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Winner of the James Tait Black Prize for Biography An autobiographical exploration of the role and meaning of music in our world by one of India's greatest living authors, himself a vocalist and performer. Amit Chaudhuri, novelist, critic, and essayist, is also a musician, trained in the Indian classical vocal tradition but equally fluent as a guitarist and singer in the American folk music style, who has recorded his experimental compositions extensively and performed around the world. A turning point in his life took place when, as a lonely teenager living in a high-rise in Bombay, far from his family’s native Calcutta, he began, contrary to all his prior inclinations, to study Indian classical music. Finding the Raga chronicles that transformation and how it has continued to affect and transform not only how Chaudhuri listens to and makes music but how he listens to and thinks about the world at large. Offering a highly personal introduction to Indian music, the book is also a meditation on the differences between Indian and Western music and art-making as well as the ways they converge in a modernism that Chaudhuri reframes not as a twentieth-century Western art movement but as a fundamental mode of aesthetic response, at once immemorial and extraterritorial. Finding the Raga combines memoir, practical and cultural criticism, and philosophical reflection with the same individuality and flair that Chaudhuri demonstrates throughout a uniquely wide-ranging, challenging, and enthralling body of work.
Annotation Fakir Mohan Senapati's Six Acres and a Third, originally published in 1901 as Chha Mana Atha, is a wry, powerful novel set in colonial India.
Begin a voyage through Persia and Afghanistan with renowned explorer Robert Byron in 'The Road to Oxiana'.This travelog recounts Byron's ten-month adventure, immersing readers in the rich tapestry of the Middle East, from Venice to Peshawar. As Byron travels through vibrant landscapes and encounters diverse cultures, he showcases his extensive knowledge of the region's architectural wonders. From the awe-inspiring Mosque of Sheikh Lutfullah to the majestic ruins of Persepolis, his vivid descriptions transport readers to these timeless sites.
Selected Satire: Fifty Years of Ignorance brings together about 20 satire pieces of eminent Hindi writer, Shrilal Shukla. Most noted for his novel Raag Darbari, for which he received the Sahitya Akademi Award, Shukla also wrote several collections of satirical essays and short stories. The pieces in this volume include his socio-political and cultural satires, where he caricaturizes politicians, mocks the bureaucracy (many of whom were his friends), and picks on the so-called developmental schemes of the government. A couple of pieces are also about small town attitudes and pretentions of intellectuals. The overall flavour is of an irreverence to authority and humour drawn from everyday occurrences.
"I was nineteen years old, still soft at the edges, but with a confident belief in good fortune. I carried a small rolled-up tent, a violin in a blanket, a change of clothes, a tin of treacle biscuits, and some cheese. I was excited, vain-glorious, knowing I had far to go; but not, as yet, how far." Despite this romantic and optimistic opening, what Lee finds is the most primitive and feudal country in Europe, a peninsula untouched by the modern world, a land of labor without dignity, a church devoid of compassion, and a country ripe for revolutionary change.
This book explores narratives of nationalism in the Hindi novel (1940s–80s), engaging with mainstream, populist, political conceptualisation of a postcolonial nation and local, cultural, often marginalised fictional parallels and alternatives to it. Analysing processes of nation-formation and nationalism(s) via experiments with the novel form and versions of realism in Hindi, conversations between the political and the cultural, rural/borders and the urban/central spaces, individual subjectivity and social structures, and the challenges Hindi novels' internal linguistic diversity poses to formalised Hindi's hegemony, Imagining a Postcolonial Nation: Hindi Novels and Forms of India (1940s–80s) traces Hindi fiction's history of postcolonial India. The multiplicity of realisms indicates significant responses to postcolonial nationalism, idealistic, critical, regional, satirical and psychological. Looking at indigenous narrative methods employed by authors to critically evolve Western ideas of the nation and novel, the book explores the simultaneous convergences and divergences between literary and political understandings of ideological, religious and linguistic nationalisms. Surveying the broad sentiments of idealism, enchantment and disenchantment with freedom and postcoloniality, it studies the possibilities of fiction embodying national history without an outright commitment to mainstream nationalism or nationalist literary canon formation. It also briefly tries to understand the repercussions of nationalism as a masculinist project and its gendered nature affecting a section of writing, novels by women authors, to present counter-narratives to both national and literary canons. Choosing a fairly broad historical timeframe, the book reveals the radical potential of narratives that have over the years been critically categorised as canonical. It reopens discussions around nationalism within novels that have been often canonised as apparently uncritically nationalist.
"After India's Partition and independence in 1947, "cleansing" Hindi by removing Urdu words was part of the nation's effort to disavow Islamic influence and to forge an exclusively Hindu "Indian" identity. Sanskritized Hindi was anointed the official language of India in 1950, a move protested by non-Hindi-speaking people; in 1963, lawmakers responded to these protests by making English an associate official language. Itself a language steeped in a history of colonial violence, English nevertheless was chosen to mend the gaps created by the imposition of Hindi and to uphold the ideal of democracy. This book considers English as part of the multilingual local milieu of India (a country where more than twenty languages are spoken) not as a colonial language imposed from without. Through a close study of English in India, from the language policies under British rule to the present day, Akshya Saxena argues that low castes and minority ethnic groups-those oppressed by or denied access to English-have routinely and effectively used the language to make political demands on the state. The book examines the ways that Indians use English in literary, spoken, and visual media, from novels to films to global protest movements, to express and shape their experience within the Indian state"--