Tracks the establishment of a national literature in English for independent India over the course of the twentieth century

Disrupting Hate in Education aims to identify and respond to the ideological forms of hate and fear that are present in schools, which echo larger nativist and populist agendas. Contributions to this volume are international in scope, providing powerful examples from US schools and communities, examining anti-extremism work in the UK, the "saffronization" of schools in India, struggles to re-orient the villainization of teachers in Brazil, and more. Written by a dynamic group of activist educators and critical researchers, chapters demonstrate how conservative mobilizations around collective identities gain momentum, and how these mobilizations can be interrupted. Out of these interruptions come new opportunities to practice a critically democratic education that hinges upon risk-taking, deep dialogue, and creating a space for common dignity.

Collective political projects have become ephemeral and are subject to radical forms of erasure through cooptation, division, redefinition or intimidation in present times. Media and Utopia responds to the resulting crisis of the social by investigating the links between mediation and political imagination. This volume addresses those utopian spaces historically constituted through media, and analyses the conditions that made them possible. Individual essays deal with non-Western histories of technopolitics through distinctive perspectives on how to conceive the relationship between social form, everyday life, and utopian possibility, and by examining a range of media formats and genres from print, sound, and film to new media. With contributions from major scholars in the field, this book will be of interest to researchers and scholars of media studies, culture studies, sociology, modern South Asian history, and politics.

The Dancing God: Staging Hindu Dance in Australia charts the sensational and historic journey of de-provincialising and popularising Hindu dance in Australia. In the late nineteenth and early twentieth centuries, colonialism, orientalism and nationalism came together in various combinations to make traditional Hindu temple dance into a global art form. The intricately symbolic Hindu dance in its vital form was virtually unseen and unknown in Australia until an Australian impresario, Louise Lightfoot, brought it onto the stage. Her experimental changes, which modernised Kathakali dance through her pioneering collaboration with Indian dancer Ananda Shivaram, moved the Hindu dance from the sphere of ritualistic practice to formalised stage art. Amit Sarwal argues that this movement enabled both the authentic Hindu dance and dancer to gain recognition worldwide and created in his persona a cultural guru and ambassador on the global stage. Ideal for anyone with an interest in global dance, The Dancing God is an in-depth study of how a unique dance form evolved in the meeting of travellers and cultures.

This book analyses the political thought and practice of Gopal Krishna Gokhale (1866–1915), preeminent liberal leader of the Indian National Congress who was able to give a ‘global voice’ to the Indian cause. Using liberalism, nationalism, cosmopolitanism and citizenship as the four main thematic foci, the book illuminates the entanglement of Gopal Krishna Gokhale’s political ideas and action with broader social, political and cultural developments within and beyond the Indian national frame. The author analyses Gokhale’s thinking on a range of issues such as nationhood, education, citizenship, modernity, caste, social service, cosmopolitanism and the ‘women’s question,’ which historians have either overlooked or inserted in a rigid nation-bounded historical narrative. The book provides new enriching dimensions to the understanding of Gokhale, whose ideas remain relevant in contemporary India. A new biography of Gokhale that brings into consideration current questions within historiographical debates, this book is a timely and welcome addition to the fields of intellectual history, the history of political thought, Colonial history and Indian and South Asian history.

Bollywood movies and their signature song-and-dance spectacles are an aesthetic familiar to people around the world, and Bollywood music now provides the rhythm for ads marketing goods such as computers and a beat for remixes and underground bands. These musical numbers have inspired scenes in Western films such as Vanity Fair and Moulin Rouge. Global Bollywood shows how this currency in popular culture and among diasporic communities marks only the latest phase of the genre’s world travels. This interdisciplinary collection describes the many roots and routes of the Bollywood song-and-dance spectacle. Examining the reception of Bollywood music in places as diverse as Indonesia and Israel, the essays offer a stimulating redefinition of globalization, highlighting the cultural influence of Hindi film music from its origins early in the twentieth century to today. Contributors: Walter Armbrust, Oxford U; Anustup Basu, U of Illinois, Urbana-Champaign; Nilanjana Bhattacharjya, Colorado College; Edward K. Chan, Kennesaw State U; Bettina David, Hamburg U; Rajinder Dudrah, U of Manchester; Shanti Kumar, U of Texas, Austin; Monika Mehta, Binghamton U; Anna Morcom, Royal Holloway College; Ronie Parciack, Tel Aviv U; Biswarup Sen, U of Oregon; Sangita Shrestova; Richard Zumkhawala-Cook, Shippensburg U. Sangita Gopal is assistant professor of English at the University of Oregon. Sujata Moorti is professor of women’s and gender studies at Middlebury College.

In a blow against the British Empire, Khan suggests that London artificially divided India's Hindu and Muslim populations by splitting their one language in two, then burying the evidence in obscure scholarly works outside the public view. All language is political -- and so is the boundary between one language and another. The author analyzes the origins of Urdu, one of the earliest known languages, and propounds the iconoclastic views that Hindi came from pre-Aryan Dravidian and Austric-Munda, not from Aryan's Sanskrit (which, like the Indo-European languages, Greek and Latin, etc., are rooted in the Middle East/Mesopotamia, not in Europe). Hindi's script came from the Aramaic system, similar to Greek, and in the 1800s, the British initiated the divisive game of splitting one language in two, Hindi (for the Hindus) and Urdu (for the Muslims). These facts, he says, have been buried and nearly lost in turgid academic works. Khan bolsters his hypothesis with copious technical linguistic examples. This may spark a revolution in linguistic history! Urdu/Hindi: An Artificial Divide integrates the out of Africa linguistic evolution theory with the fossil linguistics of Middle East, and discards the theory that Sanskrit descended from a hypothetical proto-IndoEuropean language and by degeneration created dialects, Urdu/Hindi and others. It shows that several tribes from the Middle East created the hybrid by cumulative evolution. The oldest groups, Austric and Dravidian, starting 8000 B.C. provided the grammar/syntax plus about 60% of vocabulary, S.K.T. added 10% after 1500 B.C. and Arabic/Persian 20-30% after A.D. 800. The book reveals Mesopotamia as the linguistic melting pot of Sumerian, Babylonian, Elamite, Hittite-Hurrian-Mitanni, etc., with a common script and vocabularies shared mutually and passed on to I.E., S.K.T., D.R., Arabic and then to Hindi/Urdu; in fact the author locates oldest evidence of S.K.T. in Syria. The book also exposes the myths of a revealed S.K.T. or Hebrew and the fiction of linguistic races, i.e. Aryan, Semitic, etc. The book supports the one world concept and reveals the potential of Urdu/Hindi to unite all genetic elements, races and regions of the Indo-Pakistan sub-continent. This is important reading not only for those interested to understand the divisive exploitation of languages in British-led India's partition, but for those interested in: - The science and history of origin of Urdu/Hindi (and other languages) - The false claims of linguistic races and creation - History of Languages and Scripts - Language, Mythology and Racism - Ancient History and Fossil Languages - British Rule and India's Partition.

This book explores the dramatic rise in popularity of the women’s biopic in contemporary Bollywood, within the context of wider cultural shifts over the past decade. Delving into the societal shifts reflected in the genre, both on and off screen, the book explores the contours of individual agency and the centring of women in Indian cinema. The book offers new insight into women-centric Hindi biopics, a fast-rising genre carving out a tradition of its own, with female directors and actors contributing to this rising postfeminist celebration of women’s agency and individuality. The authors posit that the alternative narratives, created by Bollywood and accepted by mainstream audiences, have become a catalyst to elevate women or female actors to protagonists, without the need to conform to the sexist mores of mainstream Bollywood. This book will be of interest to scholars, researchers and upper-level students in the areas of film studies, media industries, gender and feminism, and South Asian studies.

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The field of Bollywood studies has remained predominantly critical, theoretical and historical in focus. This book brings together qualitative and quantitative approaches to tackle empirical questions focusing on the relationship between soft power, hybridity, cinematic texts, and audiences. Adopting a critical-transcultural framework that examines the complex power relations that are manifested through globalized production and consumption practices, the book approaches the study of popular Hindi cinema from three broad perspectives: transcultural production contexts, content trends, and audiences. It firstly outlines the theoretical issues relevant to the spread of popular Indian cinema and emergence of India’s growing soft power. The book goes on to report on a series of quantitative studies that examine the patterns of geographical, cultural, political, infrastructural, and artistic power dynamics at work within the highest-grossing popular Hindi films over a 61-year period since independence. Finally, an additional set of studies are presented that quantitatively examine Indian and North American audience consumption practices. The book illuminates issues related to the actualization and maintenance of cinematic soft power dynamics, highlighting Bollywood’s increasing integration into and subsumption by globalized practices that are fundamentally altering India’s cinematic landscape and, thus, its unique soft power potential. It is of interest to academics working in Film Studies, Globalisation Studies, and International Relations.