This book studies the politics that make the tricolour flag possibly the most revered of the symbols, icons and markers associated with nation and nationalism in twentieth-century India. The emphasis on the flag as a visual symbol aims to question certain dominant assumptions about visuality. Anchored on Mahatma Gandhi's 'believing eye', this study reveals specificities of visual experience in the South Asian milieu. The account begins with a survey of the pre-colonial period, focuses on colonial lives of the flag, and then moves ahead to explain the contemporary dynamics of seeing the flag in India. The Flag Satyagraha of Jubblepore and Nagpur in 1922–23, the adoption of the Congress Flag in 1931, the resolution for the future flag in the Constituent Assembly of India in 1947, the history of the colour saffron, and the codes governing the flag, as well as legal cases, are all explored in depth in this book.

Studies the politics that make the tricolour flag possibly the most revered of the symbols and icons associated with nationalism in twentieth-century India.

The Noncooperation Movement of 1920-22, led by Mahatma Gandhi, challenged every aspect of British rule in India. It was supported by people from all levels of the social hierarchy and united Hindus and Muslims in a way never again achieved by Indian nationalists. It was remarkably nonviolent. In all, it was one of the major mass protests of modern times. Yet there are almost no accounts of the entire movement, although many aspects of it have been covered by local-level studies. This volume both brings together and builds on these studies, looking at fractious all-India debates over strategy; the major grievances that drove local-level campaigns; the ways leaders braided together these streams of protest within a nationalist agenda; and the distinctive features of popular nonviolence for a righteous cause. David Hardiman's previous volume, The Nonviolent Struggle for Indian Freedom, examined the history of nonviolent resistance in the Indian nationalist movement. The present volume takes his study forward to examine the culmination of this first surge of struggle. While the campaign of 1920-22 did not achieve its desired objective of immediate self-rule, it did succeed in shaking to the core the authority of the British in India.

This book critically examines the cultural politics of visuals in South Asia. It makes a key contribution to the study of visuals in the social sciences in South Asia by studying the interplay of the seen and unseen, and the visual and nonvisual. The volume explores interrelated themes including the vernacular visual and visuality, ways of seeing in South Asia and the methodology of hermeneutic sensorium, anxiety and politics of the visuals across the region and the trajectory of visual anthropology, significance of visual symbols and representations in contemporary performances and folk art, visual landscapes of loss and recovery and representation of refugees, visual public in South Asia and making of visuals for contemporary consumptions. The chapters unravel the concepts of visual, visibility, visuality while attending to determinant meta-ideas, such as memory and modernity, trajectories of tradition, fluidity and hybridity, and visual performative politics. Based on interdisciplinary resources, the chapters in this volume present a wide array of empirical findings across India, Pakistan, Sri Lanka, Nepal and Bangladesh, along with analytical readings of the visual culture of the subcontinent across borders. The book will be useful to scholars and researchers of visual and cultural studies, social and cultural anthropology, sociology, political studies, media and communications studies, performance studies, art history, television and film studies, photography studies, and South Asian studies. It will also interest practitioners including artists, visual artists, photographers, filmmakers and media critics.

This is the first book to stress the need for study of regional and local politics as an integral part of the history of the Congress.

A kaleidoscopic exploration that traverses history, literature, art, and science to reveal humans' unique and vibrant relationship with color. We have an extraordinary connection to color—we give it meanings, associations, and properties that last millennia and span cultures, continents, and languages. In The World According to Color, James Fox takes seven elemental colors—black, red, yellow, blue, white, purple, and green—and uncovers behind each a root idea, based on visual resemblances and common symbolism throughout history. Through a series of stories and vignettes, the book then traces these meanings to show how they morphed and multiplied and, ultimately, how they reveal a great deal about the societies that produced them: reflecting and shaping their hopes, fears, prejudices, and preoccupations. Fox also examines the science of how our eyes and brains interpret light and color, and shows how this is inherently linked with the meanings we give to hue. And using his background as an art historian, he explores many of the milestones in the history of art—from Bronze Age gold-work to Turner, Titian to Yves Klein—in a fresh way. Fox also weaves in literature, philosophy, cinema, archaeology, and art—moving from Monet to Marco Polo, early Japanese ink artists to Shakespeare and Goethe to James Bond. By creating a new history of color, Fox reveals a new story about humans and our place in the universe: second only to language, color is the greatest carrier of cultural meaning in our world.