Religious experiments in colonial Calcutta: modern Hinduism and bhakti among the Indian middle class

Any discussion of India from the point of view of the West must deal with the problem posed by the colonial past and the ways in which India was colonized, interpreted and constructed to fit into an imperialist agenda. The terms ‘Hinduism’ and ‘religion’, for example, are themselves quite problematic, since they are born of Western and Judeo-Christian thought, and may not reflect the complexity and diversity of Indic traditions well enough. A translation and transmission of terms and concepts from one cultural domain to another is required, but it is bound to be merely tentative and approximate, since a comprehension of the full meaning of words and concepts related to Indic religions presupposes an extensive grounding in the rich religious thought of India. Bhaktisiddhānta lived on the border between the nineteenth and the twentieth century, between the black and the white towns of Calcutta, between India and the West, and between two world wars. His effort to search for and apply bhakti to the social, political and cultural crises of his time is important for grasping the vitality and dynamism of Indic religions in our time. It is also important for appreciating the struggle carried out by a growing Indian and Hindu middle class to bridge the gaps between East and West, and on the basis of indigenous culture produce new ideas for reciprocal co-operation, which in the case of Bhaktisiddhānta were related to the idea and practice of bhakti

Eliot, Emerson, and transpacific modernism

First author draftAccepted manuscrip

The Mahāvastu and the Vinayapiṭaka of the Mahāsāṃghika-Lokottaravādins

International audienc

Symposium on globalisation

The Alumni Association of the Lancaster University Management School organised a mini symposium on globalisation, in New Delhi on January 17th 2004. The symposium was based on a collection of essays titled " Making Globalisation Good" edited by John Dunning (Oxford University Press, 2003: Paperback Edition 2004). The theme of the book- moral challenges posed by globalisation, is addressed by a constellation of academics, politicians, business leaders and religious leaders. The contributors to the volume include the Nobel Laureate Joseph Stiglitz, Dame Shirley Williams, Chief Rabbi Jonathan Sacks, Khurshid Ahmad of the Islamic Foundation and Gordon Brown. John Dunning's incisive essay on the moral imperatives of global capitalism sets the stage for the varied and extensive discussion of the main theme of the book. The New Delhi Symposium with commentaries on the book by three of India's eminent commentators and analysts of issues of globalisation provides an Indian perspective on the issues discussed in John Dunning's book. This discussion paper presents an edited version of the introductory remarks by John Dunning and comments by N.K. Singh, Professor Narasimha and Ashok Desai.

Performing Prowess: Essays on Localized Hindu Elements in Southeast Asian Art from Past to Present

This book explores localized Hindu elements in Southeast Asian art from ancient times to presen

T. S. Eliot and Transpacific modernism

This is a pre-copyedited, author-produced version of an article accepted for publication in American Literary History following peer review. The version of record: "Patterson, Anita. "T. S. Eliot and Transpacific Modernism." American Literary History, vol. 27 no. 4, 2015, pp. 665-682." is available online at: https://doi.org/10.1093/alh/ajv042.Japonisme is a term often used to describe the shaping effects of Japanese culture and aesthetics on European art, but by the 1880s a similar trend emerged in the US, influencing popular culture as well as fine arts and poetry. This essay examines how Japonisme figured T. S. Eliot's development as a poet, focusing on Boston as a world city that was rapidly becoming global. It shows how Kakuzo Okakura, an art historian and curator of Asian art at the Boston Museum of Fine Arts during the time when Eliot was a Harvard undergraduate, and Masaharu Anesaki, a pioneer in the study of comparative religion who lectured on Mahayana Buddhism there when Eliot was a graduate student, inspired transpacific intercultural dialogue that would last the poet a lifetime. Eliot's formative encounter with Okakura and Anesaki raised his awareness of his family history in a region with longstanding ties to Asia; it nurtured his ambivalent engagement with such Boston-area writers as Emerson, whose prior interest in Confucianism laid a foundation for Eliot's modernism; and the encounter taught Eliot valuable lessons about moral action and impersonality, culminating in poems such as Four Quartets

TMG 4 (2018): Seals--Making and Marking Connections Across the Medieval World

Extensive geographic coverage, including China, South East Asia, Arabia, Sasanian Persia, the Muslim Empire, the Byzantine empire, and Western Europe allows the essays gathered in this volume to offer a well differentiated examination of seals and sealing practices between 400 and 1500 CE. Contributors expose rather than assume the inter-subjective, transnational, and transcultural connectivity at work within the varied processes mediated by seals and sealing – representation, authorization, identification, and transmission. These essays encourage an understanding that seals operated in liminal, transitional situations arising from legal, administrative, martial, mercantile, or diplomatic encounters, creating cross-cultural sealing networks in which adaption and accommodation underlay the force of seals as objects and images that generate sociocultural identification through mutual exchange and visual hybridity.https://scholarworks.wmich.edu/medieval_globe/1003/thumbnail.jp

Broadening AI Ethics Narratives: An Indic Art View

Incorporating interdisciplinary perspectives is seen as an essential step towards enhancing artificial intelligence (AI) ethics. In this regard, the field of arts is perceived to play a key role in elucidating diverse historical and cultural narratives, serving as a bridge across research communities. Most of the works that examine the interplay between the field of arts and AI ethics concern digital artworks, largely exploring the potential of computational tools in being able to surface biases in AI systems. In this paper, we investigate a complementary direction--that of uncovering the unique socio-cultural perspectives embedded in human-made art, which in turn, can be valuable in expanding the horizon of AI ethics. Through qualitative interviews of sixteen artists, art scholars, and researchers of diverse Indian art forms like music, sculpture, painting, floor drawings, dance, etc., we explore how {\it non-Western} ethical abstractions, methods of learning, and participatory practices observed in Indian arts, one of the most ancient yet perpetual and influential art traditions, can inform the FAccT community. Insights from our study suggest (1) the need for incorporating holistic perspectives (that are informed both by data-driven observations and prior beliefs encapsulating the structural models of the world) in designing ethical AI algorithms, (2) the need for integrating multimodal data formats for design, development, and evaluation of ethical AI systems, (3) the need for viewing AI ethics as a dynamic, cumulative, shared process rather than as a self contained framework to facilitate adaptability without annihilation of values, (4) the need for consistent life-long learning to enhance AI accountability, and (5) the need for identifying ethical commonalities across cultures and infusing the same into AI system design, so as to enhance applicability across geographies

Variations on a Persian Theme: Adaptation and Innovation in Early Manuscripts from Golconda

Scholarship on the earliest known illustrated manuscripts produced in the sultanate of Golconda has tended to describe these objects as the products of the extension of a powerful influence from Iran over this small kingdom in the Deccan. While this assessment rightly acknowledges the importance of Persianate visual traditions in early Golconda manuscripts and paintings, it oversimplifies the nature of these remarkable objects and the context of their production. In addition, it misrepresents the role of the artists involved in the manuscripts' creation. This dissertation provides a more nuanced consideration of these objects and their making. It offers the first in-depth discussion of six manuscripts produced in Golconda between 1570 and 1610, demonstrating a previously unrecognized sophistication and creativity in the process of their creation. It also presents a newly discovered manuscript, one which significantly alters prevailing understandings of early manuscript painting in the Qutb Shahi sultanate. These studies identify several interrelated modes of engagement with Persianate forms, rather than a single stylistic progression towards local artistic "independence." In addition, they reveal how these various modes were calibrated towards different goals, sometimes using Persianate forms as a platform from which to explore various ways of constructing and illustrating narrative and poetic texts, while at other times using these forms to make claims of cultural sophistication or for the legitimating of new and local cultural phenomena