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An original exploration of the relationship between the Mughal emperor and his subjects in the space of the Mughal empire's capital, The King and the People overturns an axiomatic assumption in the history of premodern South Asia: that the urban masses were merely passive objects of rule and remained unable to express collective political aspirations until the coming of colonialism. Set in the Mughal capital of Shahjahanabad (Delhi) from its founding to Nadir Shah's devastating invasion of 1739, this book instead shows how the trends and events in the second half of the seventeenth century inadvertently set the stage for the emergence of the people as actors in a regime which saw them only as the ruled. Drawing on a wealth of sources from the seventeenth and eighteenth centuries, this book is the first comprehensive account of the dynamic relationship between ruling authority and its urban subjects in an era that until recently was seen as one of only decline. By placing ordinary people at the centre of its narrative, this wide-ranging work offers fresh perspectives on imperial sovereignty, on the rise of an urban culture of political satire, and on the place of the practices of faith in the work of everyday politics. It unveils a formerly invisible urban panorama of soldiers and poets, merchants and shoemakers, who lived and died in the shadow of the Red Fort during an era of both dizzying turmoil and heady possibilities. As much an account of politics and ideas as a history of the city and its people, this lively and lucid book will be equally of value for specialists, students, and lay readers interested in the lives and ambitions of the mass of ordinary inhabitants of India's historic capital three hundred years ago.
Reprint of the original, first published in 1808.
Even as Romantic-period authors asserted the importance of telling the unvarnished truth, novelists were deploying narrative glossing in particularly sophisticated forms. The author examines the artistic craft and political engagement of three major women novelists-Elizabeth Hamilton, Maria Edgeworth, and Sydney Owenson-whose self-conscious use of glosses facilitated their critiques of politics and society. All three writers employed devices such as prefaces and editorial notes, as well as alternative media, especially painting and drama, to comment on the narrative. The effect of these disparate media, the author argues, is to call the reader's attention away from the narrative itself. That is, such glossing or 'varnishing' creates narrative ruptures that offer the reader a glimpse of the process of fictional structuring and often reveal the novel's indebtedness to a particular historical moment. In spite, or perhaps because, of their being gendered feminine in eighteenth-century rhetorical commentary, therefore, these glosses allow women writers to participate in 'masculine' discussions outside the conventional domestic sphere. Informed by a wide range of archival texts and examples from the visual arts, and highlighting the 1798 Irish Rebellion as a major event in Irish and British Romantic writing, the author's study offers a new interdisciplinary reading of gendered and political responses to key events in the history of Romanticism.