Ganganatha Jha's Mualti-volume Manusmrti, originally published by the University of Calcutta between 1920 and 1939 is as indicated by its subtitle "The Laws of Manu with the Bhasya of Medhatithi", mainly an edition and translation of the Mula text together with the explanation of the most celebrated commentator. Medhatithi's Manubhasya has been characterized by one of the leading scholars on Dharmasastra, J. Duncan M. Derrett, as a large repertory of opinion on the meaning of the "Smrti and on some fundamental questions of Dharma and Law." The present work is divided into three sets, i.e. Sanskrit Text (Mula), English Translation and Notes. These comprise of two, five and three volumes-in all the ten volumes. The first two volumes are devoted to (Mula) Sanskrit Text. The first consists of first six Adhyayas and the subsequent carries next six Adhyayas from Vii to XII and a detailed Index for both volumes. The next five volumes (Vol.3 to 7) belong to English Translation. The Vol.3 carries Adhyayas I and II, Vol.4 contains Adhyayas III and IV, Vol.5 has Adhyayas V to VII, Vol 6 has Adhyaya 8, and Vol.7 has last four Adhyayas (IX to XII). All volumes contain a detailed Index. The last three volumes (8 to 10 are devoted to detailed Notes conducive to understanding the subject of the Smrti even to an interested average reader. These belong to textual, explanation and comparative respectively. These contain much useful information.

Manu's Code of Law is one of the most important texts in the Sanskrit canon, indeed one of the most important surviving texts from any classical civilization. It paints an astoundingly detailed picture of ancient Indian life-covering everything from the constitution of the king's cabinet to the price of a ferry trip for a pregnant woman-and its doctrines have been central to Indian thought and practice for 2000 years. Despite its importance, however, until now no one has produced a critical edition of this text. As a result, for centuries scholars have been forced to accept clearly inferior editions of Sanskrit texts and to use those unreliable editions as the basis for constructing the history of classical India. In this volume, Patrick Olivelle has assembled the critical text of Manu, including a critical apparatus containing all the significant manuscript variants, along with a reliable and readable translation, copious explanatory notes, and a comprehensive introduction on the structure, content, and socio-political context of the treatise. The result is an outstanding scholarly achievement that will be an essential tool for any serious student of India.

'Manu was seated, when the great seers came up to him: "Please, Lord, tell us the Laws of all the social classes, as well as of those born in between..."' The Law Code of Manu is the most authoritative and the best-known legal text of ancient India. Famous for two thousand years it still generates controversy, with Manu's verses being cited in support of the oppression of women and members of the lower castes. A seminal Hindu text, the Law Code isimportant for its classic description of so many social institutions that have come to be identified with Indian society. It deals with the relationships between social and ethnic groups, between men and women, the organization of the state and the judicial system, reincarnation, the workings ofkarma, and all aspects of the law.Patrick Olivelle's lucid translation is the first to be based on his critically edited text, and it incorporates the most recent scholarship on ancient Indian history, law, society, and religion.

Original essays offering fresh ideas and global perspectives on contemporary feminist art The term ‘feminist art’ is often misused when viewed as a codification within the discipline of Art History—a codification that includes restrictive definitions of geography, chronology, style, materials, influence, and other definitions inherent to Art Historical and museological classifications. Employing a different approach, A Companion to Feminist Art defines ‘art’ as a dynamic set of material and theoretical practices in the realm of culture, and ‘feminism’ as an equally dynamic set of activist and theoretical practices in the realm of politics. Feminist art, therefore, is not a simple classification of a type of art, but rather the space where feminist politics and the domain of art-making intersect. The Companion provides readers with an overview of the developments, concepts, trends, influences, and activities within the space of contemporary feminist art—in different locations, ways of making, and ways of thinking. Newly-commissioned essays focus on the recent history of and current discussions within feminist art. Diverse in scope and style, these contributions range from essays on the questions and challenges of large sectors of artists, such as configurations of feminism and gender in post-Cold War Europe, to more focused conversations with women artists on Afropean decoloniality. Ranging from discussions of essentialism and feminist aesthetics to examinations of political activism and curatorial practice, the Companion informs and questions readers, introduces new concepts and fresh perspectives, and illustrates just how much more there is to discover within the realm of feminist art. Addresses the intersection between feminist thinking and major theories that have influenced art theory Incorporates diverse voices from around the world to offer viewpoints on global feminisms from scholars who live and work in the regions about which they write Examines how feminist art intersects with considerations of collectivity, war, maternal relationships, desire, men, and relational aesthetics Explores the myriad ways in which the experience of inhabiting and perceiving aged, raced, and gendered bodies relates to feminist politics in the art world Discusses a range practices in feminism such as activism, language, education, and different ways of making art The intersection of feminist art-making and feminist politics are not merely components of a unified whole, they sometimes diverge and divide. A Companion to Feminist Art is an indispensable resource for artists, critics, scholars, curators, and anyone seeking greater strength on the subject through informed critique and debate.