Hindi Cinema is full of instances of repetition of themes, narratives, plots and characters. By looking at 60 years of Hindi cinema, this book focuses on the phenomenon as a crucial thematic and formal code that is problematic when representing the national and cinematic subject. It reflects on the cinema as motivated by an ongoing crisis of self-formation in modern India. The book looks at how cinema presents liminal and counter-modern identities emerging within repeated modern attempts to re-enact traumatic national events so as to redeem the past and restore a normative structure to happenings. Establishing structure and event as paradigmatic poles of a historical and anthropological spectrum for the individual in society, the book goes on to discuss cinematic portrayals of violence, gender embodiment, religion, economic transformations and new globalised Indianness as events and sites of liminality disrupting structural aspirations. After revealing the impossibility of accurate representation of incommensurable and liminal subjects within the historiography of the nation-state, the book highlights how Hindi cinema as an ongoing engagement with the nation-state as a site of eventfulness draws attention to the problematic nature of the thematic of nation. It is a useful study for academics of Film Studies and South Asian Culture.

Hindi Cinema is full of instances of repetition of themes, narratives, plots and characters. By looking at 60 years of Hindi cinema, this book focuses on the phenomenon as a crucial thematic and formal code that is problematic when representing the national and cinematic subject. It reflects on the cinema as motivated by an ongoing crisis of self-formation in modern India. The book looks at how cinema presents liminal and counter-modern identities emerging within repeated modern attempts to re-enact traumatic national events so as to redeem the past and restore a normative structure to happenings. Establishing structure and event as paradigmatic poles of a historical and anthropological spectrum for the individual in society, the book goes on to discuss cinematic portrayals of violence, gender embodiment, religion, economic transformations and new globalised Indianness as events and sites of liminality disrupting structural aspirations. After revealing the impossibility of accurate representation of incommensurable and liminal subjects within the historiography of the nation-state, the book highlights how Hindi cinema as an ongoing engagement with the nation-state as a site of eventfulness draws attention to the problematic nature of the thematic of nation. It is a useful study for academics of Film Studies and South Asian Culture.

Colonization, slavery, traffic in women, and connoisseurship seem to have particularly captured the imaginations of circumatlantic writers of the later eighteenth century. In this book, Nandini Bhattacharya examines the works of such writers as Richard Brinsley Sheridan, George Colman Jr., James Cobb and Phillis Wheatley, who redefined ideas about Value and Taste. Writers re-presented the ethical debate on Value and trade through aesthetic metaphors and discourse, thus disguising the distasteful nature of the ownership and exchange of human beings and mitigating the guilt associated with that traffic. Bhattacharya explores the circumatlantic redefinition of Taste and Value as cultural and moral concepts in gender and racial discourses in slave-owning, colonizing, and connoisseurial Britain, and demonstrates how Value and aesthetics were redefined in late eighteenth-century circumatlantic discourses with particular focus on the language of slavery, trade and connoisseurship. She also delineates the workings of transnational consciousness and experience of race, class, gender, slavery, colonialism and connoisseurship in the late eighteenth-century circumatlantic rim. Throughout the study, Bhattacharya rereads late eighteenth-century British literature as a stage for the articulation of theories of difference and domination.

At present India is a leading producer, distributor, and consumer of generic medicines globally. Disparate Remedies traces the genealogy of this development and examines the public cultures of medicine in the country between 1870 and 1960. The book begins by discussing the expansion of medical consumerism in late nineteenth-century India when British-owned firms extended their sales into remote towns. As a result, laboratory-produced drugs competed with traditional remedies through side-by-side production of Western and Indian drugs by pharmaceutical companies. The emergent middle classes, the creation of a public sphere, and nationalist politics transformed the medical culture of modern India and generated conflict between Western and Indigenous medical systems and their practitioners. Nandini Bhattacharya demonstrates that these disparate therapies were sustained through the tropes of purity or adulteration, potency or lack of it, and epistemic heritage, even when their material configuration often differed little. Uniquely engaging with the cultures of both consumption and production in the country, Disparate Remedies follows the evolution of medicine in colonial India as it confronted Indian modernity and changing public attitudes surrounding health and drugs.

At present India is a leading producer, distributor, and consumer of generic medicines globally. Disparate Remedies traces the genealogy of this development and examines the public cultures of medicine in the country between 1870 and 1960. The book begins by discussing the expansion of medical consumerism in late nineteenth-century India when British-owned firms extended their sales into remote towns. As a result, laboratory-produced drugs competed with traditional remedies through side-by-side production of Western and Indian drugs by pharmaceutical companies. The emergent middle classes, the creation of a public sphere, and nationalist politics transformed the medical culture of modern India and generated conflict between Western and Indigenous medical systems and their practitioners. Nandini Bhattacharya demonstrates that these disparate therapies were sustained through the tropes of purity or adulteration, potency or lack of it, and epistemic heritage, even when their material configuration often differed little. Uniquely engaging with the cultures of both consumption and production in the country, Disparate Remedies follows the evolution of medicine in colonial India as it confronted Indian modernity and changing public attitudes surrounding health and drugs.