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Chiefly pictorial works of Rajasthan's men with short notes on the photographer, his works, and places.
Tom Ault has written a theatre ethnography that brings Rajasthans folk tradition of khyal to readers in both descriptions and translations of the plays, based on his many periods of research and hanging out with khyal players and affecionados. A performance genre probably stemming from the soliloquies in poetic Pingal and Dingal of Rajasthans bards, known as Charans, these khyals offer folk renditions of rule and misrule, contemporary issues and past heroics, and the romance of Rajput desert kingdoms. Ault has been engaged with these shows there, and as an American theatre professor he knows his subject well. Everyone will find something to enjoy in Aults compendium of khyal, and will probably be tempted to search out a performance of this disappearing folk art at a Rajasthani cattle fair or on a moonlight night in a desert village with stars overhead.
Art-Culture and Heritage of Rajasthan detailed Study Notes with MCQ Index 1. Introduction 2. Language & Literature of Rajasthan 3. Rajasthani Folk Literature 4. Major Compositions of Literature of Rajasthan 5. Rock Inscriptions of Rajasthan 6. Fairs & Festivals of Rajasthan 7. Painting Art of Rajasthan 8. Handicraft of Rajasthan 9. Folk Arts of Rajasthan 10. Folk Dances of Rajasthan 11. Folk Dramas of Rajasthan 12. Folk Musical Instruments of Rajasthan 13. Bhakti Saints of Rajasthan 14. Lok Devta & Devis of Rajasthan 15. Forts & Palaces of Rajasthan 16. Temples & Mosques of Rajasthan 17. Cenotaph & Tombs Rajasthan 18. Havelis & Sculptures of Rajasthan 19. Practice MCQ Best wishes for your exams!!
Heritage is a prized cultural commodity in the marketing of tourism destinations. Particular aspects of heritage are often more actively promoted, with others played down. The representation of heritage in tourism as static and timeless, derived since time immemorial from a distant past, is seductive. In Asia, a major part of the tourism market lies in the sale and consumption of highly orientalized images and versions of culture and history. In India’s marketing discourse, the state of Rajasthan symbolizes the nation in its heritage-laden, traditional and most authentic form. These images draw heavily on the British period in India - the Raj. In one sense, this vision of Rajasthan is ennobling, highlighting moments of cultural pride. In another sense, it demeans, by omitting and obscuring salient features of contemporary life. This fascinating book explores the cultural politics of tourism through interdisciplinary perspectives. Carol E. Henderson and Maxine Weisgrau demonstrate that tourism heritage privileges elite histories that recapitulate colonial relationships, compelling non-elites to collude in these narratives of subordination even as they advance their own alternative visions of history.
"Akashvani" (English) is a programme journal of ALL INDIA RADIO, it was formerly known as The Indian Listener. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service, Bombay, started on 22 December, 1935 and was the successor to the Indian Radio Times in English, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it used to published by All India Radio, New Delhi. From 1950,it was turned into a weekly journal. Later, The Indian listener became "Akashvani" (English ) w.e.f. January 5, 1958. It was made fortnightly journal again w.e.f July 1,1983. NAME OF THE JOURNAL: AKASHVANI LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 23 NOVEMBER, 1975 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 56 VOLUME NUMBER: Vol. XL. No. 47 BROADCAST PROGRAMME SCHEDULE PUBLISHED (PAGE NOS): 13-54 ARTICLE: 1. Land Reforms 2. The Rose As a Symbol and Spectrum 3. Physiotherapy and Rehabilitation AUTHOR: 1. B. Sivaraman 2. A. Ranganathan 3. Dr. M. L. Chatterjee KEYWORDS : 1. Intermediary System Wiped Out.Strong Measures Needed. National Guidelines. 2. Poetic Explorations, Symbol of Beauty. Widening Gap. 3. Types of Treatment. Prasar Bharati Archives has the copyright in all matters published in this “AKASHVANI” and other AIR journals. For reproduction previous permission is essential.
This book offers a semiotically informed ethnographic study of contemporary culture in Rajasthan and in India generally. It adapts the methodology of analyzing cultures found in Roland Barthes' semiotic portrait of Japanese culture, Empire of Signs, but adds an analysis of lifestyles as explicated in the work of social anthropologist Mary Douglas, political scientist Aaron Wildavsky, and a number of other social scientists. This manuscript is, at first, a guide to Rajasthan and India, and it is that but it is also more in that it considers tourism from both an anthropological and sociological level. Berger begins with statistics on tourism and other aspects of life in Rajasthan and India, and then considers how tourism in India compares with tourism in other important tourism destinations. He refers to the "Imaginary India" as the picture created in tourists' minds with the help of guidebooks, media, and the Internet before they actually travel to India. He then discusses these representations and how they are actually different from the country itself. The trip itself then becomes the search for the authentic India--the goal is to find places before they are discovered. He calls this "Semiotic Rajasthan," where the representations are compared to actuality. After offering a discussion of semiotic theory, it interprets and analyzes a number of important aspects of Rajasthani and Indian culture such as: the Taj Mahal, the Palace of Winds in Jaipur, the notorious rat temple in Deshnok, and sacred cows. Lastly, he discusses his own trip and how the impact of Rajasthan did not fully register until he returned home. This volume's strength lies in the author's ability to write in an accessible manner, assemble the project in an interesting way, and include only that information which will guide the reader along the narrative trail. While this manuscript really is a guidebook to Rajasthan, it could also serve as a good introduction to ethnography for beginning students and an interested general audience. It moves from basic explanations, such as that of semiotics, to complex applications all with the grace of good story telling.
The culture of Rajasthan, with its battle-scarred forts, palaces of amazing luxury, and romantic sense of honour attracts many travellers yet remains uncorrupted by mass tourism. This new guide includes practical travel information, detailed coverage of the arts and crafts, and a special section on palace accommodation.
The Rajputs ruled the vast majority of the kingdoms that were joined together after Indian independence to form the state of Rajasthan, "Land of Kings." An important part of Rajput religion is the worship of "heroes" who have died in battle. This practice has attained new significance in recent years, as right-wing Hindu activists have deployed narratives about heroism in Rajput wars with Muslim emperors. In this book, Lindsey Harlan explores the idea of the Rajput hero. She is particularly interested in the role played by gender in stories about heroes and in their worship. She looks at the differences between female and male storytellers, the relationships of the hero to the women in his tale, and the relationship of the hero to the goddess for whom he is both sacrifice and henchman. She obtains her materials from interviews with Rajput families and their servants, from songfests, from bystanders at shrines, from ritual specialists. Ultimately she shows how heroic traditions encapsulate and express ideals of perfection and masculinity, defined most visibly against the backdrop of domesticity and femininity. More broadly she argues that heroes reflect ever-changing valuations of history, and serve as sources of inspiration for facing contemporary challenges (domestic, communal, national) and concerns about the future.