This book studies the intersection of performance and nationalism in South Asia. It traces the emergence of the culture of nationalism from the late nineteenth century through to contemporary times.
This book studies the intersection of performance and nationalism in South Asia. It traces the emergence of the culture of nationalism from the late nineteenth century through to contemporary times.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Sarvani Gooptu is Professor of Asian Literary and Cultural Studies at Netaji Institute for Asian Studies, Kolkata, India. Her main areas of research are nationalism and culture in Asia. Among her publications are three books: The Actress in the Public Theatres of Calcutta (2015), The Music of Nationhood: Dwijendralal Roy of Bengal (2018), which received the Hiralal Award for Best Woman Historian at Indian History Congress 2019, and Knowing Asia, Being Asian, Cosmopolitanism and Nationalism in Bengali Periodicals 1860-1940 (2021) as well as two co-edited volumes. She is passionate about music and regularly performs in music programmes. Mimasha Pandit is Assistant Professor in the Department of History at Mankar College, Purba Bardhaman, West Bengal, India. Her main areas of research are the history of ideas and their performance in the wider public sphere in colonial Bengal. Her PhD dissertation was published in 2019, titled Performing Nationhood:The Emotional Roots of Swadeshi Nationhood in Bengal, 1905-1912. Recently, she has contributed to Itihaaser Bitarka, Bitarker Itihaas (published in 2022) as well as to Transcultural Humanities in South Asia (2022), edited by Waseem Anwar and Nousheen Yousuf.
Inhaltsangabe
Notes on Contributors Acknowledgements Introduction: Performing Nation, Nationalising Performance I: Framing Parameters of Narrative/National/Lived Experience A: South Asia * Framing Martyrdom as Cultural Performance in Bengali Revolutionary Nationalism Shukla Sanyal * The Making of the Audience in Colonial Bengal Theatre Sunetra Mitra * Indian Nationalism Embodied Through Dance Amita Dutt * Shifting Hues in a City's Culture Traced through the 88 keys of a Piano Subha Das Mollick B: Rhizomatic Pattern: East & Southeast Asia * The Politics of Cultural Intimacies in Asia: Writing about Dramatic Performances in East and South East Asia in Twentieth Century Bengali Literary Journals Sarvani Gooptu II: Small Voices of Alterity A: South Asia * Remembering and Encountering Death Collectively: Practice and Performance in the 'Khawhar Hla' (Songs for the Dead) among the Zo Christians in North Eastern India. Anup Shekhar Chakraborty * Identity through Substraction: K-Pop Fans from North East India Create a New Identity of their Own Sabik Pandit 8. The Formula of the Film and the Performance into Modernity Susmita Dasgupta B: Rhizomatic Pattern: Central Asia 9. Pains and Pangs of Post-Soviet Nationhood: Experiences of Tajikistan through the Pastiches of Celluloid Representation Nandini Bhattacharya III: Spectacularity, Mythification& Ritualistic Understanding/Countering of National Identity A: South Asia 10. The Work of Art, The Mirror of Time: Theatre, Actress and the Audience in the Nineteenth Century Mausumi Mukhopadhyay 11. Ram Ke Naam: Sloganeering/Othering Identity in Ramjanmabhoomi Movement Mimasha Pandit 12. The Sword Unsheathed: 19th Century Bengal and A Postmodern Reading of Utpal Dutt's Tiner Tolowar (The Tin Sword). Purna Chowdhury B: Rhizomatic Pattern: Southeast Asia 13. Identity through Reiteration: Myth, Memory, Magic in Tess Uriza Holthe's When the Elephants Dance Dipanjan Chatterjee Index
Notes on Contributors Acknowledgements Introduction: Performing Nation, Nationalising Performance I: Framing Parameters of Narrative/National/Lived Experience A: South Asia * Framing Martyrdom as Cultural Performance in Bengali Revolutionary Nationalism Shukla Sanyal * The Making of the Audience in Colonial Bengal Theatre Sunetra Mitra * Indian Nationalism Embodied Through Dance Amita Dutt * Shifting Hues in a City's Culture Traced through the 88 keys of a Piano Subha Das Mollick B: Rhizomatic Pattern: East & Southeast Asia * The Politics of Cultural Intimacies in Asia: Writing about Dramatic Performances in East and South East Asia in Twentieth Century Bengali Literary Journals Sarvani Gooptu II: Small Voices of Alterity A: South Asia * Remembering and Encountering Death Collectively: Practice and Performance in the 'Khawhar Hla' (Songs for the Dead) among the Zo Christians in North Eastern India. Anup Shekhar Chakraborty * Identity through Substraction: K-Pop Fans from North East India Create a New Identity of their Own Sabik Pandit 8. The Formula of the Film and the Performance into Modernity Susmita Dasgupta B: Rhizomatic Pattern: Central Asia 9. Pains and Pangs of Post-Soviet Nationhood: Experiences of Tajikistan through the Pastiches of Celluloid Representation Nandini Bhattacharya III: Spectacularity, Mythification& Ritualistic Understanding/Countering of National Identity A: South Asia 10. The Work of Art, The Mirror of Time: Theatre, Actress and the Audience in the Nineteenth Century Mausumi Mukhopadhyay 11. Ram Ke Naam: Sloganeering/Othering Identity in Ramjanmabhoomi Movement Mimasha Pandit 12. The Sword Unsheathed: 19th Century Bengal and A Postmodern Reading of Utpal Dutt's Tiner Tolowar (The Tin Sword). Purna Chowdhury B: Rhizomatic Pattern: Southeast Asia 13. Identity through Reiteration: Myth, Memory, Magic in Tess Uriza Holthe's When the Elephants Dance Dipanjan Chatterjee Index
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