This research work spins around the issue of cultural allotropy, which we all have experienced at different levels; however, a conscious realization regarding it might be missing to some extent. Centuries of political intervention and subjugation by foreign countries results in the presence of a mixed culture and this side-by-side flourishing of two cultures seems now an accepted fact, a part of mans consciousness. But the presence of two contradictory sets of valuesone not fully accepted and the other not totally rejectedgives rise to a difficult situation in the face of the conflicting claims of the two. This gives rise to a mixing of cultures, a blend which in other words may be called cultural allotropythat is, existence of the culture of a particular region in two or more forms, having different and mixed properties at the emotional or intellectual level at a given point of time. Going beyond the political subjugation in the era of globalization, it has now become a matter of economic and cultural subjugation. Undoubtedly, our cultural allotropy is a byproduct of modern economic compulsions also. Through different Indian English novelists, I have tried to intrigue the issues via different portrayals and characters and finally posed a question, What is it to be an Indian?

Through an examination of carbon footprint metaphors, this books demonstrates the ways in which climate change and other ecological issues are culturally and materially constituted through metaphor. The carbon footprint metaphor has achieved a ubiquitous presence in Anglo-North American public contexts since the turn of the millennium, yet this metaphor remains under-examined as a crucial mediator of political responses to the urgent crisis of climate change. Existing books and articles on the carbon footprint typically treat this metaphor as a quantifying metric, with little attention to the shifting mediations and practices of the carbon footprint as a metaphor. This gap echoes a wider gap in understanding metaphors as key figures in mediating more-than-human relations at a time when such relations profoundly matter. As a timely intervention, this book addresses this gap by using insights from environmental humanities and political ecology to discuss carbon footprint metaphors in popular and public texts. This book will be of great interest to researchers and students of environmental humanities, political ecology, environmental communication, and metaphor studies.

A Cultural History of Chemistry in the Nineteenth Century covers the period from 1815 to 1914 and the birth of modern chemistry. The elaboration of atomic theory - and new ideas of periodicity, structure, bonding, and equilibrium - emerged in tandem with new instruments and practices. The chemical industry expanded exponentially, fuelled by an increasing demand for steel, aluminium, dyestuffs, pharmaceuticals, and consumer goods. And the chemical laboratory became established in its two distinct modern settings of the university and industry. At the turn of the century, the discovery of radioactivity took hold of the public imagination, drawing chemistry closer to physics, even as it threatened to undermine the whole concept of atomism. The 6 volume set of the Cultural History of Chemistry presents the first comprehensive history from the Bronze Age to today, covering all forms and aspects of chemistry and its ever-changing social context. The themes covered in each volume are theory and concepts; practice and experiment; laboratories and technology; culture and science; society and environment; trade and industry; learning and institutions; art and representation. Peter J. Ramberg is Professor of the History of Science at Truman State University, USA. Volume 5 in the Cultural History of Chemistry set. General Editors: Peter J. T. Morris, University College London, UK, and Alan Rocke, Case Western Reserve University, USA.

Volume three of A Cultural History of the Modern Age finishes a journey that begins with Descartes in the first volume and ends with Freud and the psychoanalytical movement in the third volume. Friedell describes the contents of these books as a series of performances, starting with the birth of the man of the Modern Age, followed by flowering of this epoch, and concludes with the death of the Modern Age. This huge landscape provides an intertwining of the material and the cultural, the civil and the military, from the high points of creative flowering in Europe to death and emptiness. The themes convey multiple messages: romanticism and liberalism opens the cultural scene, encased in a movement from The Congress of Vienna and its claims of peaceful co-existence to the Franco-German War. The final segment covers the period from Bismarck's generation to World War I. In each instance, the quotidian life of struggle, racial, religious, and social class is seen through the lens of the mighty figures of the period. The works of the period's great figures are shown in the new light of the human search for symbolism, the search for superman, the rise of individualism and decline of history as a source for knowledge. This third volume is painted in dark colors, a foreboding of the world that was to come, of political extremes, and intellectual exaggerations. The author looks forward to a postmodern Europe in which there is a faint glean of light from the other side. What actually appeared was the glare of Nazism and Communism, each claiming the future.

This volume brings together the brightest minds in the study of Buddhism in Southeast Asia to create a more coherent account of the relations between Buddhism and political order in the late pre-modern and modern period.

Hartmut Böhme’s study of fetishism spans all the way from Christian image magic in the Middle Ages to fetishistic practices in fashion, advertising, sport and popular culture today. In it he provides a thorough exploration of religion, magic, idolatry, sexuality and consumption, charting the mental, scientific and artistic processes through which fetishism became a central category in European culture’s account of itself.

This new anthology features nearly 200 poems by thirty-one poets representing over 160 years of Indian Poetry in English.

Bringing together essays by museum professionals and academics from both sides of the Atlantic, Art and its Publics tackles current issues confronting the museum community and seeks to further the debate between theory and practice around the most pressing of contemporary concerns. Brings together essays that focus on the interface between the art object, its site of display, and the viewing public. Tackles issues confronting the museum community and seeks to further the debate between theory and practice. Presents a cross-section of contemporary concerns with contributions from museum professionals as well as academics. Part of the New Interventions in Art History series, published in conjunction with the Association of Art Historians.