This volume comprises eleven contributions by scholars from Bangladesh, Canada, India, Nepal, Netherlands, Sri Lanka, U.K. and USA on diverse aspects of gender studies, the focus being on women who have adopted migration as a survival strategy. The message of this book is clear : poor women migrants are assets not only to their families but to their home country.
In his Foreword Professor Amartya Sen has rightly celebrated Devaki Jain’s refusal to take up the theme of her book in a minimalist framework of a tedious chronological regurgitation of what Charles Dickens would call ‘facts, facts and facts’. Instead, we have been offered a rich narrative of development, a history of women’s movement worldwide, its dreams, challenges and fissures, bringing alive a distant policy-making body like the United Nations, jiving with development refracted through the world’s women.
The book examines critically Sen’s contribution to some fundamental issues of human welfare from a gender perspective. Sen, has displayed feminist sensibilities, rare among economists. His ideas on notions such as justice, freedom, social choice, agency, ‘functionings’, and capability as a set of philosophical categories have not only enriched our understanding but has given us a whole new vocabulary and evaluative tools for judging human development, values that should underpin our goals.
The recent publication of Aziz Kurtha’s Francis Newton Souza: Bridging Western and Indian Modern Art is perhaps unsurprising in a context where prices of modern Indian art generally are constantly reaching ever more spectacular levels both nationally and elsewhere. Certainly, one of the key objectives of the book is to offer an art market perspective to the art collector, the many asides with reference to ownership, signature and prices are a clue to these concerns.
Alternate Lyricism is a confused mélange of essays written for Jehangir Jani’s different shows and some composed specifically for this publication. Contributors include Shivaji Panikkar, Ranjit Hoskote, Nancy Adjania, Mortimer Chatterjee, Girish Shahane, Anupa Mehta and Deeptha Achar. The essays have been gathered by Ratnottama Sengupta, whose own contribution is an interview with Jani.
A lavishly produced book on Indian art, Dictionary of Indian Art & Artists fills up a lacuna within the study of Indian art. Although the entries for contemporary Indian art are informative and exhaustive this book aims to reach back to the past as much as possible within the constraint of a dictionary format and also offers elucidation of technical terms concerning art practice.
Amrita Sher-Gil is probably the most significant 20th century painter who heralded the changing direction of modern Indian art1 . Of Indo-Hungarian origin, Sher-Gil’s short life (she died at the age of 28) was intense, exotic and amazingly productive. Her best known works were painted within a short span of just over a decade – a period in which her style evolved as a result of changing influences and experimentation.
The first thing that struck me about the book was that it was of large format and well-printed, covering a subject of India’s Art History on which no comprehensive book had been published so far. Historically speaking, one of the earliest rediscoveries of Indian art, the Ajanta caves and the mural paintings inside these caves had aroused much interest during the last quarter of nineteenth century.
As a young child, in late 1970’s Britain, I would often walk into the kitchen to find my mother making a curry. To this day I can still picture it; some kind of meat (probably beef), an onion, a few teaspoons of curry powder and for that touch of exotica, it would be topped off with some raisins. She never served it to me, as she knew I hated it and I cannot remember seeing her eat it either. My parents divorced in the 1980s and following my father’s departure from the household the ‘curry’ was never seen again.
Nearly two decades ago, I made my first journey to Bhutan. I was told that I should take the road up from Phuntsoling rather than go by air, because that way I would be entering Bhutan “the right way.” That was sane advice. From the moment that one crosses the Bhutan gate at Phuntsoling, one is in a way entering another world and it is best to do it gradually.
Forts and palaces in India are increasingly becoming a cultural reference for the concerned regions and communities of the country. They are also a new source of income for their private owners (be they the descendants of the erstwhile princely families or more recent owners) or for the different states considering the increase of tourism in India for the last number of years, and its expected growth in the coming ten years.
In an appendix to the book there is a list of Indian members of the army of the Raj who won the Victoria Cross in WW II. Among them: Havildar Major Chhelu Ram, 6th Rajputana Rifles at Jebel Garci in Tunisia: ‘ran through enemy fire armed only with a tommy gun and tin helmet, killing all occupants of the machine gun post. Also attended to an officer in an exposed position though himself seriously wounded. Died on the field.’
The book under review is an outcome of a conference on “ Population, Birth Control and Reproductive Health in Late Colonial India”, held at the Centre for the History and Culture of Medicine, School of Oriental and African Studies, University of London. It is also one in the series of New Perspectives in South Asian History.
The late nineteenth century in Punjab, as in Bengal, witnessed huge debates about the role of “indigenous” science and “western” science – harbingers of today’s concerns with “Hindu” science, mathematics and so on. Many factors went into the making of these discourses. One of course was the reaction to colonial efforts to deligitimize them as unscientific and empirical medical methods, to be distinguished from the universal, scientific and rational methods of biomedicine.
Babur Nama is an autobiography of Zahiruddin Muhammad Babur, the founder of the Mughal Empire in India, which he established in 1526 after defeating Sultan Ibrahim Lodi in the first battle of Panipat. More appropriately, Babur Nama is a memoir and a diary kept by Babur since he was ten years old until a year before his death in December 1530.
Many years ago, one of my students gave me a Marg volume titled Of Kings and Coins. Its sumptuous, luminous photographs were my introduction to the beauty of ancient and medieval Indian coinage. I held on to that volume and used it for many years as a teaching aid to show students the variety and aesthetic richness of numismatic sources. Over a decade later, here is another Marg volume on coins, this time with a special focus on coins as expressions of power and as media of communciation.
These essays have been put together in honour of Professor Hermann Kulke, one of the finest historians of his generation of pre-modern India. Although Kulke’s list of publications covers many aspects of the history of India, Sri Lanka and Southeast Asia, he is particularly known for his contribution to the study of regional state formation and construction of regional identities in early medieval India.
Reconstructing ancient society has always been a challenging task for a historian. How do we shrug off the ‘baggage’ of modernity that we carry and relocate ourselves in the (very distant) past so as to be accurate? The only way to do it is with curiosity and with honesty—approach the ‘sources’ with an open and eager mind, without preconceived notions, which is what is being attempted in this compilation of articles written over a period of roughly two decades. Uma Chakravarti, in her incredibly inquisitive and penetrating style, moves, quite literally, ‘beyond’ hackneyed discussions of state, political institutions and the caste system, to highlight lives of wideranging groups and communities which played a significant role, but have been treated cursorily by most historians. She seeks to ‘represent’ Ancient India with essays related to peasants, servile labour, dasas and karmakaras, widows, monks and householders and the bhaktin; hitherto grey areas of historical studies and in doing so, reveals how methods of production, processes of social stratification, creation of ideological structures and institutions are inherently linked to each other.