This study focuses on the spread of print in colonial India towards the middle and end of the nineteenth century. Till the first half of the century, much of the print production in the subcontinent emanated from presidency cities such as Calcutta, Bombay and Madras, along with centres of missionary production such as Serampore. But with the growing socialization of print and the entry of local entrepreneurs into the field, print began to spread from the metropole to the provinces, from large cities to mofussil towns. This Element will look at this phenomenon in eastern India, and survey how printing spread from Calcutta to centres such as Hooghly-Chinsurah, Murshidabad, Burdwan, Rangpur etc. The study will particularly consider the rise of periodicals and newspapers in the mofussil, and asses their contribution to a nascent public sphere.

This book reconstructs the history of print and publishing in colonial Bengal by tracing the unexpected journey of Bharat Chandra’s Bidyasundar, the first book published by a Bengali entrepreneur. The introduction of printing technology by the British in Bengal expanded the scope of publication and consumption of books significantly. This book looks at the developments and the parallel publishing initiatives of that time. It examines local enterprises in colonial Bengal engaged in producing and selling books and explores the ways in which they charted out a cultural space in the 19th century. The work sheds fresh light on book production and the culture of print, and narrates the processes behind the printing of books to understand the multi-layered literary practices they sustained. A valuable addition to the history of publishing in India, this book will be useful to scholars and researchers of South Asian and Indian history, Bengali literature, media and cultural studies, and print and publishing studies. It will also appeal to those interested in the history of Bengal and the Bengali diaspora.

In early twentieth century British India, prior to the arrival of digital medias and after the rise of nationalist political movements, a small-town paper from the margins of society became a key player in Urdu journalism. Published in the isolated market town of Bijnor, Madinah grew to hold influence across North India and the Punjab while navigating complex issues of religious and political identity. In Print and the Urdu Public, Megan Robb uses the previously unexamined perspective of the Madinah to consider Urdu print publics and urban life in South Asia. Through a discursive and material analysis of Madinah, the book explores how Muslims who had settled in ancestral qasbahs, or small towns, used newspapers to facilitate a new public consciousness. The book demonstrates how Madinah connected the Urdu newspaper conversation both explicitly and implicitly with Muslim identity and delineated the boundaries of a Muslim public conversation in a way that emphasized rootedness to local politics and small urban spaces. The case study of this influential but understudied newspaper reveals how a network of journalists with substantial ties to qasbahs produced a discourse self-consciously alternative to the Western-influenced, secularized cities. Megan Robb augments the analysis with evidence from contemporary Urdu, English, and Hindi papers, government records, private diaries, private library holdings, ethnographic interviews, and training materials for newspaper printers. This thoroughly researched volume recovers the erasure of qasbah voices and proclaims the importance of space and time in definitions of the public sphere in South Asia. Print and the Urdu Public demonstrates how an Urdu newspaper published from the margins became central to the Muslim public constituted in the first half of the twentieth century.

History of commercial publishing in nineteenth century North India.

Interest in Shi'a Islam has increased greatly in recent years, although Shi'ism in the Indian subcontinent has remained largely underexplored. Focusing on the influential Shi'a minority of Lucknow and the United Provinces, a region that was largely under Shi'a rule until 1856, this book traces the history of Indian Shi'ism through the colonial period toward independence in 1947. Drawing on a range of new sources, including religious writing, polemical literature and clerical biography, it assesses seminal developments including the growth of Shi'a religious activism, madrasa education, missionary activity, ritual innovation and the politicization of the Shi'a community. As a consequence of these significant religious and social transformations, a Shi'a sectarian identity developed that existed in separation from rather than in interaction with its Sunni counterparts. In this way the painful birth of modern sectarianism was initiated, the consequences of which are very much alive in South Asia today.

By the 1880s, Hindu domestic life and its most intimate relationships had become contested ground. For urban, middle-class Indians, the Hindu woman was at the center of a debate over colonial modernity and traditional home and family life. This book sets this debate within the context of a nineteenth-century world where bourgeois, European ideas on the home had become part of a transnational, hegemonic domestic discourse, a 'global domesticity.' But Walsh's interest is more in hybridity than hegemony as she explores what women themselves learned when men sought to teach them through the Indian advice literature of the time. As a younger generation of Indian nationalists and reformers attempted to undercut the authority of family elders and create a 'new patriarchy' of more nuclear and exclusive relations with their wives, elderly women in extended Hindu families learned that their authority in family life (however contingent) was coming to an end.

Partha Mitter's book is a pioneering study of the history of modern art on the Indian subcontinent from 1850 to 1922. The author tells the story of Indian art during the Raj, set against the interplay of colonialism and nationalism. The work addresses the tensions and contradictions that attended the advent of European naturalism in India, as part of the imperial design for the westernisation of the elite, and traces the artistic evolution from unquestioning westernisation to the construction of Hindu national identity. Through a wide range of literary and pictorial sources, Art and Nationalism in Colonial India balances the study of colonial cultural institutions and networks with the ideologies of the nationalist and intellectual movements which followed. The result is a book of immense significance, both in the context of South Asian history and in the wider context of art history.