DOCSLIB.ORG

Making of a Tamasha

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Making of a Tamasha INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS presents HASYA: COMEDY, HUMOR AND SATIRE IN INDIAN TRADITIONS SERIES MAKING OF A TAMASHA A film by Sanjay Maharishi Duration: 46 minutes May 8th, 2013 at 5 pm Venue: Media Centre Auditorium, IGNCA, 3, Dr. Rajendra Prasad Road, New Delhi 110 001 Film screening will be followed by a discussion with Sanjay Maharishi and Aniruddha Khutwad ALL ARE WELCOME Synopsis Making of a Tamasha was filmed in 2010 with student actors of the National School of Drama in the small town of Baramati, Maharashtra. The film is part of a series of films that chronicles the working method of contemporary theatre directors. These films were made keeping in mind young as well as veteran theatre practitioners, directors and actors on one hand and theatre enthusiasts and aficionados who may not be directly practicing but form an essential part of the audience. In the film, the students work with director Aniruddha Khutwad and put together a widely appreciated performance of the Tamasha play Sanya Bhaye Kotwal. The film explores the physical, cultural and mental landscape of the director, his major influences and his way of dealing with challenges in form and content of the Tamasha. About Tamasha Tamasha, as the form stands today, is a secular, variety entertainment package, mostly catering to the village people of Maharashtra. Its antecedents have been traced back to the practices of ‘khadi gammat’ (literally meaning ‘entertainment given by standing performers’) by the low caste Mangs and Mahars. It draws from several folk and popular traditions like Jagaran – Gondhal. The Powadas of Shahirs, Dashavtara, the Gavalana of the Marathi saints poets and other elements from Kathak, and has borrowed stage techniques from the Parsi theatre. While the style of Tamasha varies from region to region in Maharashtra, by and large a Tamasha performance comprises of two broad sections – the Poorvaranga and the Vaga Natya. As in many other traditional theatre forms, the performance is announced by the percussion beats of the Halgiwala and Dholkiwala. Followed by the other instrumentalist, the Tuntunewala (something like Ektatra) and manjirewala (who plays the cymbals). The Poorvaranga proper begins with the Gana – an invocation to Ganesha, sung by all the male members of the Tamasha troupe. This is followed by the Gavalan, a boisterous spin- off on the Krishnalila where two villagers take on the role of Krishna and his accomplice Pendia, and they stop the gavalans (gopis or milkmaids) on the way to the market. This segment, in which the gavlans seek the protection of mousi (the character of a senior aunt, played by a male actor who retains his masculine appearance but dons a suggestive uparna), is filled with wit, innuendos, teasing and farcical elements, as well as dance. Next is the Rangbaaji (performing lavani songs) which ingeniously serves to entertain the audience while actors change into their costumes for the Vag Natya. The Batawani is a comic interlude, in which the Sardar (Shahir) and the Songadya (vidushak or jester) vie with each other in telling exaggerated and bombastic tales in a point-and-counterpoint fashion. Then begins the Vag Natya, which is a play proper. Its theme may be drawn from mythology, history, or may be based on social issues, etc. Like the Poorvaranga, the Vag Natya too gives more importance to witty dialogues than to a dramatic action. Vag Natya is infused with lavani songs and dances. The Tamasha performance concludes with the Bhairavi based on raga bhairavi, normally invoking the saint-poets of the Warkari Sampradaay, and the whole show ends in a spirit of bhakti. From village spaces to the Peshwai courts, from army barrack lines to the proscenium stages of Mumbai and Pune, from gigantic tents set up in grounds outside villages to the popular Marathi cinemas of the 1950s and 1960s, Tamasha had its heyday. What survives today is a commercial form of mobile theatre which tours different regions of Maharashtra during the Tamasha season which conventionally begins on Dussehra (in October) and lasts till May. Statistically, although the figures indicate a decline in the form with several registered groups closing down every season, yet it is also true that the younger generation is still attracted to the form and are struggling to keep it alive, finding new ways of making it relevant for audiences today. About Sanjay Maharishi Sanjay Maharishi is a director, producer, cinematographer and editor and has been making documentary films since 1991. His exploratory films reflect his wide range of interests from ancient traditions of water engineering to those around education, crafts, art and theatre. His film on the eminent theatre director, Habib Tanvir (My Name is Habib, My Village is Theatre) has been widely screened in India and around the world. For the past few years, he has collaborated with the National School of Drama, New Delhi, to produce a series of films on contemporary directors, theatre processes and traditional urban theatre. He works closely with children and young adults in workshops to produce films in various genres. Sanjay lives and works in Delhi. About Aniruddha Khutwad Aniruddha Khutwad is an alumnus of the National School of Drama (NSD). He has directed a number of plays in Marathi and in Hindi for prominent institutions and theatre groups across India. Some of his work includes Mahapoor, Sainya Bhaye Kotwal, Ek Rikami Baju, Jab Shahar Hamara Sota Hai, Adhantar and Kaay Danger Wara Sutlay. He has recently directed Dr. Gieve Patel’s Mister Behram which has been translated into Marathi by Shanta Gokhale. Apart from theatre, he has worked as the Chief Assistant Director for films like Haasil and Valu and for telefilms Najarana, Fursat Mein, Ek Shaam Ki Mulakaat, Anekon Hitler and Musafir. He has also been the casting director for films Gandhi, My Father, Haasil, Valu and Doha. Currently, he is working as a visiting faculty to the NSD and conducts theatre workshops across various parts of India including Ladakh, Sikkim, Meghalaya, Assam, Manipur, Tamil Nadu, Gujarat, Madhya Pradesh and Maharashtra. He has also worked as a visiting faculty to the Film &Television Institute of India, Pune where he lectures and conducts workshops on acting based on the Stanislavski system. .
Load more

Recommended publications
  • Odisha's Unique Theatre Form – Mughal Tamasha
    Odisha Review JUNE - 2013 Odisha’s Unique Theatre Form – Mughal Tamasha Rabi Sankar Rath Rapid urbanization of the country accelerated by some near to extinction and some languishing and industrialization, globalization and development; breathing their last. It is therefore, necessary to ‘folk culture’ is no more cradled in the rustic do a comprehensive study of these performing hamlets of the country side. One does get to see art forms before they are extinct and people are some forms frequently manifested in city suburbs no longer able to relate to it, explain it, and largely because of a huge section of the rural understand it. Given institutional and social support audience has moved to the city in search of a new these forms can be revived, preserved and life and better livelihoods. While sophisticated TV fostered as unique art forms for both rural and and cinema is increasingly becoming common urban populace. recreation methods for these groups, they still yearn for familiar jatra, pala, daskathia or a The history of folk art in any country is theatre performance that takes them back to their obscure and therefore it is extremely difficult to roots – the rural, the rustic and the beauty and determine the exact time or period when they humility of it all. Therefore, in spite of the rapid came into existence. It is also because folk arts urbanization “folk art” still remains the art of are evolving in nature, continually adopt ‘people’ living both in urban and rural areas. themselves to changing times and needs and thus continue to lose a bit of their original form.
    [Show full text]
  • Folk Theatre Forms of India: Tamasha,Significance of Props
    Folk Theatre Forms of India: Tamasha Tamasha is considered a major traditional dance form of the Marathi theatre, which includes celebration filled with dancing and singing and is performed mainly by nomadic theatre groups throughout the Maharashtra region. The word “Tamasha” is loaned from Persian, which in turn loaned it from Arabic, meaning a show or theatrical entertainment.​1​ In the Armenian language, “To do a Tamasha” means to follow an exciting and fun process or entertainment. Unofficially, this word has come to represent commotion or display full of excitement.​1​ The traditional form of Tamasha was inspired by a lot of other art forms like Kathakali, Kaveli, ghazals etc. The region of Maharashtra had a long theatrical tradition, with early references to the cave inscriptions at Nashik by Gautami Balashri, the mother of the 1st-century Satavahana ruler, Gautamiputras Satakarni. The inscription mentions him organizing Utsava’s a form of theatrical entertainment for his subjects.​1​ Tamasha acquired a distinct form in the late Peshwa period of the Maratha Empire and incorporated elements from older traditional forms like Dasavatar, Gondhal, Kirtan etc. Traditional Tamasha format consisted of dancing boys known as Nachya, who also played women’s roles, a poet-composer known as Shahir, who played the traditional role of Sutradhar, who compered the show. However, with time, women started taking part in Tamasha.​2​ Marathi theatre marked its journey at the beginning of 1843.​3​ In the following years, Tamasha primarily consisted of singing and dancing, expanded its range and added small dramatic skits known as Vag Natya.​3​ These included long narrative poems performed by the Shahir and his chorus, with actors improvising their lines.
    [Show full text]
  • Conceptualising Popular Culture ‘Lavani’ and ‘Powada’ in Maharashtra
    Special articles Conceptualising Popular Culture ‘Lavani’ and ‘Powada’ in Maharashtra The sphere of cultural studies, as it has developed in India, has viewed the ‘popular’ in terms of mass-mediated forms – cinema and art. Its relative silence on caste-based cultural forms or forms that contested caste is surprising, since several of these forms had contested the claims of national culture and national identity. While these caste-based cultural practices with their roots in the social and material conditions of the dalits and bahujans have long been marginalised by bourgeois forms of art and entertainment, the category of the popular lives on and continues to relate to everyday lives, struggles and labour of different classes, castes and gender. This paper looks at caste-based forms of cultural labour such as the lavani and the powada as grounds on which cultural and political struggles are worked out and argue that struggles over cultural meanings are inseparable from struggles of survival. SHARMILA REGE he present paper emerged as a part tested and if viewed as a struggle to under- crete issues of the 1970s; mainly the re- of two ongoing concerns; one of stand and intervene in the structures and sistance of British working class men and Tdocumenting the regional, caste- processes of active domination and sub- youth, later broadening to include women based forms of popular culture and the ordination, it has a potent potential for and ethnic minorities. By the 1980s cul- other of designing a politically engaged transformative pedagogies in regional tural studies had been exported to the US, course in cultural studies for postgraduate universities.
    [Show full text]
  • Revitalizing Mumbai Textile Mill Lands for the City Vinay Surve University of Massachusetts Amherst
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 Revitalizing Mumbai Textile Mill Lands for the City Vinay Surve University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Architectural Engineering Commons, Interior Architecture Commons, Landscape Architecture Commons, and the Urban, Community and Regional Planning Commons Surve, Vinay, "Revitalizing Mumbai Textile Mill Lands for the City" (2011). Masters Theses 1911 - February 2014. 722. Retrieved from https://scholarworks.umass.edu/theses/722 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Revitalizing Mumbai textile mill lands for the city A Dissertation Presented by VINAY ARUN SURVE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE September 2011 Architecture + Design Program Department of Art, Architecture and Art History Revitalizing Mumbai textile mill lands for the city A Dissertation Presented by VINAY ARUN SURVE Approved as to style and content by: _______________________________________ Kathleen Lugosch, Chair _______________________________________ Max Page, Member _______________________________________ Alexander C. Schreyer, Member ____________________________________ William T. Oedel, Chair, Department of Art, Architecture and Art History DEDICATION For my beloved Aai (mother), Bhau (Father), Manish (Brother), Tejas (Brother), Bhakti (Sister in law), and Tunnu (Nephew). And Professor David Dillon ACKNOWLEDGMENTS I would like to start by thanking the institution, UMASS Amherst for providing every support system in achieving this milestone.
    [Show full text]
  • International Conference on Maharashtra
    INTERNATIONAL CONFERENCE ON MAHARASHTRA 21 – 25 SEPTEMBER 2021, OXFORD Platform: Zoom All timings below are British Summer Time (GMT + 1) Tuesday 21st September 12.30pm – Welcome Note – Polly O’Hanlon and Shailen Bhandare (with Shraddha Kumbhojkar, Anjali Nerlekar and Aruna Pendse) 1pm - 3 pm 1. Circulation: Journeys and identities Chair: Anne Feldhaus Narayan Bhosle and Vandana Sonalkar (University of Mumbai / TISS, Mumbai) – From Circulation to Settlement: Nomadic Tribes in Transition Shreeyash Palshikar (Philadelphia, USA) - Wandering Wonderworkers: Circulations of Madaris in Maharashtra, Maratha period to the present Madhuri Deshmukh (Oakton Community College, Des Plaines, USA) - Vanvās to Vārī: The Travel History of Songs and Poetry in Maharashtra Mario da Penha (Rutgers University, New Jersey, USA) - Beggars On the Move: Hijra Journeys in the Eighteenth-century Deccan 3.30 – 5.30 pm 2. Circulation, Literature and the Early Modern Public Sphere Chair: Ananya Vajpeyi Sachin Ketkar (MS University, Vadodara) - Travelling Santas, Circulation and Formation of ‘the Multilingual Local’ of World Literature in the early modern Marathi Prachi Deshpande (CSSS, Kolkata) - Writing and Circulation: A Material Approach to Early Modern Marathi Literature Roy Fischel (SOAS, UK) - Circulation, Patronage, and Silence in the Practice of History Writing in Early Modern Maharashtra Wednesday 22nd September 10.30 am -12.30 pm 3. Marathi Abroad Chair: Shailen Bhandare Anagha Bhatt-Behere (SPPU, Pune) - From Russia to Bombay, from Bombay to Soviet Union and Back: The journey of Annabhau Sathe’s Maza Russia cha Pravas Aditya Panse (Independent scholar, London, UK) - 配य車नी पयहिलेली हिलययत: मरयठी प्रियशय車नी १८६७ ते १९४७ यय कयळयत हलहिलेल्यय इ車ग्ल車डच्यय प्रियसिर्णनय車चय सयमयहिक अभ्ययस 4.
    [Show full text]
  • Theatre Arts
    POTTI SREE RAMULU TELUGU UNIVERSITY Department of Theatre arts, Lalitha Kala peetham Hyderabad INDIAN THEATRE (Theory) Paper No: 1630101 (core) Marks: 80 Unit -1: Folk Theatre A) Evolution of Drama – Different Theories – Themes- Performing Characteristics B) Indian Folk Plays –Ramleela - Tamasha – Jatra –Therukuthu Unit – 2: Sanskrit Theatre A) Theories of Evolution of Sanskrit play B) Dasharupaakaalu – Natakam - Prakaranam – Prahasanam – Theories of Bharatha of Drama – Chathurvidhaabhinaayaalu - Importance- Rasa – Bhava- Lokadharmi – Vrithi – Pravrithi Unit – 3: Modern Indian Theatre A) 1. Evolution – Political, Social, Cultural Background – English & Sanskrit Translations – Kalidas, Sudraka Plays - Shakespeare Plays 2. First writings of Modern Theatre – Folk – Social – Historical – Mythologies B) 1. Play writings on Nationalistic Themes - Marati - Bengali - Hindi Plays 2. Parsi Theatre – Other Professional Theatre Groups – Dharwada - Gubbi - Prithvi Unit – 4: Revolutionary Play Writings (1943 – 1960) A) Realism Writings B) Revolutionary Writings Unit – 5: Modern Playwrights – Contemporary Theatre A) Dharamveer Bharathi - Mohan Rakesh - Vijay Tendulkar - Badal Sarcar – Girish Karnad - Safdar Hashmi B) Experiments of NSD - Andhayug – Ghasiram Kothwal – Tuglaq – Chakravyu Reference Books;- 1. 1. Indian Theatre - Adya Rangacharya 2. Traditional Indian Theatre - Kapila Vatsayana 3. Indian Folk Theatre - Balwart Gargi 4. Folk Performing Art of A.P. - M.N.Sarma 5. Folklore of A.P. - B.Ramaraju 6. Yakshaganam - S.V.Jogarao 7. Natyashastram
    [Show full text]
  • Contextualizing Power Politics of Tamasha Art and Female Suffering in Dalit Autobiography
    Asian Journal of Humanity, Art and Literature, Volume 1, No 2 (2014) Contextualizing Power Politics of Tamasha Art and Female Suffering in Dalit Autobiography Morve Roshan K. Center for Comparative Literature and Translation Studies, School of Language, Literature and Culture Studies, Central University of Gujarat, India ABSTRACT “Tamasha” is a form of entertainment, which came in the Volume 1, Number 2/2014 16th century and transforms it into business and politics after the independence of India. It became a cultural part DOI: of the Kolhati community in Maharashtra. This paper has significant to define that the politics of Tamasha and female suffering through the twentieth century dalit autobiography Kishor Kale‟s Kolhatyach Por (1994). It will Licensed: also discuss that his personal and painful experiences where he born and grown up in the misery environment. Source of Support: Nil It needs to understand that how the dalit women Conflict of Interest: None declared becoming the victims of politics and how their family takes tragic and painful end. Therefore, this paper tries to Email for correspondence: make a link between the Tamasha dancers and the dalit [email protected] experiences through the power politics. In the end, it comes to conclude that emergence of the dehumanized social conditions and ignorance of the dalit Kolhaty community. It demands for their right and the respect of the Tamasha art. Key words: Kolhaty; Maharashta; tamasha; dancer; politics; Dalit autobiography INTRODUCTION „Tamasha‟ is a Persian word meaning is fun or entertainment. Other scholars suppose that diverse pieces of musical dance and dramatic entertainment to form tamasha something came in Maharashtra in the 16th century, in the Mughal period.
    [Show full text]
  • Issn 2454-859 Issn 2454-8596
    ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal HISTROY OF GUJRATI DRAMA (NATAK) Dr. jignesh Upadhyay Government arts and commerce college, Gadhada (Swamina), Botad. Volume.1 Issue 1 August 2015 Page 1 ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal HISTROY OF GUJRATI DRAMA (NATAK) The region of Gujarat has a long tradition of folk-theatre, Bhavai, which originated in the 14th-century. Thereafter, in early 16th century, a new element was introduced by Portuguese missionaries, who performed Yesu Mashiha Ka Tamasha, based on the life of Jesus Christ, using the Tamasha folk tradition of Maharashtra, which they imbibed during their work in Goa or Maharashtra.[1] Sanskrit drama was performed in temple and royal courts and temples of Gujarat, it didn't influence the local theatre tradition for the masses. The era of British Raj saw British officials inviting foreign operas and theatre groups to entertain them, this in turn inspired local Parsis to start their own travelling theatre groups, largely performed in Gujarati.[2] The first play published in Gujarati was Laxmi by Dalpatram in 1850, it was inspired by ancient Greek comedy Plutus by Aristophanes.[3] In the year 1852, a Parsi theatre group had performed a Shakespearean play in Gujarati language in the city of Surat. In 1853, Parsee Natak Mandali the first theatre group of Gujarati theatre was founded by Framjee Gustadjee Dalal, which staged the first Parsi-Gujarati play,Rustam Sohrab based on the tale of Rostam and Sohrab part of the 10th-century Persian epicShahnameh by Ferdowsi on 29 October 1853, at at the Grant Road Theatre in Mumbai, this marked the begin of Gujarati theatre.
    [Show full text]
  • Types of Traditional Media Optional Module 7A Traditional Media
    Types of Traditional Media Optional Module 7A Traditional media 26 Notes TYPES OF TRADITIONAL MEDIA You have learnt that traditional media is a very useful form of communication. Traditional media however, exists in various forms as seen and practised in different parts of India. Some of the forms still exists in some places but may not be in its original form and content. They have been reinvented according to the modern environment. There are many such forms which plays a vital role in our daily lives. In this lesson, you will learn about the different forms of traditional media in detail, their form and structure as well as their use in Indian society. OBJECTIVES After studying this lesson, you will able to do the following: • list the various forms of traditional media; • explain the form and structure of different forms of traditional media; • describe the use of these media forms in society. 26.1 TYPES OF TRADITIONAL MEDIA Can you recall the different forms of traditional media, that you learnt in your previous lesson. Let us list them. drama street theatre puppetry dance story telling song music painting motifs and symbols We shall discuss each one of them in detail MASS COMMUNICATION 9 Optional Module 7A Types of Traditional Media Traditional media 26.2 DRAMA Most of you may have heard of the term ‘drama’. Have you ever seen a drama being performed in your neighbourhood or in a theatre ? Notes Drama is one of the most popular forms of traditional media. Let us understand this form by using an example from the rural areas.
    [Show full text]
  • Bertolt Brecht's Concept of 'Epic-Drama' and Alienation Theory
    Lapis Lazuli -An International Literary Journal (LLILJ) Vol.3/ NO.1/Spring 2013 Bertolt Brecht‟s Concept of „Epic-drama‟ and Alienation Theory and „Tamasha Art‟ in Marathi Theatre: A Comparative Study Smita Mujumdar ABSTRACT Bertolt Brecht is a bewildering figure in the field of drama. Brechtian theory of epic theatre became so popular that its influence reached far beyond the communist countries. Since earlier period of Marathi theatre, this concept of epic-drama with A-effect theory was already implicit in „Tamasha‟- Folk Art form of Marathi tradition. The main purpose of this paper is to see whether Brecht‟s theory of alienation A-effect and concept of „epic-drama‟ was already implicit in Tamasha form in Marathi theatre. If we allude to the historical background and the history of development of European drama and Marathi dramatic tradition, we can see that the changing conditions of society inspired Brecht to think differently about dramatic form which resulted in bringing out a new technique with a new theory and it influenced the whole world theatre including Marathi theatre of the time onwards. It is noted here that how old, ancient this form is, known since ever before the birth of Brecht, and how it is coming as new literary form in written play form, imitating Brecht‟s style and Lapis Lazuli -An International Literary Journal (LLILJ) ISSN 2249-4529, Vol.3/ NO.1/Spring2013 URL of the Issue: http://pintersociety.com/vol-3-no-1spring-2013/ URL of the article: http://pintersociety.com/wp-content/uploads/2013/07/Smita-mujumdar-9.pdf © www.pintersociety.com 1 Women and Life Force in Shaw‟s „Widower’s House‟ and „Man and Superman’ concept.
    [Show full text]
  • Utilization of Folk Art As Involving Theatre in Communication Programme in India Kusum Kanwara, Arti Maheshwarib
    Proceeding of The 4th Conference on Communication, Culture and Media Studies Utilization of folk art as involving theatre in communication programme in India Kusum Kanwara, Arti Maheshwarib ᵅManipal University Jaipur, India, [email protected] bManipal University Jaipur, India Abstract Art is an expression of characteristics of the human mind .It reflects human emotions & human beings spontaneously express there frame of mind through various art form. The expression communicate in various style like singing, dancing, drawing, painting, acting & sculpture. Folk arts are primarily concertina with appealing to emotions include strong dimensions of communicating in India. Folk art which is combination of dance, music & drama, that provide face to face communication through theatre. This art convey message through entertainment colour, costume, dance & music remain the heart of the theatre. Keywords: expression; concertina; communication; relationship; 1. Introduction Folk art is country person’s creative work, blossomed out in varied forms and answering life, work and spiritual needs, taking part in rituals, tradition, economic and cultural activity including all life spheres. After historical changes unstable public and economic structure, folk creative work breaks away more from the countryside. A large number of today’s folk artists city and town inhabitants and their creative work in theatre, dance, and music has join into city life culture and art process, therefore it is more or less usual that today’s folk creative works, and perceived as work of persons without higher academic studies and merging one way or another with folk art traditions and extending them. Folk art may be defined as the art created among groups that exist within the frame work of existing society but for the geographical and, cultural reasons are largely and separated from the sophisticated cultural reasons and the developments of their time.
    [Show full text]
  • 11 Appendix.Pdf
    Appendix 1 1.1 S.N.D.T. University Department of Sociology M.A. Part I & II • Some Core and Seminar Courses '•« Reflections on Classical Sociologists - Marx, Durkhelm and Weber : Paper No,£ Ob.iectlves 1, . To acquaint the students with the soolal thought of the three classical thinl^ers against the background of the new social economic order inaugurated by the Industrial Revolution. 2, To assess the relevance of their thought to contenrporary times and to the Indian situation. 3, To acquaint thera with the near-perennial issue of structure versus agency or deterrslnisn with voluntarisn. I. Industrial society in Qiglaiid, Germany and Frrnce in the Nineteenth Century t 1. Idea of Progress 2. Ideology of free competition and the operation of the Market Forces * 3. Ideology of Laissez-Faire state II. Karl Marx : 18I8-1883 A. Brief Biographical Sketch Influence of Saint Simon and Fuerbach B. Dialectical and Historical Materialism 1. Man-Nature Relationship 2, The production system and exploitation, nodes of production, slavery, fuedalism, capitrlisa, comciunism,. asiatic mode • 3. Classes, class conflict, class conscionsness, class ir itself, class for itself". W. Base and Superstructure 5. Alienation C. Marxist writings on Indian Society D. Religion and False Consciousness E. Theory of State 1. Ruling Class £Uid the State 2. Theoiy of Revolution 3. Withering Away of the state F. Marxist Method. 1.3 III. Einile Durkheim A. Brief Biographical 3cetch Influence of Saint Sinon and Coate B. Concerns with Social Solidarity and /jionie 1. Division of Labour - (a) iMechanlcal Solidaritiy (b) Organic Solidarity 2". Religion as an integrating force role of fanlly and moral education alternative to the state.
    [Show full text]