Call the Next Witness is an exciting detective story in which the suspense depends not on finding out "who done it," but rather on who will say what. Set in northern India during colonial rule, the story follows the thread of a murder from deed to trial. Mason not only weaves a gripping tale of death and detection in a small village, but also provides a fascinating insight into the religious, economic, political and psychological infrastructure of prewar Indian society.
This volume approaches the issue of ambient sound through the ethnographic exploration of different cultural contexts including Italy, India, Egypt, France, Ethiopia, Scotland, Spain, Portugal, and Japan. It examines social, religious, and aesthetic conceptions of sound environments, what types of action or agency are attributed to them, and what bodies of knowledge exist concerning them. Contributors shed new light on these sensory environments by focusing not only on their form and internal dynamics, but also on their wider social and cultural environment. The multimedia documents of this volume may be consulted at the address: milson.fr/routledge_media.
What do the TV shows we’re watching tell us about ourselves? Television is the single most powerful and dynamic agent of change in India today. It is also the country’s most popular and accessible form of entertainment. Remote Control examines three kinds of programming—24x7 news, soap operas and reality shows—that have changed Indian television forever, and analyzes how these three genres, while drawing on different sources, are hybridized, indigenized and manage to ultimately project a distinctively Indian identity. Shoma Munshi’s book shows us how everyday reality in India in the twenty-first century shapes television; and how television, in turn, shapes us.
In This Sequel To Upamanyu Chatterjee S Debut Novel, English, August, Agastya Sen-Older, Funnier, More Beleaguered, Almost Endearing-And Some Of His Friends Are Back. Comic And Kafkaesque, The Mammaries Of The Welfare State Is A Masterwork Of Satire By A Major Writer At The Height Of His Powers.
“Magisterial” (Pankaj Mishra, The New York Review of Books) and “to Urdu fiction what One Hundred Years of Solitude is to Hispanic literature” (TLS) The most important novel of twentieth-century Urdu fiction, Qurratulain Hyder’s River of Fire encompasses the fates of four recurring characters over two and a half millennia. These characters become crisscrossed and strangely inseparable over different eras, forming and reforming their relationships in romance and war, in possession and dispossession. River of Fire interweaves parables, legends, dreams, diaries, and letters, forming a rich tapestry of history and human emotions and redefining Indian identity. But above all, it’s a unique pleasure to read Hyder’s singular prose style: “Lyrical and witty, occasionally idiosyncratic, it is always alluring and allusive: Flora Annie Steel and E. M. Forster encounter classical Urdu poets; Eliot and Virginia Woolf meet Faiz Ahmed Faiz” (The Times Literary Supplement).
When a six year old girl Kaikeyi gets nurtured by a babysitter after her father left her after getting married because of his transfer,she grow up without anyone’s love. While studying engineering in Lucknow University,she encounters a handsome boy who has no goals in his life but the political background and she gradually starts seeing him with no strings attached kinda relationsip.The days pass by and that boy joins the political party coincidentally led by his own beloved uncle.Meanwhile Kaikeyi gets placed in decent IT company in Mumbai. While working passionately as a IT worker in Mumbai, Kaikeyi bumps onto a guy who is a writer and film critic following his passion of filmmaking,quite positive about his life.The circumstances made Kaikeyi to fall in love with him though she doesn’t believe in love. After getting the producer for his film the guy proposes Kaikeyi for a marriage as he believes in eternal love and wants to settle down. But Kaikeyi rejects it, the altercation happens and both falls apart.Meantime Kaikeyi gets promoted as a senior software engineer and moves to Delhi . Kaikeyi’s life changes drastically with unexpecting twists and turns after the guy name Anshul joins her company as a relationship manager which makes her realize what the Love is.
About the Book A NUANCED AND POWERFUL MICROHISTORY SET AGAINST THE SWEEP OF INDIAN HISTORY. Dharmman Bibi rode into battle during the revolt of 1857 shoulder to shoulder with her patron lover Babu Kunwar Singh. Sadabahar entranced even snakes and spirits with her music, but eventually gave her voice to Baba Court Shaheed. Her foster mothers Bullan and Kallan fought their malevolent brother and an unjust colonial law all the way to the Privy Council—and lost everything. Their great-granddaughter Teema paid for the family’s ruination with her childhood and her body. Bindo, Asghari, Phoolmani, Pyaari … there are so many stories in this family. And you—one of the best-known tawaifs of your times—remember the stories of your foremothers and your own. This is a history, a multi-generational chronicle of one family of well-known tawaifs with roots in Banaras and Bhabua. Through their stories and self-histories, Saba Dewan explores the nuances that conventional narratives have erased, papered over or wilfully rewritten. In a not-so-distant past, tawaifs played a crucial role in the social and cultural life of northern India. They were skilled singers and dancers, and also companions and lovers to men from the local elite. It is from the art practice of tawaifs that kathak evolved and the purab ang thumri singing of Banaras was born. At a time when women were denied access to the letters, tawaifs had a grounding in literature and politics, and their kothas were centres of cultural refinement. Yet, as affluent and powerful as they were, tawaifs were marked by the stigma of being women in the public gaze, accessible to all. In the colonial and nationalist discourse of the nineteenth and twentieth centuries, this stigma deepened into criminalisation and the violent dismantling of a community. Tawaifnama is the story of that process of change, a nuanced and powerful microhistory set against the sweep of Indian history.
This book examines the phenomenon of prime time soap operas on Indian television. An anthropological insight into social issues and practices of contemporary India through the television, this volume analyzes the production of soaps within India’s cultural fabric. It deconstructs themes and issues surrounding the "everyday" and the "middle class" through the fiction of the "popular". In its second edition, this still remains the only book to examine prime time soap operas on Indian television. Without in any way changing the central arguments of the first edition, it adds an essential introductory chapter tracking the tectonic shifts in the Indian "mediascape" over the past decade – including how the explosion of regional language channels and an era of multiple screens have changed soap viewing forever. Meticulously researched and persuasively argued, the book traces how prime time soaps in India still grab the maximum eyeballs and remain the biggest earners for TV channels. The book will be of interest to students of anthropology and sociology, media and cultural studies, visual culture studies, gender and family studies, and also Asian studies in general. It is also an important resource for media producers, both in content production and television channels, as well as for the general reader.
