Religion and nationalism in India: The case of the Punjab, 1960-1995.

The research examines the factors which account for the emergence of ethno-nationalist movements in multi-ethnic and late industrialising societies such as India. The research employs a historical sociological approach to the study of nationalism. Opening with an interrogation of the classic theories of nationalism, the research shows the Eurocentric limitations of these works. By providing an account of the distinctive nature and development of Indian nationalism, it is maintained that the nature, growth, timing and scope of nationalist movements is affected by the level of development and the nature of the state and society in which they emerge. Using the theoretical framework developed here, the theses seeks to explain the nature and timing of breakaway movements in the Indian subcontinent. By providing an account of the social composition of the Sikh secessionist movement, the research shifts the focus on to the peasantry. Consequently, the study interrogates the social and cultural sphere beyond the English-speaking Indian elite. The role of the widely influential media, such as the vernacular press and cassettes, in ethnic movements is also considered. The hypothesis is that the conjunction of three sets of factors explain the rise of Sikh nationalism. The first is economic, notably the transition to commercial agriculture, the second is the revolution in communication, notably the expansion of vernacular press and cassettes and the third is religious, notably the revolutionary Sikh religious ideology with emphasis on martyrdom. The theses traces the three stage evolution of the Sikhs from a religious congregation into an ethnic community in the nineteenth century and from an ethnic community into a nation in the twentieth century

The Broken Spell: The Romance Genre in Late Mughal India

This study is concerned with the Indian "romance" (qissah) genre, as it was understood from the seventeenth to the early twentieth century. Particularly during the Mughal era, oral and written romances represented an enchanted world populated by sorcerers, jinns, and other marvellous beings, underpinned by worldviews in which divine power was illimitable, and "occult" sciences were not treated dismissively. The promulgation of a British-derived rationalist-empiricist worldview among Indian élites led to the rise of the novel, accompanied by élite scorn for the romance as an unpalatably fantastic and frivolous genre. This view was developed by the great twentieth-century romance critics into a teleological account of the romance as a primitive and inadequate precursor of the novel, a genre with no social purpose but to amuse the ignorant and credulous. Using recent genre theory, this study examines the romance genre in Persian, Urdu, Punjabi, and Braj Bhasha. It locates the romance genre within a system of related and opposed genres, and considers the operation of multiple genres within texts marked as "romances," via communal memory and intertextuality. The worldviews that underpinned romances, and the purposes that romances were meant to fulfill, are thereby inspected. Chapters are devoted to the opposition and interpenetration of the "fantastic" romance and "factual" historiography (tarikh), to romances' function in client-patron relationships via panegyrics (madh), and to romances' restagings of moral arguments rehearsed in ethical manuals (akhlaq)

Coherence in typeface design: visual similarity of characters in Cyrillic, Devanagari, and Latin

This thesis explores the visual similarity that underlies the coherence in the design of individual typefaces. Typeface designers aim to achieve a unifying coherence in their typefaces, so that characters can be identified individually as well as belonging together giving rise to an overall style. The objective is to determine whether the coherence perceived by readers differs from the coherence intended by designers. The research is cross-disciplinary, combining empirical studies of readers’ perceptions with a computational model that is based on relevant typeface design knowledge. Character similarity is studied in multiple different typefaces (fonts) intended for continuous reading in Cyrillic, Devanagari, and Latin scripts. The studies were conducted online to collect a large number of responses. The participants were presented with a sequence of character triplets. They were asked to identify the odd one out in each of these triplets judging by their visual similarity, thus making a statement about the similarity of the two complementary characters. This method studies the similarity in context, which provides more refined details about participants’ similarity judgements. The model interprets characters using two kinds of features: more specific parts and more general roles. The model learns the relative saliences of these features from a subset of the data collected in the studies. This allows the model to predict participants’ responses to the triplets from the studies and for other, unseen triplets. Additionally, the model can provide explanations of the criteria participants used in their similarity judgements and can generate similarity matrices. The model achieved high scores when predicting response probabilities and identifying the overall odd ones out. A view of coherence that is supported by readers’ perception can be used to assist designers in their creative process, help with fonts’ quality assessments, and contribute to readability research and multi-script typography

Tonal Landscapes: Re-membering the interiority of lives of apartheid through the family album of the oppressed

This research seeks to be a methodological contribution to the fields of visual and memory studies. It enters these conversations through the family photograph found in the home of forcibly removed ex-residents of Roger Street, District Six, Cape Town in an attempt to think about ways of living during and after apartheid. Through this study, practically and theoretically, I engage with the challenges of restorative justice and contemplate how the family photograph may be engaged as a transactional object of translation in this contested area. I look at apartheid through District Six land claims and address as well, questions of trauma, memory, and freedom in the aftermath of apartheid. This dissertation therefore seeks to place three seemingly distinct literatures in the same frame: that of photography, that of memory, and that of justice and freedom. Conflicts over land, both local and global, range across the continuum, where long-term residents are displaced to make way for new developments and the other extreme where residents are forcibly displaced, violently evicted. What is clear in all of these instances, however, is that the problem cannot be reduced to one of monetary remuneration, that the land itself is imbued with meaning that cannot be measured in monetary terms. It is important to recognize - not only that land/place may mean different things to different people, but also that it can mean multiple "things" to the same person. Unless we recognize the multidimensionality of the meanings of land, as well thinking about what it means to be oppressed, any attempts to engage in restitution or restorative justice are destined to fail. This thesis attempts to think through how an ordinary object - the photograph - can be used to gain an interior look into how oppressed people lived during apartheid, and how they continue to live after its demise. Antjie Krog's book, Country of My Skull draws attention to the issue of death during apartheid. What this thesis does is to look at what happens to those who lived through apartheid and how they deal with the aftermath. It looks at the move from death to life. The family photograph may at first glance appear to have little in common with the issue of restorative justice. They both however speak of public and private, of remembering and mourning, of death and life, of absence and presence. They are both prone to multiple interpretations, as well as being at the cutting edge of contemporary and political debates. Taken together, the family photograph and visual studies form a forceful space, initiating interdisciplinary dialogue and providing a creative and scholarly engagement that has both local and global implications