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The arts reflect a society's deeply held values and aesthetic sensibilities. It is therefore necessary to periodically review the arts as an indicator of the broader developments in society and discern the direction in which they are heading. To greet the arrival of 2001, this volume invited more than a dozen scholars and intellectuals -- each as expert in his or her field -- to assess the current state of the world of art in India. The topics selected provide a wide range of issues and trends, problems and perspectives.
Following India’s independence in 1947, Indian artists creating modern works of art sought to maintain a local idiom, an “Indianness” representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as both universal and presumptively Western. These artists depicted India’s precolonial past while embracing aspects of modernism’s pursuit of the new, and they challenged the West’s dismissal of non-Western places and cultures as sources of primitivist imagery but not of modernist artworks. In Art for a Modern India, Rebecca M. Brown explores the emergence of a self-conscious Indian modernism—in painting, drawing, sculpture, architecture, film, and photography—in the years between independence and 1980, by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism. Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India’s past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India’s modern visual culture.
Volume Three offers 1643 annotated records on publications regarding the art and archaeology of South Asia, Central Asia and Tibet selected from the ABIA Index database at www.abia.net which were published between 2002 and 2007.
In the 1990s and 2000s, contemporary art in India changed radically in form, as an art world once dominated by painting began to support installation, new media, and performance. In response to the liberalization of India’s economy, art was cultivated by a booming market as well as by new nonprofit institutions that combined strong local roots and transnational connections. The result was an unprecedented efflorescence of contemporary art and growth of a network of institutions radiating out from India. Among the first studies of contemporary South Asian art, Infrastructure and Form engages with sixteen of India’s leading contemporary artists and art collectives to examine what made this development possible. Karin Zitzewitz articulates the connections among formal trajectories of medium and material, curatorial frames and networks of circulation, and the changing conditions of everyday life after economic liberalization. By untangling the complex interactions of infrastructure and form, the book offers a discussion of the barriers and conduits that continue to shape global contemporary art and its relationship to capital more broadly.
This book presents a set of original letters exchanged between Rabindranath Tagore, the first Asian to win the Nobel Prize for Literature, and the eminent Irish poet and theosophist, James Henry Cousins. Through these letters, the volume explores their shared ideas of culture, art, aesthetics, and education in India; aspects of Irish Orientalism; Irish literary revival; theosophy, eastern knowledge, and spiritualism; cross-cultural dialogue and friendship; Renaissance in India; anti-imperialism; nationalism; internationalism; and cosmopolitanism. The book reveals a hitherto unexplored facet concerning two leading thinkers in the history of ideas in a transnational context. With its lucid style, extensive annotations and a comprehensive Introduction, this book will be an essential read for scholars and researchers of Indian literature, Bengali literature, comparative literature, South Asian studies, Tagore studies, modern Indian history, philosophy, cultural studies, education, political studies, postcolonial studies, India studies, Irish history, and Irish literature. It will also interest general readers and the Bengali diaspora.
A thought-provoking meditation on food, family, identity, immigration, and, most of all, hospitality--at the table and beyond--that's part food memoir, part appeal for more authentic decency in our daily worlds, and in the world at large. Be My Guest is an utterly unique, deeply personal meditation on what it means to tend to others and to ourselves--and how the two things work hand in hand. Priya Basil explores how food--and the act of offering food to others--are used to express love and support. Weaving together stories from her own life with knowledge gleaned from her Sikh heritage; her years spent in Kenya, India, Britain, and Germany; and ideas from Derrida, Plato, Arendt, and Peter Singer, Basil focuses an unexpected and illuminating light on what it means to be both a host and a guest. Lively, wide-ranging, and impassioned, Be My Guest is a singular work, at once a deeply felt plea for a kinder, more welcoming world and a reminder that, fundamentally, we all have more in common than we imagine.
This volume looks at the ways in which governance in the exercise of its strategies also acts as a process of production of subjects. It argues that governance is not a one-sided affair starting and ending with those who rule and govern, producing fiats, decrees, and diktats, but a productive process — one that produces subjects of governance who in turn respond to the process, and make the field of governance a contentious one. Against the backdrop of the first transition of democracy in India from its origin in a colonial polity to the first phase of its independent life after the promulgation of the Indian Constitution in 1950, this volume explores the second transition towards developmental democracy, examining the interrelations between globalisation, development and structures of governance. The volume suggests that while there is need to reflect on the governance of transition, it is important to question how democracy negotiates this transition.
Dehejia has tried to create a place within the main frame of culture and philosophy of Indian art for a legitimate analytic theory called despair. Dehejia's effort creates a space for the modern within Indian classicism by negotiating the philosophy of despair in classical terms. As a result the basic schism that has grown in recent years between the philosophy and history of modern art on the one hand and the philosophy and history of traditional arts is today cloder to being breached.
Theatres of Independence is the first comprehensive study of drama, theatre, and urban performance in post-independence India. Combining theatre history with theoretical analysis and literary interpretation, Aparna Dharwadker examines the unprecedented conditions for writing and performance that the experience of new nationhood created in a dozen major Indian languages and offers detailed discussions of the major plays, playwrights, directors, dramatic genres, and theories of drama that have made the contemporary Indian stage a vital part of postcolonial and world theatre.The first part of Dharwadker's study deals with the new dramatic canon that emerged after 1950 and the variety of ways in which plays are written, produced, translated, circulated, and received in a multi-lingual national culture. The second part traces the formation of significant postcolonial dramatic genres from their origins in myth, history, folk narrative, sociopolitical experience, and the intertextual connections between Indian, European, British, and American drama. The book's ten appendixes collect extensive documentation of the work of leading playwrights and directors, as well as a record of the contemporary multilingual performance histories of major Indian, Western, and non-Western plays from all periods and genres. Treating drama and theatre as strategically interrelated activities, the study makes post-independence Indian theatre visible as a multifaceted critical subject to scholars of modern drama, comparative theatre, theatre history, and the new national and postcolonial literatures.
This book showcases over 100 cutting-edge research papers from the 4th International Conference on Research into Design (ICoRD’13) – the largest in India in this area – written by eminent researchers from over 20 countries, on the design process, methods and tools, for supporting global product development (GPD). The special features of the book are the variety of insights into the GPD process, and the host of methods and tools at the cutting edge of all major areas of design research for its support. The main benefit of this book for researchers in engineering design and GPD are access to the latest quality research in this area; for practitioners and educators, it is exposure to an empirically validated suite of methods and tools that can be taught and practiced.