Examining works by Rabindranath Tagore, Mulk Raj Anand, Vikram Seth and the photography of Dayanita Singh, Tania Roy examines the delayed claims of literary and artistic modernity in India through Adorno's category of late-style.
Examining works by Rabindranath Tagore, Mulk Raj Anand, Vikram Seth and the photography of Dayanita Singh, Tania Roy examines the delayed claims of literary and artistic modernity in India through Adorno's category of late-style.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Tania Roy is Senior Lecturer in English Literature at the National University of Singapore (NUS) and coordinates the Graduate Programme in Literary Studies. She has a doctorate in Political Theory from Duke University, where her interdisciplinary engagement with literature was advanced through a Gerst Fellowship in Economic, Political and Humanistic Thought. At NUS, she teaches topics in Critical Theory, especially the aesthetics of the Frankfurt School, trauma studies, postcolonial and world literatures. Related interests on contemporary art and biopolitics in South-East Asia, legacies of the twentieth-century Anglophonic realist novel on the subcontinent, and art after the liberalisation of the Indian economy considered, especially, as a response to civic violence under the current dispensation of far-right supremacism have appeared as book chapters and articles in journals including boundary 2, Theory, Culture and Society, Political Culture, The European Legacy and The Journal of French and Francophone Philosophy.
Inhaltsangabe
Introduction: Lineages of Lateness: Adorno and the Postcolonial PART ONE TERMINAL BEGINNINGS: NATIONAL MODERNISM Chapter One: National Allegory in Late style: Culture, Terror and Bodily Disburdenment in Tagore's Four Chapters Chapter Two: Nation, Transmodernity and the Unimaginable Community: the Place of Failure in Mulk Raj Anand's Across the Black Waters PART TWO FORMATIONS of the CONTEMPORARY Chapter Three: "Tis love of earth that he instils": English without Soil in Vikram Seth's An Equal Music Chapter Four: The Art of Disappearance: Reading Adorno in the House of Dayanita Singh PART THREE CONCLUSION Chapter Five: Automatic Intimacies Coda
Introduction: Lineages of Lateness: Adorno and the Postcolonial
PART ONE TERMINAL BEGINNINGS: NATIONAL MODERNISM
Chapter One: National Allegory in Late style: Culture, Terror and Bodily Disburdenment in Tagore's Four Chapters
Chapter Two: Nation, Transmodernity and the Unimaginable Community: the Place of Failure in Mulk Raj Anand's Across the Black Waters
PART TWO FORMATIONS of the CONTEMPORARY
Chapter Three: "Tis love of earth that he instils": English without Soil in Vikram Seth's An Equal Music
Chapter Four: The Art of Disappearance: Reading Adorno in the House of Dayanita Singh
Introduction: Lineages of Lateness: Adorno and the Postcolonial PART ONE TERMINAL BEGINNINGS: NATIONAL MODERNISM Chapter One: National Allegory in Late style: Culture, Terror and Bodily Disburdenment in Tagore's Four Chapters Chapter Two: Nation, Transmodernity and the Unimaginable Community: the Place of Failure in Mulk Raj Anand's Across the Black Waters PART TWO FORMATIONS of the CONTEMPORARY Chapter Three: "Tis love of earth that he instils": English without Soil in Vikram Seth's An Equal Music Chapter Four: The Art of Disappearance: Reading Adorno in the House of Dayanita Singh PART THREE CONCLUSION Chapter Five: Automatic Intimacies Coda
Introduction: Lineages of Lateness: Adorno and the Postcolonial
PART ONE TERMINAL BEGINNINGS: NATIONAL MODERNISM
Chapter One: National Allegory in Late style: Culture, Terror and Bodily Disburdenment in Tagore's Four Chapters
Chapter Two: Nation, Transmodernity and the Unimaginable Community: the Place of Failure in Mulk Raj Anand's Across the Black Waters
PART TWO FORMATIONS of the CONTEMPORARY
Chapter Three: "Tis love of earth that he instils": English without Soil in Vikram Seth's An Equal Music
Chapter Four: The Art of Disappearance: Reading Adorno in the House of Dayanita Singh
PART THREE CONCLUSION
Chapter Five: Automatic Intimacies
Coda
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