography of Maithili Language Development
TOWARDS A HISTORIOGRAPHY OF MAITHILI LANGUAGE DEVELOPMENT Udaya Narayana Singh University of Hyderabad, Hyderabad. 1. Maithili: Speech Area Grierson (1908) had described the speech area of Maithili to be the entire districts of Darbhanga and Bhagalpur of Bihar in the early 20th century. In addition, he had enlisted Maithili as a language spoken by the majority of people living in the districts of Muzaffarpur, Monghyr, Purnea and Santhal Parganas, although his population estimates based on his survey done in 1891 were not agreed upon by all. Grierson (1909) also wrote in his 'Introduction to Maithili' that Mithila has always been distinguished in common parlance as a distinct "country with its own traditions, its own poets, and its own pride in everything belonging to itself”. During the Moghul period, a part of the northern speech area was permanently annexed by the Kingdom of Nepal. Therefore, at present, a large tract of the Terai region of Nepal is to be taken as a part of the Maithili speech area, as according to the official figures, about 13% population of Nepal—mostly living in this region, have returned Maithili as their mother tongue in Nepal. During the Moghul era, the region was called ‘Tirhut' (cf. 'Tirhutaa' was the name of the writing system employed by Maithili), and it formed a sarkaar (= division) of the subah (= province) of Bihar. Even in the early British period, as the District Gazetteer of Muzaffarpur says, there indeed was a large geographical space under the 'Tirhut division' bound on the north by Hajipur, Monghyr and Purnea divisions. The British used 'Tirhut' to designate a revenue division spreading over the districts of Muzaffarpur, Darbhanga, Champaran and Saharsa. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PEASANT UNREST, COMMUNITY WARRIORS AND STATE POWER IN INDIA: THE CASE OF PRIVATE CASTE SENAS (ARMIES) IN BIHAR A Dissertation SUBMITTED TO THE GRADUATE COLLGE in partial fulfillment of the requirements for the degree of Doctor of Philosophy By Ashwani Kumar Norman, Oklahoma 2003 UMI Number: 3082961 UMI” UMI Microform 3082961 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 © Copyright by ASHWANI KUMAR 2003 All Rights Reserved PEASANT UNREST, COMMUNITY WARRIORS AND STATE POWER IN INDIA: THE CASE OF PRIVATE CASTE SENAS (ARMIES) IN BIHAR A Dissertation APPROVED FOR THE DEPARTMENT OF POLITICAL SCIENCE BY Dr. -
Contemporary Socio-Cultural Issues in Recent Mithila Paintings
Socio-Cultural Issues in Recent Mithila Paintings | 8 Social Inquiry: Journal of Social Science Research 2019, Vol. 1, No. 1, pp. 8-27 Open Access DOI: https://doi.org/10.3126/sijssr.v1i1.26913 Article History: Received: 12 January 2019; Revised: 16 June 2019; Accepted: 5 July 2019 Original Article Contemporary Socio-Cultural Issues in Recent Mithila Paintings Santosh Kumar Singh Sainik Awasiya Mahavidyalaya, Bhaktapur, Nepal Email: [email protected] 0000-0003-3681-4973 Abstract This article examines how Mithila art functions as a window to Maithili values and its current innovations in the field which notes the change both in society and the canvas. Two illustrious contemporary Mithila painters, Rani Jha from India and S. C. Suman from Nepal, shows how Mithila art has swerved from traditional motifs and themes to the on-going socio-cultural and socio-political issues even as the aim of painting is commercial, that is, to earn money by making the art saleable among foreign tourists and art lovers. While Rani Jha mostly © The Author 2019. ISSN: 2705-4853; e-ISSN: 2705-4861 9 | S. K. Singh highlights women’s issues, Suman remains engaged with Nepal’s volatile political situation which sometimes makes him pessimistic and sometimes optimistic. It also makes the point that Mithila painting is largely women-centred, despite the hold of patriarchy. The one, controlling, socio-semiotic meaning of Mithila art is that it is an expression of women’s assertiveness and agency of their subjectivity within the Lakshman Rekha drawn by Maithili patriarchy. The objective of this research is to show how the geographically confined Maithili drawing happens to communicate larger issues at national and global levels at a fresh time.