In the Vishnudharmottara Purana, when Vajra asks about the art of sculpting deities, Markandeya responds that understanding sculpture first requires knowledge of painting. When Vajra seeks the rules of painting, Markandeya further explains that painting itself cannot be understood without knowledge of dance. To grasp choreography, one must first comprehend music, and true understanding of music is only possible through mastery of singing. This interdependence of art, the insight into the essence of art, is not only attractive but also worth deploring especially when over-specialization is the norm of our age. The essays in this book are a reflection of that ideal, seeking to explore and touch even a small part of this artistic interdependence.

Gandhi, with his loincloth and walking stick, seems an unlikely advocate of postmodernism. But in Postmodern Gandhi, Lloyd and Susanne Rudolph portray him as just that in eight thought-provoking essays that aim to correct the common association of Gandhi with traditionalism. Combining core sections of their influential book Gandhi: The Traditional Roots of Charisma with substantial new material, the Rudolphs reveal here that Gandhi was able to revitalize tradition while simultaneously breaking with some of its entrenched values and practices. Exploring his influence both in India and abroad, they tell the story of how in London the young activist was shaped by the antimodern “other West” of Ruskin, Tolstoy, and Thoreau and how, a generation later, a mature Gandhi’s thought and action challenged modernity’s hegemony. Moreover, the Rudolphs argue that Gandhi’s critique of modern civilization in his 1909 book Hind Swaraj was an opening salvo of the postmodern era and that his theory and practice of nonviolent collective action (satyagraha) articulate and exemplify a postmodern understanding of situational truth. This radical interpretation of Gandhi's life will appeal to anyone who wants to understand Gandhi’s relevance in this century, as well as students and scholars of politics, history, charismatic leadership, and postcolonialism.

The original work presents a totally new methodology for understanding the concept of aesthetic experience through the medium of 'dialogue' - a dialogue between the subject and object; I and thou.

H. Y. Sharada Prasad Has Lived Through Interesting Times, Turbulent Times, Times Of Great Hope And Dispair. He Has Been Witness To Some Momentous Events Of Recent Indian History. This Book Captures Some Of These Moments In Elegantly Crafted And Sometimes Delightfully Anecdotal Prose.

Provides Fresh Insights Into Gandhi`S Autobiography-My Experiments With Truth And Identifies Moral Lessons It Offers For Individuals And Moral Reconstruction Of Our Society. Contains 3 Case Studies Of Gandhian Way Of Conflict Resolutions. Has 9 Chapters And 3 Appendices. Useful For Those Interested In Gandhiana.

This volume is a collection of Devi Prasad’s essays on Gandhi, social justice and social change. The different essays address themes ranging from Gandhi’s ideals of satyagraha and ahimsa, civil disobedience and non-violence, to the Gandhian approach to education as founded in making and crafting as well as participation in the political and social movements of our times. They also engage the revolutionary potential of Gandhi’s thought, drawing parallels between Lenin and Gandhi and analysing the historical significance of Gandhi’s anti-imperialist yet non-violent political philosophy. In sum, the volume dwells on the continuing, critical relevance of Gandhi in our times. It will be of interest to those in education, political science, peace and conflict studies, history and philosophy, as well as to the general reader interested in Gandhian thought.

- Mohandas K. Gandhi has been described as an artist of non-violence, crafting as he did a set of practices of the self and politics that earned him the mantle of Mahatma, the great soul. Mohandas K. Gandhi has been described as 'an artist of non-violence, ' crafting as he did a set of practices of the self and politics that earned him the mantle of Mahatma, 'the great soul.' His philosophy and praxis of satyagraha, non-violent civil disobedience, has been analyzed extensively. But is satyagraha also an aesthetic regime, with practices akin to a work of art? Is Gandhi, then, an artist of disobedience? Sumathi Ramaswamy explores these questions with the help of India's modern and contemporary artists who have over the past century sought out the Mahatma as their muse and invested in him across a wide range of media from painting and sculpture to video installation and digital production. At a time when Gandhi is a hallowed but hollow presence, why have they lavished so much attention on him? A hundred and fifty years after his birth, Gandhi is hyper visible across the Indian landscape from tea stalls and government offices to museums and galleries. This is ironical given that the Mahatma appeared to have had little time for the visual arts or for artists for that matter. Yet fascinatingly, the visual artist has emerged as Gandhi's conscience-keeper, reminding others of the meaning of the Mahatma in his own time and today. In so doing, these artists also reveal why this most disobedient of 'modern' icons has grabbed their attention, resulting in a veritable art of disobedience as an homage to one of the twentieth century's great prophets of disobedience.

Published in 1939, this work was presented to Mahatma Gandhi on his 70th birthday, October 22nd, 1939. This work is not only a remarkable tribute from notable men and women of diverse views, but an important estimate of the life and thought of Mahatma Gandhi.

An incomparable retrospective of writings by one of the world's great anthropologists Clifford Geertz (1926–2006) was perhaps the most influential anthropologist of our time, but his influence extended far beyond his field to encompass all facets of contemporary life. Nowhere were his gifts for directness, humor, and steady revelation more evident than in the pages of the New York Review of Books, where for nearly four decades he shared his acute vision of the world in all its peculiarity. This book brings together the finest of Geertz's review essays from the New York Review along with a representative selection of later pieces written at the height of his powers, some that first appeared in periodicals such as Dissent, others never before published. This collection exemplifies Geertz's extraordinary range of concerns, beginning with his first essay for the Review in 1967, in which he reviews, with muffled hilarity, the anthropologist Bronislaw Malinowski. This book includes Geertz's unflinching meditations on Western academia's encounters with the non-Western world, and on the shifting and clashing places of societies in the world generally. Geertz writes eloquently and arrestingly about such major figures as Gandhi, Foucault, and Genet, and on topics as varied as Islam, globalization, feminism, and the failings of nationalism. Life among the Anthros and Other Essays demonstrates Geertz's uncommon wisdom and consistently keen and hopeful humor, confirming his status as one of our most important and enduring public intellectuals.

The essential collection of critical essays from a twentieth-century master and author of 1984. As a critic, George Orwell cast a wide net. Equally at home discussing Charles Dickens and Charlie Chaplin, he moved back and forth across the porous borders between essay and journalism, high art and low. A frequent commentator on literature, language, film, and drama throughout his career, Orwell turned increasingly to the critical essay in the 1940s, when his most important experiences were behind him and some of his most incisive writing lay ahead. All Art Is Propaganda follows Orwell as he demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary. With masterpieces such as "Politics and the English Language" and "Rudyard Kipling" and gems such as "Good Bad Books," here is an unrivaled education in, as George Packer puts it, "how to be interesting, line after line." With an Introduction from Keith Gessen.