Offering a unique cross-cultural study, this book provides a detailed account of the relationship between classical antiquity and the British colonial presence in India. Vasunia shows how classical culture pervaded the minds of the British colonizers, and highlights the many Indian receptions of Greco-Roman antiquity.
Offering a unique cross-cultural study, this text provides a detailed account of the relationship between classical antiquity and the British colonial presence in India. Vasunia shows how classical culture pervaded the minds of the British colonizers and highlights the many Indian receptions of Greco-Roman antiquity.
The role of markets in linking local communities to larger networks of commerce, culture, and political power is the central element in Anand A. Yang's provocative and original study. Yang uses bazaars in the northeast Indian state of Bihar during the colonial period as the site of his investigation. The bazaar provides a distinctive locale for posing fundamental questions regarding indigenous societies under colonialism and for highlighting less familiar aspects of colonial India. At one level, Yang reconstructs Bihar's marketing system, from its central place in the city of Patna down to the lowest rung of the periodic markets. But he also concentrates on the dynamics of exchanges and negotiations between different groups and on what can be learned through the "voices" of people in the bazaar: landholders, peasants, traders, and merchants. Along the way, Yang uncovers a wealth of details on the functioning of rural trade, markets, fairs, and pilgrimages in Bihar. A key contribution of Bazaar India is its many-stranded narrative history of some of South Asia's primary actors over the past two centuries. But Yang's approach is not that of a detached observer; rather, his own voice is engaged with the voices of the past and with present-day historians. By focusing on the world beyond the mud walls of the village, he widens the imaginative geography of South Asian history. Readers with an interest in markets, social history, culture, colonialism, British India, and historiographic methods will welcome his book.
An empirico-historical inquiry into the empire cinema in Hollywood and Britain during the turbulent 1930s and 1940s. It shows how the empire cinema constructed the colonial world, its rationale for doing so, and the manner in which such constructions were received by the colonized people.
This extraordinary book provides a detailed account of the relationship between classical antiquity and the British colonial presence in India. It examines some of the great figures of the colonial period such as Gandhi, Nehru, Macaulay, Jowett, and William Jones, and covers a range of different disciplines as it sweeps from the eighteenth century to the end of the British Raj in the twentieth. Using a variety of materials, including archival documents and familiar texts, Vasunia shows how classical culture pervaded the thoughts and minds of the British colonizers. His book highlights the many Indian receptions of Greco-Roman antiquity and analyses how Indians turned to ancient Greece and Rome during the colonial period for a variety of purposes, including anti-colonialism, nationalism, and collaboration. Offering a unique cross-cultural study, this volume will be of interest to literary scholars and historians of the classical world, the British Empire, and South Asia.
When did categories such as a national space and economy acquire self-evident meaning and a global reach? Why do nationalist movements demand a territorial fix between a particular space, economy, culture, and people? Producing India mounts a formidable challenge to the entrenched practice of methodological nationalism that has accorded an exaggerated privilege to the nation-state as a dominant unit of historical and political analysis. Manu Goswami locates the origins and contradictions of Indian nationalism in the convergence of the lived experience of colonial space, the expansive logic of capital, and interstate dynamics. Building on and critically extending subaltern and postcolonial perspectives, her study shows how nineteenth-century conceptions of India as a bounded national space and economy bequeathed an enduring tension between a universalistic political economy of nationhood and a nativist project that continues to haunt the present moment. Elegantly conceived and judiciously argued, Producing India will be invaluable to students of history, political economy, geography, and Asian studies.
Contentious Traditions analyzes the debate on sati, or widow burning, in colonial India. Though the prohibition of widow burning in 1829 was heralded as a key step forward for women's emancipation in modern India, Lata Mani argues that the women who were burned were marginal to the debate and that the controversy was over definitions of Hindu tradition, the place of ritual in religious worship, the civilizing missions of colonialism and evangelism, and the proper role of the colonial state. Mani radically revises colonialist as well as nationalist historiography on the social reform of women's status in the colonial period and clarifies the complex and contradictory character of missionary writings on India. The history of widow burning is one of paradox. While the chief players in the debate argued over the religious basis of sati and the fine points of scriptural interpretation, the testimonials of women at the funeral pyres consistently addressed the material hardships and societal expectations attached to widowhood. And although historiography has traditionally emphasized the colonial horror of sati, a fascinated ambivalence toward the practice suffused official discussions. The debate normalized the violence of sati and supported the misconception that it was a voluntary act of wifely devotion. Mani brilliantly illustrates how situated feminism and discourse analysis compel a rewriting of history, thus destabilizing the ways we are accustomed to look at women and men, at "tradition," custom, and modernity.
What is colonialism and what is a colonial state? Ranajit Guha points out that the colonial state in South Asia was fundamentally different from the metropolitan bourgeois state which sired it. The metropolitan state was hegemonic in character, and its claim to dominance was based on a power relation in which persuasion outweighed coercion. Conversely, the colonial state was non-hegemonic, and in its structure of dominance coercion was paramount. Indeed, the originality of the South Asian colonial state lay precisely in this difference: a historical paradox, it was an autocracy set up and sustained in the East by the foremost democracy of the Western world. It was not possible for that non-hegemonic state to assimilate the civil society of the colonized to itself. Thus the colonial state, as Guha defines it in this closely argued work, was a paradox--a dominance without hegemony. Dominance without Hegemony had a nationalist aspect as well. This arose from a structural split between the elite and subaltern domains of politics, and the consequent failure of the Indian bourgeoisie to integrate vast areas of the life and consciousness of the people into an alternative hegemony. That predicament is discussed in terms of the nationalist project of anticipating power by mobilizing the masses and producing an alternative historiography. In both endeavors the elite claimed to speak for the people constituted as a nation and sought to challenge the pretensions of an alien regime to represent the colonized. A rivalry between an aspirant to power and its incumbent, this was in essence a contest for hegemony.
World Literature and the Question of Genre in Colonial India describes the way Marathi literary culture, entrenched in performative modes of production and reception, saw the germination of a robust, script-centric dramatic culture owing to colonial networks of literary exchange and the newfound, wide availability of print technology. The author demonstrates the upheaval that literary culture underwent as a new class of literati emerged: anthologists, critics, theatre makers, publishers and translators. These people participated in global conversations that left their mark on theory in the early twentieth century. Reading through archives and ephemera, Kedar Arun Kulkarni illustrates how literary cultures in colonised locales converged with and participated fully in key defining moments of world literature, but also diverged from them to create, simultaneously, a unique literary modernity.
In this Readers' Guide, Betty Jay considers the establishment of Forster's reputation and the various attempts of critics to decipher the complex codes that are a feature of his novel. Successive chapters focus on debates around Forster's liberal-humanism, with essays from F. R. Leavis, Lionel Trilling and Malcolm Bradbury; on the indeterminacy and ambiguity of the text, with extracts from essays by Gillian Beer, Robert Barratt, Wendy Moffat and Jo-Ann Hoeppner Moran; and on the sexual politics of Forster's work, with writings from Elaine Showalter, Frances L. Restuccia and Eve Dawkins Poll. The Guide concludes with essays from Jeffrey Meyers and Jenny Sharpe, who read A Passage to India in terms of its engagement with British imperialism.