In Central Time, Ranjit Hoskote becomes the storyteller of a turbulent epoch. We meet Ovid and Ghalib, poets in exile or eclipse, in these poems, which are by turns elliptical, conversational and narrative. We meet painters who betray their art, and sculptors who are betrayed by theirs. Fascinated by the enigmas of time, memory and evanescence that art invokes, Hoskote addresses a range of artists including Bihzad, Magritte, Masaki Fujihata and Ranbir Kaleka. At the same time, he retains his affection for the natural world, celebrating the textures and intensities of sensuous experience: the roughness of stone, the dance of light, the flowering of touch and the taste of salt and cinnamon. A testament to a present shimmering like a mirage between contested pasts and vexed futures, this book pivots around moments of encounter: a defiant squirrel in Anuradhapura, an enigmatic collection of objects in a Berlin museum or a man discovering a mass grave near Kabul. Written between 2006 and 2014, the hundred poems that form Central Time resonate with the crises of war, genocide, terror, forced migration and the precariousness of belonging.
Icelight, Ranjit Hoskote's eighth collection of poems, enacts the experience of standing at the edge—of a life, a landscape, a world assuming new contours or going up in flames. Yet, the protagonists of these poems also stand at the edge of epiphany. In the title poem, we meet the Neolithic cave-dweller who, dazzled by a shapeshifting nature, crafts the first icon. The 'I' of these poems is not a sovereign 'I'. A questing, questioning voice, it locates itself in the web of life, in relation to the cosmos. In 'Tacet', the speaker asks: "What if I had/ no skin/ Of what/ am I the barometer?" Long committed to the Japanese mono no aware aesthetic, Hoskote embraces talismans, premonitions, fossils: active residues from the previous lives of people and places. Icelight is a book about transitions and departures, eloquent in its acceptance of transience in the face of mortality. Aubade Rumours of wind, banners of cloud. The low earth shakes but the storm has not arrived. You pack for the journey, look up, look through the doors at trees shedding their leaves too soon, a track on which silk shoes would be wasted, a moon still dangling above a boat. Wearing your salt mask, you face the mulberry shadows. The valley into which you're rappelling is you.
Vanishing Acts by Ranjit Hoskoté, winner of the Sahitya Akademi Golden Jubilee Award 2004, brings together some of his best poetry, drawn from his three published collections, along with a substantial body of new poems. While continuing to explore the interplay between the epic, devastating sweep of historical events and an intimate, often vulnerable, self, his new poems dwell on emigrants, fugitives, interpreters, double agents—survivors who walk the fragile border between eternity and transience. Experimenting with a variety of forms—ranging from the canticle to the cycle, the adapted sonnet to the passionate apostrophe—Hoskoté expresses the anxieties and delights of a transitive self that constantly shifts location, and evokes strikingly the worlds that can open up at the edges of memory, identity and language.
Iranna G.R. S Art Is Thought To Be A Stylistic Challenge To Postmodernism, Using Instead The Representative, Idealistic And Modernist Language Of Contemporary Indian Painting. This Book Is A Meditation On The Life And Work Of The Artist, Emphasizing The S
Dehejia has tried to create a place within the main frame of culture and philosophy of Indian art for a legitimate analytic theory called despair. Dehejia's effort creates a space for the modern within Indian classicism by negotiating the philosophy of despair in classical terms. As a result the basic schism that has grown in recent years between the philosophy and history of modern art on the one hand and the philosophy and history of traditional arts is today cloder to being breached.
In Central Time, Ranjit Hoskote becomes the storyteller of a turbulent epoch. We meet Ovid and Ghalib, poets in exile or eclipse, in these poems, which are by turns elliptical, conversational and narrative. We meet painters who betray their art, and sculptors who are betrayed by theirs. Fascinated by the enigmas of time, memory and evanescence that art invokes, Hoskote addresses a range of artists including Bihzad, Magritte, Masaki Fujihata and Ranbir Kaleka. At the same time, he retains his affection for the natural world, celebrating the textures and intensities of sensuous experience: the roughness of stone, the dance of light, the flowering of touch and the taste of salt and cinnamon. A testament to a present shimmering like a mirage between contested pasts and vexed futures, this book pivots around moments of encounter: a defiant squirrel in Anuradhapura, an enigmatic collection of objects in a Berlin museum or a man discovering a mass grave near Kabul. Written between 2006 and 2014, the hundred poems that form Central Time resonate with the crises of war, genocide, terror, forced migration and the precariousness of belonging.
Icelight, Ranjit Hoskote's eighth collection of poems, enacts the experience of standing at the edge—of a life, a landscape, a world assuming new contours or going up in flames. Yet, the protagonists of these poems also stand at the edge of epiphany. In the title poem, we meet the Neolithic cave-dweller who, dazzled by a shapeshifting nature, crafts the first icon. The 'I' of these poems is not a sovereign 'I'. A questing, questioning voice, it locates itself in the web of life, in relation to the cosmos. In 'Tacet', the speaker asks: "What if I had/ no skin/ Of what/ am I the barometer?" Long committed to the Japanese mono no aware aesthetic, Hoskote embraces talismans, premonitions, fossils: active residues from the previous lives of people and places. Icelight is a book about transitions and departures, eloquent in its acceptance of transience in the face of mortality. Aubade Rumours of wind, banners of cloud. The low earth shakes but the storm has not arrived. You pack for the journey, look up, look through the doors at trees shedding their leaves too soon, a track on which silk shoes would be wasted, a moon still dangling above a boat. Wearing your salt mask, you face the mulberry shadows. The valley into which you're rappelling is you.
Vanishing Acts by Ranjit Hoskoté, winner of the Sahitya Akademi Golden Jubilee Award 2004, brings together some of his best poetry, drawn from his three published collections, along with a substantial body of new poems. While continuing to explore the interplay between the epic, devastating sweep of historical events and an intimate, often vulnerable, self, his new poems dwell on emigrants, fugitives, interpreters, double agents—survivors who walk the fragile border between eternity and transience. Experimenting with a variety of forms—ranging from the canticle to the cycle, the adapted sonnet to the passionate apostrophe—Hoskoté expresses the anxieties and delights of a transitive self that constantly shifts location, and evokes strikingly the worlds that can open up at the edges of memory, identity and language.
This book compares the recent evolution of the structure of inputs and expenditure in Armenia's general education with international norms and practice. In the context of the government's sectoral reform strategy, it also outlines various proposals for restructuring the system. The purpose of this study is to clarify what the inefficiencies might mean for future costs and performance of the system, highlight the trade-offs involved, and identify measures needed to overcome constraints to rationalization.
Iranna G.R. S Art Is Thought To Be A Stylistic Challenge To Postmodernism, Using Instead The Representative, Idealistic And Modernist Language Of Contemporary Indian Painting. This Book Is A Meditation On The Life And Work Of The Artist, Emphasizing The S
Jonahwhale, in three beautiful movements, takes on very current themes in its playful, mostly aquatic scope, moving from the ocean to the river Ganges to Marine Drive itself. It raises the narratives of Biblical eight century prophet Jonah, who escapes death by spending three nights in the belly of a whale, and the more recent Moby Dick, whose obsessive Captain Ahab chases the eponymous whale who bit off his leg; even as it resurrects the diverse figures who ran ships along the global trade routes of the seventeenth, eighteenth and nineteenth centuries and the themes of the city at war with itself, among many other concerns. The whale is different things at different moments, in this work, as is the ocean. For, ultimately, Moby Dick is about perception and understanding or not understanding, and the whale is that which we all struggle to pierce; it is also, perhaps, that which swallows us whole and lets us live, sometimes ignorant of what it signifies. Are we within the whale, or without it? Does it always matter? For, in 'A Constantly Unfinished Instrument', Ranjit Hoskote tells us, 'Stay the course until you've caught / the quick, true surge of the ocean / that's felt the fire harpoon pierce its hide:'-here, the ocean itself is the whale. At the heart of the broad, wide-ranging canvas Hoskote puts into play is the idea of synthesis, which he raises in this poem and which generates and regenerates life, in any case. 'If only I'd harpooned this monster on a page,' he teases us, in 'Ahab'; this is exactly what he is attempting to do, and often does. Jonahwhale is remarkably cosmopolitan in its reach; one poem ('As It Emptieth It Selfe') is inspired by the note to the copper engraving of a map of Bengal and parts of Odisha and Bihar prepared by official hydrographers to the East India Company. Another, 'Lascar' adapts a bit of a Sherlock Holmes story, set in 'Bombay-Liverpool-London, 1889', and calling up the wonderful spectre of a sea-cobra the narrator is sailing, with its 'phana' or hood. A sophisticated project in anamnesia, Jonahwhale retrieves fragments and episodes from the multiple pasts that we inherit; it makes an inquiry into the unregarded legacies of the colonial encounter at sea rather than on land. Ambitious, accessible and rejoicing in the language and beauty of the many stunning connections it makes, this new book establishes Hoskote as one of our most gifted contemporary poets.
Dehejia has tried to create a place within the main frame of culture and philosophy of Indian art for a legitimate analytic theory called despair. Dehejia's effort creates a space for the modern within Indian classicism by negotiating the philosophy of despair in classical terms. As a result the basic schism that has grown in recent years between the philosophy and history of modern art on the one hand and the philosophy and history of traditional arts is today cloder to being breached.
Catalog of an exhibition of sculptures of Sumedh Rajendran, b. 1972, sculptor and artist from India, held at Vadehra Art Gallery, during 13-26 October 2007; includes an article on his works by Ranjit Hoskote.
Bhupen Khakhar (1934-2003) was active in India from the late 1960s. A gentle radical, his luminous paintings addressed issues of class, gender, and sexuality with sensitive, often tragicomic nuance. This publication presents a fresh take on his artistic, social, and spiritual interests. Significant essays on Khakhar's artistic influences are accompanied by focused responses to key works by leading writers, curators, and artists. Khakhar's unique voice is revealed in excerpts from the last interview before his death in 2003, and in a facsimile reproduction of the artist's book Truth Is Beauty and Beauty Is God, out of print since 1972. With personal and touching contributions by those who knew him, this richly illustrated publication is an essential reference to one of the most compelling and unique voices in twentieth-century art, as well as a significant contribution to the field of international modernism.
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