Exploring the major trends in Marathi theatre, this three-volume set presents a detailed history of the development of modern Marathi theatre. The work is written in the form of a dialogue between a writer and a clown, where the clown goes on to educate the writer, by narrating to him the history of Marathi theatre, taking him through its inception in 1842 to 1985. Originally written in Marathi, this encyclopaedic work would narrate a social history of Maharashtra and of India as seen through the window of theatre. The narration proceeds through thirty nights, loosely following the structure of Arabian Nights, woven around the question, 'Who am I?' The methodology that Sathe follows is complex but systematic and logical as it is predicated on a sound understanding of both history and culture. He views theatre as a cultural construct shaped by the dialectical interaction between the playwright and the cultural political ethos around. The three volumes present the various stages of the historical development of modern Marathi theatre. The conversations between the writer and the clown take place at night; each night is progressively devoted to the discussion of certain historical stages.

The idea of transitions in Indian history emerged early when the term ‘transition’ denoted shifts from one period to another. The notion of transition itself has moved beyond being primarily economic to include dimensions of society, culture and ideology. This volume brings together scholarly works that re-examine and re-define the concept of transition by looking into a range of subjects including religion, culture, gender, caste and community networks, maritime and mercantile modes, ideas of nationalism and historiographies across geographical and temporal settings. With contributions by leading scholars from South Asia, this book will be useful to scholars and researchers of ancient history, modern Indian history, sociology and social anthropology, and South Asian studies.

There have been several researched studies of Marathi Theatre, there have been valuable monographs on single dramatists and many insightful articles in Marathi journals. However, comprehensive surveys of specifically political theatre are scarce.

Women and the word marginalization have never remained oxymoronic – the cross-cultural texts and Engels interest on subjugation make a perfect recipe for this incongruity. Multicultural and Marginalized Voices of Postcolonial Literature traces multifarious facets of marginalized literature across the world, giving a brilliant overview of the historical roots of multiculturalist and marginalized sections. The fourteen chapters relate key literary and cultural texts and cover a broad spectrum of historical, linguistic and theoretical issues. There are three sections in the book – section I has four chapters, dealing specifically theoretical constructions and representations. Section II consists of four chapters that offer varied spectrum of discourses on world literature, intersecting with the frameworks of literary theories. Section III comprises six chapters that explore the mind of dalits, subalterns, colonial women and gender issues of a variety of Indian English Writers and draw varied perspectives of it.

World Literature and the Question of Genre in Colonial India describes the way Marathi literary culture, entrenched in performative modes of production and reception, saw the germination of a robust, script-centric dramatic culture owing to colonial networks of literary exchange and the newfound, wide availability of print technology. The author demonstrates the upheaval that literary culture underwent as a new class of literati emerged: anthologists, critics, theatre makers, publishers and translators. These people participated in global conversations that left their mark on theory in the early twentieth century. Reading through archives and ephemera, Kedar Arun Kulkarni illustrates how literary cultures in colonised locales converged with and participated fully in key defining moments of world literature, but also diverged from them to create, simultaneously, a unique literary modernity.