South Asian History and Culture最新文献_第6页

The Rise of Zhou and Qin Dynasties and the Change of the Position of the Qian Diagram in the Eight Diagrams 周秦的崛起与黔图在卦图中的地位变化

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South Asian History and Culture Pub Date : 2023-01-20 DOI: 10.5539/ach.v15n1p11

Shengguo Feng

引用次数: 0

Tea Environments and Plantation Culture: Imperial Disarray in Eastern India 茶环境与种植文化：印度东部的帝国困惑

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South Asian History and Culture Pub Date : 2023-01-18 DOI: 10.1080/19472498.2023.2164987

T. Dutta

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Tea as Nature, Tea as Power in Early Modern China: Tea and the Literati in the Ming Dynasty 中国近代早期的茶即自然，茶即权力:明代的茶与文人

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South Asian History and Culture Pub Date : 2023-01-15 DOI: 10.5539/ach.v15n1p1

Hongming Jiang

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Jungle passports: fences, mobility, and citizenship at the Northeast- India Bangladesh border 丛林护照：东北部-印度-孟加拉国边境的围栏、流动性和公民身份

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South Asian History and Culture Pub Date : 2023-01-12 DOI: 10.1080/19472498.2023.2164985

P. Bose

引用次数: 4

My son’s inheritance: a secret history of lynching and blood justice in India 我儿子的遗产:印度私刑和血腥正义的秘密历史

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South Asian History and Culture Pub Date : 2023-01-08 DOI: 10.1080/19472498.2023.2164982

Aakhya Isha

引用次数: 1

The Murderer, the Monarch and the Fakir: A New Investigation of Mahatma Gandhi’s Assassination, 谋杀者、君主和苦行僧:圣雄甘地遇刺案新调查

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South Asian History and Culture Pub Date : 2023-01-08 DOI: 10.1080/19472498.2023.2164983

Abhijit Maity

引用次数: 4

Vernacular English: reading the anglophone in postcolonial India 白话英语:阅读后殖民印度的英语国家

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South Asian History and Culture Pub Date : 2023-01-06 DOI: 10.1080/19472498.2023.2164986

Shwetha Chandrashekhar

{"title":"Vernacular English: reading the anglophone in postcolonial India","authors":"Shwetha Chandrashekhar","doi":"10.1080/19472498.2023.2164986","DOIUrl":"https://doi.org/10.1080/19472498.2023.2164986","url":null,"abstract":"their own respective contexts, the extent to which each concentrated on or privileged violence over their brethren in the pursuit of sovereignty is surely up for debate. Fratricide may well have been a means to the end of sovereignty during the violence which followed partition in 1947, but the relevance of fratricide specifically, as opposed to mere enmity and anti-imperial resentment, to discourses of sovereignty in the decades which came before could perhaps be developed further. Furthermore, there remains a jarring absence in the book of South Indian contribution to the ‘Indian Age’ that lies at the bedrock of Kapila’s thesis. While a small piece on Tamil revolutionary VVS Aiyar features in the second chapter, the focus on actors and regions attached to the northern expanses of the subcontinent does seem to somewhat weaken the general geographical applicability of what is otherwise a novel, hard-hitting thesis. Drawing inspiration from recent histories of the British Empire and from a wide variety of source material, Kapila’s wide-ranging exploration nonetheless makes for a gripping historical account of Indian intellectual thought during the later colonial period. Presenting and comparing the ideas of political figures from Tilak to Ambedkar to Patel, Kapila highlights the need to journey beyond the discourses of liberalism, socialism, and Marxism to understand how Indian political thought came to be preoccupied by questions of fraternity, violence, and sovereignty. Turning these political actors of the age into political thinkers, Kapila demonstrates how the protagonists of her work moved in and engaged with both Indian and global political circles and so calls attention to the intricacies of political thought within a subcontinental context. Background knowledge of the developments in India’s transition to independence is a prerequisite for those who seek to engage with Kapila’s argument. Nevertheless, Kapila’s book will be of interest to scholars interested in exploring alternatives to traditional accounts of modern Indian history.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"373 - 375"},"PeriodicalIF":0.5,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46157788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Violent fraternity: Indian political thought in the global age 暴力兄弟会：全球化时代的印度政治思想

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South Asian History and Culture Pub Date : 2023-01-06 DOI: 10.1080/19472498.2023.2164984

Bhadrajee S. Hewage

引用次数: 0

‘No one heard me!’: sexual self-fashioning and the child in ‘Lihāf’ “没人听到我说话！”：性自我塑造与《Lihāf》中的儿童

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South Asian History and Culture Pub Date : 2023-01-04 DOI: 10.1080/19472498.2022.2141258

Anupama Mohan

{"title":"‘No one heard me!’: sexual self-fashioning and the child in ‘Lihāf’","authors":"Anupama Mohan","doi":"10.1080/19472498.2022.2141258","DOIUrl":"https://doi.org/10.1080/19472498.2022.2141258","url":null,"abstract":"ABSTRACT ‘Lihāf’ by Ismat Chughtai is widely read as a tale of feminist and queer rebellion but it also narrates a complex account of a young girl’s initiation into sexuality as a result of her molestation by a much older woman. In this narratological study that also draws upon the historical context of the Urdu world of letters which framed Chughtai’s own self-fashioning as a writer and intellectual, I argue that the case for a feminist and queer-positive reading of ‘Lihāf’ often misses or downplays the sexual molestation of the narrator as a child and remains inattentive to the ways in which Chughtai constructs conflict and tension between the two voices that narrate the story: that of the adult narrator, a Muslim woman, who opens the tale and then, deploying the voice and perspective of a child, recalls and reconstructs the memory of the fateful events of her childhood. Central to my reading is the point of view of the child whose movement in and through the female-dominated zenānā re-presents the case for viewing ‘a women’s utopia’ in dystopic ways. By splitting the female perspective into two overlapping realms – those of the adult and the child – Chughtai rewrites desire as experienced by the ‘New Woman,’ a historical figure of feminist emancipation often identified in established literary and critical readings with Begum Jān. Such an identification, I argue, is, in fact, unidimensional and is trenchantly undermined in the story by the brutal and intersecting logic of patriarchal domination and class exploitation, a logic at whose fulcrum is the figure of the child as the dark Other of the New Woman.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"467 - 484"},"PeriodicalIF":0.5,"publicationDate":"2023-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49242008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Choreographing the queer: Visual and textual stimuli in Mandeep Raikhy’s dance-making process 编舞酷儿:曼迪普·赖基舞蹈创作过程中的视觉和文本刺激

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South Asian History and Culture Pub Date : 2023-01-03 DOI: 10.1080/19472498.2022.2162732

Shikha Sharma

{"title":"Choreographing the queer: Visual and textual stimuli in Mandeep Raikhy’s dance-making process","authors":"Shikha Sharma","doi":"10.1080/19472498.2022.2162732","DOIUrl":"https://doi.org/10.1080/19472498.2022.2162732","url":null,"abstract":"ABSTRACT The article looks at the methodology used by dance-maker Mandeep Raikhy – for his works Queen Size and A Male Ant Has Straight Antennae - of using ‘stimuli’ in the choreographic process to incite and create appropriate movement principles. The usage of visual stimuli such as images, drawings, and observations, and textual or literary stimuli (fiction/non-fiction, words) can be said to hold the power to evoke ‘authentic’ movement from deep within, which can further be processed into choreography. The kinds of stimuli employed in Raikhy’s process, along with how he processes them, throw an interesting light on the needs of queer dance and choreography, while also expanding on the unique role and power of dance in queer discourse. How do images used by Raikhy metamorphose into movement, and how is movement thus conceived faithful to queerness? In what ways does text act as a motivator in working with a form that defies text? How does bodily text replace it? Once movement is generated from these stimuli, what choices does Raikhy make to choreograph, and how and why is a performance of this choreography effective in delivering a sense of queerness to the spectator (as well as being a political act)?","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"237 - 249"},"PeriodicalIF":0.5,"publicationDate":"2023-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43002614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0