What remains of the “national” when the nation unravels at the birth of the independent state? The political truncation of India at the end of British colonial rule in 1947 led to a social cataclysm in which roughly one million people died and ten to twelve million were displaced. Combining film studies, trauma theory, and South Asian cultural history, Bhaskar Sarkar follows the shifting traces of this event in Indian cinema over the next six decades. He argues that Partition remains a wound in the collective psyche of South Asia and that its representation on screen enables forms of historical engagement that are largely opaque to standard historiography. Sarkar tracks the initial reticence to engage with the trauma of 1947 and the subsequent emergence of a strong Partition discourse, revealing both the silence and the eventual “return of the repressed” as strands of one complex process. Connecting the relative silence of the early decades after Partition to a project of postcolonial nation-building and to trauma’s disjunctive temporal structure, Sarkar develops an allegorical reading of the silence as a form of mourning. He relates the proliferation of explicit Partition narratives in films made since the mid-1980s to disillusionment with post-independence achievements, and he discusses how current cinematic memorializations of 1947 are influenced by economic liberalization and the rise of a Hindu-chauvinist nationalism. Traversing Hindi and Bengali commercial cinema, art cinema, and television, Sarkar provides a history of Indian cinema that interrogates the national (a central category organizing cinema studies) and participates in a wider process of mourning the modernist promises of the nation form.
Grandpa's Tips On Management for All"" is an insightful and informative recollection of real-life experiences that make a lasting difference and enhance our life. The nuggets of information shared in this book cover a wide gambit of subjects and is interspaced with real-life examples from his life's journey in a very simple and forthright manner. It is an ideal handbook that serves as a "management capsule for a layperson." You can make out that all the tips in the book come straight from his heart; which is the essence of his great observation and teaching abilities. There are anecdotes and real-life incidences that incorporate the essence of goal setting, behavioral psychology, motivation, risk assessment, planning, execution, transactional analysis, and developing leadership qualities. Besides this, there are also practical tips on issues like staying healthy, managing fear and surviving in an increasingly competitive and dangerous world. If you wish to run through a maze of life confidently and arrive at the destination that you seek, this is the ideal book for you. This book is perfect for everyone who wishes to find a purpose in life and achieve lasting "peace and happiness.
The Indian Army has fought many battles in the 52 years since independence. Most of them were fought against Pakistan. Some of these were fought against the Chinese, some against the LITE, some against Nizam of Hyderabad and some against the Portuguese in Goa. Some were fought in the mountains of Kashmir. Sikkim or Arunachal Pradesh. Some were fought in the deserts of Rajasthan. Some were fought with adequate resources and after deliberate planning and preparations while others were fought under desperate situations with whatever could be mustered to thwart a superior enemy. Some of these battles have been won, some lost and others ended in stalemate. Aspiring generals and students of military history must study these battles to understand why a particular battle went a particular way. This book deals with 11 outstanding victories of the Indian Army; Shalateng, Rajauri and Zoji La from the Kashmir War 1947-48; Chusul from the 1962 Chinese War; Hajipir, Assal Uttar and Phillora from the lndo-Pak War 1965 and Bayra, Sylhet, Basantar and Dacca from the lndo-Pak War 1971. The book narrates the background and conduct of these battles. It also tries to analyse the factors that contributed to these outstanding victories. It also tries to analyse the qualities that go into the making of a great general.
What remains of the "national" when the nation unravels at the birth of the independent state? The political truncation of India at the end of British colonial rule in 1947 led to a social cataclysm in which roughly one million people died, and 10 to 12 million were displaced. Combining film studies, trauma theory, and South Asian cultural history, Bhaskar Sarkar follows the shifting traces of this event in Indian cinema over the next six decades. He argues that Partition remains a wound in the collective psyche of South Asia and that its representation on screen enables forms of historical engagement that are largely opaque to standard historiography. Sarkar tracks the initial reticence to engage with the trauma of 1947 and the subsequent emergence of a strong Partition discourse, revealing both the silence and the eventual "return of the repressed" as strands of one complex process. Connecting the relative silence of the early decades after Partition to a project of postcolonial nation-building and to trauma's disjunctive temporal structure, Sarkar develops an allegorical reading of the silence as a form of mourning. He relates the proliferation of explicit Partition narratives in films made since the mid-1980s to disillusionment with post-independence achievements, and he discusses how current cinematic memorializations of 1947 are influenced by economic liberalization and the rise of a Hindu-chauvinist nationalism. Traversing Hindi and Bengali commercial cinema, art cinema, and television, Sarkar provides a history of Indian cinema that interrogates the national (a central category organizing cinema studies) and participates in a wider process of mourning the modernist promises of the nation form.
‘A great man in Indian politics’ —Dr Ram Manohar Lohia on Dr Ambedkar Dr Ambedkar’s role in the cause of social emancipation has been researched and written about extensively. His part in the drafting of the Indian Constitution between 1946 and 1950 has also received considerable attention. In The Foresighted Ambedkar, Anurag Bhaskar argues that India’s Constitution was drafted not just between 1946 and 1950 but over the course of four decades. Dr Ambedkar was the only person to have been involved at all the stages related to the drafting of the Indian constitutional document since 1919. These stages bear the imprint of his contribution and role. This book seeks to focus on Dr Ambedkar’s influence on the Indian constitutional discourse from 1919, when he entered public life, until the actual writing of the Constitution and even beyond. Covering the different constitutional moments as and when they happened, it highlights Dr Ambedkar’s role in those moments. A seminal work of intellectual and constitutional history, this volume demonstrates why Dr Ambedkar is rightly called the ‘Father of the Indian Constitution’.
The Book Explosive Thrills-An Octogenarian Looks Back is a combination of the professional hazards and thrills the author experienced in his life and his career. Looking back over the eighty seven years of his life nostalgic memories of the long years he spent in the Department of Explosives come flooding into his mind. As his career revolved around Explosives naturally situations of risk were plenty. The writer had occasion to visit a large number of places in the country and had some spine-chilling experiences some of which are narrated here. His youth too was full of chivalrous happenings. Today all these spine tingling anecdotes of his life have taken shape to form this book. The book has the additional flavour of smacking of our rich Indian cultural heritage. It will make interesting reading. Written in the genre of Memoirs, the reminiscences are both public and private that took place in the author?s life. Written from the first person account the author in a brilliant manner snatches several moments from his life. In this sense the author is a memoirist and comes across as a motivational guru. His memoirs are an insight into his philosophy of karma and are a positive guide to the young and old alike on safety in life. The book is written in a simple, practical and heartfelt manner and compels one to read further.
The Indian Army has fought many battles in the 52 years since independence. Most of them were fought against Pakistan. Some of these were fought against the Chinese, some against the LITE, some against Nizam of Hyderabad and some against the Portuguese in Goa. Some were fought in the mountains of Kashmir. Sikkim or Arunachal Pradesh. Some were fought in the deserts of Rajasthan. Some were fought with adequate resources and after deliberate planning and preparations while others were fought under desperate situations with whatever could be mustered to thwart a superior enemy. Some of these battles have been won, some lost and others ended in stalemate. Aspiring generals and students of military history must study these battles to understand why a particular battle went a particular way. This book deals with 11 outstanding victories of the Indian Army; Shalateng, Rajauri and Zoji La from the Kashmir War 1947-48; Chusul from the 1962 Chinese War; Hajipir, Assal Uttar and Phillora from the lndo-Pak War 1965 and Bayra, Sylhet, Basantar and Dacca from the lndo-Pak War 1971. The book narrates the background and conduct of these battles. It also tries to analyse the factors that contributed to these outstanding victories. It also tries to analyse the qualities that go into the making of a great general.
What remains of the “national” when the nation unravels at the birth of the independent state? The political truncation of India at the end of British colonial rule in 1947 led to a social cataclysm in which roughly one million people died and ten to twelve million were displaced. Combining film studies, trauma theory, and South Asian cultural history, Bhaskar Sarkar follows the shifting traces of this event in Indian cinema over the next six decades. He argues that Partition remains a wound in the collective psyche of South Asia and that its representation on screen enables forms of historical engagement that are largely opaque to standard historiography. Sarkar tracks the initial reticence to engage with the trauma of 1947 and the subsequent emergence of a strong Partition discourse, revealing both the silence and the eventual “return of the repressed” as strands of one complex process. Connecting the relative silence of the early decades after Partition to a project of postcolonial nation-building and to trauma’s disjunctive temporal structure, Sarkar develops an allegorical reading of the silence as a form of mourning. He relates the proliferation of explicit Partition narratives in films made since the mid-1980s to disillusionment with post-independence achievements, and he discusses how current cinematic memorializations of 1947 are influenced by economic liberalization and the rise of a Hindu-chauvinist nationalism. Traversing Hindi and Bengali commercial cinema, art cinema, and television, Sarkar provides a history of Indian cinema that interrogates the national (a central category organizing cinema studies) and participates in a wider process of mourning the modernist promises of the nation form.
Raised by two loving parents in New Delhi, India, Kanchan Bhaskar has always been taught that marriage means companionship, tenderness, and mutual respect—so when she enters into an arranged marriage, this is the kind of partnership she anticipates with her new, seemingly wonderful, husband. But after they marry, she quickly discovers that his warmth is deceptive—that the man beneath the bright, charming façade is actually a narcissistic, alcoholic, and violent man. Trapped in a nightmare, Kanchan pleads with her husband to seek help for his issues, but he refuses. Meanwhile, Indian law is not on her side, and as the years pass, she finds herself with three children to protect—three children she fears she will lose custody of if she leaves. Almost overnight, she finds herself transformed into a tigress who will do whatever it takes to protect her cubs, and she becomes determined to free them from their toxic father. But it’s not until many years later, when the family of five moves from India to the United States, that Kanchan is presented with a real opportunity to leave him—and she takes it. Chronicling Kanchan’s gradual climb out of the abyss, little by little, day by day, Leaving is the empowering story of how—buoyed by her deep faith in a higher power and single-minded in her determination to protect her children best—she fought relentlessly to build a ramp toward freedom from her abuser. In this memoir, Kanchan clearly lays out the tools and methods she utilized in her pursuit of liberation—and reveals how belief in self and belief in the Universe can not only be weapons of escape but also beautiful foundations for a triumphant, purpose-driven life.
Is the Indian Administrative Service (IAS) still the most appropriate institution to govern twenty-first-century India? Should a cadre of generalists head organizations as complex and diverse as industrial units; museums and rural development boards? If it had to be replaced; what is the best alternative? Drawing on his experience of thirty-six years in the IAS; Bhaskar Ghose addresses these and other major questions regarding the role; relevance and effectiveness of India’s long-established but often controversial system of state administration in The Service of the State. Ghose argues forcefully that the IAS is still the best option and one moreover that substantially fulfils its functions—and fulfils them well. Though its once sterling reputation has been tarnished by allegations of corruption; political subservience and declining standards of efficiency; there are still sufficient numbers of dedicated public servants. These administrators; spanning diverse social backgrounds; seniorities and regional profiles; draw on established traditions of duty and of cooperation within the service to deliver—to the best of their ability and often in the face of considerable odds—the goods of development. This reflective and luminous memoir is not only a portrait of a lifetime’s service to the state; it is also a timely and persuasive argument for a system of governance that has had a critical impact on India since Independence.
Five Notes of the Raga is about Indian music and Indian History. This short story that gives the book its name is an imagined encounter between two great personages of the sixteenth century Indian Bhakti movement: the blind musician Surdas and the great Mughal Emperor Akbar. There follows five musical plays staged in London, including the most recently staged Phool Walon ki Saira flower sellers procession that starts from a Hindu temple and ends at a Muslim shrine. Kavita K2k recounts Indian poetryancient and modern. Sheydiner Doojon is about the two bards of BengalTagore and Nazrul. T3 tells the time with timeless Indian Ragas and Tagore melodies. Lastly, Gulbagicha displays the repertoire of Nazruls creativity. The book ends with a few of Dasguptas poems.
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