Thesis (D. Miss.)--Western Seminary, Portland, Or., 2000. / Abstract. Includes bibliographical references (leaves 202-212).

Thesis (D. Miss.)--Western Seminary, Portland, Or., 2000. / Abstract. Includes bibliographical references (leaves 202-212).

Thesis--Agra University. / Bibliography: p. 408-432.

Based on author's thesis (Ph. D.)--Indiana University, 2005. / Includes bibliographical references (p. [212]-232) and index.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

The purpose of the thesis is to examine the relationship between social structure and ritual. It is based on data collected in a peasant village in Visakhapatnam District, Andhra Pradesh, South India, over a period of twenty-three months 1970-1972). In this village, in which Gavara farmers are the dominant caste, the formal organizing principles of the society are hierarchy and interdependence. A detailed statistical survey of the realities of the society reveals that these principles, while on the whole upheld, are constantly under challenge. Women constantly challenge male dominance in domestic economic affairs and disputes and also play a major role in the high degree of marital instability and divorce. Brothers pursue their own households' interests to the detriment of their interdependent co-operation with each other. Between castes, economic relations do not always conform to a strictly hierarchical pattern. The caste hierarchy itself is a mass of discrepant unreciprocated claims. In the face of these violations and contradictory pressures it is ritual activity and its symbolism which define and uphold the formal conventions of social hierarchy and interdependence. This is achieved through the constant repetition of symbols of respect and in the principal ritual act, puja. This symbolic acting out of hierarchy is thus presented through rituals as the epitome of morality itself. The subordinate role of women is similarly defined by ritual concepts. The woman who is subordinated to her husband is virtuous and auspicious. A woman who becomes a widow is no longer subordinate to an elder male and is inauspicious. Performances of rituals of the major agricultural festivals foster ideal models of inter-caste cooperation by activating responsibilities for castes to participate interdependently. They are, however, also occasions through which numerous political and economic rivalries find expression.

In Sri Lanka, the Tamils' demand for a federal state has turned within a quarter of a century into a demand for the independent state of Eelam. Forces of secession set in motion by emerging Sinhala-Buddhist chauvinism and the resultant Tamil nationalism gathered momentum during the 1970s and 1980s which threatened the political integration of the island. Today Indian intervention has temporarily arrested the process of disintegration. But post-October 1987 developments illustrate that the secessionist war is far from over and secession still remains a real possibility. This thesis focuses on the phenomenon of Tamil armed secessionism. To better understand the forces responsible for the armed secessionist insurrection, this, thesis analyzes the preconditions leading to the violent conflict between the minority Tamils and the majority Sinhalese in Sri Lanka. The consistent failure of the political system to accommodate the basic Tamil demands has contributed to the emergence of Tamil armed secessionism. Further, diverse factors have given impetus to the growth of Tamil secessionist movements. However, the three main political actors in the secessionist struggle — the Sri Lankan government, the Indian central government together with the state government of Tamil Nadu and the Liberation Tigers of Tamil Eelam — have had a major impact on the vicissitudes of the Tamil secessionist insurrection. / Arts, Faculty of / Political Science, Department of / Graduate

No description available.

This dissertation traces the life and afterlife of the short-lived, dismembered (and for several decades, disremembered) collection housed at the East India Company headquarters at Leadenhall Street in London—the India Museum. While much has been written on the amassing of objects and the building of colonial collections, little attention has been paid to the obverse act—dissolution. This study delves into the furor surrounding the India Museum’s fragmentation, examines its recharacterization during politically expedient moments, traces its legacies at the Victoria and Albert Museum and the British Museum, and explores parallels between colonial and contemporary (mis)interpretations of the collection. Centering this dissertation on the afterlife rather than simply the inception of the India Museum reveals that the collection retained its identity as a unified body in the British imagination decades after its dispersal. Questioning at what point a museum ceases to exist and how dissolved collections continue to circulate, this dissertation seeks to challenge conventional understandings of museum histories and proposes a longue durée approach for interpreting and engaging with these narratives. The opening chapter, Expanding the Narrative, offers a new perspective on the institution by foregrounding visual representations and incorporating historically overlooked accounts. This inclusive, image-centric approach aims to contribute a previously unconsidered angle to scholarship on the Museum. The second chapter, “All the Queen’s Horses and All the Queen’s Men”: The Dispersal of the India Museum, examines the critical yet under-theorized moment of the Museum’s dissolution. It applies an analytical lens to the collection’s fragmentation, explores the varying motivations behind the distribution of objects, and contextualizes the dissolution within the broader milieu of nineteenth-century collections in Britain. The third chapter, From “Hugger-Mugger” to “Tangible Monument”: Collective Memory and the India Museum, suggests that the India Museum retained its identity as a distinct entity decades after its absorption into South Kensington. This study demonstrates how the notoriously heterogeneous East India Company collection was reimagined in the early twentieth century as far more comprehensive and stable than it had ever been in its lifetime, and was ultimately reframed as being of critical import to the imperial project. The final chapter, Lingering Legacies: The India Museum Collection Today, examines the present-day manifestations of the dispersed collection, primarily at the Victoria and Albert Museum and the British Museum. It evaluates how effectively these institutions engage with the colonial context of their acquisitions and explores the collection’s framing in physical and digital spaces, including through consideration of discrepancies between gallery narratives and digital representations. The epilogue, The Specter of Empire, reflects on the evolving diplomatic, legal, and ethical positions surrounding the repatriation of Indian antiquities. The charged nature of returning objects from the India Museum collection is discussed in light of the continual reformulations of the colonial past in the former metropole and colony. Against the backdrop of imperial amnesia, rising nationalist sentiment, and the reevaluation of the colonial past in Britain and India, this dissertation highlights the necessity for academically grounded examinations of colonial-era collecting practices. This study suggests that only through a comprehensive understanding of institutional histories and complex object biographies can the circulation, interpretation, and potential restitution of these contested artifacts be effectively navigated in the present day.

During the course of my dissertation I demonstrate the way in which Anglo-Indian women writers of the late nineteenth century and early twentieth century diverge from the genre of the "feminine picturesque" as explained by Sara Suleri in her book, The Rhetoric of English India. I look too, at what Indo-English women use as a genre, instead of the "feminine picturesque". I also apply Spivakean ideas on representation to their writing in order to see the similarities and differences between my primary texts and the theory. I begin my dissertation by explaining what Sara Suleri means by the "feminine picturesque" and how I intend using it to better understand the primary texts I look at. I also explain Spivak's ideas on representation and how I intend using them to further my appreciation of Anglo-Indian and Indo-English writing of this period. I conclude my thesis by discussing my findings with regard to the theorists looked at, and how their ideas have been reflected in the four principal texts I examined. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.