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Chatterjee analyzes how writing over the period of a century justified and was affected by the introduction and extension of British domination of India, demonstrating the link between written representations and the ideological, economic and political climate and debates. By showing how the representations of Britons in India, Indian religion and society and government evolved over the period 1740 to 1840, the author fills the gap between the early colonial 'exotic East' and the later 'primitive subject nation' perceptions.
The Limits of Orientalism: Seventeenth-Century Representations of India challenges recent postcolonial readings of European, and particularly English, representations of India in the seventeenth century. The book critiques Edward Said's discourse of 'Orientalism' by destabilizing the notion of a homogeneous 'West': the English interest was commercial, unlike the colonially and religiously motivated Portuguese, and therefore instead of representing Mughals as barbaric 'others,' the English travelers drew parallels between the Mughals and themselves in their writings, associating with them as partners in trade and potential allies in war. The Europeans praised Muslims' civility and religious tolerance, yet tended to be more conflicted with the Hindus, but eventually their negative views underwent a transformation, questioning the Orientalist notion of the homogeneous 'Indian.' By historicizing the European representations of India, the book undercuts postcolonial analyses by critics such as Kate Teltscher, Jyotsna Singh, Nandini Bhattacharya, Balachandra Rajan, Gayatri Chakravorty Spivak, Shankar Raman and others.
Michael J. Franklin's Romantic Representations of British India is a timely study of the impact of Orientalist knowledge upon British culture during the Romantic period. The subject of the book is not so much India, but the British cultural understanding of India, particularly between 1750 and 1850. Franklin opens up new areas of investigation in Romantic-period culture, as those texts previously located in the ghetto of ‘Anglo-Indian writing’ are restored to a central place in the wider field of Romanticism. The essays within this collection cover a wide range of topics and are written by an impressive troupe of contributors including P.J. Marshall, Anne Mellor, and Nigel Leask. Students and academics involved with literary studies and history will find this book extremely useful, though musicologists and historians of science and of religion will also make good use of the book, as will those interested in questions of gender, race, and colonialism.
Heathen, Hindoo, Hindu is a groundbreaking analysis of American representations of religion in India before the turn of the twentieth century. Before Americans wrote about "Hinduism," they wrote about "heathenism," "the religion of the Hindoos," and "Brahmanism." Americans used the heathen, Hindoo, and Hindu as an other against which they represented themselves. The questions of American identity, classification, representation and the definition of "religion" that animated descriptions of heathens, Hindoos, and Hindus in the past still animate American debates today.
This book interrogates and historicises eighteenth-century British women writers’ responses to India through the novel and travel writing to bring out the polyvalent space arising out of their complex negotiation with the colonial discourse. Though British women enjoyed their privileged racial status as the utilisers of colonial riches, they articulated their voice of dissent when they faced the politics of subordination in their own society and identified them with the marginalised status of the colonised Indians. This brings out the complicity and critique of the colonial discourse of British women writers and foregrounds their ambivalent responses to the colonial project. This book provides detailed textual analysis of the works of Phebe Gibbes, Elizabeth Hamilton, Lady Morgan, Jemima Kindersley and Eliza Fay through critical insights from the idea of the Enlightenment, postcolonial theory and feminist thought. It also foregrounds new perspectives to colonial discourse vis-à-vis the representation of India by locating the dialogic strain within the British narratives about India.
This study questions current views that Muslims represented a secure point of reference for the British understanding of colonial Indian society. Through revisionary readings of a wide range of texts, it re-examines the basis of the British misperception of Muslim 'conspiracy' during the 'Mutiny'. Arguing that this belief stemmed from conflicts inherent to the secular ideology of the colonial state, it shows how in the ensuing years it produced representations ridden with paradox and requiring a form of descriptive segregation.
When Portuguese explorers first arrived in India, the maritime passage initiated an exchange of goods as well as ideas. European ambassadors, missionaries, soldiers, and scholars who followed produced a body of knowledge that shaped European thought about India. Sanjay Subrahmanyam tracks these changing ideas over the entire early modern period.
Communal violence, ethnonationalist insurgencies, terrorism, and state violence have marred the Indian natio- state since its inception. These phenomena frequently intersect with prevailing forms of gendered violence complicated by caste, religion, regional identity, and class within communities. Deepti Misri shows how Partition began a history of politicized animosity associated with the differing ideas of ""India"" held by communities and in regions on one hand, and by the political-military Indian state on the other. She moves beyond that formative national event, however, in order to examine other forms of gendered violence in the postcolonial life of the nation, including custodial rape, public stripping, deturbanning, and enforced disappearances. Assembling literary, historiographic, performative, and visual representations of gendered violence against women and men, Misri establishes that cultural expressions do not just follow violence but determine its very contours, and interrogates the gendered scripts underwriting the violence originating in the contested visions of what ""India"" means. Ambitious and ranging across disciplines, Beyond Partition offers both an overview of and nuanced new perspectives on the ways caste, identity, and class complicate representations of violence, and how such representations shape our understandings of both violence and India.
The Indian diaspora is the largest diasporic movement from Asia, with the Indian community numbering over twenty-five million around the world. Its large scale encompasses a kaleidoscopic community from disparate regions, languages, cultural heritages, religions, and traditions within the subcontinent. The many peoples of the Indian diaspora have growing social and economic impacts on their new homes, but maintain their cultural bonds with India. This volume offers a thorough analysis of the diasporic practices of the Indian communities in essays covering a number of fields, such as literature, cultural studies, and film studies. The contributors deal with the Indian diaspora’s historical and contemporary connotations, its theoretical framework, the cultural hybridizations that emerge from diaspora, and other topics touching on the cultural and social effects of the spread of Indian peoples around the globe.
Making the case for a new kind of visual history, The Goddess and the Nation charts the pictorial life and career of Bharat Mata, “Mother India,” the Indian nation imagined as mother/goddess, embodiment of national territory, and unifying symbol for the country’s diverse communities. Soon after Mother India’s emergence in the late nineteenth century, artists, both famous and amateur, began to picture her in various media, incorporating the map of India into her visual persona. The images they produced enabled patriotic men and women in a heterogeneous population to collectively visualize India, affectively identify with it, and even become willing to surrender their lives for it. Filled with illustrations, including 100 in color, The Goddess and the Nation draws on visual studies, gender studies, and the history of cartography to offer a rigorous analysis of Mother India’s appearance in painting, print, poster art, and pictures from the late nineteenth century to the present. By exploring the mutual entanglement of the scientifically mapped image of India and a (Hindu) mother/goddess, Sumathi Ramaswamy reveals Mother India as a figure who relies on the British colonial mapped image of her dominion to distinguish her from the other goddesses of India, and to guarantee her novel status as embodiment, sign, and symbol of national territory. Providing an exemplary critique of ideologies of gender and the science of cartography, Ramaswamy demonstrates that images do not merely reflect history; they actively make it. In The Goddess and the Nation, she teaches us about pictorial ways of learning the form of the nation, of how to live with it—and ultimately to die for it.