World Literature And The Question Of Genre In Colonial India

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.

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.

This volume investigates performances as situated "machineries of knowing" (Karin Knorr Cetina), exploring them as relational processes for, in and with which performers as well as spectators actively (re)generate diverse practices of knowing, knowledges and epistemologies. Performance cultures are distinct but interconnected environments of knowledge practice. Their characteristic features depend not least on historical as well as contemporary practices and processes of interweaving performance cultures. The book presents case studies from diverse locations around the globe, including Argentina, Canada, China, Greece, India, Poland, Singapore, and the United States. Authored by leading scholars in theater, performance and dance studies, its chapters probe not only what kinds of knowledges are (re)generated in performances, for example cultural, social, aesthetic and/or spiritual knowledges; the contributions investigate also how performers and spectators practice knowing (and not-knowing) in performances, paying particular attention to practices and processes of interweaving performance cultures and the ways in which they contribute to shaping performances as dynamic "machineries of knowing" today. Ideal for researchers, students and practitioners of theater, performance and dance, (Re)Generating Knowledges in Performance explores vital knowledge-serving functions of performance, investigating and emphasizing in particular the impact and potential of practices and processes of interweaving of performance cultures that enable performers and spectators to (re)generate crucial knowledges in increasingly diverse ways.

Investigating more than 70 key concepts relating to the performing arts in more than six non-European languages, this volume provides a groundbreaking research tool and one-of-a-kind reference source for theatre, performance and dance studies worldwide. The Companion features in-depth explorations of and expert introductions to a select number of performance-related key concepts in Arabic, Chinese, Japanese, Korean, Yorùbá as well as the Indian languages Sanskrit, Hindi and Tamil. Key concepts—such as Furǧa فرجة in Arabic, for example, or Jiadingxing 假定性 in Chinese, Gei 芸 in Japanese, Ìparadà in Yorùbá and Imyeon 이면 in Korean—that defy easy translation from one language to another (and especially into English as the world’s lingua franca) and that reflect culturally specific ways of thinking and talking about the performing arts are thoroughly examined in in-depth articles. Written by more than 60 distinguished scholars from around the globe, the articles describe in detail each concept’s dynamic history, its flexible scope of meaning and current range of usage. The Companion also includes extensive introductions to each language section, in which internationally renowned experts explain how the presented key concepts are situated within, and are constitutive of, distinct and dynamic epistemic systems that have different yet always interlinked histories and orientations. Offers a fascinating insight into the unique histories, characteristics, and orientations of linguistically and culturally distinct epistemic systems related to the performative arts Contains extensive cross-references and bibliographies An invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation, area and cultural studies An accessible handbook for everybody interested in performance cultures and performance-related knowledge systems existing in the world today. This volume provides an invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation and area studies, history (of science and the humanities) and cultural studies.

The Palgrave Handbook of Theatre and Migration provides a wide survey of theatre and performance practices related to the experience of global movements, both in historical and contemporary contexts. Given the largest number of people ever (over one hundred million) suffering from forced displacement today, much of the book centres around the topic of refuge and exile and the role of theatre in addressing these issues. The book is structured in six sections, the first of which is dedicated to the major theoretical concepts related to the field of theatre and migration including exile, refuge, displacement, asylum seeking, colonialism, human rights, globalization, and nomadism. The subsequent sections are devoted to several dozen case studies across various geographies and time periods that highlight, describe and analyse different theatre practices related to migration. The volume serves as a prestigious reference work to help theatre practitioners, students, scholars, and educators navigate the complex field of theatre and migration.

Explains the Hindi novel’s role in anticipating and creating the story of middle-class modernity and modernization in North India. Vasudha Dalmia offers a panoramic view of the intellectual and cultural life of North India over a century, from the aftermath of the 1857 uprising to the end of the Nehruvian era. The North’s historical cities, rooted in an Indo-Persianate culture, began changing more slowly than the Presidency towns founded by the British. Dalmia takes up eight canonical Hindi novels set in six of these cities—Agra, Allahabad, Banaras, Delhi, Lahore, and Lucknow—to trace a literary history of domestic and political cataclysms. Her exploration of the emerging Hindu middle classes, changing personal and professional ambitions, and new notions of married life provides a vivid sense of urban modernity. She argues that the radical social transformations associated with post-1857 urban restructuring, and the political flux resulting from social reform, Gandhian nationalism, communalism, Partition, and the Cold War shaped the realm of the intimate as much as the public sphere. Love and friendship, notions of privacy, attitudes to women’s work, and relationships within households are among the book’s major themes.

This Encyclopedia offers an indispensable reference guide to twentieth-century fiction in the English-language. With nearly 500 contributors and over one million words, it is the most comprehensive and authoritative reference guide to twentieth-century fiction in the English language. Contains over 500 entries of 1000-3000 words written in lucid, jargon-free prose, by an international cast of leading scholars Arranged in three volumes covering British and Irish Fiction, American Fiction, and World Fiction, with each volume edited by a leading scholar in the field Entries cover major writers (such as Saul Bellow, Raymond Chandler, John Steinbeck, Virginia Woolf, A.S. Byatt, Samual Beckett, D.H. Lawrence, Zadie Smith, Salman Rushdie, V.S. Naipaul, Nadine Gordimer, Alice Munro, Chinua Achebe, J.M. Coetzee, and Ngûgî Wa Thiong’o) and their key works Examines the genres and sub-genres of fiction in English across the twentieth century (including crime fiction, Sci-Fi, chick lit, the noir novel, and the avant-garde novel) as well as the major movements, debates, and rubrics within the field, such as censorship, globalization, modernist fiction, fiction and the film industry, and the fiction of migration, diaspora, and exile

Indian writers of English such as G. V. Desani, Salman Rushdie, Amit Chaudhuri, Amitav Ghosh, Vikram Seth, Allan Sealy, Shashi Tharoor, Arundhati Roy, Vikram Chandra and Jhumpa Lahiri have taken the potentialities of the novel form to new heights. Against the background of the genre’s macro-history, this study attempts to explain the stunning vitality, colourful diversity, and the outstanding but sometimes controversial success of postcolonial Indian novels in the light of ongoing debates in postcolonial studies. It analyses the warp and woof of the novelistic text through a cross-sectional scrutiny of the issues of democracy, the poetics of space, the times of empire, nation and globalization, self-writing in the auto/meta/docu-fictional modes, the musical, pictorial, cinematic and culinary intertextualities that run through this hyperpalimpsestic practice and the politics of gender, caste and language that gives it an inimitable stamp. This concise and readable survey gives us intimations of a truly world literature as imagined by Francophone writers because the postcolonial Indian novel is a concrete illustration of how “language liberated from its exclusive pact with the nation can enter into a dialogue with a vast polyphonic ensemble.”