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In The Mughal Padshah Jorge Flores offers both a lucid English translation and the Portuguese original of a previously unknown account of the Mughal Emperor Jahangir (r. 1605-1627). Probably penned by the Jesuit priest Jerónimo Xavier in 1610-11, the Treatise of the Court and Household of Jahangir Padshah King of the Mughals reads quite differently than the usual missionary report. Surviving in four different versions, this text reveals intriguing insights on Jahangir and his family, the Mughal court and its political rituals, as well as the imperial elite and its military and economic strength. A comprehensive introduction situates the Treatise in the ‘disputed’ landscape of European accounts on Mughal India, as well as illuminates the actual conditions of production and readership of such a text between South Asia and the Iberian Peninsula.
Shadows at Noon is an ambitious synthesis of decades of research and scholarship which explores the key strands of South Asian history in the twentieth century with clarity and authority. Unlike other narrative histories of the subcontinent that concentrate exclusively on politics, here food, leisure and the household are given equal importance to discussions of nationhood, the development of the state and patterns of migration. While it tells the subcontinent's story from the British Raj to independence and partition and on to the forging of the modern nations of India, Pakistan and Bangladesh, the book's structure is thematic rather than chronological. Each of the chapters illuminates on overarching theme or sphere that has shaped South Asia over the course of the century. This format allows the reader to explore particular issues such as the changing character of nationalism or food consumption over time and in depth. Shadows at Noon is a bold, innovative and personal work that pushes back against standard narratives of 'inherent' differences between India, Pakistan and Bangladesh. Its purpose is to make contemporary South Asia intelligible to readers who are fascinated by the subcontinent's cultural vibrancy and diversity but are often perplexed by its social and political makeup. And it illuminates the many aspects that its people have in common rather than what divides them.
This book presents critical studies of modern reconfigurations of conceptions of the past, of the 'classical', and of national heritage. Its scope is global (China, India, Egypt, Iran, Judaism, the Greco-Roman world) and inter-disciplinary (textual philology, history of art and architecture, philosophy, gardening). Its emphasis is on the complexity of the modernization process and of reactions to it: ideas and technologies travelled from India to Iran and from Japan to China, while reactions show tensions between museumization and the recreation of 'presence'. It challenges readers to rethink the assumptions of the disciplines in which they were trained
"Sengupta has written an in-depth study of the development of political Hinduism in India.... Readers of history, religion, and politics and with interest in India and its role in the world will find this detailed work appealing." - Booklist This is the first intellectual history of political Hinduism from its medieval origins to current-day India. It provides the ideological context of India’s rise economically and politically in the world in the last decade, illustrating not only where political Hinduism comes from, but more importantly, where it seeks to go. It provides an intellectual framework not only to understand the rise of Narendra Modi and his politics in the world’s largest democracy, but also India’s political, economic, and diplomatic choices as it negotiates its space as a rapidly rising, billion-strong democracy in a fluid and precarious world order.
The project of global art history calls for balanced treatment of artifacts and a unified approach. This volume emphasizes questions of transcultural encounters and exchanges as circulations. It presents a strategy that highlights the processes and connections among cultures, and also responds to the dynamics at work in the current globalized art world. The editors’ introduction provides an account of the historical background to this approach to global art history, stresses the inseparable bond of theory and practice, and suggests a revaluation of materialist historicism as an underlying premise. Individual contributions to the book provide an overview of current reflection and research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of methods and approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies. An 'Afterword' by James Elkins gives a critique of the present project. The book thus deliberately leaves discussion open, inviting future responses to the large questions it poses.
The Book Attempts To Offer Within The Convenient Compass Of Single Cover, A Comprehensive Record Of The Main Facts And Subsidiary Details Of Mughal Sover¬Eignty Which Are To Be Found Both In Original Sources And In The Numerous And Occasionally Costly Works Of Modern Writers.As Regards The Political And Administra¬Tive Features Of The Period, The Account Is Primarily Based Upon Well-Known Origi¬Nal Sources - The Memoirs Of Babur, The Memoirs Of Jahangir, The Immortal Work Of Abul-I-Fazl, And So Forth. It Shows Incidentally That Religious Intolerance, Which Is Usually Supposed To Have Had Its Origin In The Bigotry Of Aurangzeb, Was Not Wholly Unknown In The Reigns Of Jahangir And Shah Jahan. The Later Chapters Make Use Of The Records Of Early European Merchants And Travellers In Respect Of The General Circumstances Of The Mughal Empire.The Book Will Be Found Of Great Use For The Students Of The Medieval History Who Do Not Have The Time To Read The Original Works. It Will Also Be Great Interest To The Layman Interested In History Of Mughal Empire.