What China and India Once Were
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Introduction Everyday Coexistence in the Post-Ottoman Space
Introduction Everyday Coexistence in the Post-Ottoman Space REBECCA BRYANT In 1974 they started tormenting us, for instance we’d pick our apples and they’d come and take them right out of our hands. Because we had property we held on as long as we could, we didn’t want to leave, but fi nally we were afraid of being killed and had to fl ee. … We weren’t able to live there, all night we would stand by the windows waiting to see if they were going to kill us. … When we went to visit [in 2003, after the check- points dividing the island opened], they met us with drums as though nothing had happened. In any case the older elderly people were good, we used to get along with them. We would eat and drink together. —Turkish Cypriot, aged 89, twice displaced from a mixed village in Limassol district, Cyprus In a sophisticated portrayal of the confl ict in Cyprus in the 1960s, Turkish Cypriot director Derviş Zaim’s feature fi lm Shadows and Faces (Zaim 2010) shows the degeneration of relations in one mixed village into intercommunal violence. Zaim is himself a displaced person, and he based his fi lm on his extended family’s experiences of the confl ict and on information gathered from oral sources. Like anthropologist Tone Bringa’s documentary We Are All Neighbours (Bringa 1993), fi lmed at the beginning of the Yugoslav War and showing in real time the division of a village into warring factions, Zaim’s fi lm emphasizes the anticipa- tion of violence and attempts to show that many people, under the right circumstances, could become killers. -
Tenth-Century Painting Before Song Taizong's Reign
Tenth-Century Painting before Song Taizong’s Reign: A Macrohistorical View Jonathan Hay 1 285 TENT H CENT URY CHINA AND BEYOND 2 longue durée artistic 3 Formats 286 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN Tangchao minghua lu 4 5 It 6 287 TENT H CENT URY CHINA AND BEYOND 7 The Handscroll Lady Guoguo on a Spring Outing Ladies Preparing Newly Woven Silk Pasturing Horses Palace Ban- quet Lofty Scholars Female Transcendents in the Lang Gar- 288 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN den Nymph of the Luo River8 9 10 Oxen 11 Examining Books 12 13 Along the River at First Snow 14 15 Waiting for the Ferry 16 The Hanging Scroll 17 18 19 289 TENT H CENT URY CHINA AND BEYOND Sparrows and Flowers of the Four Seasons Spring MountainsAutumn Mountains 20 The Feng and Shan 21 tuzhou 22 23 24 25 26 27 28 290 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 29 30 31 32 Blue Magpie and Thorny Shrubs Xiaoyi Stealing the Lanting Scroll 33 291 TENT H CENT URY CHINA AND BEYOND 34 35 36 Screens 37 38 The Lofty Scholar Liang Boluan 39 Autumn Mountains at Dusk 292 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 40Layered Mountains and Dense Forests41 Reading the Stele by Pitted Rocks 42 It has Court Ladies Pinning Flowers in Their Hair 43 44 The Emperor Minghuang’s Journey to Shu River Boats and a Riverside Mansion 45 46 47tuzhang 48 Villagers Celebrating the Dragonboat Festival 49 Travelers in Snow-Covered Mountains and 50 . -
In Black & White
hoto feature p Clockwise from above: Rajabhai Clock Tower, Mumbai in the 19th century; Maharaja of Orcha-Sir Pratap Singh in 1890; and Raja Deen Dayal. process where the image made on a light-sensitive The wheedling of Sir Henry Daly, and silver-coated metallic plate) started flooding the European influence added to his motivation. European markets, and the influence set a pace On Sir Henry’s insistence, Deen Dayal in other colonial nations as well. India was not was given the golden opportunity to penurious of the changes, which was the result of photograph the Prince of Wales, and his rapid industrialisation in the west. The influence of entourage during his Royal Visit of India in photography was vivid, and brought about a radical 1875. change in the way events were recorded. Quickly acquiring acknowledgement, Born to this era in 1844, was an outré talented Dayal went on to tour Bundhelkhand during photographer, named Lala Deen Dayal. He spent his 1882-83, with the then Agent, Sir Lepel boyhood years in Sardhana, Meerut (now in Uttar Griffin. During this trip, he took rallying Pradesh). Brought up by a well to do family of Digamabar Jain images of many forts, palaces, temples (like the Dilwara Marwari jewellers, this academically inclined student topped temples of Mount Abu) is noteworthy. Eighty nine of these his form, earning a Diploma in Engineering, from Thomason images were reproduced and published in Sir Lepel’s, Famous College of Civil Engineering at Roorkee. Monuments of Central India, (London 1886), a book that The unflagging devotion to his métier won him the Royal reached the hands of Queen Victoria. -
Role of the Muslim Anjumans for the Promotion of Education in the Colonial Punjab: a Historical Analysis
Bulletin of Education and Research December 2019, Vol. 41, No. 3 pp. 1-18 Role of the Muslim Anjumans for the Promotion of Education in the Colonial Punjab: A Historical Analysis Maqbool Ahmad Awan* __________________________________________________________________ Abstract This article highlightsthe vibrant role of the Muslim Anjumans in activating the educational revival in the colonial Punjab. The latter half of the 19th century, particularly the decade 1880- 1890, witnessed the birth of several Muslim Anjumans (societies) in the Punjab province. These were, in fact, a product of growing political consciousness and desire for collective efforts for the community-betterment. The Muslims, in other provinces, were lagging behind in education and other avenues of material prosperity. Their social conditions were also far from being satisfactory. Religion too had become a collection of rites and superstitions and an obstacle for their educational progress. During the same period, they also faced a grievous threat from the increasing proselytizing activities of the Christian Missionary societies and the growing economic prosperity of the Hindus who by virtue of their advancement in education, commerce and public services, were emerging as a dominant community in the province. The Anjumans rescued the Muslim youth from the verge of what then seemed imminent doom of ignorance by establishing schools and madrassas in almost all cities of the Punjab. The focus of these Anjumans was on both secular and religious education, which was advocated equally for both genders. Their trained scholars confronted the anti-Islamic activities of the Christian missionaries. The educational development of the Muslims in the Colonial Punjab owes much to these Anjumans. -
Staging Iranian Modernity: Authors in Search of New Forms
Copyright by Maryam Shariati 2016 The Dissertation Committee for Maryam Shariati certifies that this is the approved version of the following dissertation: Staging Iranian Modernity: Authors in Search of New Forms Committee: Elizabeth M. Richmond-Garza, Supervisor Mohammad R. Ghanoonparvar, Co-Supervisor Lynn R. Wilkinson Katherine M. Arens Sofian Merabet Staging Iranian Modernity: Authors in Search of New Forms by Maryam Shariati, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY The University of Texas at Austin May 2016 Dedication For my soulmate, Ehsan. For everything. Acknowledgements I wish to gratefully acknowledge the guidance and support I have received, intellectual and otherwise, throughout the process of composing and revising this dissertation. My first debt of gratitude is to my dissertation committee members and in particular my indefatigable supervisor, Professor Elizabeth Richmond-Garza, for her unflinching encouragement and infinite forbearance throughout my studies at The University of Texas at Austin. She has been an erudite mentor, critical commentator, and encouraging guide and I thank her for sharing her wealth of knowledge, invaluable insight and expertise in this project. To my co-supervisor, Professor Mohammad R. Ghanoonparvar, I owe immeasurable debt of gratitude for his intellectual guidance and strong commitment to my research—from the start to finish. His boundless enthusiasm, great knowledge, and unfathomable erudition opened an avenue to many stimulating discussions and enabled me to have a clear direction of my project. Another substantial acknowledgement must go to Professor Lynn Wilkinson for her instrumental role at every stage of my research: conceptualizing, researching, and writing. -
Sreekala Sivasankaran
Contents Chief Editor: vè;{k dk lans'k & jkecgknqj jk; 02 Dr Sachchidanand Joshi lnL; lfpo dh dye ls 03 lkaLd``frd i=dkfjrk vkSj lkekftd mRFkku& Editor: &MkW- lfPpnkuan tks'kh Dr Mangalam Swaminathan Inspiration from the Past 06 Editorial Assistant: - Guest Article Kritika Mudgal Threads of Continuity- 10 Exhibition at IGNCA Photo Credit: All photographs are from the IGNCA Inauguration of Svasti Sankul 13 Archives/Photography Unit unless - New at IGNCA specified otherwise. The Year at IGNCA 14 - Events and Programmes Raja Deen Dayal Permanent 16 Exhibition Gallery-News In Conversation with Arun Prem 18 - Discovering Art India's Jewish Heritage: Landmarks 22 The opinions expressed in the magazine are those of the authors/interviewees and Living Tradition- Scholar at IGNCA and IGNCA does not necessarily subscribe to them. Clayanomaly- Discovering Art 26 IGNCA Publications 28 Printed at : Pohoja Print Solutions Pvt. Ltd., 420, Patpatganj Industrial Area, Delhi-110092 Ph. 9810056872 vè;{k dk lans'k iqu% fogaxe dh ;k=k &jkecgknqj jk; vè;{k fUnjk xka/kh jk"Vªh; dyk dsUnz dh }Sekfld if=dk ckSf)d uotkxj.k dh psruk dk foLrkj djsA bl n`f"V bfogaxe dk izdk'ku iqu% izkjaHk fd;k tk jgk gSA ls ^^laLd`fr laokn Ük``a[kyk** dk izkjaHk fd;k x;k gS] ftlesa Hkkjr dh lkaLd`frd /kjksgj dks latksdj j[kus vkSj geus vHkh rd MkW- ukeoj flag vkSj lar jkekuqtkpk;Z bls lewps fo'o ds le{k iwjh 'kkL=h;rk ds lkFk izLrqr ¼ftudk ;g lglzkfCn o"kZ gS½ ds vonku vkSj muds djus dk iz;kl ;g dsUnz foxr~~ iPphl o"kksZa ls dj jgk ek/;e ls lelkef;d jpuk lalkj ij ppkZ dhA blh gSA -
History, Narrative, and the Female Figure (As Disruption) / Rizvi 35 Guises Himself in Jayida’S Clothes to Deceive Her Husband
Shahzia Sikander began studying painting at the National of great artists. Like poetry, paintings were incorporated College of Arts in Lahore, working closely with Bashir into the performative rituals of the court, where the Ahmad, a master of the art of manuscript illustration. The cognoscenti gathered to admire and evaluate the works History, Narrative, “miniature,” as the genre he taught is sometimes referred of art. to, places Sikander’s work in a lineage that is at once Lahore was well known in the sixteenth and sev- local and historically grounded. Although once perceived enteenth centuries as one of the capitals of the Mughal and the by Euro-American scholars as conventional and repeti- Empire, with a magnificent fort, mosques, and gardens. tive, early modern illustrated manuscripts and drawings— The imperial household included talented scribes, poets, the foundation of Sikander’s practice—are now under- and artists from across India. Among the most well Female Figure stood to be a platform for innovation and artistic virtuos- known were Miskin (active ca. 1580–1604) and Basawan ity. Her paintings are in fact imbedded within a complex (active ca. 1580–1600), both of whom were extolled by tradition of art-making, with its strategies of allegory, narration, and appropriation. They build on past prece- dents and are made contemporary through their subject matter and through her rendition, scaled up or down and translated to other media, such as animation. Sikander’s perspective is informed by the social, political, and reli- gious cultures of her home in Lahore, while reflecting her participation in the broader art world of New York, her current residence. -
Making the Palace Machine Work Palace Machine the Making
11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). -
A Hundred Years of Tagore in Finland
Cracow Indological Studies vol. XVII (2015) 10.12797/CIS.17.2015.17.08 Klaus Karttunen [email protected] (University of Helsinki) A Hundred Years of Tagore in Finland Summary: The reception of Rabindranath Tagore in Finland, starting from newspa- per articles in 1913. Finnish translations of his works (19 volumes in 1913–2013, some in several editions) listed and commented upon. Tagore’s plays in theatre, radio and TV, music composed on Tagore’s poems. Tagore’s poem (Apaghat 1929) commenting upon the Finnish Winter War. KEYWORDS: Rabindranath Tagore, Bengali Literature, Indian English Literature, Fin nish Literature. In Finland as well as elsewhere in the West, the knowledge of Indian literature was restricted to a few Sanskrit classics until the second decade of the 20th century. The Nobel Prize in Literature given to Rabindranath Tagore (1861–1941) in 1913 changed this at once. To some extent, the importance of Tagore had been noted even before—the Swedish Nobel Committee did not get his name out of nowhere.1 Tagore belonged to a renowned Bengali family and some echoes of this family had even been heard in Finland. As early as the 1840s, 1 The first version of this paper was read at the International Tagore Conference in Halle (Saale), Germany, August 2–3, 2012. My sincere thanks are due to Hannele Pohjanmies, the translator of Tagore’s poetry, who has also traced many details about the history of the poet in Finland. With her kind permission, I have used this material, supplementing it from newspaper archives and from my own knowledge. -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
Ky; Okf”Kzd Izfrosnu
2013-14 tokgjyky usg# fo’ofo|ky; Jawaharlal Nehru University okf”kZd izfrosnu 44 Annual Report Contents THE LEGEND 1 ACADEMIC PROGRAMMES AND ADMISSIONS 5 UNIVERSITY BODIES 10 SCHOOLS AND CENTRES 19-302 School of Arts and Aesthetics (SA&A) 19 School of Biotechnology (SBT) 35 School of Computational and Integrative Sciences (SCIS) 40 School of Computer & Systems Sciences (SC&SS) 45 School of Environmental Sciences (SES) 51 School of International Studies (SIS) 60 School of Language, Literature & Culture Studies (SLL&CS) 101 School of Life Sciences (SLS) 136 School of Physical Sciences (SPS) 154 School of Social Sciences (SSS) 162 Centre for the Study of Law & Governance (CSLG) 281 Special Centre for Molecular Medicine (SCMM) 292 Special Centre for Sanskrit Studies (SCSS) 297 ACADEMIC STAFF COLLEGE 303 STUDENT’S ACTIVITIES 312 ENSURING EQUALITY 320 LINGUISTIC EMPOWERMENT CELL 324 UNIVERSITY ADMINISTRATION 327 CAMPUS DEVELOPMENT 331 UNIVERSITY FINANCE 332 OTHER ACTIVITIES 334-341 Gender Sensitisation Committee Against Sexual Harassment 334 Alumni Affairs 336 Jawaharlal Nehru Institute of Advanced Studies 336 International Collaborations 340 CENTRAL FACILITIES 342-370 University Library 342 University Science Instrumentation Centre 358 Advanced Instrumentation Research Facility 360 University Employment Information & Guidance Bureau 370 JNU Annual Report 2012-13 iii FACULTY PUBLICATIONS 371-463 FACULTY RESEARCH PROJECTS 464-482 ANNEXURES 483-574 MEMBERSHIP OF UNIVERSITY BODIES 483 University Court 483 Executive Council 489 Academic Council 490 Finance Committee 495 TEACHERS 496 Faculty Members 496 Emeritus/Honorary Professors 509 Faculty Members Appointed 510 Faculty Members Confirmed 512 Faculty Members Resigned 512 Faculty Members Retired Compulsorily 513 Faculty Members Retired Superannuation 513 Faculty members Re-employed 513 RESEARCH SCHOLARS 514-574 Ph.D. -
Jayadeva.Pdf
9 788126 001828 9 788126 001828 JAYADEVA As cover-design of this book on Jayadeva’s is reproduced a picture giving the faces of Kṛṣṇa and Rādhā, carved on a black marble slab from a drawing by Sri Dhirendra Krishna Deva Varma of Tripura. This is a work executed in 1935 by a modern Indian Artist, who is a pupil of Abanindranath Tagore and Nandalal Bose, and who was Director of the Kalā-Bhavana at Rabindranath Tagore’s Santiniketan School and Visva-Bharati University. The sculpture reproduced on the endpaper depicts a scene where three soothsayers are interpreting to King Śuddhodhana the dream of Queen Māyā, mother of Lord Buddha. Below them is seated a scribe recording the interpretation. This is perhaps the earliest available pictorial record of the art of writing in India. From: Nagarjunakonda, 2nd century A.D. Courtesy: National Museum, New Delhi MAKERS OF INDIAN LITERATURE JAYADEVA SUNITI KUMAR CHATTERJI Sahitya Akademi Jayadeva: A monograph in English on Jayadeva, an eminent Indian philosopher and poet by Suniti Kumar Chatterji, Sahitya Akademi, New Delhi: 2017, ` 50. Sahitya Akademi Head Office Rabindra Bhavan, 35, Ferozeshah Road, New Delhi 110 001 Website: http://www.sahitya-akademi.gov.in Sales Office ‘Swati’, Mandir Marg, New Delhi 110 001 E-mail: [email protected] Regional Offices 172, Mumbai Marathi Grantha Sangrahalaya Marg, Dadar Mumbai 400 014 Central College Campus, Dr. B.R. Ambedkar Veedhi Bengaluru 560 001 4, D.L. Khan Road, Kolkata 700 025 Chennai Office Main Guna Building Complex (second floor), 443, (304) Anna Salai, Teynampet, Chennai 600 018 © Sahitya Akademi First Published: 1973 Reprint: 1990, 1996, 2017 ISBN: 978-81-260-0182-8 Rs.