Graphic Narratives And The Mythological Imagination In India
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Graphic Narratives and the Mythological Imagination in India
This book explores graphic narratives and comics in India and demonstrates how these forms serve as sites on which myths are enacted and recast. It uses the case studies of a comics version of the Mahabharata War, a folk artist’s rendition of a comic book story, and a commercial project to re-imagine two of India’s most famous epics – the Ramayana and the Mahabharata – as science fiction and superhero tales. It discusses comic books and self-published graphic novels; bardic performance aided with painted scrolls and commercial superhero comics; myths, folklore, and science fiction; and different pictorial styles and genres of graphic narration and storytelling. It also examines the actual process of the creation of comics besides discussions with artists on the tools and location of the comics medium as well as the method and impact of translation and crossover genres in such narratives. With its clear, lucid style and rich illustrations, the book will be useful to scholars and researchers of sociology, anthropology, visual culture and media, and South Asian studies, as well as those working on art history, religion, popular culture, graphic novels, art and design, folk culture, literature, and performing arts.
Knowledge, Power and Ignorance
What is knowledge, and ignorance? How is it decided? Do power and power relations influence this process? Does the spread of knowledge lead to more ignorance? Is ignorance socially produced? Is knowledge always socially contextualized? This book deals with these important questions on the interplay of knowledge, ignorance and power located in varied contexts in India. As systematic knowledge grows, so does the possibility of ignorance. Ignorance is a state which people attribute to others and is loaded with moral judgment. Thus, being underdeveloped often ‘implies a kind of stupidity or failure’. This volume seeks to be premised in a framework where ignorance is understood as being a socially produced and maintained phenomenon, where the ways of knowing and not knowing are interdependent. It is a novel attempt for an academic re-orientation of the Knowledge–Ignorance paradigm through a process of re-interpretation of the bounded purview attached with the existing epistemological understandings. It focuses on concrete case studies, often with an ethnographic stint. The volume critically looks at various aspects: Epistemological Issues; Understanding Community Perspectives and the State; Natural Resources, Power and Ignorance; Media and Production of Non-Knowledge; and other emerging areas. Each essay bears a striking similarity – that of understanding the complex processes and dynamics of the production of ignorance in a field of commonly held beliefs of 'knowledge' - be it scientific, societal, religious, magical or political - through the overarching realm of power. This interdisciplinary volume will be of interest to a cross-section of academics and students of sociology, social anthropology, political science, human geography, history, public policy and development studies.
Seeing South Asia
This book critically examines the cultural politics of visuals in South Asia. It makes a key contribution to the study of visuals in the social sciences in South Asia by studying the interplay of the seen and unseen, and the visual and nonvisual. The volume explores interrelated themes including the vernacular visual and visuality, ways of seeing in South Asia and the methodology of hermeneutic sensorium, anxiety and politics of the visuals across the region and the trajectory of visual anthropology, significance of visual symbols and representations in contemporary performances and folk art, visual landscapes of loss and recovery and representation of refugees, visual public in South Asia and making of visuals for contemporary consumptions. The chapters unravel the concepts of visual, visibility, visuality while attending to determinant meta-ideas, such as memory and modernity, trajectories of tradition, fluidity and hybridity, and visual performative politics. Based on interdisciplinary resources, the chapters in this volume present a wide array of empirical findings across India, Pakistan, Sri Lanka, Nepal and Bangladesh, along with analytical readings of the visual culture of the subcontinent across borders. The book will be useful to scholars and researchers of visual and cultural studies, social and cultural anthropology, sociology, political studies, media and communications studies, performance studies, art history, television and film studies, photography studies, and South Asian studies. It will also interest practitioners including artists, visual artists, photographers, filmmakers and media critics.